Shostakovich’s overpowering and tragic opera, Lady Macbeth of Mtsensk, has just completed a run at the Israel Opera. This human tragedy revolves around the protagonist, Katerina Izmailova, who is trapped in a loveless marriage with Zinovi Izmailov, her weak and impotent husband. Both of them are abused by her overbearing and wealthy father-in-law, Boris Izmailov. While her husband is away attending to family business, Katerina falls in love with Sergei, a recently hired worker. He is a well-known wily womanizer, whose main interest in Katerina is to use her as a lever to improve himself materially. Katerina murders her father-in-law and husband to marry Sergei. Katerina and Sergei are arrested and while on a prison march to Siberia, she realizes that the man for whom she sacrificed so much has forsaken her for another woman. She murders Sergei’s latest paramour by pushing her into the icy river and then takes her own life by jumping into the same river.
This was a co-production with the Mariinsky Opera from St. Petersburg and was originally directed by the late Irina Molotov, who was a close friend of Shostakovich. Julia Pevzner directed the current production following Molostova's original conception. The sets were designed by Georgy Tsypin. The staging was simple but imaginative. It comprised a wooden façade with elements that were moved around in the various scenes. The gang-rape perpetrated by Boris’s workers on an unfortunate servant was played out behind a barrel.
The cast comprised leading local and international singers. Israeli soprano, Larissa Tetuev captured to a great extent the pathos of the role and was effective in her searing monologues. At the beginning of the opera, she succeeded in portraying her anguish and boring existence. Sergei, the Russian tenor Roman Muravitsky, began a little hesitantly but settled down well and gave a vocally strong presentation. The malicious father-in-law Boris, was sung by Israeli bass Vladimir Braun, and Katerina’s husband by Russian tenor Marat Gali. Both gave most convincing performances. The roles of the priest and chief police officer were competently sung by Russian bass Vladimir Matorin and Israeli baritone Noah Briger respectively; their contribution added some light relief to compensate for the somber events unfolding on stage.
In my opinion the real heroes of this production were the choir and orchestra. Chorus master Yishai Steckler has really done a sterling job raising the choir standard to international levels. The resident orchestra, The Israel Symphony Orchestra Rishon LeZion, was conducted by the Canadian Keri-Lynn Wilson. They were in top form. Some weeks ago Wilson gave impassioned and impressive performances of the requiems of Brahms and Faure and last season, she conducted Tchaikovsky’s Pique Dame with great success. She demonstrated an uncanny and impressive grasp of the subtle nuances and complexities of Shostakovich’s score and the orchestra responded enthusiastically. Particularly effective were the brass and woodwind sections that have a prominent role in this opera.
At the end of the opera, a part of the brass section of the orchestra played from the upper reaches of the auditorium. The stage was darkened, broken only by a beam of light projected on Katerina. This was a masterful touch and fitting climax to a glorious evening at the opera. This production represents one of the all time highs for this Israeli company and could proudly grace the stage of any major international opera house.
It is interesting to contrast The Israel Opera’s Lady Macbeth of Mtsensk with a recently released DVD from the Netherland Opera, in a production staged by Martin Kusej. The latter succeeds more convincingly in bringing out the malevolence of Katerina’s father-in-law (sung by Vladimir Vaneev) and the baseness of his character. The true motives of Sergei (sung by Christopher Ventris), are also more fully explored. In this DVD, Eva-Maria Westbroek gives a masterful vocal and dramatic portrayal of Katerina. Despite her murderous spree, in this Dutch version, Katerina elicits some sympathy since it becomes manifestly evident that she was a victim of abuse by both the father-in-law and her lover. This fascinating DVD includes bonus material and interesting interviews with the director and cast members. Conductor Mariss Jansons succeeds in bringing out the brilliance of the Royal Concertgebouw Orchestra. Particularly impressive were the interludes between the different scenes, which Jansons explains are so vital to the score.
This 2-DVD set has deservedly received a Grand Prix du Disque Lyrique, as well as several other awards. It is released on the Opus Arte label (catalog number OA 0965 D) and is distributed by Naxos, the World’s Leading Classical Music Label. It is a worthy addition to any collection.
Wedding scene depicting the betrothal of Katerina and Sergei from Shostakovich’s Opera, Lady Macbeth of Mtsensk.
Taken at the Israeli Opera by Yossi Zwecker
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