Bloody tale of treachery is one of pure operatic gold Garry Fraser

For opera fans who bemoaned the lack of opera in past Edinburgh Festivals, only half an hour of Teatro Regio Torino’s production of Macbeth would have been ample compensation.

It was powerful, imaginative, compelling, convincing and undeniably brilliant, with Emma Dante’s direction one of the most ingenious I’ve ever seen.

The use of the chorus, dancers, scenery and props combined with inspirational staging was one key to the evening’s success. The other was the passionate and potent delivery by principals and chorus alike of Verdi’s memorable score.

Dante’s magical touch was clearly seen throughout. The harrowing opening scene of Act IV, corpses and all, was quite incredible as was Lady Macbeth’s sleepwalking scene, complete with seemingly remote-controlled beds. Superb imagination.

Chorus and ensemble singing was also out of the operatic top drawer. The multi-layered chorus after Duncan’s murder is quite immense, with the haunting O Poor Scotland emotive and heartrending. High quality singing, inspirational stage direction and athletic choreography proved that a successful opera doesn’t always necessarily stem from the performances of the principals.

Minor roles aside, there were four main protagonists whose contribution was outstanding.

Marko Mimika (Banquo) made one regret his character was killed off as he has the sort of resounding bass voice that makes your hair stand on end. Similarly, Piero Pretti delivered an aria in the final act as the lamenting Macduff, where passion dripped off every word.

As for the two main characters? Anna Pirozzi’s evil, malevolent and scheming femme fatale was very much a class act, such was her intensity. Dalibor Jenis was the archetypal Macbeth, compelling in every aspect as he’s swept away in a frenzy of treachery and treason.

This was operatic 24-carat gold.