"...And Now the Real Gems of the Night – The Cast. The choices on stage were only magnified by the brilliance of the performers.. It was clear that the leads, all debuting their respective roles, were at home with every aspect of the work and had strong chemistry with one another. That kind of cohesiveness only comes over the course of a run.

Speaking of bravura, the same can be said for soprano Elizabeth Baldwin in a fascinating turn as Lady Macbeth. The role of Lady Macbeth is known for its challenges. The voice must fluctuate in a number of ways. The first aria “Vieni t’affretta” requires the voice of a dramatic soprano as well as the flexibility of a bel canto soprano. The second aria “La Luce Langue” is written in the low range making it almost perfect for a mezzo. The brindisi requires a leggiero soprano and the final sleepwalking scene requires intense vocal acting.

Baldwin was more than up to the challenge as she possesses a powerful voice that can easily cut through Verdi’s large orchestrations and choral music. Her Lady was a victim of circumstances. While there was a clear ambitious urge and sexuality to her Lady, there was a vulnerability from the loss of her child. Her opening reading of the letter “Nel di della vittoria” had a sweetness rarely heard in a portrayal. But that sweetness turned to strength as she began the recitative “Ambizioso Spirito.” The voice had a grainy quality particularly in the top range giving this Lady the “ugliness” Verdi required for the role. Baldwin also dispatched the coloratura runs in the cabaletta “Or Tutti Sorgete” with assurance reassuring that this was no Lady to be played with.

But that quickly changed in the subsequent duet with Macbeth. It is in this duet that Lady Macbeth tells Macbeth that he is being foolish (“Follie, Follie”). Verdi’s music gives Lady Macbeth coloratura runs that describe a kind of mockery to Macbeth’s fears. However, Baldwin didn’t portray these that way. She had a breathy quality that demonstrated that this lady was a bit hesitant in her actions and also scared. But that quickly changed when she gains power. At the beginning of Act two. Baldwin’s Lady turned up her hunger for power and became a full-on seductress. During her “La Luce Langue” Baldwin reveled in the low notes giving them a wicked color all while seducing her husband. And of course she dispatched the final “Cadra (He will fall)” with delight and vocal power tearing through the hall. The delight was displayed in the ball scene during her Drinking song “Si Colmi, il calice (Fill your cups).” Baldwin poured wine into guest’s cups all while dispatching the coloratura lines with ease. The voice also regained that sweetness heard at the beginning and there was also a light edge to it. But in the second repeat, the voice took on a hard edge. Baldwin began it sweetly before eventually turning to the graininess from the opening aria. There was a forced quality to the way she pronounced each word creating that sense that Lady Macbeth was angry and embarrassed.

Baldwin’s madness began to be present at the end of act three. The soprano combined a sexual urge with a will for power. As she sang the duet “Ora di morte e di vendetta,” the soprano wrapped herself around Macbeth all while singing with a suave mezza voce in the middle of the duet. However, her vocal power increased as the duet climaxed to the end. And with that climax so did her sexual urges.

Her sleepwalking scene was a perfect virtuosic display. When she first entered the stage she ambled about looking for something, her eyes transfixed on that unknownobject. But when the aria began her attention quickly turned to her hands. Baldwin rubbed her hands uncontrollably before taking a bottle and spilling water on her hands. And the music continued to grow in intensity, so did her voice and her desperate actions. Baldwin had no problem singing while running around the stage trying to escape the character’s madness. Her final D flat was also remarkable as Baldwin turned away from the audience and walked away as she dispatched the final arpeggio and infamous note with aplomb."