Verdi’s Macbeth was his 10th opera. It was his favorite of these 10 and the first of his three operas based on Shakespeare’s plays. It is clearly the masterpiece of his pre-Rigoletto works. The tenor role of Macduff is a minor part; he has little to do except sing the great aria that is the subject of this piece.

Verdi knew that the opera could never attract a star tenor, because of the brevity of the role, who could fully realize the beautiful aria he had created and said it would not make the great effect it should without a leading tenor. That problem still plagues the aria when it is part of a staged performance. On recordings, however, it is frequently sung by a leading tenor. An exception to this practice was the first run of the opera at the Met in 1959. The young Carlo Bergonzi sang Macduff.

The aria is Macduff’s lament over the murder by the Macbeths of his wife and children while he was in hiding. He vows revenge. Below are 12 recordings of the aria. The Italian text followed by an English translation is at the end of the article.

Enrico Caruso recorded the aria in 1916. His version is particularly good. His rich voice and dynamic shading realize the emotion contained in the number. It’s music that calls for finesse rather than tenorial athleticism. Caruso Ah, la paterna mano

As I mentioned above Carlo Bergonzi was the first Macduff at the Met. This recording is taken from a 1959 Met performance. The tenor was a Verdi specialist. His rendition is very good though it would get even better over the ensuing years. Bergonzi Ah, la paterna mano

Jose Carreras had one of the most beautiful lyric tenor voices of the last century until overuse and acute leukemia (from which he recovered after a bone marrow transplant) lessened his vocal power. His singing of the aria is very good. Carreras Ah, la paterna mano

Franco Corelli needs no introduction. He was one of the last century’s greatest tenors. His singing here is sensitive especially coming from a very big voice. Corelli Ah, la paterna mano

Dimitri Pittas is a lyric tenor who started out as if there was no limit to how high he could go. But while he sang at many of the world’s leading houses including the Met, his career was not what I thought he might achieve. I heard him as Nemorino in Santa Fe about 15 years ago. He was first-rate. He was Macduff in the Met’s 2008 telecast of Macbeth. Between 2005 and 2016 he sang 64 times with the company in both leading and secondary roles. He currently teaches in New York and is the Artistic Director of a company in Charleston SC. Pittas Ah, la paterna mano

Placido Domingo has recorded everything including the 1982 Mexico City telephone directory. His singing of the aria is at the highest level as expected. Domingo Ah, la paterna mano

Giuseppe Filianoti started his career as if the opera world were in his breast pocket. But after a few years, he was singing secondary roles. His website lists no performances after 2018. He did appear at the Met in 2019 in Macbeth but as Malcolm. In 2022 he was Don Basilio In Le Nozze di Figaro. His singing of the aria is from the start of his career and is very well done. Filianoti Ah, la paterna mano

The great Australian tenor Donald Smith was the subject of a previous article here. He was an outstanding singer who is not better known outside of his native country because he preferred to stay home rather than travel the world. All the major companies, including the Met, sought unsuccessfully to hire him. Smith Ah, la paterna mano

Jonas Kaufmann has been the world’s leading tenor for the past dozen years. He sings a wide variety of Italian, French, and German roles. His full throated yet nuanced reading is very effective. Kaufmann Ah, la paterna mano

Mario Del Monaco was a full fledged dramatic tenor. He was the definitive Otello of his era. This performance taken from a 1969 concert in Tokyo was relatively late in his career. Nevertheless, the huge voice is still intact. Del Monaco Ah, la paterna mano

Luciano Pavarotti would never have sung Macduff in a full performance. But as a recital piece, the aria fits his voice perfectly. Pavarotti Ah, la paterna mano

Salvatore Fisichella is a Sicilian tenor who now devotes his time to teaching. He had a superb voice that was especially noted for its acuti. Fisichella was a wonderful singer who for some opaque reason sang only five performances at the Met. Originally known as a bel canto tenor he added larger roles as his career progressed. His voice remained intact well into his 60s. This excerpt includes the duet with Malcolm and the chorus that follows the aria. Fisichella Ah, la paterna mano

MACDUFF:
O figli, o figli miei! da quel tiranno
Tutti uccisi voi foste, e insieme con voi
La madre sventurata! Ah, fra gli artigli
Di quel tigre io lasciai la madre e i figli?
Ah, la paterna mano
Non vi fu scudo, o cari,
Dai perfidi sicari
Che a morte vi ferir!
E me fuggiasco, occulto,
Voi chiamavate invano,
Coll’ultimo singulto,
Coll’ultimo respir.
Trammi al tiranno in faccia,
Signore! e s’ei mi sfugge,
Possa a colui le braccia
Del tuo perdono aprir.

MACDUFF:
Oh, my children! You have all been killed
by that tyrant, together with
your poor mother! Ah, did I
leave a mother and her children in the clutches of that beast?
Alas, a father’s hand was not there
to shield you, my dear ones,
from the treacherous assassins
who put you to death.
And in vain you called on me,
a fugitive, in hiding,
with your last gasp,
with your last breath.
Lord, bring me face to face
with this tyrant, and if he escapes me
let your merciful arms
open to him.

Ah, La Paterna Mano

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