Daniel, from Sussex
Dear Tony Richards, sorry but the sopranos top notes were nothing less than sensational - never heard the high D flat in the sleepwalking scene like that - in piano.

David Pattrick
Hilary Finch in The Times was right about the quality of the musical performance, but completely wrong to claim that the audience was "spellbound". Did she not hear the laughing as one production disaster succeeded another? All the cardboard boxes, surgical gloves and axes in Scotland could not make this other than a ludicrous travesty.

Tony Richards
Fast tempi in Verdi are fine when called for in the score and as long as all the notes are heard and the orchestra can execute them. However I felt some tempi became just too "machine gun" like. All credit to the orchestra for coping!Male singers were good to satisfactory.The soprano leadtended to be off her top notes throughoutand as an example, there was no wayshe was going to achieve the high D flat at the end of the sleepwalking scene with the decreasein dynamics as Verdi asks for from pp to ppp and hold a thread of good tone. Never mind the performance as a whole was quite enjoyable. In the meantime I'll just stick with Birgit Nilssons recordings for Lady Macbeth!

Peter, from Welwyn GC
Stunning! From start to finish this grabbed your attention - the conductor was in full control of all of the action; the staging was 'unusual', but did lend itself to a fascinating evening. The cast were superb, and my sympathy goes to the leading lady, who (I think) had a filthy cold - well done, in spite of that. A brilliant evening was had by all.