Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

Jamie Barton at the Wigmore Hall

“Hi! … I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.

The Nose: Royal Opera House, Covent Garden

“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”

Věc Makropulos in San Francisco

A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.

The Pearl Fishers at English National Opera

Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.

Academy of Ancient Music: The Fairy Queen at the Barbican Hall

At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.

Vaughan Williams and Friends: St John's Smith Square

Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.

Bloodless Manon Lescaut at DNO

Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.

English Touring Opera: Xerxes

It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.

English National Opera: Tosca

Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.

Don Pasquale in San Francisco

With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).

“Written in fire”: Momenta Quartet blazes through an Indonesian chamber opera

“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.

English National Opera: Don Giovanni

Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.

World Premiere Eötvös, Wigmore Hall, London

Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.

Manitoba Underground Opera: Mozart and Offenbach

Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.

Stars of Lyric Opera 2016, Millennium Park, Chicago

On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.



Kristīne Opolais as Cio-Cio-San [Photo by Mike Hoban courtesy of The Royal Opera]
29 Jun 2011

Sensitive, intelligent Madama Butterfly, Royal Opera

This Madama Butterfly at the Royal Opera House, London, brings out the depth and intelligence of the human story Puccini might be trying to tell us, beneath the surface gloss.

Giacomo Puccini: Madama Butterfly

B F Pinkerton: James Valenti; Goro: Robin Leggate; Suzuki: Helene Schneiderman; Sharpless: Anthony Michaels-Moore; Cio Cio San: Kristine Opolais; Imperial Commissioner: Daniel Grice; Cio Cio San's family: Eileen Hamilton; Alan Duffield; Elizabeth Key; Kiera Lyness; The Bonze: Jeremy White; Prince Yamadori: Zhengzhong Zhou; Dolore: Niklas Allan; Kate Pinkerton: Rachael Lloyd. Orchestra and Chorus of the Royal Opera House. Conductor: Andris Nelsons. Directors: Moshe Leiser and Patrice Caurier. Set Designer: Christian Fenouillat. Costume Designer: Agostino Cavalca. Lighting Designer: Christopher Forey. Royal Opera House, London, 25th June 2011.

Above: Kristīne Opolais as Cio-Cio-San

All photos by Mike Hoban courtesy of The Royal Opera


When this production of Puccini’s Madama Butterfly premiered in 2003, I remember being startled at how stark the production seemed, with its clean horizontal lines and open spaces. Very different indeed from the over-stuffed, over-fussy clutter of fin de siècle clichés about Japan. WesternJaponisme as decorative wrapping has little to do with reality. Madama Butterfly is a powerful opera because it deals with real human dilemmas, by no means unique to Japan or to the early 20th century.

MADAMA-BUTTERFLY.10075_729.gifJames Valenti as Pinkerton and Kristīne Opolais as Cio-Cio-San

Instead, this production, directed by Moshe Leiser and Patrice Caurier, uses the Japanese context intelligently so it works with the drama. Japanese art is stylized, blank spaces part of the design, so key details stand out in sharp focus. The sets in this production, designed by Christian Fenouillat, are clean and open, so there’s no irrelevant distraction. The backdrop of shoji screens allows quick scene changes, contrasting the interior with the vast panorama outside. It’s a telling comment. As Goro points out, changing the walls changes perspective. This opera isn’t really “about” Japanese society as much as about the way people don’t perceive things in the same way.

As Caurier and Leiser said in their recent interview with Opera Today, Madama Butterfly is “not a beautiful story, it’s awful, it’s violent. Yes, you see the flowers but you must have the smell of blood running through them”. Throughout history, those with wealth and power have always been able to exploit those who don’t. Pinkerton buys a package, house, servants, mock family and a girl to use as sexual convenience. He’s infatuated temporarily by Butterfly’s beauty but he’s under no illusion that he’s interested in her other than as an object to gratify his ego. Perhaps that’s why he takes the child. He can’t conceive that its mother or culture mean anything.

Butterfly is so desperate to escape her background that even before she meets Pinkerton, she’s obsessed about becoming an instant American. She invests so much in her delusion that she can’t cope with reality. She kills herself, not simply because harakiri “is” custom, but because she’s invested so much into her fixation that she can’t live with reality…“nulla, nulla, fuor che la morte”.

Although this is the third revival of this production since 2003, the performance felt vivid because it was directed, not by substitutes, but by Leiser and Caurier themselves. Every performance has to be “new” because casts change and circumstances change. Patricia Racette, who has sung Cio Cio San many times before, pulled out at the last minute, but in some ways that was fortunate, because Kristine Opolais, making her Royal Opera House debut, throws herself so convincingly into the part that she makes it her own. She’s young enough to convey Butterfly’s innocence but has strength of personality, which comes through in her singing. She sings the love duet with such intensity that you wonder how a 15 year old could find such passion, especially for a stranger she’s just met. This emphasizes Butterfly’s single-minded determination. Reality doesn’t get in the way of imagination.

MADAMA-BUTTERFLY.10075_359.gifJames Valenti as Pinkerton

Opolais’s Butterfly is nicely varied. After the Bonze’s curse, her voice takes on a tense edge, showing that Butterfly is deeply traumatized, but soon switches back to gentleness when she turns to Pinkerton. Swift reactions matter, for Cio Cio San is always adapting, and living intensely in the moment. Opolias’s interaction with Dolore (Niklas Allan) feels genuine. She’s not singing to an object, or a puppet, but as real mother to real child. Madama Butterflies stand and fall on “Un bel di vedremo”, and Opolais conveys true emotional engagement. She’s not merely describing a sequence of events, but how they feel to her. An interesting voice, with good range, and a natural acting singer. She’s a regular at the Berlin Staatsoper, where she’ll be singing Butterfly in March 2012.

James Valenti as Lt. Pinkerton is rather less successful, although he has had the role in his repertoire for years. Arguably, Pinkerton is emotionally more buttoned up than many men, but Puccini builds a lot more into the part than repression. Perhaps further into the run, Valenti’s voice may blossom, and hopefully be preserved at its best in the film that’s being released on BP Big Screen and cinemas on 4th July. Anthony Michaels-Moore sang Sharpless with warmth, for the Consul is a figure of reasonableness in this claustrophobic world of extremes.

MADAMA-BUTTERFLY.10075_192.gifKristīne Opolais as Cio-Cio-San and Jeremy White as Bonze

From the vigour with which Robin Leggate sang Goro, it was hard to believe that he’s retiring after the end of this production, his 909th performance at the Royal Opera House, since 1977. This Goro is directed so he moves swiftly, reflecting the character’s quick wits and cunning. Leggate sings with unflagging energy, despite having to be fleet of foot.

Similarly, Helene Schneiderman’s Suzuki was vibrant and expressive. There’s a lot more to this role than mere servant. Suzuki can be cocky, although she’s loyal. Cio Cio San isn’t completely the mistress even at home. Schneiderman intones her prayer to the gods so forcefully that when she sings with Butterfly, you pick up on the undercurrent of tension that exists even in their relationship. Suzuki’s gods will win; Cio Cio San hasn’t a chance.

MADAMA-BUTTERFLY.10076_0086.gifRobin Leggate as Goro, Helene Schneiderman as Suzuki, Kristīne Opolais as Cio-Cio-San and Anthony Michaels-Moore as Sharpless

Buddhists don’t normally curse people, and in Japan, Buddhism co-exists with Shinto quite happily. Buddhists have a lot in common with Christians too. This Bonze is a figment of Puccini’s imagination, created to inject extreme panic, for he smashes forever Cio Cio San’s links with her past. Perhaps that’s why in this production, he appears all-white, like an apparition of a ghost from a Japanese horror story, not as a living monk. Jeremy White’s Bonze bursts onto the scene, screaming violently, striking terror. Great theatre, as Puccini must have intended.

Zhengzhong Zhou sings Prince Yamadori and Daniel Grice sings the Imperial Commissioner. Both impressed, proving how the Jette Parker Young Artists Programme nurtures singers in good directions. Yamadori is an interesting role which could be developed more than it usually is. Why would a prince marry a second-hand geisha, especially one who’s been cursed for consorting with foreigners? He rides a carriage up the steep hill, whereas everyone else in this opera walks. Why would a man of that status humiliate himself by divesting all his other wives? Zhou sings the part with tenderness, creating a sincere Yamadori who is emotionally honest and vulnerable though he has all the trappings of power. Pinkerton in reverse?

MADAMA-BUTTERFLY.10076_0945.gif(Front to Back) Kristīne Opolais as Cio-Cio-San and Helene Schneiderman as Suzuki

Andris Nelson conducted. He’s currently Music Director at the City of Birmingham Symphony Orchestra (Simon Rattle’s former post), but conducts a lot of opera, including engagements in Bayreuth, New York, Berlin and Vienna.

For more information, please see the Royal Opera House website.

Anne Ozorio

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):