Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

Die Meistersinger and The Indian Queen
at the ENO

It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.

Rise and Fall of the City of Mahagonny, Royal Opera

At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.

Unsuk Chin: Alice in Wonderland, Barbican, London

Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?

Welsh National Opera: The Magic Flute and Hansel and Gretel

Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.

Double bill at Guildhall

Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

OPERA TODAY ARCHIVES »

Performances

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):