Speranza Scappucci steps onto the podium for Canadian Opera Company’s production of Macbeth

. She returns now for another Italian masterwork wherein Giuseppe Verdi’s dramatically adventurous orchestration meets one of the most murderous plots in the English theatrical canon. The challenge withMacbeth

, it’s the text that’s canonical, and so Scappucci instead has to mine for intrigue in the most minute crevices of the music. She is up for the challenge., Scappucci discussed her approach to the podium, corralling the music of a Shakespearean opera and what ensembles can do to better support the next generation of female conductors.In theatre, you have the text, and that has to be your driving force; you can’t change it.

Another moment, which I think is spectacular, is the sleepwalking scene in the fourth act. Basically, Verdi, with just four elements, creates this mad scene. We have, again, the mute and the strings, and then this rhythm –– which is Lady Macbeth’s hands trying to get the blood off. Then there’s the semitone, which is exactly the same sound she heard in the first act when the owl in the night is singing.

Now that there’s more awareness, I think that a lot of girls know that it’s possible to become a conductor. The next step would be to have more women at the administration level, in charge of artistic choices. Looking at the artistic directors, casting managers and general directors of symphonic institutions, it’s very rare to find a woman in these roles, making the decisions.

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