Opéra de Monte Carlo · Monaco · April 2012
ABAO· Bilbao·  February 2011
Opéra National du Rhin · Strasbourg and Mulhouse· April 2010

This production seemed quite traditional in its visuals but surprised the audience by in fact telling the story in quite a novel way. Purists were offended but mostly the show was lauded for its phsychological insight and power, and for balancing Macbeth's detailed characterisation with an unusually deep exploration of Lady Macbeth's reasons for acting as she does and of her feeling of guilt . The ballet music was performed quasi complete as a space for that exploration. Also Lady MacDuff and her family were reintroduced into the narrative to shocking effet when the MacDuff family is murdered during Patria Opressa.

Production Team
Set: Louis Desiré
Costumes: Louis desiré
Lighting: Bruno Poet
Conductor: Enrique Mazzola, Paolo Arrivabeni

Casts included:
Bruno Caproni, Elisabete Matos, Violetta Urmana, Maria Guleghina, Leonardo Capalbo, Giacomo Prestia, Pietro Palazy, Lado Ataneli, Wojtek Smilek, Sebastian Na, Enrico Casari, Fan Xie, Vladimir Stoyanov, Giacomo Prestia, Stefan Secco, Andres Veramendi, Jens Kiertsner, Odile Hinderer, Rachael Feord, Aline Gozlan, Gregory Kozely, Marion Cenki, Marie Le Roy, Ximena Zalazar.

"Francisco Negrin is not one of those directors who endlessly repeats the same concept. One could not imagine a show more different to his L'Arbore di Diana than this Macbeth!.
The set is a single space and Negrin takes on that challenge with brio. It is a single and impressive space...and it gives the show great unity and legibility.
Macbeth's savage killing of the MacDuff family during "Patria Opressa" makes the husband and father's cry ("O figli, o figli miei") sound more hearbreaking to our ears than ever before."


Richard Martet
Opéra Magazine (France)
June 2010




"The ideal set for Verdi's Macbeh. .....    Francisco Negrin has had the genius idea of making the witches once again frightning and visible (and just three), like in the play. And this was not the only clever idea the director had. To work within the confines of a single set is  a genius coup too. This way Negrin succeedes in taking the action from the outside to the inside. He shows it is only human infamy, nourished by distress, by power-thirst and by fear that makes the Macbeths assasins. The idea of these usually abstract motifs is crystal clear in Negrin's staging...

In Verdi's opera all murders are off stage while in the Strasbourg staging the audience witnesses every murder live. And so it becomse evident that the consequences of these violent actions will be taken onboard by future generations. The question remains if it is destiny or free will. The suffering imagery that goes all the way to a crucifiction scene during which the acrobats stay suspended upside down and arms open for a long time, shows that there will be no metaphysical redemption either...

Negrin's engagement proves that Marc Clémeur knows how to seek out directors that are capable or interpreting pieces in a comtemporary spirit, making use of the magic of modernity on an opera stage, while remaining within limits that secure the audience's comprehension."


Michaela Preiner
European cultural news
April  2010


"With a laudable care for dramatic authenticity, Negrin signs a Macbeth that totally does proud both Verdi and Shakespeare and refuses the usual "updatings" so fashionable everywhere. This is an exemplary show.Though formally classical, the staging never is conventional, and is sometimes is unexpected and even innovative.We could give dozens of meaningful examples of the dramatic intelligence of a show served by efficient actor's direction."


Monique Barichella
April  2010