Image via www.perthfestival.com.au
This production of Puccini’s Madama Butterfly, presented as part of the Perth International Arts Festival 2015, remains fresh and vibrant despite originally being presented in 2005. Inspired by an 1887 story, the story can divide people with its stark use of women as objects; for example in Act I, the marriage is officiated by the priest saying it takes place ‘first, by his (Pinkerton’s) wish and the second, by consent of her relatives’. Despite that, the tragic love story remains an oft performed opera around the world and this is indeed, visually, a tour de force presented by an international cast with WA Opera.
The staging was masterful, with stunning visual imagery at every new scene. Brilliantly directed, originally by the late film director Anthony Minghella (The Talented Mr Ripley, The English Patient) and then ‘revival’ directing by Sarah Tipple and Carolyn Choa, who also choreographed the dance scenes.
The use of traditional Japanese dance and theatre is impeccably intertwined throughout the whole performance.The lighting gives an energy and story to every scene.The glows of red suffusing the whole stage in the first Act, particularly with the entrance of the chorus girls singing Ancora un passo dressed in Japanese costume was just awe-inspiring. This was a moment when lighting, staging, costume design and music came immaculately together to highlight the best that a theatrical experience can provide.
Conducted by David Parry and performed by the West Australian Symphony Orchestra, the melodic strains of Puccini’s music is eminently listenable. Some overly romantic sections emerge but the orchestra keeps a rhythmic pace throughout. The key singers are led by internationally renowned soprano Mary Plazas in the title role of Madame Butterfly, who has no problem achieving technical greatness and rocks out the famous Act II aria Un Bel di, however overall I felt a little stiffness from her acting.
Adam Diegel from the Metropolitan Opera has a lovely warmth and power in his voice even though Pinkerton is not the most sympathetic character, as he sings for example in Dovunque al mondo: “I am marrying in the Japanese style: for 999 years, but with the right to cancel the marriage each month”. Maria Zifchak as Madame Butterfly’s maid, Suzuki, provides a good counterpoint in her singing. In their long duet concluding Act 1, Diegel and Plazas become the would-be lovers singing Bimba dagli occchi and Vogliatemi bene convincing us of their delicate lust in one direction and devoted love in the other.
In the Vieni, amor mio! duet the nature of cultural differences is clearly drawn. Jonathan Summers as Sharpless, the American Consul attempting to offer wisdom, was my least favourite of the key singers, with what felt like a workmanlike performance. Jennifer Barrington as Kate Pinkerton did a good job with her role. But overall, the Madame Butterfly character dominates many of the scenes, either with her impassioned singing or very intense acting – not a style I enjoyed, but effective at holding the audience. None more powerful than in the final Act when she sings Con onor muore and bids her child farewell and kills herself for honour’s sake, as her Father did before her.
The WA Opera Chorus is fully complemented by both the National English Opera, Metropolitan Opera and Lithuanian Opera Chorus singers for a groundswell of 28 voices and is a magnificent support to the main roles. The 11 dancers were also an extraordinary component of this performance. Their lithe forms, often clad in black, but with astute use of long ribboned material, made the stage a brilliant interplay of figures and activity. Another aspect that brings home how we are all used as ‘puppets’ by others desires, is highlighted through the use of puppetry by the Blind Summit Theatre throughout the production. Overall the Minghella directed ‘Madama Butterfly’ is a visual spectacular to remember.
Rating: 4 stars out of 5​
Madama Butterfly
Perth International Arts Festival 2015
www.perthfestival.com.au
Written by Giacomo Puccini with Libretto by Giuseppe Giacosa and Luigi Illica
Conductor: David Parry
Originally directed by Anthony Minghella
Associate Director/Original Choreographer: Carolyn Choa
Revival Director: Sarah Tipple
Cast: Cio-Cio-San – Mary Plazas, soprano; Pinkerton – Adam Diegel, tenor; Sharpless – Jonathan Summers, baritone; Suzuki – Maria Zifchak, mezzo soprano; Kate Pinkerton – Jennifer Barrington, soprano
24 February – 7 March
