MACBETH REMIX (2016)

from W. Shakespeare e F.M. Piave
by Edoardo Sanguineti
music and direction by A. Liberovici

with
Paolo Bonacelli
Elisabetta Pozzi 
Judith Malina (recorded)

Where: Teatro Stabile di Genova (premiere)
When: April 19th, 2016
Length: 1h 15′
Production:  Teatro Stabile di Genova

Macbeth Remix was born at the Spoleto festival in 1998 under the pen of Edoardo Sanguineti and directed by Andrea Liberovici. Freely inspired by the script composed between 1605 and 1608 by William Shakespeare (1564 – 1616) and by the opera of the same name set to music in 1847 by Giuseppe Verdi (1813 -1901) on a libretto by Francesco Maria Piave (1810 – 1876).

Read more...
Excerpts

MACBETH REMIX
from W Shakespeare and F.M. Piave
by E. Sanguineti
music and direction by A. Liberovici

Paolo Bonacelli – Macbeth
Elisabetta Pozzi – Lady Macbeth

memories in video by
Eros Pagni (Banquo)
Marco Sciaccaluga (Duncan)
Judith Malina, Dely De Majo, Sierha Bonnette,
Daniel e Madeddu (Witches)

set design and costumes
Guido Fiorato

acoustic design and music
Andrea Liberovici

ligh designer
Fausto Perri

Macbeth Remix is ​​a live concert for solo voices and magnetic tape, it is recorded madness, and sampled by a DJ who scratches on the poetic verse, it is a “concept album,” at times harsh and oppositional on Shakespearean themes that Liberovici, with his usual tidy madness, stages, exploiting and making use of his actor’s best virtues.
Andrea PorchedduGli stati generali.com

In Macbeth Remix, the sound is the disruptive counterpoint to the words, the music, the breaths of air, the silences, the screeches, and fragments of speech, a dazzling score that expands into the lights, into the never reassuring projections that invade the scene.
Magda PoliCorriere della sera

Liberovici’s beautiful sound score, full of references and correspondences, and rich with suggestions, more than just supports the text, it, in a certain sense, fights it as a counterpoint, articulating and structuring it in a plot made up of sounds that are in contrast to the sonority  of the word, creating “music for the eyes,” according to a definition by Edoardo Sanguineti.
Maria Dolores PesceDramma.it

Liberovici’s score underlines the drama in a crescendo of tension that does not attenuate, even when suddenly, the noises melt into deliberately vulgar melodies, simple lullabies that accentuate the estrangement of the character. A flawless work on a technical level and splendidly interpreted by Bonacelli and Pozzi.
Roberto IovinoRepubblica