Germany Shostakovich, Lady Macbeth of Mtsensk: Oldenburg State Chorus (director: Thomas Bönisch) and Orchestra / Vito Cristofaro (conductor). Oldenburg State Theatre, 28.4.2026. (DM-D)
For this production, the Russian context was cleverly foregrounded. Designer Markus Meyer had created a landscape which gave the impression of both vastness and restriction, and of immensely low temperatures, justifying the multiple layers of clothing the characters wore. Being able to wrap themselves up even more also provided them with further desirable opportunities to enhance physical comfort and a semblance of mental health in a space that felt restrictive, bordering on the claustrophobic. The lighting design by Karsten Lenauer added to the cold and all-pervading atmosphere. All these, together with the long Russian names, which stood out in the German rendering of the opera, provided associations with Russia just as much as the crowds of peasants, the characters familiar from plays by Gogol or Chekhov, or from descriptions in the Dr Zhivago novel and filmed versions thereof.
Centre stage for all but the last scene was a stationary old Mercedes of the large and – in its time – most prestigious S-class. Most sexual activity took place inside on the back seat, creating some distance from the tough events of the plot, and the body of murdered Boris Izmailov was hidden and later found in the boot of the luxury car.
Director Joan Anton Rechi ensured that character motivation and general state of mind were very clear throughout, facilitating smooth storytelling. Vito Cristofaro was very well able to tease out the idiosyncrasies of the score, especially the typically Russian idiom, never crossing the threshold, very low in the smallish space of the theatre, to excessive volume. His well-judged tempos also ensured that the music told the story in line with libretto and production.
Shelley Jackson sang the role of the titular Lady Macbeth, Katerina Lvovna Ismailova. She was convincing across the range of registers and volume. Her voice was strong, well-grounded, well projected and carried through the orchestra without straining. In the middle register there was gold in her voice, whereas the higher register was more silvery, a range well suited to the demands of the role in its more dramatic and more settled, intimate moments. Jason Kim as Sergej impressed with the firm core of his malleable, engaging tenor voice. He is clearly and successfully on the path of vocal development towards heavier roles, while not losing grip of the heritage of more lyrical material. Ralf Lukas was able to employ the considerable depth of his sonorous bass voice to full effect as Boris. Ji Woon Kim as Boris’s son Zinoviy was vocally appropriately lighter than Jason Kim, singing with secure ease. Other members of the Oldenburg resident company and soloists from the chorus sang the numerous small roles of the opera equally well.
Daniel Meyer-Dinkgräfe
Featured Image: Oldenburg State Theatre’s Lady Macbeth of Mtsensk (previous performance) © Stephan Walzl
Production:
Director – Joan Anton Rechi
Set and Costume design – Markus Meyer
Lighting design – Karsten Lenauer
Dramaturgy – Antje Müller
Cast:
Boris Timofeyevich Izmailov – Ralf Lukas
Zinoviy Izmailov – Ji Woon Kim
Katerina Izmailova – Shelley Jackson
Sergei – Jason Kim
Sonyetka – Dorothee Bienert
Aksinya – Karija Jokovic
Tattered peasant – Seumas Begg
Steward – Irakli Atanelishvili
Manservant – Seung Jin Park
1st Foreman – Maykola Pavlenko
2nd Foreman – Volker Röhnert
Coachman – Benjamin Park
Millworker – Stephen K. Foster
Orthodox priest – Seungweon Lee
Chief of police – Aksel Daveyan
Policeman – Ryan Stoll
Teacher – Johannes Leander Maas
Watchman – Philip Zehnoff
Old forced labourer – Taylor Haines
Ghost of Boris Timofeyevich – Ralf Lukas