Act III - Scene 1: Montforte's palace
Montforte reads a paper from the woman whom he abducted, which reveals that Arrigo is his son: Si, m'abboriva ed a ragion! / "Yes, she despised me, and rightly!". Bethune tells him that Arrigo has been brought by force, but Montforte exalts in the fact that his son is close by: In braccio alle dovizie / "Au sein de la puissance" / Given over to riches, surrounded by honors, an immense, horrid void...". The two men confront one another and Arrigo is somewhat puzzled by the way he is being treated. Finally, Montforte reveals the letter written by Arrigo's mother. Taken aback but still defiant, Arrigo insults his father who reacts in anger as the younger man rushes out: Parole fatale, Insulto mortale / "Fatal word!, Mortal insult! The joy has vanished...".

Act III - Scene 2: A ball at Montforte's palace
When Montforte enters, he gives the signal for the ballet to begin. In the crowd, but disguised, are Elena, Arrigo, and Procida. Arrigo is surprised when the two reveal themselves and they declare that their purpose is to save the young man. However, he is disturbed to hear that they intend to kill Montforte and when the father approaches the son, there is a hint of warning given. As approaching assassins close in, Arrigo leaps in front of his father just as Elena approaches. The Sicilians are horrified to see that Arrigo is being spared as the ensemble contemplates the situation. Elena, Procida, Danieli and the Sicilians curse Arrigo as they are dragged away, while he wants to follow, but is restrained by Montforte.

Composer: Giuseppe Verdi
Librettist: Eugène Scribe
Premiere: 13 June 1855, Paris (Opéra)
Language: Italian
Translation: English Subtitles
Act 3: https://www.bitchute.com/video/hYl9BFktgzgQ/

I vespri siciliani ("The Sicilian Vespers") is a five-act Italian grand opera originally written in French for the Paris Opéra by the Italian romantic composer Giuseppe Verdi and translated into Italian shortly after its premiere in June 1855. Under its original title, Les vêpres siciliennes, the libretto was prepared by Eugène Scribe and Charles Duveyrier from their work Le duc d'Albe, which was written in 1838 and offered to Halévy and Donizetti before Verdi agreed to set it to music in 1854. Today the opera is performed both in the original French and (rather more frequently) in its post-1861 Italian version as I vespri siciliani. In Italy, this version, along with the ballet, was first performed at the Teatro Regio in Parma on 26 December 1855.

The action takes place in Sicily, the uprising of the Italian people against the French conquerors. The story is based on a historical event, the Sicilian Vespers of 1282, using material drawn from the medieval Sicilian tract Lu rebellamentu di Sichilia, which is a Sicilian historical chronicle of the War of the Vespers written around 1290.

Cast & Characters:
Guido de Montfort - Giorgio Zancanaro
Giovanni di Procida - Ferrucco Furlanetto
Arrigo - Chris Merrit
Princess Helena - Cheril Studer
Comte de Vaudemont - Francesco Musinu
Sir de Bethune - Enzo Capuano
Danieli - Ernesto Gavazzi
Ninetta - Gloria Banditelli
Tebaldo - Paolo Barbancini
Roberto - Marco Cingari

The Orchestra, Choir and Ballet of Teatro alla Scala
Concertmaster & Conductor: Riccardo Muti
Chorus Master: Giulio Bertola
Stage Director, Scenes and Costumes: Pier Luigi Pizzi

Soloist Dancer: Carla Fracci (Prima Ballerina of La Scala)
Choreography: Micha Van Hoecke

I Vespri Siciliani Synopsis: Place & Time - Palermo, Italy, 1282

Act I - Palermo's main square
Tebaldo, Roberto, and other French soldiers have gathered in front of the Governor's palace. As they offer a toast to their homeland, they are observed by the local Sicilians, unhappy with the occupation. Elena enters dressed in mourning for her executed brother. Somewhat drunk, Roberto demands that she sing and she calmly agrees. Her song, about the perils of seamen and God's cry of "let dangers be scorned", (Deh! tu calma, o Dio possente / "Viens à nous, Dieu tutélaire" / "Pray, O mighty God, calm with thy smile both sky and sea"), only incites the Sicilians to rebellion against the occupiers. When the governor, Monteforte, enters the crowd calms down. Then Arrigo announces that he has been released from prison. Alone with Arrigo, Montforte offers him a position with the French as long as he stays away from Elena. He refuses, and immediately follows Elena into the palace.

Act II - Beside the sea
Procida lands on the shore from a small fishing boat. It is clear that he is returning from exile and he expresses his joy at returning to his native land and city: O tu Palermo / "Et toi, Palerme" / "O thou Palermo, adored land...". He is surrounded by Manfredo and other companions and he quickly orders his men to bring Elena and Arrigo to him (Nell'ombra e nel silenzio / "Dans l'ombre et le silence"/ "In darkness and in silence"). The three make plans for an uprising during the impending festivities leading to the marriages of a group of young people. After Procida leaves, Elena asks Arrigo what reward he seeks. Swearing that he will avenge her brother's death, he asks for nothing but her love.

Bethune arrives with an invitation from Monteforte to attend a ball. Arrigo refuses and is arrested and dragged off. Led by Roberto, a group of French soldiers arrive and Procida returns and sees that it is too late to save Arrigo, since the young people have come into the square and have begun to dance. As the dance becomes more lively, Roberto signals to his men, who seize many of the young women, dragging them off in spite of the protests of the young Sicilian men. The dejected young men witness a passing boat filled with French nobles and Sicilian women, all bound for the ball. Procida and others determine to gain entrance to the ball and seek their revenge.

Episode 3: A popular masterpiece and yet an enduring enigma. It seems to show a quiet scene in a Paris park but there are hints at the demi-monde, if you know where to look. The most remarkable aspect of this vast canvas however remains Seurat's technique his revolutionary pointillism.

Episode 2: Perhaps the most reproduced of all 19th century paintings, The Sunflowers has a story that lies at the crux of the complex relationship between Van Gogh and Paul Gauguin. The programme reveals how Van Gogh started to paint sunflowers soon after he moved from Holland to Paris and how they became the emblem of his embrace of Southern France, warmth and the sun. It looks especially at the 8th of the Sunflower paintings, the one in the National Gallery in London which is arguably the best in the series. It was most admired and desired by Gauguin but denied to him by Van Gogh as their relationship deteriorated.

Episode 3: https://www.bitchute.com/video/IlK4lSmt9Q6l/

A 2004 Arts Documentary narrated by Samuel West, broadcasted as part of BBC The Private Life of a Masterpiece series.

A lively dance, a vase of brilliant yellow flowers and an afternoon on the banks of the Seine provide the inspiration for these three masterpieces from the Impressionist and post-Impressionist eras. Three meticulous documentaries outline the histories and far-reaching influence of Auguste Renoir's Dance at the Moulin De La Galette, Vincent van Gogh's The Sunflowers and Georges Seurat's A Sunday on La Grande Jatte.

Episode 1: This painting was once described as the most beautiful of all the artworks of the 19th century. Certainly it seems the happiest. But beneath renoir's joyful portrayal of working class Parisians at leisure is another, darker story.

Episode 2: https://www.bitchute.com/video/9vNUzq9LzB1s/

A backstage visit with the "Salzburger Marionettentheater" directed by Georg Wübbolt, with narration in English.

Above all, the puppets from Salzburg are associated with worldwide with Mozart, which is no coincidence as the history of the "Salzburger Marionettentheater" started with Mozart. Founded by Anton Aicher at the beginning of the 20th century, today the theatre is run in the third generation by his granddaughter Prof. Gretl Aicher. When her grandfather brought his puppet theatre to the public eye for the first time, he chose instinctively a pastoral play by young Mozart who was only 12 years old when he composed "Bastien and Bastienne". His genius inspired the puppets and their players, the friends, singers and musicians who put themselves at the disposal of the small theatre. The audience was enthusiastic about this unusual presentation of Mozart though at that time nobody could know which course the Salzburg puppets would take in the time to come.

Later Prof. Gretl Aichers parents tried hard to improve he technique, the expression and the possibilities of the puppets. Hermann Aicher spared neither risk nor experiments although he had to fend for himself and could not expect any support from official sources which nowadays, in the age of subsidized theatre, is and almost unimaginable fact. Not least because of economical reasons, the Aichers had to switch over to a tour theatre which required an attractive, internationally comprehensible repertoire. With the help of new recording techniques the ensemble started to carry out a long-cherished wish: a performance of Mozart's "Magic Flute". In 1952 the puppet theatre started to work out its first "Magic Flute" in collaboration with the set-designer Günther Schneider-Siemssen and the Mozart expert, writer and director Géza Rech.

Base on a recording of a performance at the Salzburg Festival the experiment was more than a success. Mozart's music, the magic of the reduced stage, the phenomenon of the anonymous ideal figures that left much room for the viewer's fantasy acted in combination and had an effect in New York as well as in Dallas, in Paris as well as in Tokyo or South Africa. Still today, "The Magic Flute" is the heart of the Mozart repertoire.

A 1995 ZDF / 3sat Production of Mozart's Opera "Don Giovanni', performed by The Salzburg Marionette Theater and presented by Sir Peter Ustinov.

Voices:
Don Giovanni - Cesare Siepi
Donna Anna - Birgit Nilsson
Donna Elvira - Leontyne Price
Don Ottavio - Cesare Valletti
Leporello - Fernando Corena
Zerlina - Eugenia Ratti
Masetto - Heinz Blankenburg
Il Commendatore - Arnold van Mill

Wiener Philharmoniker
Conductor: Erich Leinsdorf

Backstage with the "Salzburger Marionettentheater": https://www.bitchute.com/video/OzNnznmDyPhg/

Notte della Taranta ("Taranta Night" in English) is a popular music festival in Salento, Puglia (Apulia), Italy, that aims to enhance traditional Salento music through its revival and contamination with other musical languages. The Notte della Taranta is focused on pizzica, a popular folk genre in Salento, and takes place in various municipalities in the province of Lecce and the Grecìa Salentina, especially in Melpignano. It gives great importance to the folk music tradition of taranta and pizzica.

The festival tours around Salento, normally culminating in a grand finale concert in August, in front of the Augustinian Convent of Melpignano, which lasts until late night. Each year a new musical director is chosen, who has the task of arranging the traditional music of Salento, fusing its rhythms with those of other musical traditions. The festival started in 1998 by an initiative of several municipalities of the Salento, which sponsored the event. In August 2008 the "La Notte della Taranta" foundation was born with the aim of defining strategic and management directions and choices, promoting autonomous initiatives and coordinating the members' action for the valorisation and protection of the Salento area. In particular, it supports the study of the ethnographic heritage by promoting cultural, musical, social and communication events, and projects to support and develop research on the phenomenon of tarantism, Grike and Salento traditions, with specific reference to popular music. The most important book about pizzica and tarantism is "The Land of Remorse", written by the Italian philosopher, anthropologist and historian of religions Ernesto de Martino.

The attendance of the final concert alone, which has taken place on the large lawn in front of the Augustinian Convent of Melpignano since 1999, went from 5,000 in 1998 to 200,000 in 2022. The 2020 edition took place without live spectators due to Covid restrictions.

Cast & Crew:
The Popular Orchestra of La Notte della Taranta and the Roma Sinfonietta Orchestra
Concertmaster: Paolo Buonvino

La Notte della Taranta Corps de Ballet
Choreography: Sharon Eyal

Tracklist:
1. QUANNU TE LLAI LA FACCIA LA MATINA
2. TARANTA DI LIZZANO
3. TAMBURIEDDHU MIU
4. BEDDHA CI DORMI (Sand by DIODATO)
5. KALINITTA (canto in grico)*
6. FERMA ZITELLA
7. SECUTA SECUTA
8. CENT’ANNI SALE
9. PIZZICA
10. ELA, ELA MU CONDÀ (canto in grico)*
11. FIMMENE FIMMENE (Sang by GIANNA NANNINI)
12. LU RUCIU DE LU MARE
13. CARPE NOCTEM (Composed by PAOLO BUONVINO)
15. AGAPI

* These songs are sang in Griko, sometimes spelled Grico, a dialect of Italiot Greek spoken by Griko people in Salento (province of Lecce), and also called Grecanico, in Calabria. It features elements of Ancient Greek, Byzantine Greek and Italian. It is spoken in the Grecìa Salentina (Griko for "Salentine Greece"), in the province of Lecce.

Canzoniere Grecanico Salentino (CGS), formed by writer Rina Durante in 1975, is a traditional music ensemble from Salento, Italy. The seven piece band and dancer perform a contemporary style of Southern Italy's traditional Pizzica music and dance.

In the Italian province of Taranto (taking its name from Tarantas), Apulia, the bite of a locally common type of wolf spider ("Lycos" in Greek means "wolf"), named "tarantula" after the region, was popularly believed to be highly venomous and to lead to a hysterical condition known as tarantism. This type of dance became known as the "tarantella". The dance is believed to be a survival from a "Dianic or Dionysiac cult", driven underground. In 186 BC the tarantella went underground, reappearing under the guise of emergency therapy for bite victims.

The stately courtship tarantella danced by a couple or couples, short in duration, is graceful and elegant and features characteristic music. On the other hand, the supposedly curative or symptomatic tarantella was danced solo by a victim of a Lycosa tarantula spider bite (not to be confused with what is commonly known as a tarantula today); it was agitated in character, lasted for hours or even up to days, and featured characteristic music. However, other forms of the dance were and still are dances of couples usually either mimicking courtship or a sword fight. The confusion appears to derive from the fact that the spiders, the condition, its sufferers (tarantolati), and the dances all have names similar to the city of Taranto.

The dance originated in the Apulia region, and spread throughout the Kingdom of the Two Sicilies. The Neapolitan tarantella is a courtship dance performed by couples whose "rhythms, melodies, gestures, and accompanying songs are quite distinct" featuring faster more cheerful music. Its origins may further lie in "a fifteenth-century fusion between the Spanish Fandango and the Moresque ballo di sfessartia". The "magico-religious" tarantella is a solo dance performed supposedly to cure through perspiration the delirium and contortions attributed to the bite of a spider at harvest (summer) time. The dance was later applied as a supposed cure for the behavior of neurotic women (carnevaletto delle donne).

The tarantella is a dance in which the dancer and the drum player constantly try to upstage each other by playing faster or dancing longer than the other, subsequently tiring one person out first. Tarantism, as a ritual, is supposed to have roots in the ancient myths. Reportedly, victims who had collapsed or were convulsing would begin to dance with appropriate music and be revived as if a tarantula had bitten them. The music used to treat dancing mania appears to be similar to that used in the case of tarantism though little is known about either.

TARANTA
(lyrics: M. Durante / music: L. Einaudi, M. Durante)
Mauro Durante: violin, tamburello, backing vocals
Giulio Bianco: recorders, bagpipes, harmonica, flutes, bass
Emanuele Licci: vocals, guitar, bouzouki
Massimiliano Morabito: organetto
Giancarlo Paglialunga: vocals, tamburello, bendir, tapan
Alessia Tondo: vocals, castanets, percussion

Lyrics in English:
I hold anguish in my chest
this is killing me and never stops

the ground is trembling under my feet
there’s no stopping me falling

what I eat has no taste
for me there is no more light nor color

people knew how you had to cure yourself
If your ilness was called taranta

And now that times have changed
who can feel my pain

who brings me the water to cure
who shall I ask to grant me recovery

I don’t know if it’s taranta that got me
but it doesn’t let me and makes me crazy

if it’s taranta don’t abandon me
if you dance alone you cannot heal

if it’s taranta let her dance
if it’s melancholy throw it out

A 2019 Documentary Film written and directed by Anne-Solen Douguet and Damien Cabrespines. English narration and English subtitles for the French parts.

A performance of Bolero is begun every 15 minutes. Ninety years after its creation, this documentary explores Ravel’s masterpiece through the artists from all sorts of disciplines who have taken it on. With them we want to reveal the richness and ambiguity of this seemingly simple work, which has become a major influence on modern music and “pop culture”, and to understand the driving forces behind its extraordinary story.

Episode 6: Discusses how modern artists defied tradition in their search for new dimensions of expression. Shows how artists use novel styles and techniques to interpret the ever-changing face of twentieth century life. Discusses Fauvism, German Expressionism, Cubism, Surrealism, Abstract Expressionism, Italian Futurism.

Episode 5: Shows the relationship of the elaborate and ornate art of the Rococo Period to social thinking of the time. Discusses transition from the Louis XIV baroque era to the rococo. Interiors and exteriors of buildings (German and Austrian churches) , furniture, porcelain, and painting (Watteau). Describes how the gaiety of the era would soon be eclipsed by the age of revolutions.

Episode 6: https://www.bitchute.com/video/UuHkaGrh5C4E/

Episode 4: Shows that the main Renaissance contribution to Western culture was the recognition of the individual in life and art. Explains that one of the most significant creations of the Renaissance was portraiture, a new category of art which reveals man's developing awareness of his active destiny in life. Surveys portraiture from the 13th through 16th centuries, including Flemish, Italian, and German painters such as Titian, Michelangelo, Leonardo, and Durer.

Episode 5: https://www.bitchute.com/video/Nui3kaCzxR4T/

Episode 3: Describes the historical transformation of medieval man to modern man. Points out that Gothic art expressed the community spirit of the Middle Ages. Contrasts Gothic to Renaissance art which reflects man's awakening interest in science, nature and himself. Discusses architecture, sculptures, stained glass windows, and painted altarpieces in the cathedrals, and describes the evolution of painting.

Episode 4: https://www.bitchute.com/video/sAwCSNSDj5Sb/

Episode 2: Describes the foundations of European culture and society in the Middle Ages, from 1200 to 1500 ACE. Discusses the church, nobility, and the emperors, three pillars of early medieval society. Describes changes that reshaped Europe and resulted in the present Western civilization, including the advent of small towns along trade routes, the Magna Carta, the development of the middle class, and the formation of hospitals and universities. Explains the intellectual awakening during the transition to the Renaissance. Discusses the Crusades, the Black Plague, and moveable type.

Episode 3: https://www.bitchute.com/video/YJMjCeJqX7ww/

History Through Art is a Six-part Documentary Short Film series, from 1963-1968, made by Johanna Alemann.

Episode 1: Discusses the social, political and cultural aspects of Greece's golden age and analyzes the philosophy on which the society was based. Stunning cinematography by Gunther Von Fritsch, including Acropolis, Agora, Delfi, Corinth. Shows American artist Ralph Hulett at work at Greek historical sites.

Episode 2: https://www.bitchute.com/video/gGJTPKLrLuIF/

Choreography by Marius Petipa
Music by Ludwig Minkus

Dancers:
Yulia Makhalina
Igor Zelensky

Pas de trois:
Yelena Pankova
Irina Sitnikova
Grigory Chicherin

Variations:
Irina Zhelonkina
Lyubov Kunakova
Larissa Lezhnina
Alexandra Koltun
Veronika Ivanova

Corps de Ballet

Choreography by Arthur Saint-Léon
Music by Cesare Pugni

Dancers:
Yelena Pankova
Sergei Vikharev

Irina Sitnikova
Alexandra Koltun
Irina Zhelonkina
Olga Melnikova

Paquita: https://www.bitchute.com/video/A34jcsW7Li7a/

Choreography by: Nicolai & Sergei Legat
Music by Joseph Bayer

Dancers:
Larissa Lezhnina
Dmitry Gruzdev
Yaroslav Fadayev

Markitenka - Pas de Six: https://www.bitchute.com/video/jdyYYoDXXddF/

Choreography by Marius Petipa
Music by Adolphe Adam & Riccardo Drigo

Dancers:
Lybov Kunakova
Faroukh Ruzimatov

The Fairy Doll: https://www.bitchute.com/video/9QWc9KYB42N3/

Choreography & Costumes: Oleg Vinogradov
Music: 'Adagio for Strings' by Samuel Barber

Dancers:
Yelena Yevteeva
Eldar Aliev

Le Corsaire - Pas de Deux: https://www.bitchute.com/video/chk945zFPPo5/

Libretto & Choreography: Oleg Vinogradov
Music by Igor Stravinsky
Sets and Costumes by Irina Press, Vyastislav Okunov

Dancers:
Sergi Vikharev as Petrushka
Corps de Ballet

Barber's Adagio: https://www.bitchute.com/video/7obQLC9pM0Xk/

A 1991 Production of Danmarks Radio and Monarda Arts.

Chopiniana, Petrushka, Barber's Adagio, Le Corsaire, The Fairy Doll, Markitenka, Paquita.

Works of Fréderic Chopin, Igor Stravinsky, Samuel Barber, Adolphe Adam, Joseph Bayer, Cesare Pugni and Ludwig Minkus.

Soloists: Altynay Asylmuratova, Konstantin Zaklinsky, Sergey Vikharev, Yelena Yevteeva, Eldar Aliev, Lyubov Kunakova, Farukh Ruzimatov, Larissa Lezhnina, Yelena Pankova, Yulia Makhalina, Igor Zelensky and the Mariinsky Theater Corps de Ballet.

Artistic Director: Oleg Vinogradov
Orchestra of the Mariinsky Theatre
Conducted by Victor A. Fedotov
Produced and Directed by Thomas Grimm

Chopiniana
Choreography by Mikhail Fokine
Music by Fréderic Chopin
Scenery Design by Michael Bocharov

Dancers: Mazurka & Waltz No. 7
Altynay Asylmuratova
Konstantin Zaklinsky

Dancer: Waltz No. 11
Yelena Pankova

Dancer: Prelude
Anna Polikarpova

Corps de Ballet

Petrushka: https://www.bitchute.com/video/QZhiMzV0xEBA/

Composer: Giaochino Rossini
Librettist: Jacopo Ferretti
Premiere: 25 January 1817, Rome (Teatro Valle)
Language: Italian
Subtitles: English
HD Version with Italian and English subtitles: https://rumble.com/v4r9glz-rossini-la-cenerentola-von-stade-araiza-montarsolo-abbado-ponnelle-la-scala.html

La Cenerentola, ossia La bontà in trionfo ("Cinderella, or Goodness Triumphant") is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the libretti written by Charles-Guillaume Étienne for the opera Cendrillon with music by Nicolas Isouard (first performed Paris, 1810) and by Francesco Fiorini for Agatina, o la virtù premiata [it] with music by Stefano Pavesi (first performed Milan, 1814). All these operas are versions of the fairy tale Cendrillon by Charles Perrault. Rossini's opera was first performed in Rome's Teatro Valle on 25 January 1817.

In this variation of the fairy tale, the wicked stepmother is replaced by a stepfather, Don Magnifico. The Fairy Godmother is replaced by Alidoro, a philosopher and tutor to the Prince. Cinderella is identified not by a glass slipper but by her bracelet. The supernatural elements that traditionally characterize the Cinderella story were removed from the libretto simply for ease of staging.

Time: Late 18th century – early 19th century
Place: Salerno (Italy)
Synopsis: https://www.opera-arias.com/rossini/la-cenerentola/synopsis/

In 1981 Jean-Pierre Ponnelle revisited his classic '73 La Scala production of La Cenerentola to create this film version - with Federica von Stade at her bel canto peak as the downtrodden Angelina. Under the guiding hand of Claudio Abbado, Rossini comes to life here in a performance of clarity and polish by the La Scala Chorus and Orchestra that lets the music shine.

Cast & Characters:
Cenerentola - Frederica Von Stade
Don Ramiro - Francisco Araiza
Dandini - Claudio Desderi
Don Magnifico - Paolo Montarsolo
Clorinda - Margherita Guglielmi
Tisbe - Laura Zannini
Alindoro - Paul Plishka

Teatro alla Scala Orchestra & Chorus
Harpsichord: Vincenzo Scalera
Conductor: Claudio Abbado
Chorus Master: Romano Gandolfi
Staged, Directed and Designed by Jean-Pierre Ponnelle
Director of Photography: David Watkin

A 1979 videotaped version of Trevor Nunn's Royal Shakespeare Company production of the play by William Shakespeare. Produced by Thames Television, it features Ian McKellen as Macbeth and Judi Dench as Lady Macbeth. The TV version was directed by Philip Casson.

The original stage production was performed at The Other Place, the RSC's small studio theatre in Stratford-upon-Avon. It had been performed in the round before small audiences, with a bare stage and simple costuming. The recording preserves this style: the actors perform on a circular set and with a mostly black background; changes of setting are indicated only by lighting changes.

Cast & Characters:
Ian McKellen as Macbeth
Judi Dench as Lady Macbeth
John Bown as Lennox
Susan Dury as 3rd Witch / Lady Macduff
Judith Harte as 2nd Witch / Gentlewoman
Greg Hicks as Donalbain / Seyton
David Howey as Sergeant / 1st Murderer / Doctor
Griffith Jones as Duncan
Marie Kean as 1st Witch
Ian McDiarmid as The Porter / Ross
Bob Peck as Macduff
Duncan Preston as Angus
Roger Rees as Malcolm
Zak Taylor as Fleance / Messenger
Stephen Warner as Young Macduff
John Woodvine as Banquo