Opera North



Verdi, Shakespeare, and Game of Thrones converge in Opera North’s production of Macbeth. The warrior Macbeth fights on the side of the King of Scotland – but when a coven of witches prophesy that he shall become king himself, a ruthless ambition drives Macbeth and his wife to horrific acts. Experience Verdi at his most theatrical in this opera that positively bristles with demonic energy.

Marcello Guzzo

Marcelo Guzzo

Sandra Lopez

Sandra Lopez

Helena Binder

Helena Binder

Louis Burkot

Louis Burkot


Sunday, August 4, 5pm

Tuesday, August 6, 7:30pm

Thursday, August 8, 7:30pm

Saturday, August 10, 5pm


Lebanon Opera House

On the Green,

Lebanon, New Hampshire


$90, $65, $50, and $25

Students: $25 (all sections)

Reserved seating.

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Verdi's Favorite Opera

“Death and destruction to that evil lot!” screams Lady Macbeth to her husband in the Act III duet finale of Verdi’s Macbeth. With her forceful insistence that Macbeth must kill Banquo’s son, Verdi’s anti-heroine declares herself the source of Macbeth’s ruthless, overreaching ambition. To be sure, Shakespeare’s Lady Macbeth urges her husband to murder King Duncan early in the play, but Verdi takes her bloodthirst to a new level, expanding her role in the tragedy beyond the original Shakespeare.

Soprano Birgit Nilsson as Lady Macbeth

As often happens in many of Verdi’s great operas, the presence of a highly characterized (and singular) soprano role calls attention to itself, but we also know that Verdi wanted a different kind of vocalism for Lady Macbeth: a “harsh, covered, dark timbre,” “the voice of a devil.”

So intent was Verdi on delivering a shockingly intense character who motivates and amplifies her husband’s malice and greed that the composer himself rehearsed the Act I duet with the singers purportedly over 150 times!

This evidence of the great care Verdi took with Macbeth betrays the fact that Verdi regarded it as his favorite opera (the work “which I love in preference to my other operas”). Indeed, Verdi gushed with enthusiasm about the project in a letter to his librettist, Francesco Piave: “This tragedy is one of the greatest creations of the human spirit. If we can’t do something great with it, let’s at least try to do something extraordinary.” Verdi spent many years working on Macbeth, eventually settling on the revised 1865 version as the authoritative one that he claimed aspired to a Wagnerian totality, a “fusion of music and drama.”

The opera is full of strikingly innovative moments: Shakespeare’s three witches turned into a strident, yet exciting female chorus; unsettlingly moving arias—Banquo’s beautiful aria before he is killed and Macduff’s powerful lament after the murder of his children; rich orchestral colors symbolizing the inner voices of characters; and of course, Lady Macbeth’s mesmerizing sleepwalking scene, in which the composer said “everything is to be sung sotto voce and in such a way as to arouse terror and pity.” The overall shadowy color (or tinta) that pervades Macbeth, arises partially from Verdi’s use of ombra music summoning the supernatural, but also from the opera’s critique of the allure of power. If such a theme seems too distant, we need only remind ourselves of the current vogue for dystopian dramas, one of which, House of Cards, borrows explicitly from Shakespeare in presenting a diabolical power couple who destroy all those in their path, dooming themselves in the process. Verdi’s musical portrayal of power and corruption in Macbeth can, therefore, give us pause to wonder: does art still imitate life today?

—Sean Parr, PhD, Associate Professor of Music, Saint Anselm College; ON Studio Artist 1997 and 1998

The Story of Macbeth

The opera takes place in Scotland, and ACT ONE begins in a forest. Macbeth and Banco, two Scottish generals in King Duncan's army, stop to visit with a coven of witches. The witches tell Macbeth that he'll eventually become the King of Scotland. They apparently don't want Banco to feel left out, so they say his heirs will be kings, as well. This news fits nicely with Macbeth's ambitions.

Things begin to turn sour at the dinner party, as Macbeth learns the news of Banco's assassination.

The next scene is in Macbeth's castle, where Lady Macbeth has learned about the witches' prophecies. She also learns that when Macbeth returns home that night, King Duncan will be accompanying him. Obviously, she decides, this is the perfect time for Duncan to be murdered, so Macbeth can become king.

After Macbeth has arrived, and the king has retired for the night, Lady Macbeth persuades her husband that Duncan should die. Macbeth immediately has a vision of a bloody dagger.

Late at night, with his wife as a grim cheerleader, Macbeth takes a real dagger, sneaks into the guestroom, and murders the king in his sleep. Afterward, Macbeth has a guilty conscience — much to his wife's disgust.

The crime is discovered when Banco and the nobleman Macduff go to attend the king. To protect her husband, Lady Macbeth incriminates the king's own guards. The assassination is announced to the people as the act ends.

As ACT TWO begins, Duncan's son, Malcolm, has fled to England — and given the mood Lady Macbeth is in, that move probably saved his life. Lady Macbeth remembers the witches' prediction that Macbeth would become king. But she also recalls their prediction that Banco would father future kings. This could make Banco's heirs a threat to Macbeth. Plainly, Banco and his son must be added to the Macbeth family's hit list.

In Scene 2, Banco and his son are attacked by Macbeth's assassins. Banco is murdered, but his son escapes.

Back at the castle in Scene 3, the Macbeths are hosting a party. Lady Macbeth urges everyone to drink up — and considering the strange things about to take place, she's smart to get her guests as drunk as possible. One of the assassins returns and quietly tells Macbeth what happened in the park.

Macbeth is guilt-stricken, and has a vision of Banco's ghost, sitting at the banquet table. Naturally, he's a bit distressed. Lady Macbeth acts as though nothing's wrong, and encourages everyone to party on. When the ghost appears to Macbeth again, he's even more terrified — by something nobody else can see — and the crowd begins to grow suspicious.

ACT THREE opens in a gloomy cavern, where the witches are casting spells around a glowing cauldron. Macbeth appears looking for more predictions. The witches tell him to watch out for Macduff, who has left the country and suspects Macbeth of evil deeds. But the witches also reassure Macbeth — or at least he thinks they do. They tell him he'll remain in power until a great forest, the Birnam Wood, rises against him. They also predict that he won't fall victim to "any man born of woman."

Then the witches conjure a procession of fearsome apparitions, all of them kings. The parade of ghostly sovereigns ends with the murdered Banco himself, carrying a mirror. Seeing this, Macbeth faints in terror.

When he comes around, the witches have disappeared, and a herald announces Lady Macbeth. She demands to know what the witches had to say. Hearing about the vision of Banco, Lady Macbeth renews her call for the death of Banco's son. She wants Macduff dead, too, and his entire family along with him, just for good measure. Macbeth agrees, and his wife congratulates him on his newfound strength.

The first scene of ACT FOUR takes place on the border of Scotland and England, Macduff has joined Duncan's son Malcolm, along with an English army and a band of Scottish refugees. Macduff's family has been massacred, and he's out for revenge. The band advances to Birnam Wood, where they all pick branches from the trees to use as camouflage as they approach Macbeth's castle.

Meanwhile, inside the castle, the scene is set for one of the most vivid passages in any Verdi opera. Lady Macbeth appears, sleepwalking. Her doctor and lady-in-waiting listen aghast as she reflects, in her sleep, on the murders she and her husband have committed.

In the final scene, Macbeth realizes that even though he successfully seized the throne, he has failed as a leader — and he sings the fine aria, "Pieta, rispetto, amore." With Macduff's forces approaching, hiding behind branches, Macbeth is told that the Birnam Wood itself is striding toward the castle. He goes off to meet the invasion.

Macbeth is confronted by Macduff, who reveals that he was not "born of woman" in the usual way but was, in Shakespeare's words, "untimely ripped" from his mother's womb. As Macbeth curses the witches and their misleading prophecies, a battle begins. Macbeth is killed by Macduff, and Malcolm is declared King.