OPERA REVIEW: Madama Butterfly - The Opera House, Manchester

The best was saved for last.

Puccini’s 1904 opera, 'Madama Butterfly', was performed to what appeared to be a full house. A production that was dripping with style and luxury, and then some, 'Madama Butterfly' pulled out all the stops for what was, simply put, a magical evening.

If you have seen Miss Saigon, or the 1922 film The Toll Of The Sea featuring Anna May Wong, then you’ll already be familiar with the main plot. An incredibly simple yet hard hitting and touching story; set near Nagasaki at the turn of the twentieth century, we are introduced to a young Lieutenant in the United States Navy, Benjamin Franklin Pinkerton (Vitalii Liskovetskyi) surveying the property and grounds he has leased for 999 years. He is also waiting to meet his young bride to be, Cio-Cio San (Madama Butterfly (Elena Dee)). Whilst Pinkerton views the marriage and his new home as a temporary adventure, he is warned by the American Consul, Sharpless (Vladmir Dragos) that his actions will have consequences if Pinkerton is not careful. Cio-Cio San is madly in love with the young American naval officer, and is willing to be ostracised by the Bonze and community for doing so. Three years pass and Pinkerton has not returned, however Cio-Cio San now a mother, waits from her home in anticipation for his return. Sharpless comes with a letter, but cannot bring himself to tell the young mother that Pinkerton has remarried back in the United States. After visiting the home with his new wife, and the Consul, Cio-Cio San’s maid Suzuki is asked to inform her mistress that Pinkerton is in fact there to take the child away. After hearing everyone’s voices, Cio-Cio San appears but soon realises the intention of her husband’s visit. Accepting her fate, the young mother separates herself from her child as she commits suicide.

'Madama Butterfly' is a very interesting opera. Although adapted from a number of sources such as John Luther Long’s short story, itself influenced by Pierre Loti’s novel, Madame Chrysantheme , it feels like Puccini satirises what we know as the American Dream and the then burgeoning American Imperialism, harking back to the Perry Expedition that first set up trade links between the United States and Japan some 50 years previously, and oddly enough predicts Theodore Roosevelt’s Great White Fleet globe-trotting tour of 1907-09 (one of the reasons for this tour was to deter Japan from threatening war). Although it may seem in such a far-away land and time, considering what was to happen to Japan in the 1930s and then during the Second World War, one can imagine that at the time of its premiere in 1904, 'Madama Butterfly' must have felt very relevant. On the surface we are presented with a tragic love story, but looking deeper and you’ll see a warning, or a prediction of what was to come with the role of the United States in world affairs. Sharpless’ warning to Pinkerton about the consequences of his actions take on a whole new meaning. It begs the question of whether this is the first modern opera? In fact, it is probably for these very reasons that it was successfully adapted into Miss Saigon, and could still be adapted today.

The set design for 'Madama Butterfly' was fantastic, making use of all the entire stage space. This mixed with the lighting, made for a truly beautiful setting and you daren’t look away! The costumes were great, particularly Cio-Cio San’s robes which were so exquisite. Although the previous two nights had been full of spectacle, I now realise that the spectacle was fully unleashed here.

Giacomo Puccini’s music ties the lot together. I may have been too quick to play down the role of Puccini’s mastery in my previous 'Carmen' review. Although I did truly feel that his music for 'Tosca' was somewhat in the background, the music for 'Madama Butterfly' was out at the front and interweaving between the cast, set and audience! This was demonstrated a number of times but none so more than when Cio-Cio San, her child and Suzuki go to rest and sleep in the minka, their silhouettes projected onto the screen door, the lighting changes with the setting sun, the flutes and strings play dolce, between the first and second scenes in the second act. It was hair-raising.

Elena Dee gave an outstanding performance and received a very well deserved standing ovation at the curtain call. An ecstatic audience went wild as the cast and conductor lined up and took several bows before waving off as the curtain fell for a final time.

And that was the end of what had been three beautiful and emotional nights. From a personal point of view, these performances will stay with me forever. My first operas. I’m sold!

I would like to thank the staff of Manchester Opera House for being so friendly and going above and beyond to make my experiences memorable and to Ellen Kent for putting on these lavish and authentic, but accessible productions. They are made to be enjoyed by all, and if you happen to be in town when these productions are on, now or in the future, treat yourself and you won’t regret it.

Reviewer - Daryl Griffin
on - 9.4.22