Macbeth: a new chamber opera by Luke Styles
Though excited to see Richard in a named solo role, my attitude to seeing the production was tentative. However, the score was surprisingly innocuous and more approachable than I had feared. Not exactly as melodious as Puccini, or as accomplished as Wagner by any means, but it wan't ineffective. It worked more as one soundscape accompaniment to the text rather than separate numbers/arias and was somewhere between recitative and through-composition. The structure effectively stretto-ed towards the end, increasing the frequency of scene changes and making exchangers sharper to build the tension before the climax.
Accompanied by reduced forces of a chamber orchestra of soloist from the LPO, the young voices could mostly be heard, aided by the smaller setting of the Jerwood studio. One of the most effective elements was the use of tuned and un-tuned percussion, mainly in scene transitions where the actors/singers moved the few props or set. Also, un-metered chorus humming was sometimes used as accompaniment to solo vocal lines which added another sonic layer. The criticism I would have is that all of these techniques became a little bit predictable and thus the piece seemed to lack variation overall, which was perhaps not aided by the dour tone of the story.
The work was set in modern combat uniform presumably in a contemporary war setting, with a very stripped back set, and all of the supernatural elements of Shakespeare's play had been removed to focus on the relationship between the male characters. Styles used only male singers, young artists from the main Glyndebourne chorus. Despite this, two female character were still included - Lady Macbeth and Lady MacDuff. Played by a tenor and baritone respectively it challenged the aural expectations associated with female roles - it is odd to hear a "woman" sing in a strong baritone! - as well as physical ones. Whilst they did not make the roles male, neither did the creative team go to much effort to make them seem feminine. No wigs, no make-up, no bodysuit. Yet the portrayals were still convincing, and even tender at points.
I was very proud of Richard's performance as MacDuff, especially in the scene where he discovers his wife and children have been murdered. It was so raw and emotional and all I wanted to do was jump down onto the stage and give him a hug! So good to see him in an actual role that he can personalise and put his mark on.
In this way, the new chamber opera is a wonderful example of ways in which Glyndebourne support and encourage younger singers and emerging talent. An opportunity that I know Richard relishes.
