For over a decade I’ve covered the Glimmerglass Festival and have celebrated its ascension to an internationally lauded event under the direction of the boundlessly energetic and resourceful Franscesca Zambello. The cancelation of the 2020 season was another of many tragic cancelations of sister opera houses world-wide.
As always, I seek some unifying subtext for the offerings, and this year the quest was, at face value, quite simple: birds. An outdoor avian sculpture and a birder challenge in the program booklets left no doubt of the “theme” intended. However, the degree of suggestion varied from the most obvious (Rossini’s The Thieving Magpie) to the surreal (Sondheim’s Sweeny Todd) and merely suggestive in the others. Rossini's rarely performed dramatic comedy, La gazza ladra (The Thieving Magpie) was the most interesting production this season. While I would never concur with Toscanini's equating Rossini’s talent to that of Mozart (in quality and not merely in youthful quantity), the mix of comedy and high drama certainly had pretensions to some of Mozart’s great operatic moments. Perhaps, Don Giovanni and Die Zauberflöte served as models for the young composer; he even manages some near literal quotes of these works in the second act.
Shakespeare's stygian supernatural tragedy, replete with witches, paradoxical prophesies, grisly murders and ghosts, was embraced enthusiastically by Verdi. He made the following remark: "This tragedy is one of the greatest creations of man." His enthusiasm for the play and his own adaptation never waned. The original Italian four-act 1847 score was heavily revised in 1865, the latter version used a libretto in French and was in five acts. This 1865 revision really has the most compelling music for Lady Macbeth and the chorus, the latter carrying much of the weight of the opera. In fact, the choruses throughout Macbeth show Verdi at his most innovative and are on the par with those in his Requiem. Tonight's performance followed the revised version, sung in Italian, with the laudatory reinstatement of “Mal per me che m'affidai,” Macbeth's stunning final aria from the original.
Lucking into one of the first few nice days of a late spring, I attended the annual Glimmerglass Festival kickoff, hosted at Midwood, the secluded Germantown home of philanthropist Joan K. Davidson. This beautiful Sunday afternoon offered the enticements of the summer opera fare in Cooperstown along with hors d'oeuvres and wine. Francesca Zambello, the transformational Artistic & General Director of the Glimmerglass Festival, invited several young artists, veteran performers, and composers to further the cause.