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Verdi: Macbeth / Latonia Moore, Simon Keenlyside, Brindley Sherratt, Gwyn Hughes Jones

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> Macbeth (1865 version) (Sung in English) - Act III, A Dark Cave: Chorus of Introduction – Enchantment: Three times the tom-cat has yowled its cry of love (Witches)
> Macbeth (1865 version) (Sung in English) - Act III, A Dark Cave: Ballet: I. —
> Macbeth (1865 version) (Sung in English) - Act III, A Dark Cave: Ballet: II. —
> Macbeth (1865 version) (Sung in English) - Act III, A Dark Cave: Ballet: III. —
> Macbeth (1865 version) (Sung in English) - Act III, A Dark Cave: Gran scena of the Apparitions: I will call them, but I dread what they may tell me (Macbeth, Witches)
> Macbeth (1865 version) (Sung in English) - Act III, A Dark Cave: From the lowest and highest of regions (Witches, Macbeth, Apparitions)
> Macbeth (1865 version) (Sung in English) - Act III, A Dark Cave: The Sound of Bagpipes - Distant music! What magic is this? (Macbeth, Witches)
> Macbeth (1865 version) (Sung in English) - Act III, A Dark Cave: Come, all you sirens (Chorus of Witches)
> Macbeth (1865 version) (Sung in English) - Act III, A Dark Cave: Scene and Duet: Finale III: Where am I? They've vanished … (Macbeth, Herald, Lady Macbeth)
> Macbeth (1865 version) (Sung in English) - Act III, A Dark Cave: Now is the hour of revenge and murder (Macbeth, Lady Macbeth)
> Macbeth (1865 version) (Sung in English) - Act IV Scene 1, A Deserted Place on the Border Between Scotland and England: Land of torture! Land of terror! (Chorus of Scottish Refugees)
> Macbeth (1865 version) (Sung in English) - Act IV Scene 1, A Deserted Place on the Border Between Scotland and England: Scene and Aria: O, my children, my darling children! (Macduff)
> Macbeth (1865 version) (Sung in English) - Act IV Scene 1, A Deserted Place on the Border Between Scotland and England: Where was your loving father? (Macduff)
> Macbeth (1865 version) (Sung in English) - Act IV Scene 1, A Deserted Place on the Border Between Scotland and England: What is this? What is this forest? (Malcolm, Soldiers, Macduff)
> Macbeth (1865 version) (Sung in English) - Act IV Scene 2: A Hall in Macbeth's Castle: The Great Sleepwalking Scene: Introduction -
> Macbeth (1865 version) (Sung in English) - Act IV Scene 2: A Hall in Macbeth's Castle: Two nights we've watched and waited (Doctor, Lady-in-Waiting)
> Macbeth (1865 version) (Sung in English) - Act IV Scene 2: A Hall in Macbeth's Castle: There's a stain here, and here's another! (Lady Macbeth, Doctor, Lady-in-Waiting)
> Macbeth (1865 version) (Sung in English) - Act IV Scene 2: A Hall in Macbeth's Castle: Scene and Aria: Treachery! The English dare unite against me (Macbeth)
> Macbeth (1865 version) (Sung in English) - Act IV Scene 2: A Hall in Macbeth's Castle: No love, no care, no compassion (Macbeth)
> Macbeth (1865 version) (Sung in English) - Act IV Scene 2: A Hall in Macbeth's Castle: Scene and Battle: God in Heaven! (Women's Voices, Macbeth, Lady-in-Waiting, Macbeth's Soldiers)
> Macbeth (1865 version) (Sung in English) - Act IV Scene 3: A Vast Plain: Battle: Throw down your branches and take your weapons! (Macduff, Soldiers, Macbeth, Women)
> Macbeth (1865 version) (Sung in English) - Act IV Scene 3: A Vast Plain: Hymn of Victory - Finale IV: Victorious! (Chorus, Women, Malcolm, Macduff)
> Macbeth (1865 version) (Sung in English) - Act IV Scene 3: A Vast Plain: Macbeth, where is Macbeth …? (Chorus of Bards, Soldiers, Women, Macduff, Malcolm)
> Macbeth (1847 version) (Sung in English) - Act IV: God in Heaven! (Women's Voices, Macbeth, Lady-in-Waiting)
> Macbeth (1847 version) (Sung in English) - Act IV: Ah! Come quickly! (Macbeth Soldier's, Macbeth) - We're ready! (Macbeth Soldier's, Malcolm, Macduff, Macbeth)
> Macbeth (1847 version) (Sung in English) - Act IV: Final Scene: Victorious! … Where is the villain …? (Malcolm, Macduff) - I have sinne (Macbeth, Macduff, Malcolm, Chorus)
> Macbeth (1865 version) (Sung in English) - Act II Scene 2, A Park: Black is the night, as black as death (Banquo)
> Macbeth (1865 version) (Sung in English) - Act II Scene 3, A Magnificent Hall: Finale II: Long live the King! (Chorus, Macbeth, Lady Macbeth, Lady-in-Waiting, Macduff)
> Macbeth (1865 version) (Sung in English) - Act II Scene 3, A Magnificent Hall: Drinking Song: Come fill your glasses (Lady Macbeth, Lady-in-Waiting, Macduff, Chorus)
> Macbeth (1865 version) (Sung in English) - Act II Scene 3, A Magnificent Hall: You have blood upon your face (Macbeth, Assassin)
> Macbeth (1865 version) (Sung in English) - Act II Scene 3, A Magnificent Hall: You deserted us, my husband (Lady Macbeth, Macbeth, Lady-in-Waiting, Macduff, Chorus)
> Macbeth (1865 version) (Sung in English) - Act II Scene 3, A Magnificent Hall: Come fill your glasses (Lady Macbeth, Lady-in-Waiting, Macduff, Chorus)
> Macbeth (1865 version) (Sung in English) - Act II Scene 3, A Magnificent Hall: No! Leave me, you devil! (Macbeth, Lady-in-Waiting, Macduff, Chorus, Lady Macbeth)
> Macbeth (1865 version) (Sung in English) - Act II Scene 3, A Magnificent Hall: Blood must flow … The ghost demands it (Macbeth, Lady-in-Waiting, Chorus, Lady Macbeth, Macduff)

Album Summary

>Verdi, Giuseppe : Macbeth
Conductor Ensemble Composer

Notes & Reviews:

This recording of Verdi's Macbeth marks the completion of the Peter Moores Foundation's remarkable Opera in English series, established in 1995 with aim of making opera available to wider audiences by presenting the highest quality performances in the English language. Here a translation by Jeremy Sams is sung by an all-star cast including Simon Keenlyside as Macbeth and Latonia Moore as Lady Macbeth. Edward Gardner, Artistic Director of English National Opera, conducts the ENO Orchestra.

BBC Music Magazine, June 2014
Even if [Moore's vocalism is brave and bold, at times Latonia Moore's Lady Macbeth could do with sharper definition and more sheer heft...Keenlyside explores the title role in depth, offering a huge variety of expression and fulfilling the potential of Verdi's notes to reveal minute nuances of character...[Gardner] brings a keenly observant eye to the score.

Financial Times, 7th June 2014
Gardner's recording has a crispness and vitality that underline his Verdian credentials...and the cohesiveness of his ensemble. Keenlyside may not sound like a Verdi baritone, but on his own intelligent terms the interpretation works. Moore's Lady M is fresh, accurate - and almost too beautiful for the famous Sleepwalking Scene.

Gramophone Magazine, June 2014
Gardner draws vibrantly dramatic results from his English National Opera forces...[Moore] is apparently unfazed by the role's difficulties and soars through her big numbers with plenty of luxurious, slightly smoky tone...[Keenlyside] doesn't command the richness of timbre...of a true Verdi baritone...[but] the performance cannot be faulted for integrity.

International Record Review, May 2014
[Keenlyside's] baritone has gained darker colours, even if he does not sound ideally placed in Verdi, yet he brings great characterization and clarity of diction to the role...[Moore] sings beautifully...but doesn't exactly impart a sense of evil or danger...The supporting cast is excellent...Gardner leads the English National Opera Orchestra in a crackling account of the score.

The Telegraph, 24th April 2014
A sharply energised and vividly dramatised performance...[Keenlyside] gives a commanding interpretation of a soldier driven by a combination of ambition and conscience...Latonia Moore sings powerfully as Lady Macbeth...But the set's most egregious virtue is the conducting of Edward Gardner, swaggering with Verdian virility.

The Times, 4th April 2014
[Keenlyside] presents a changing psychological portrait of the lure of power and evil in the title role. At first he sounds conflicted, uncertain. But one murder hardens him and Keenlyside's tone expands alongside Macbeth's resolve. No uncertainties dog Lady Macbeth in Latonia Moore's account...The young American's voice is thrillingly rich and commanding.

Notes & Reviews:

Recording information: Blackheath Halls, London (08/16/2013-08/23/2013).



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Works Details

>Verdi, Giuseppe : Macbeth
  • Conductor: Edward Gardner
  • Ensemble: English National Opera Orchestra
  • Notes: Blackheath Halls, London (08/16/2013-08/23/2013)
  • Running Time: 3 min. 15 sec.
  • Period Time: Romantic
  • Form: Opera/Operetta
  • Written: 1847