The part of Lady Macbeth is different from any other role Verdi wrote because the composer insisted that the interpreter must have a harsh, ugly voice. By extension, so long as a soprano’s voice is harsh and ugly enough, she is perfect for Lady Macbeth, even if she sings out of tune, lacks agility, has no access to chest voice, sings unintelligible Italian, etc. etc. It’s that ugly voice that’s the sine qua non.
Yet here’s a canard
The part of Lady Macbeth is different from any other role Verdi wrote because the composer insisted that the interpreter must have a harsh, ugly voice.
By La Cieca La Cieca
James Jorden (who wrote under the names "La Cieca" and "Our Own JJ") was the founder and editor of parterre box. During his 20 year career as an opera critic he wrote for the New York Times, Opera, Gay City News, Opera Now, Musical America and the New York Post. He also raised his voice in punditry on National Public Radio. From time to time he directed opera, including three unsuccessful productions of Don Giovanni. He also contributed a regular column on opera for the New York Observer. James died in October 2023.
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Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
