The performance given on 21 March 1967 at Carnegie Hall in New York stems from the now outmoded tradition of casting baritones and basses in the castrato roles, and uses a special concert arrangement. Not only are several cuts made to the score, but the order of the arias is changed and the recitatives are heavily truncated and provided with new English texts, and given not to one of the characters but to a 'narrator'.

Renata Scotto (born 24 February 1934) is an Italian soprano and opera director.
Recognized for her sense of style, musicality and as a remarkable singer-actress, Scotto is considered one of the preeminent singers of her generation, specializing in the bel canto repertoire with excursions into the verismo and Verdi repertoires.
Since retiring from the stage as a singer in 2002, she has turned successfully to directing opera as well as teaching in Italy and America, along with academic posts at the Accademia Nazionale di Santa Cecilia in Rome and the Juilliard School in New York.

This epic opera inspired by Shakespeare's tragic masterpiece was written in 1847, but did not receive its British premiere until 1938 when it was presented for the first time at Glyndebourne. The tragedy is a penetrating, concentrated, and harrowing study of the ambition of Macbeth and his wife, Lady Macbeth. In the end both seem to verge on hallucination and madness as they recoil from the mayhem they have created around them. The production features an outstanding international cast, with the Greek baritone Kostas Paskalis in the title role and British star Josephine Barstow making an exciting debut as Lady Macbeth. Proceedings are conducted by the sympathetic baton of John Prithard.