Madame Butterfly
Boris Kalendariov
Madame Butterfly at the MET
From top to bottom the hall at The Metropolitan Opera was so full for Puccini’s Madame Butterfly that people were willing to stand in the back to watch this spectacle. Since its premiere at the MET in 1907, with Puccini in the audience, this opera has been the most-performed in America and still maintains its original stellar elegance. This new production of Madame Butterfly as was envisioned by Anthony Minghella two years ago, a talented filmmaker who recently died, is now carried on through Carolyn Choa, his widow. Nonetheless, Minghella vision remains and is still able to captivate its audience.
Madame Butterfly is the story of B.F. Pinkerton, a traveling American lieutenant who stops by Japan. While visiting he ends up buying a 15-year-old geisha, Cio-Cio-San, for a wife, and they fall in love. He returns to America, while she waits for him. The story revolves around their fondness of each other and her incapability of accepting that he abandoned her.
Although Maria Gavrilova and Marcello Giordani, replacing Patricia Racette and Roberto Aronica who happened to be ill, sang the roles of Cio-Cio-San and Pinkerton, the graceful sets as designed by the late Minghella were able to complement their not-so-great operatic voices. (Mr. Giordani had performed the night before and therefore was not able to project his voice as well as he should have.) Powerful or not, the tenor was still able to portray his American swagger, while the soprano was right alongside complementing him with her naivety. The Yin and Yang of their performances remained as was set in the libretto yet lacked the passion and emotion that Puccini had envisioned. (Again this could be due to the fact that these were replacements and therefore were not able to develop an on-stage connection.)
The concerted effort of the orchestra, conducted by Patrick Summers, offered a continuously engaging performance that was able to harmonize with the libretto. From beginning to end the sounds of the orchestra was able to invoke more emotion than the actual singing with its leitmotifs.
Even more spectacular was the ability of the set designs and costumes to establish an ambiance of 1800s Japan. The appearance of the rice-paper doors, the umbrellas and colorful attire brilliantly set the setting. While, the inclination of the stage was genius in that it added more depth to the stage. It was balanced by the mirrored ceiling, which also allowed for more open space. The use of the Bunraku puppetry also brought more a feeling of Japan to the opera.
Lanterns and spotlights were used to illuminate the characters faces during the opera. This allowed for each character to be more distinguished. Moreover, it added a flavor of dramatic specificity. The final act at its climax presented a monochrome light shinning on the bloodied Cio-Cio-San, complemented by the music of Mr. Summers, it was a powerful way to conclude the opera.
Madame Butterfly is playing at the Metropolitan Opera, located on Broadway between 63rd and 65th street. The show is playing through March 7th.
