Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

In Parenthesis, Welsh National Opera in London

‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.

Die Walküre, Opera North

A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.

Early Gluck arias at the Wigmore Hall

If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.

Das Rheingold, Opera North

Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.

Anatomy Theater: A Most Unusual New Opera

On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).

Shalimar in St. Louis: Pagliaccio Non Son

In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.

Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

The “Other” Marriage of Figaro in a West Village Townhouse

Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

OPERA TODAY ARCHIVES »

Performances

Judith Howarth as Madam Butterfly © Alastair Muir and ENO
10 Feb 2008

Madam Butterfly at ENO

Anthony Minghella's visually-arresting staging, a co-production with New York's Metropolitan Opera and the Lithuanian National Opera, returned this month to its original home at the London Coliseum after a gap of two years.

Giacomo Puccini: Madam Butterfly

English National Opera
Performance of 8 February 2008

Above: Judith Howarth as Madam Butterfly
All photos © Alastair Muir and ENO

 

Michael Levine's set designs and Peter Mumford's lighting are utterly beautiful, from the floating lanterns and curtain of flowers which descend upon Butterfly and Pinkerton on their wedding night to the dramatic brush-stroke effect of the unravelling of Butterfly's crimson obi at her suicide. Despite Minghella's film credentials, it is not a cinematic approach as such, though the steep rake and the giant mirror above the stage create a 'widescreen' effect which suits the shape of the Coliseum's stage and concentrates the eye.

Although the staging keeps Pinkerton as very much a one-dimensional character, the production's Bunraku puppetry – expertly supplied by Blind Summit Theatre – gives the audience a little glimpse into the beliefs and perceptions which cause him to act the way he does. The exquisitely lifelike puppets, most notably used to portray Butterfly's son, blur the boundaries between artifice and reality, and it becomes almost easy to accept Pinkerton's perception of the Japanese as pretty playthings, not quite real. Sometimes the puppets seem more natural than the human performers.

Indeed, there is a risk with such a staging that it could sacrifice substance for style, and as such it needs a very strong cast to balance it out and reach the heart of Puccini's opera . I confess I was apprehensive about Judith Howarth's debut in the title role, as her (very successful) career has been almost entirely in the lyric coloratura repertoire. I need not have worried; the soft-grained, pearly quality of her soprano, though not the sound we are used to hearing in the role, proved equal to Puccini's characteristically heavy scoring and an appropriate timbre for this most youthful of operatic heroines. Her stage presence and mannerisms were just as credible, and she was shattering in her vulnerability. It was perhaps a misjudgement to pair her with as vocally powerful a Suzuki as the excellent Karen Cargill, but this is really a minor criticism.

As Pinkerton, Gwyn Hughes Jones, returning from the original run of the production, was in fine voice. He was allowed 'Addio, fiorito asil' despite the modern fashion to do without it, but it seems superficial. Sharpless – the one character who can see the situation from every angle and is left with the responsibility for damage limitation – was given a warm and dignified portrayal by Ashley Holland.

madambutterfly160.pngGwyn Hughes Jones as Pinkerton / Ashley Holland as Sharpless

Musically this revival was in every way superior to the original run in 2005. David Parry was once again in the pit, giving a sensitive and never self-indulgent reading of the score. Words came across well, except in parts of Act 1; members of ENO's chorus made clearly-defined characters of their cameo roles as wedding guests. But above all it was a remarkable personal triumph for Judith Howarth.

Ruth Elleson © 2008

madambutterfly437.pngKaren Cargill as Suzuki / Judith Howarth as Madam Butterfly

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):