Madama Butterfly
The forecast was for rain, and last year was almost washed out, so the opening night audience was delighted to drink in a balmy clear night where Sydney beamed.
Madama Butterfly is most suited to the outdoor setting of Handa on Sydney Harbour, as the first act has a wedding, and the second act is dominated by the leading lady waiting for the ship of her husband to arrive.
The set is one of the stars of the production. The opera opened with a rolling replica lawn that included a steep peak which would make any putt putt enthusiast salivate.
Then remarkably during interval an entire house is built on the stage using giant cranes to drop in the bits and pieces. It is positioned so that the Sydney Opera House peeps through the window (perhaps Opera Australia should join the building industry so impressive was the rapid transformation).
The story of Madama Butterfly is problematic. A 30 something American Captain weds a Japanese geisha, with the full intention of exploiting her then returning home to a ‘proper’ wife. The translated lyrics are troubling as Pinkerton discusses his ambition to capture the butterfly and cancel his marriage when he chooses.
The music, however, is magnificent and an excellent opera for a first timer to the artform. Sumptuous opera classics are blended at times with the star spangled banner and Japanese influences, all of which, under the baton of Brian Castles-Onion, were crystal clear.
The best-known song in Madama Butterfly is “Un bel di vedremo (One Fine Day)”, but Karah Son as Cio-Cio-Son did not wait until the second act to dazzle the audience with a delightful rendition of “Ancora un passo (One step more)”.
Opera Australia regular Diego Torre as Pinkerton was most impressive when he sprinted across the stage and shrieked with a spine tingling crescendo as the opera reached its conclusion.
On the large stage when you can’t clearly see facial expressions, the subtlety of acting can sometimes be missed, but showing that distance was not barrier to conveying emotion was Michael Honeyman as the American consul Sharpless, who intensely feels the tragedy that us in unfolding.
First staged nine years ago, the production mixes element of classical Japanese dress and modern costumes and set pieces including a swish speedboat, jeans and T-shirts and even the appearance of a Sydney taxi.
If the weather is good, then Madama Butterfly is a glittering night out.
David Spicer
Photographers: Hamilton Lund (fireworks) and Keith Saunders.
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