Macbeth (No. 1): Act I, Sc. 1, Introduction and Chorus: Che faceste? Dite su! (Witches Chorus) Cover Image

Macbeth (No. 1): Act I, Sc. 1, Introduction and Chorus: Che faceste? Dite su! (Witches Chorus): Serious Opera, Orchestra Accompaniment, Conductor Score

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Macbeth (No. 1): Act I, Sc. 1, Introduction and Chorus: Che faceste? Dite su! (Witches Chorus) Cover Image
Macbeth (No. 1): Act I, Sc. 1, Introduction and Chorus: Che faceste? Dite su! (Witches Chorus): Serious Opera, Orchestra Accompaniment, Conductor Score

Macbeth (No. 1): Act I, Sc. 1, Introduction and Chorus: Che faceste? Dite su! (Witches Chorus): Serious Opera, Orchestra Accompaniment, Conductor Score

By Giuseppe Verdi/ Libretto by Francesco Maria Piave and additions by Andrea Maffei, based on William Shakespeare's play

Item: 36-A840801
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Description
Written for the Teatro della Pergola in Florence, and premiering on March 14 1847, Macbeth was Giuseppe Verdi's (1813-1901) tenth opera and the first genuine masterpiece of his career. Adamant about creating an opera "unlike any other," it met with immediate success, though it struck Italian audiences as an oddity due to its lack of a great love affair as part of the plot. Seeking to do something musically different, Verdi wrote to librettist Francesco Piave, "If we cannot make it a masterpiece, let us at least do something out of the ordinary." The opera breaks many of the rules common in the framework of Italian opera, favoring a more fluid, cohesively unfolding music drama in, as Verdi later admitted, his own attempt at the Wagnerian "fusion of music and drama." Almost twenty years after the premiere, interest in a French version for a Paris premiere drove Verdi to revise and expand the opera. This version, with substantial changes and additions to the music and libretto both, premiered in Paris on April 19, 1865, and the Italian translation of this remains the preferred version for modern performances, although often MacBeth's death scene from the first version replaces the revised last act. Truly a great opera, and a favorite of Verdi himself, the opera has not shared the success of the composer's other works, but this is not due to any deficiency in the music, which captivates the listener from the beginning to the end. The Introduction and Chorus -- "Che faceste? Dite su!" (Witches' Chorus) - appears early in Act I, immediately following the witches' initial encounter with Macbeth and Banquo, as they excitedly report their mischief and prepare the prophetic forces that will drive the drama's tragic descent. Musically, the scene establishes an atmosphere of supernatural menace that was unusual for Italian opera of the time. This chorus remains one of the most recognizable moments in Macbeth, frequently performed both as a staged excerpt and in choral concert settings. Instrumentation: 1+1(Picc).2.2.2: 4.2.3+1(BTbn).0: Timp.Perc(1-2): Str (4.4.3.3.3 in set): Women's Chorus (SSS). Reprint edition.

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Additional Details
Series: Kalmus Opera Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-898107-95-1
ISBN13: 979-8-898107-95-6
UPC: 612735559717
SKU: 36-A840801
Instrumentation: 1+1(Picc).2.2.2: 4.2.3+1(BTbn).0: Timp.Perc(1-2): Str (4.4.3.3.3 in set): Women's Chorus (SSS)

More about this title

About the Composer: Giuseppe Verdi

Giuseppe Verdi (1813-1901) revolutionized Italian opera by prioritizing dramatic coherence and orchestral sophistication over the formulaic structures that dominated his era. His willingness to experiment with form, harmonic language, and the relationship between music and text set him apart from his contemporaries and established him as one of the most influential composers in the operatic canon.

Macbeth holds special significance in Verdi's development. At a point when he was already a successful operatic voice, he chose to undertake Shakespeare's darkest tragedy, rejecting the romantic conventions expected of him. The opera represents his conscious effort to create music drama of greater psychological depth and orchestral color, ambitions he would pursue throughout his mature career.

Why we love this

This opening chorus captures the supernatural atmosphere that Verdi creates through orchestral color and harmonic innovation rather than relying on conventional operatic grandeur. The witches' music feels genuinely unsettling in ways that challenge singers and orchestra alike, demanding precision, control, and an understanding of how Verdi uses orchestration to establish mood and dramatic stakes from the very first moment.

What to expect

Verdi conjures an atmosphere of dark mystery and supernatural menace through unexpected harmonic turns and orchestral textures that were daring for 1847. The witches' voices emerge from an orchestral landscape that feels both rhythmically driving and harmonically unstable, creating a sense of unease and occult presence that propels the drama forward.

Who it's for

Orchestras and opera companies with strong choral resources, particularly those seeking to program a pivotal moment from a major operatic work. This conductor score is essential for maestros leading performances of Macbeth or concert performances of selections from the opera.

How to get the most out of it

  • Balance the women's voices carefully against the full orchestra; the chorus should be heard as a unified supernatural presence rather than individual singers competing with the accompaniment.
  • Pay close attention to Verdi's dynamic markings and articulations in the orchestral parts. The character of this music emerges through sharp contrasts and sudden shifts rather than smooth transitions.
  • Establish a clear, unrushed tempo for the conductor to communicate; the harmonic movement often feels more deliberate than a first reading suggests, and the chorus needs rhythmic clarity to maintain security.
  • Shape the phrase endings with purpose. The witches' invocations gain power through vocal momentum and controlled releases, not through rushing toward cadences.

How to use it

This excerpt works powerfully as a self-contained concert selection, offering audiences a visceral introduction to Verdi's approach to dramatic opera without requiring full familiarity with the complete work. It pairs effectively with other operatic selections that emphasize orchestral innovation or supernatural themes, or it can anchor a Verdi-focused concert that explores his stylistic evolution.

Skills your students will build

  • Reading complex orchestral textures with multiple independent lines
  • Conducting chromatic harmony and unexpected harmonic progressions
  • Balancing sung text against dense orchestration
  • Interpreting Verdi's dramatic intentions through tempo, dynamics, and articulation choices
  • Coordinating chorus entries and releases with orchestral gesture

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