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08 December 2016: Article in Vienna State Opera magazine

by Gwyn on 8 December 2016

Simon’s thoughts on the role of Macbeth have been published in the December edition of ‘Prolog’, the magazine of the Vienna State Opera. The article can also be found on their blog. Click on photo to read the original German text and an English translation.

The first reviews (in German) of last night’s Macbeth at the Vienna State Opera have been added to the performance page. Translations will follow as soon as possible.

{ 3 comments… read them below or add one }

Gudrun December 13, 2016 at 9:42 pm

Angelika, I completely agree with you. I’ve just returned from Vienna and two terrific performances of “Macbeth”. It is one of my favourite operas and I had seen this production before with G. Petean (webstream) and A. Dobber (live) and found it rather uninteresting and dull. Musically it was OK, but when the Lady and Banquo are the only characters you remember it doesn’t really work. Then you begin to brood over the strange things in the production…
How different it was this time! Simon’s Macbeth brought life and action onto the stage, and I didn’t care anymore about the oddities of the production, some ideas even seemed to make sense now. Simon is so right when he stresses the importance of combining singing and acting in creating a character on stage. The interaction with both Ladies, Tatiana Serjan and Martina Serafin, was really breathtaking. I sat on the edge of my seat looking through the opera glasses almost all the time, in order not to miss anything of their facial expression. I found the performance on the 11th even a bit more exciting, although I liked T. Serjans voice better. But the interaction with M. Serafin was still more refined. (Small wonder, they had rehearsed together while T. Serjan had stepped in at short notice.) It was such a joy to hear Simon’s voice fully recovered also on the opera stage (after the beautiful Schubert recital in June). I don’t care if his voice is a “Verdi-voice” when he sings Verdi with such a richness of colour and nuance, when he can sound so powerful and then again so weak and vulnerable that one even feels pity for the murderer Macbeth!
When I told Simon after the second performance I thought it had been even more gripping than the first one, he smiled and said “Yes, it was a little wild, but I enjoyed that.” So did I, immensely.

Angelika, Austria December 11, 2016 at 10:53 pm

Very short report from the second “Macbeth”-performance in Vienna, this time with Martina Serafin as Simon’s partner: Great evening! Big success! Many “bravos”!

Angelika, Austria December 8, 2016 at 11:06 pm

It was very emotional for me to see Simon back on the stage of our State Opera in Vienna. And he gave us a great evening! The development of Macbeth from the shock over his first murder in the first act until the moment in the fourth act, when he is informed that his lady is dead and he answers roughly “La vita … che importa!” was definitely breathtaking, as well as “Perfidi! … Pietá, rispetto, amore”. Simon said once in an interview, that he thinks, that Macbeth is not redeemable. And this one could feel deeply tonight in his interpretation.

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