United Kingdom Verdi, Macbeth: Soloists, Chorus and Orchestra of Chelsea Opera Group / Grant Llewellyn (conductor). Cadogan Hall, London, 30.11.2025. (AK)
Owing to the utmost dedication of all concerned, this performance of Verdi’s second version of Macbeth was as astonishing as deeply moving.
Chelsea Opera Group (COG) was founded in 1950 and since then they performed many masterpieces – some unjustly neglected, others well known – with their amateur chorus/amateur orchestra but with professional solo singers and professional conductors. COG thus serves well the world of opera, music loving amateurs keen to be a part of performances, as well as artists including conductors eager to engage with such community of dedicated music lovers.
For their 75th anniversary, COG has chosen to present Verdi’s second version of Macbeth. Verdi premiered the first version in Florence in 1847; COG performed it in 2008. The second version was premiered in Paris in 1865. To please the Parisian audiences, Verdi added a substantial ballet number for the scene of the apparitions (Act III).
COG presented what they specified as a concert performance in Italian with English surtitles. Chorus and orchestra were on stage throughout, but all soloists skilfully negotiated their stage entrances and exits. Furthermore, all solo singers provided the dramatic narrative; they were singing as well as acting their parts. Some of the acting must have been difficult; Macbeth was standing on the stage throughout the whole of the extensive ballet music, doing his utmost best to pretend that he was watching the apparition.
The singers presenting Macbeth (baritone Alexey Gusev) and Lady Macbeth (soprano Mari Wyn Williams) were astonishing vocally, musically and dramatically. They could – and should – appear in any of the world’s great opera houses. I am not sure what help was on hand but, after her spoken letter scene (Act I), supposedly reading a letter from Macbeth, Mari Wyn Williams began her first aria ‘Vieni! t’affretta!’ (‘Come! Hurry!’) exactly on the correct pitch. In my long past as a cellist in an opera house I often witnessed clashes of pitches between stage and orchestra, hence I now marvelled Williams’s rock-solid and pitch-perfect entry. She owned the part, portraying it not only musically but also with five different dresses and changing hairstyles as the story unfolded.
The chemistry and musical bond between Gusev and Williams made them wholly credible as the sinister and ill-fated couple. Their journey to their final demise was remarkable individually as well as a doomed pair.
We had some unscheduled showstopping moments. Macduff was performed by tenor José de Eça who became unwell during the performance. So, tenor Jay Broadhurst, singing the part of Malcolm, stepped in and presented ‘Ah, la paterna mano’ that is Macduff’s aria (Act IV). Broadhurst put all his heart into his excellent rendering of the aria; in turn he captured everybody’s heart on the stage and in the auditorium. He was awarded with long-lasting tremendous applause; the Macbeth story at that point was suspended and became Broadhurst’s story. He is still a music college student …not a bad start for what should be a flourishing career.
Violinist Diana Cummings led the orchestra. This is as astonishing as it is heart-warming as Diana has been in the profession for longer than anybody could imagine. Diana is a role model for perseverance and quality.
Last but not least, conductor Grant Llewellyn held together his vast forces and presented a true account of Verdi’s score. Artistic integrity, emotions and brilliance were all provided. One would have not known that, owing to an accident some five years ago, Maestro Llewellyn was conducting as well as turning the pages in his score only with his left arm.
Utterly astonishing and hugely inspirational; I was privileged to be in the audience.
Agnes Kory
Featured Image: Alexey Gusev (Macbeth) and Mari Wyn Williams (Lady Macbeth) with the COG Chorus and Orchestra © Matthew Johnson
Cast:
Macbeth – Alexey Gusev
Lady Macbeth – Mari Wyn Williams
Banquo – Simon Wilding
Macduff – José de Eça tenor
Lady in waiting – Charlotte Richardson
Malcolm – Jay Broadhurst
Doctor / Assassin – Robin Gruffudd Hughes
Servant to Macbeth /Herald – Kevin Hollands
Yes, it really was just as thrilling an occasion as this warm-hearted review tells us, a fitting celebration of COG’s long and distinguished history.