The West Australian opera’s Madama Butterfly presents the acclaimed opera in a bold and abstract staging that puts the themes of the story front and centre.
It’s hard to believe it’s been a decade since Puccini’s much loved opera has been performed by the WA Opera Company.
Puccini’s work was first staged in 1904, based on a one act play written by David Belasco, which itself was based on a short story written by John Luther Long. When Puccini first presented the work it was not a success and he rewrote and revised the opera several times. His fifth iteration of the work was completed in 1907 and has become a staple for opera companies around the world.
This devastating story of betrayal set against the backdrop of 1904 Nagasaki, Japan brings us into a cross-cultural romance that ends in tragedy.
The American, Lieutenant Pinkerton, marries young geisha Cio-Cio-San, and she believes his love is true. After Pinkerton returns to the United States, she bears a son and waits faithfully for his return. What follows remains one of opera’s most tragic stories.
When Pinkerton makes his way back to Japan its revealed that he’s married an American woman, and his love for his Japanese wife has been superseded.
In this production, originally directed by Moffat Oxenbould and revived for this season by Matthew Barclay, the staging is sparse. The Japanese House where the action takes place is represented by a series of platforms surrounded by water. A series of windows open to mark the passage of time, but overall it’s a very abstract approach.
Opera, like ballet, is increasingly faced with the challenge of staging long revered classic works that sometimes fall short of our modern expectations on gender roles and ethnic representation.
To its credit this production of Madama Butterfly improves upon previous productions with its casting, albeit not perfectly. Marian Hong is excellent in the lead role of Cio-Cio-San, and Fleuranne Brockway also delivers a wonderful performance as servant and confidante Suzuki. Kohsei Gilkes delivers an admirable performance as marriage broker Goro. The casting of performers from an Asian background is admirable, if not expected in this day and age. So when Lachlan Lawton, who does not appear to be Asian, takes to the stage as Prince Yamadori, he stands out like sore thumb.
Regular WA Opera star Paul O’Neill is perfectly cast as the romantic but later heartbreaking Pinkerton, and Samuel Dundas does a fine job as Sharpless.
As expected the highlight of the show is the aria Cio-Cio-San begins singing early in the second act. Un bel dì vedremo (One Fine DayWe Shall See) is one of opera’s most recognisable and adored pieces of music, and it’s a magical moment to hear it performed live. Just as is the mesmerising Coro a bocca chiusa, or Humming Chorus that comes a little later.
With its stripped back but sophisticated staging, this production puts the focus on the theme of lost love, and personal reasonability and it’s a thrill to experience.
Madama Butterfly is playing at His Majesty’s Theatre until 9th August.
