The Metropolitan Opera commenced its 2026-27 season with a new production of Giuseppe Verdi’s "Macbeth," directed by Louisa Proske. This marked a significant shift for the company, which had previously opened seasons with contemporary works since the pandemic. The production, while aiming for psychological intensity and epic stagecraft, was described as a "gloriously ghoulish, lyrically powerful, and sporadically campy entertainment" by Vulture, blending playfulness and horror.
Baritone Quinn Kelsey delivered a commanding and consistently strong performance as Macbeth, lauded for his "relaxed confidence" and "house-filling power" while navigating Verdi’s demanding lines. Kelsey's portrayal highlighted Macbeth's vulnerability and decline, particularly in his monologues and the banquet scene, which showed his descent into madness. Critics like those from Parterre Box and OperaWire recognized Kelsey as the Met's ideal Verdi baritone, committing deeply to his characterization and earning enthusiastic audience response.
Soprano Lise Davidsen as Lady Macbeth received mixed reviews. While some praised her "polychrome vocal wonders" and her efforts to add nuance to the role, with her final sleepwalking scene particularly noted for its tenderness, others found her performance "uneven" and "one-dimensional." OperaWire criticized a "dramatic void" in her portrayal, and Vulture mentioned she hadn’t fully internalized Verdi’s rhythmic bounce. However, Parterre Box noted her significant advancement in the role since initial concert performances and a recent Verdi CD, highlighting her powerful "La luce langue" and an "élan" in the Brindisi.
The production was also noted for its effective use of the Met Chorus, particularly the women choristers as witches, who were depicted as constantly looming and controlling the events, even crowning Banquo’s child at the end. Director Louisa Proske, co-founder of Heartbeat Opera, handled her Met debut with aplomb, focusing on the "complicated people twisted together in lethal obsession." Yannick Nézet-Séguin conducted, generally eliciting "virtuoso energy and vibrant power" from the orchestra, though some pacing choices, particularly in the refugee’s chorus, were questioned. The cast also included Freddie De Tommaso as Macduff and Ryan Speedo Green as Banquo.
