Argentina Verdi, Macbeth: Soloists, Chorus and Orchestra of Juventus Lyrica / André dos Santos (conductor). Teatro Avenida, Buenos Aires. 12.9.2025. (JSJ)
Creatives:
Director – Ana D’Anna
Sets – Gonzalo Córdova
Costumes – María Jaunarena
Chorus director – Pablo Manzanelli
Cast:
Macbeth – Juan Salvador Trupia
Lady Macbeth – María Belén Rivarola
Banquo – Marío de Salvo
Macduff – Ramiro Pérez
Malcolm – Santiago Delpiano
Lady-in-waiting – Elisa Gartner
Doctor – Agustin Albornoz
King Duncan – Giorgio Zamboni
Fleance – Manuel Brenner
Herald – Nicolas Tumini
Since the Covid years, opera in Buenos Aires has never been quite the same with fewer companies and fewer productions – but one that has continued its mission, albeit somewhat scaled back from earlier years, is Juventus Lyrica, now in its 26th year. Along with some productions for children during the winter holidays and its ongoing programme of masterclasses for young singers – one of the goals from its start – this production of Macbeth is the first for the year – and with the vocal and scenic demands an ambitious one that was well met in every way.
Macbeth is among Verdi’s lesser performed works, at least here in Argentina, and the first of the three he composed to be drawn from Shakespeare. Said to be close to the original, the figure of Macbeth dominates but it is Lady Macbeth who is the real power and faces the greatest musical demands.
It has been two years since the last production by Juventus Lyrica I saw and so many of the names in the cast and chorus are new but for these lead roles, and that of Banquo, they are familiar from past productions with the company. And it is always interesting, as a company such as Juventus enables us, to watch as they grow as performers.
Juan Salvador Trupia, with his stature, made for a commanding Macbeth and vocally and visually gave colour to his changing emotions and states, most notably in the banquet scene in Act II when the ghost of Banquo appears and he is overcome with terror. Similarly, María Belén Rivarola was a powerful and dramatic Lady Macbeth, scaling the demands of the music with apparent ease and her several arias received enthusiastic applause. Banquo’s is not a large role, but Marío de Salvo was expressive with good phrasing.
Likewise, the other cast members acquitted themselves well, as did the chorus – the witches including three in their number performing various gyrations that further added to the mysteries of their craft.
With the variety of locations involved in the work, it is equally demanding to stage but the most was made with limited scenic representation but well considered lighting to create the right atmosphere and sense of place for the various scenes, supplemented with the period dress.
The orchestra under André dos Santos gave a spirited performance, maintaining the drama throughout.
All in all, another production for Juventus Lyrica to add to its list of achievements and in which Ana D’Anna and daughter María Jaunarena, who are the company’s driving forces, along with all the participants, can take pride.
Jonathan Spencer Jones