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[13] With the addition of music for Lady Macbeth, Macbeth's aria in Act 3 was completely re-written—as was a considerable amount of the rest of Act 3; a ballet was added in Act 3; a newly composed chorus to an old text began Act 4; and the ending of Act 4 was also changed, Verdi, being determined to drop Macbeth's final aria Mal per me che m ...
Nilsson as Lady Macbeth in the opera by Verdi at the Royal Swedish Opera, Stockholm, 1947. Under Fritz Busch's tutelage, her career took wing. He was instrumental in securing her first important engagement outside Sweden, as Electra in Mozart's Idomeneo at the Glyndebourne Festival in 1951.
Great Britain's The Daily Telegraph reported on Verdi's Macbeth at the London Proms 2007 that Valayre was "a real find of a Lady Macbeth" and that she would possess "the ideal voice for the role: a dramatic soprano with an incisive edge and the dark-tinged richness of a mezzo."
Due to Rysanek's vocal technique and strong vocal endurance, she was able to sing many Verdi leads, notably Desdemona in Otello, Lady Macbeth, Amelia in Un ballo in maschera, Elisabetta in Don Carlo, Leonora in La forza del destino, and the title role of Aida. She also sang Abigaille in the Metropolitan Opera's first staging of Nabucco in 1960.
Macbeth, 1847, rev. 1865, opera by Giuseppe Verdi . Macbeth, film version of the above directed by Claude d'Anna; Macbeth, 1910 opera by Ernest Bloch; Lady Macbeth of Mtsensk, 1934 opera by Dmitri Shostakovich
Bumbry made her operatic debut in 1960 when she sang Amneris in Verdi's Aida at the Paris Opéra; [1] [4] that same year she joined the Basel Opera, [13] where she was based for four years. [1] Her roles there included Bizet's Carmen, Dalila in Samson et Dalila by Saint-Saëns, Orfeo in Gluck's Orfeo ed Euridice, and Verdi's Lady Macbeth and ...
In 2011, she appeared at Covent Garden, where she successfully stepped in for Micaela Carosi as Aida early in the season, with Fabio Luisi as the conductor. [4] [5] She was also engaged to sing Lady Macbeth in Verdi's Macbeth, [2] with Simon Keenlyside in the title role and Antonio Pappano as the conductor.
Beginning in the late 1970s, she began to tackle soprano roles, including Selika in L'Africaine, Judith in Bartók's Bluebeard's Castle, Lady Macbeth in Macbeth, Madame Lidoine in Poulenc's Dialogues of the Carmelites (Met 1977), Tosca, Norma (from Boston 1976 till Messina 1989), Aida (Boston 1980 and 1989), Desdemona (1981), Leonore (Fidelio ...