Vilnius City Opera “There Will Be No Encore: Macbeth” – A Lithuanian Phenomenon Astonishing the World

After launching last year with the wildly successful production of Asmik Grigorian’s Salome, Vilnius City Opera, together with the Lithuanian State Symphony Orchestra led by Maestro Gintaras Rinkevičius, invites audiences to dive into the timeless classics of William Shakespeare and Giuseppe Verdi for the second evening of the “There Will Be No Encore” cycle with the opera “Macbeth.” On the evening of October 28, at the LVSO Concert Hall, Asmik Grigorian and Edgaras Montvidas, who once introduced themselves here as shy “Bohemian” students, will now take the stage alongside other soloists to perform complex roles requiring the highest level of acting and vocal mastery.

The Lithuanian opera phenomenon – in the spotlight of the international press

These same soloists were recently highlighted in Andrew Mellor’s widely discussed Financial Times article “How Lithuania Became an Opera Talent Factory,” which examined the Lithuanian opera phenomenon on the global stage. For some time now, observers of the international opera scene may have been wondering what is happening in this small country whose soloists dominate stages worldwide. Similarly, last year John Daszak, who performs the role of Herod in Salome in the world’s most prestigious theatres, remarked: “Working in the opera business, I often encounter Lithuanian artists, and they are all extraordinary. I have already worked with at least five Lithuanians, and yet there are only three million of you! I used to think the Swedes were unusual, since there are twelve million of them and you constantly meet many talented Swedish voices, but Lithuania is something astonishing.”

A generation united by “There Will Be No Encore: Macbeth”

The Financial Times article emphasized that today’s leading soloists represent the same generation, born between 1975 and 1981, in which musical versatility merges with theatrical and acting training, creating a unique force and impact. Many of the creators mentioned in the article, who have performed with VCO, will soon celebrate the twentieth anniversary of the “Bohemians” program - a significant and impressive milestone.

It is perhaps no coincidence that Mellor mentions Lithuanian singers taking on leading roles at the Royal Opera House in London - a place where many of them completed their vocal studies. The youngest generation is also entering international waters, such as Gabrielė Kupšytė, who will appear in Macbeth and currently works at the Leipzig Opera House. Another performer, Žilvinas Steponas Miškinis, honed his craft at the Berlin State Opera and is now a soloist at the Düsseldorf Opera, returning to the Vilnius stage after last year’s Salome. In this way, Macbeth becomes a work where not only the biggest names shine but where the continuity of Lithuanian talent is clearly visible across new generations.

The fulfillment of the “Bohemians’ Dream”

“I’ve wanted to work on Macbeth for fifteen years,” says VCO producer Dalia Ibelhauptaitė. “Back in 2010, during our first staged concert, Bohemians’ Dreams, we already included the chorus and Lady Macbeth’s aria. It was a dream that began to take shape when I saw Asmik as Lady Macbeth in Salzburg in 2023. I realized then that my belief was not unfounded - we truly have fantastic Lithuanian soloists capable of performing these complex roles. I believe Lady Macbeth is the newest and one of the brightest peaks of Asmik’s current career, and I very much want the Lithuanian audience to experience it. In the multifaceted role of Macduff, we will see an intriguing interpretation by Edgaras Montvidas, while the performer of Macbeth himself will remain a surprise for the audience.”

For this one evening, Ibelhauptaitė is once again bringing together not only the best soloists but also her longtime creative partner Gintaras Rinkevičius and costume designer Jon Morrell. According to her, last year’s enormous interest in VCO’s Salome and the fact that tickets sold out in just three days deeply moved the artists. As creators working abroad have often said, no matter what applause and awards you receive abroad, the recognition of your home audience is always the most important.

Ibelhauptaitė refers to the 2023 premiere of Macbeth at the prestigious Salzburg Festival, directed by the well-known Polish creator Krzysztof Warlikowski, which left no one indifferent, while Asmik Grigorian’s portrayal of Lady Macbeth offered a new and distinctive interpretation of the canonical role. Sometimes even controversial artistic choices proved justified - six sold-out performances return this year to the festival’s main stage, with ticket prices reaching nearly 500 euros.

One evening on stage – titans of opera and drama

Macbeth, uniting two of the greatest talents of drama and classical music - G. Verdi and W. Shakespeare - draws the audience into one of the darkest stories in the history of art. In the world of drama, the work, steeped in legends and superstitions, is often called “the Scottish play,” as many fear even uttering its name, believing it brings misfortune. The story, filled with conspiracies, blood, ghosts, supernatural beings, and scenes of madness, stands out for its brutality, and its central character can easily be seen as an echo of modern authoritarian power. We could easily name several current world leaders who are only a few steps away from becoming Macbeths.

Importantly, Shakespeare did not create a solitary, isolated tyrant but a pair. Without Lady Macbeth, the story would not unfold. Their relationship and the complex portrayal of a cold-blooded woman provide a deeper psychological insight into the work. No one can deny that one of the shortest plays by the legendary playwright has given us an exceptional duet of main characters, whose convincing portrayal on stage once drove actors into fierce competition, while actresses could even lose admirers over their interpretations. To this day, Macbeth marks a turning point in the biographies of drama creators, while lines from its monologues, such as “Tomorrow, and tomorrow, and tomorrow…” have become part of everyday language, even for those who do not know who the true author was.

G. Verdi once said that “this tragedy is one of the greatest creations of humankind… If we cannot create something truly magnificent from it, then at least let us strive to make something extraordinary.” With this in mind, in his opera he focused on the darkest corners of the human soul, attempting to see and understand how the darkest and most complex emotions are born. The composer explores the inner processes that lead the hero toward many frightening and insane decisions, numerous murders, and ultimately their own destruction. The work is filled with visions through which we glimpse the subconscious itself, into what lies beneath unpredictable actions, almost allowing us to feel what the characters truly experience.

VCO inf.