In short

Verdi was a great admirer of Shakespeare, and Macbeth was the first of the Englishman’s plays Verdi set to music. Here we meet the ‘new’ Verdi, who places empathy and expression above beauty of sound. Everything must serve the drama. The declamation of text sometimes overstretches the limits of classical vocal technique. Literally reading aloud a letter from Lady Macbeth was, for that time, 1847, revolutionary.


Following Prokofiev’s The Gambler (2013), chief conductor Marc Albrecht and stage director Andrea Breth once again join forces. Scott Hendricks (at Dutch National Opera as Graf Tamare in Die Gezeichneten and Riccardo in I puritani) and Nadja Michael sing the leading roles.


Andrea Breth
Andrea Breth is one of the major directors in German-language theatre. She has received numerous prizes. The success of her uncut production of Shakespeare’s Hamlet at the Burgtheater Wien (2013) made her the obvious choice to director the Shakespeare-based opera Macbeth. Breth knows how to stimulate singers to dig deeply into their characters. Her intensive psychological approach is the result of thorough analysis of the libretto.