Glyndebourne Opera's performance of Madame Butterfly at the New Victoria Theatre, Woking hits all the right notes says Amanda Briggs. 4.5 STARS.
As we brace ourselves for the Christmas rush, with overfamiliar Christmas songs being thrust in our ears everywhere we go, we are offered a brief sanctuary from the tinny music, lengthening queues and strings of tinsel by the sweet opportunity to see one of the world’s best loved operas, Puccini’s Madama Butterfly, presented by none other than the esteemed Glyndebourne opera tour company.
So forget Slade and rise to the sublime; this opera is not just for dedicated opera lovers, this is one in which everyone can delight, putting into context such well known arias as the Flower Duet and the Humming Chorus, found on every classical CD compilation currently on sale or in your CD collection.
Originally performed in 1904, and after a disastrous debut which led Puccini to rewrite it, Madama Butterfly reshaped into what we see today; a heart rendering love story and romance, set in the exotic beauty of Japan, to a score that captures the harmonies and contrasts of both eastern and western cultures.
This production, directed by Annilese Miskimmon, captures the essence of Puccini’s original vision, by setting it in the 1950’s, when the Japanese GI bride industry was at its height.
It is simply the story of a young Japanese geisha who marries and then is abandoned by an American sailor. The innocent and exquisite Cio-Cio-San, Madame Butterfly, played by South Korean soprano Karah Son, falls in love with American Lieutenant Pinkerton, played by Italian tenor, Matteo Lippi, who once he has captured the exquisite butterfly, heartlessly crushes her wings and abandons her to return to the US and find a real American wife.
Karah Son’s performance is powerful and captivating, as she throws her heart out to the audience, so that we feel her love, her hope and her ultimate betrayal. It is her story and her stage, and we feel it not only through her voice and song, but every gesture, movement and position.
The staging and of course the orchestra, admirably led by conductor John Wilson, illuminates and magnifies the performance. In Act 1, real black and white film footage of Japanese women as GI brides is used as part of the scenery in the office of marriage, bringing home the reality of the story, and endearing us to Cio-Cio-San’s tragedy.
The sharp naval uniforms worn by Pinkerton and the other sailors contrast with the traditional Japanese dress, highlighting the occidental oriental divide. The haunting use of colour and silhouette to the Humming Chorus brings Act 2 to a magnificent end, preparing us for the heart-breaking drama in Act 3. Claudia Huckle as Suzuki, Madame Butterfly’s maid, and Francesco Verna as Sharpless the Consul, provide strong supporting performances, as we see and feel their anguish as they are powerless to stop Butterfly’s inevitable demise.
It is easy to disappoint modern, well-versed audiences by putting on such a well-known opera, but in my opinion, this performance stands up solidly to any form of criticism. It delivers all the traditional elements and adds new life and dimension, making it a memorable and commanding performance.
Madama Butterfly and Don Giovanni are being performed by the Glyndebourne Tour between November 29th – Saturday 3rd December at the New Victoria Theatre, Woking. For tickets visit atgtickets.com
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