For the third time – after Hans Werner Henze’s The Bassarids (2018) and Richard Strauss’ Elektra (2020) – Krzysztof Warlikowski directs an opera at the Salzburg Festival. Once again, Małgorzata Szczęśniak is responsible for the production’s sets and costumes. Having previously appeared here as Marie in Wozzeck, the title role in Salome and Chrysothemis in Elektra, Asmik Grigorian makes her role debut as Lady Macbeth in Salzburg this summer. She describes the challenge: “The role is very demanding. As with every character I embody, I give it my best, investing lots of time in preparation”. She points out, however, that musically, this is not a radically new experience for her, as both her parents sang lots of Verdi and she grew up with the Italian repertoire.
Asmik Grigorian makes her debut as Lady Macbeth; director Krzysztof Warlikowski, Małgorzata Szczęśniak (sets and costumes)
Krzysztof Warlikowski directed Macbeth in Brussels in 2010, and for him it is not only a new opportunity to approach this opera, but the second time this year he is exploring a Shakespearean plot, having staged Hamlet (Ambroise Thomas) in Paris in March. “Both operas are rooted in mythological tales of antiquity and based on major works of world literature – musically, however, we are dealing with two different universes,” he says, explaining that the action is set in an era when the characters have gone mad. Elaborating their characterization, his interest is in their human dimensions – ultimately, he considers Macbeth a voyage to an inferno. He explains that he was inspired by associations with Bernardo Bertolucci’s film The Conformist (Il conformista). He describes the moment when Macbeth interrogates the witches about his future as a very special one: “It contains a conscious human decision, the will to be guided by it. That is the opposite of passively bowing to fate.”
Another important aspect in the context of Macbeth’s questioning of the oracle is the relationship between him and Lady Macbeth, Warlikowski continues. Apart from the question of his own future, there is the issue of not having children of their own. This is a subject that can become the foundation of a relationship, while also influencing a couple’s shared future. Therefore, the production concentrates on Macbeth and Lady Macbeth as a couple.
Asked whether Macbeth and Lady Macbeth see eye to eye as a couple, Asmik Grigorian replies: “On stage, as a rule, I try to explore the person behind the role. I want to put myself into their shoes, into the situations they are experiencing.” A couple’s relationship is always dynamic, she continues, so she wants to bring out their vulnerability and weaknesses. Portraying only the dark and evil aspects of this figure does not interest her, as she emphasizes: “I don’t believe in one-dimensional characters. I’m very grateful to Krzysztof Warlikowski for telling the story in such a way that everything that happens has a reason and a motivation.”
Małgorzata Szczęśniak, who is responsible for the stage sets and costumes, says: “We wanted to create a space which can be called universal, metaphorical and poetic at the same time. Our concept is divorced from images with any kind of warlike, military associations.” She recounts how she was inspired by the „jeu de paume”, the “game of kings” from the renaissance era, the precursor of modern tennis.
Left to right.: Małgorzata Szczęśniak (Sets/Costumes), Asmik Grigorian, Krzysztof Warlikowski (Director)
Commenting on the costumes, she adds: “They were inspired by the style of 1920s / 1930s Italy, the film world of Il conformista, which appears on the surface to portray a normal life.”
Asked about the children appearing as supernumeraries, Warlikowski declares: “Children play an important role, not only with regard to the action. They generally embody something instinctive, an element of surprise which does not need to obey formal constraints. That’s one reason our concept calls for children on stage.” Asmik Grigorian adds: “The presence of the children helps me personally too, in interpreting this role. Lady Macbeth’s radical decisions go back to the wounds inflicted upon her as a child.”
Asked whether the current political situation in the world had any influence on the production, Warlikowski responds: “The piece requires no updating. For us, the question in the foreground was: what makes people feel the urge to kill? It’s not about superficial black-and-white – for that, the opera has far too many nuances.”
With great regret, Franz Welser-Most must withdraw from conducting Macbeth due to acute orthopaedic issues which require him to undergo medical treatment. However, he remains confident that he will be able to conduct his concerts at the Festival with the Vienna Philharmonic on 20 and 21 August.
The Salzburg Festival is extremely grateful to Philippe Jordan for stepping in at short notice and conducting this year’s new production of Giuseppe Verdi’s Macbeth, directed by Krzysztof Warlikowski.
Philippe Jordan has been music director of the Vienna State Opera since September 2020, where he has conducted nine new productions ranging from Mozart to Alban Berg, among others. He was previously music director of the Opéra National de Paris for twelve years and
chief conductor of the Vienna Symphony Orchestra. Philippe Jordan has appeared at all the world’s great opera houses and festivals with all the world’s major orchestras.
At the Salzburg Festival, he first conducted a new production of Mozart’s Così fan tutte in 2004 and a concert performance of Wagner´s Rienzi, der letzte der Tribunen in 2013, as well as orchestra concerts with the Vienna Philharmonic, the Gustav Mahler Jugendorchester und the Mozarteum Orchestra Salzburg.
Giuseppe Verdi’s Macbeth will premiere on 29 July; followed by five more performances through 24 August 2023 at the Großes Festspielhaus.
(After Press materials)
Marijan Zlobec