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The Next Best Thing to Japanese Theater
Giacomo Puccini’s Madama Butterfly, now playing at the Metropolitan Opera, tells a story of deception and heartbreak, where there are no heroes to laud and no villains to hate: only victims of selfishness or guilt. Despite the realism inherent to the play, its producer, the late Anthony Minghella faced the issue of presenting an Orientalist work in the least offensive light. While this production attempted to create an authentic atmosphere through various elements of traditional Japanese theater, filling the Asian roles with Caucasian singers created a persistent, dissatisfying feeling of incompleteness in the opera that not even the beautiful props and memorable lighting could mask. Whether Butterfly holds on its own is left for the audience to decide.
The late Anthony Minghella’s production of Madama Butterfly, playing at the Met Theater stayed true to Belasco’s scenic realism, recreating many of the elements traditionally associated with Japan, from falling cherry blossoms to vibrantly colored kimonos sweeping the stage to rice paper doors.
The vocals were disappointingly off-target, with both of the lead roles substituted. B.F. Pinkerton was played by Marcello Giordani, whose voice lacked the bravado and self-centeredness natural to the character. In Dovunque al mondo, a duet between Pinkerton and Sharpless, the baritone Dwayne Croft outshined Giordani. Maria Gavrilova performed Cio-Cio-San, normally sung by Patricia Racette. While she possessed powerful projection and her voice had thick textures of emotion necessary for the role, she lacked the frailty of a butterfly, which hindered her from embodying the character. To make matters worse, the orchestra, though strong in itself, was often so loud it muted the singers and created a disconnect between the drama and me.
Opera is so closely linked with quality and texture of voice that the importance of minute details in props and set design becomes forsaken. This production had a relatively elemental set with only a monochrome light in the background to set the tone in hues of purple, red and orange and as a result, relied heavily on props to create scenes. In the finale, the naked stage enhanced the effect of the lighting, which gave Madama Butterfly a breathtaking red glow, as if she were drenched in blood. In the wedding scene, however, the absence of a set became obvious: the stage was cluttered with people and lacked the intensity of color and excitement that goes hand-in-hand with weddings.
The heavy prop use also contributed to the feeling I got that the production was trying to make up for something it inherently lacked. The opera’s focus was on the fall of a butterfly: a woman who had renounced her Japanese religion, family and culture for the transient love of an American. Yet while Japanese culture was rejected, it stood at the heart of the liberetto. A cast of European singers took away from the authenticity of the opera, which was necessary to produce a lasting effect on the audience, or at least your critic. The touches of traditional Japanese theater like bunraku (puppetry used to recreate the character of Cio-Cio-San’s child) and koken (dark figures who moved freely around the set, rearranging the props) worked to lessen the shortcoming, though it never disappeared altogether. Furthermore, making the child a puppet took away from the sentimental value a real child could have made. I would not venture as far as calling upon a castrato to fill this role; a silent character could have created much more emotion, especially in the interactions between him and Cio-Cio-San during the death scene (it is a living child that she had to live for or die for, not a toy).
Despite its shortcomings, Madama Butterfly remains a spectacle to be seen. If a trip to Japan is not looming in your future, the elaborate details and elements of traditional Japanese theater in this show are bound to give you the next best thing.
Anthony Minghella’s production of Puccini’s Madama Butterfly first opened at The Metropolitan Opera in 2006. Since his recent passing, Minghella’s widow Carolyn Choa has served as director and choreographer, reviving the opera quite beautifully. During the November 11th performance, soprano Patricia Racette (starring as Madame Butterfly) and tenor Roberto Arnonica (playing Lieutenant B.F. Pinkerton) were ill and replaced by Maria Gavrilova and Marcello Giordani. The understudies’ performance was rather substandard and overshadowed by the production’s incredible visual effects.
Madama Butterfly opened with Cio-Cio-San (translated as Madama Butterfly) dancing across the slanted stage with red sashes gliding behind her kimono. The background was illuminated with red and the stage’s mirrored ceiling reflected the lighting and movements. This powerful visual, accompanied by serene music, shifted rapidly to an exchange between Pinkerton, the American consul Sharpless (Dwaye Croft) and Goro (Greg Fedderly), the marriage broker. The music became louder and theatrical, the stage glowed with white lighting, and the supernumeries bustled to change the scenery. They brought shoji screens onstage, which were removed or rearranged in different scenes. Through the threesome’s conversation, the audience learned that Goro arranged a marriage between Pinkerton and a geisha, Butterfly.
During the wedding scene, Butterfly’s friends and family, clad in intricate and traditional Japanese designs, witnessed the ceremony. The newlyweds’ happiness was short-lived, as Butterfly’s uncle condemned her for converting to Christianity and departed with her appalled relatives. In the garden, Pinkerton comforted Butterfly and during this ensemble, their mutual attraction became clear. Their perfect pitch and chemistry was accompanied by stunning visual effects. The supernumeries used lanterns to illuminate the night and create different formations. Shimmery purple flowers and cherry blossom streamers then cascaded downward, leaving me breathless. The varying lighting and scenery, introduction of new characters, and colorful costumes kept me interested during Act I.
Act II was disappointing because its production fell short of my expectations. There were few new characters and the dialogue was filled with extensive, pointless detail, leaving me irritated. In Part 1, we discovered that Pinkerton left Japan, and three years later, Butterfly still awaited his return from America. Sharpless tried revealing that Pinkerton had deserted her and remarried, but she refused to listen. That evening, Butterfly and her servant, Suzuki (Maria Zifchak), discovered that Pinkerton’s ship had arrived and watched the harbor with Sorrow (Butterfly and Pinkerton’s son). When Part 2 began, morning had arrived and Suzuki convinced Butterfly to sleep. Later, Pinkerton returned with Sharpless and his American wife, Kate (Edyta Kulczak). Unable to face Butterfly, he departed rather quickly. When Butterfly suddenly awakened, Kate, Suzuki and Sharpless stood speechless and flustered. Butterfly finally understood the situation, ultimately leading to her tragic demise.
Gavrilova’s high-pitched singing was inappropriate for Butterfly’s supposedly delicate and feminine demeanor. During Act II, I constantly grew agitated and annoyed listening to Gavrilova’s ear-piercing singing. However, she managed to capture Butterfly’s naivety and heartbreak, gaining my sympathy. Giordani’s performance as Pinkerton could have been stronger. Pinkerton was, after all, the villain of Madama Butterfly, yet Giordani’s performance failed to evoke loathing for his character. Fortunately, the opera’s incredible scenery and visual effects offset the performers’ mistakes. Set designer Michael Levine’s genius and innovative techniques continually captured my interest. For instance, during Butterfly’s vigil, the supernumeries brought in glowing cranes and created different patterns through movement. Furthermore, the elaborate and colorful costumes (Han Feng) enhanced the production’s visual effects. The stunning kimonos and the interesting wigs completed the characters’ authentic Japanese look. Goro’s wig, consisting of a Japanese-style mohawk, was somewhat strange but unique.
Another interesting feature of Madama Butterfly was the addition of Bunraku puppetry. Sorrow was a Bunraku puppet, containing no strings and whose movements were controlled by two highly trained supernumeries. The puppeteers’ efficiency and skill was incredible and intriguing to watch. Finally, the orchestra, conducted by Patrick Summers, completed the production’s intentions. During dramatic moments, the music escalated and during soft moments, it became serene and pleasant. Whenever Butterfly reminisced about Pinkerton or spoke about America, the orchestra switched to “The Star-Spangled Banner” and transitioned back flawlessly. The music supported the opera’s fluid transitions into different scenes and was impeccable.
I recommend Madama Butterfly to anyone who appreciates artistry and mesmerizing theatrical effects. The production is currently playing at The Metropolitan Opera through March 7, 2009.
-Ramandeep Singh
Majesty and wonder are the words that epitomize Giacomo Puccini’s Madama Butterfly now showing at the Metropolitan Opera at Lincoln Center. In Puccini’s Madama Butterfly, based on a book of the same name by John Luther Long, a young Japanese woman’s naivety leads to her eventual destruction. The protagonist, Cio-Cio-San, falls in love with an American naval officer, Lieutenant B.F. Pinkerton. Cio-Cio-San is renounced by her family and faces humiliation and loneliness. When Pinkerton leaves Cio-Cio-San to return to the United States, Cio-Cio-San spends many long years waiting for him only to realize that any hope for his return is futile. Madama Butterfly is an opera whose splendor and personality are centered on its beautiful set design. However, its cast also provided an equally strong accompaniment to the striking magnificence of the production.
Disappointingly, on the night I chose to watch Madama Butterfly, the leads that were slotted to sing as Cio-Cio-San (Patricia Racette) and Pinkerton (Roberto Aronica) were out sick. However, in their place sang Maria Gavrilova and Marcello Giordani who were very strong and able substitutes. Maria Gavrilova was very convincing as a young girl longing for the return of her husband. She sang with intensified passion through the duration of the opera that made me feel the vulnerability that was Cio-Cio-San. I was able to feel the delight and pain of Cio-Cio-San through Miss Gavrilova’s stunning soprano voice. The most memorable moment in Gavrilova’s performance came during Act II when she and her assistant Suzuki observed the white sails of Pinkerton’s ship. In a moment of relief and joy, Gavrilova bellows out of Pinkerton’s return and her (Cio-Cio-San) assurance of his love. When this line was sung, I felt pity for the desperate, young Cio-Cio-San because of the news that would befall upon her later in the opera. The liberation that came through in Gavrilova’s voice was just remarkable. Though Gavrilova could have been more reminiscent of a delicate and timid woman, it was not enough to detract from the professionalism of her overall performance. Marcello Giordani gives a spectacular performance as Lieutenant B.F. Pinkerton. Though his performance didn’t shine as bright as Gavrilova’s, his rich tenor voice presented a nice contrast to Gavrilova’s soprano. Giordani’s performance time, though limited, was very strong. Whenever he appeared on the stage, Giordani held a commanding presence that kept my eyes upon him. I often found myself wishing for a re-emergence of his character (Pinkerton) because of Giordani’s effective authoritative aura. Although there were moments in the opera where Giordani’s voice was hard to hear over the power of the orchestra, there was no mistaking the fervor in his performance.
From the moment the opera began, I fell in love with the staging design and props. The stage was set up in a way where sliding screens and a sloped platform helped to create a sense of depth atop a spare space. The sloped platform was unlike anything I’ve ever seen. It often stood as a division between two worlds (i.e. Cio-Cio-San and her family). At the top of the platform hung a mirror that enlarged the already immense stage. It has become the status quo for large-scale productions to use the stage minimally. However, the entirety of the stage in Madame Butterfly was utilized to its full potential. One scene in particular involving Pinkerton and Cio-Cio-San was a spectacle to behold. Amid a beautiful love duet between Pinkerton and Cio-Cio-San were elegant and serene curtains of pink cherry blossoms. Floating lanterns upon a dark stage illuminated not only the actor’s faces but also the falling cherry blossom leaves. The result was a haven of safety for Cio-Cio-San and Pinkerton’s love. Though there were hundreds of people in the audience, the only people that seemed to exist were Cio-Cio-San and Pinkerton. The beautiful staging made it possible for nothing else to matter in the world except their love.
Madame Butterfly was a production that was well put together in all respects. The orchestral music conducted by Peter Summers was consistently en pointe throughout the entire opera, providing an intensified background for the strength of the lead voices. The costuming executed by the English National Opera Production Wardrobe and the Metropolitan Opera Costume Department was exquisite. The kimonos worn by Cio-Cio-San and the other members of her family were divine. They were beautifully tailored in various stunning colors that lit up the stage. If given the opportunity, I waould love to watch Madama Butterfly once again because I don’t believe that the beauty and talent I witnessed on that stage could ever be matched.
-Jessica Yin
Emerging from the Cocoon: Madama Butterfly Soars Beyond Expectations
Madama Butterfly’s elegant and tragic epic has made a dramatic return to the Metropolitan Opera house. The opera is based on David Belasco’s play Madame Butterfly, which was created in 1928. Madama Butterfly, Giacomo Puccini’s opera, is considered one of Puccini’s greatest works. In his opera, he sheds light on cultural differences between the West and the East, using B.F. Pinkerton to symbolize the West, and Madama Butterfly to symbolize the East.
The story is set in the port city of Nagasaki, where a young, handsome, American Lieutenant named B.F. Pinkerton marries Cho-Cho-San, otherwise known as Madama Butterfly. Cho-Cho-San is a Geisha Girl who falls in love with Pinkerton, and devotes her life to him. (Roberto Aronica and Patricia Racette play the roles of B.F. Pinkerton and Madama Butterfly) Cho-Cho-San gives her life, her being, and her very essence to B.F. Pinkerton. B.F. Pinkerton leaves her to return to the United States, promising to return when the robins nest again. She relentlessly waits several years for his return. Pinkerton had unknowingly impregnated her, and she had raised their child while Pinkerton was away. The opera reaches its climax when Pinkerton finally does return, but not for the reason Cho-Cho-San wished for. He comes back with an American wife, in order to get custody of the child. Cho-Cho-San is heartbroken by this. Left with no other option, she commits suicide in order to retain her honor. The opera sheds light on the cultural conflicts going on in the world at the time, which occurred during the period where Europe had taken control of many parts of Asia, including Japan. Cho-Cho-San symbolizes the Japanese nation and its struggle during this period.
On Tuesday, the 11th of November, Maria Gavrilova, and Marcello Giordani sang the roles of Cho-Cho-San and B.F. Pinkerton. Gavrilova had big shoes to fill, but she did not fail to impress. With beautiful singing and wonderful acting, Gavrilova successfully creates a nostalgic ambience that could convince the audience that she indeed is Madama Butterfly. During Pinkerton and Cho-Cho-San’s wedding, Gavrilova flawlessly executes brilliant high and low notes in her aria. She brings Cho-Cho-San’s emotions of utter bliss and joy when she marries B.F. Pinkerton. Later in the opera, when Cho-Cho-San is notified that B.F. Pinkerton will never return, she denies the assumption. Yet, Gavrilova magnificently portrays the protagonist’s anxiousness, desperation, and even despair despite the facts that her character refuses to give up hope. Gavrilova is also able to express the troubled character’s excitement and exhilaration when she plans for Pinkerton’s return.
Another aspect of the production I found was exceptional was the staging. Directed by Michael Levine, the staging properly demonstrates the exotic aura of late 19th century Japan. The setting was simple, yet satisfactory. All three acts consist mostly of sliding translucent doors, which are common in Japanese houses. There is a raked stage, and the director uses mirrors in order to create a sense of depth. Levine creates a nostalgic tone during scene two by using descending cherry blossoms in the background while Cho-Cho-San waits for Pinkerton. In this act, the staging is designed to show her alone, which depict’s her isolation from her world and her family, for they left her after she converted to Christianity for Pinkerton.
The opera makes use of bunraku , a style originating in Japan, which involves puppets playing the role of actual characters. Puppets were used in the production to play the roles of Madama Butterfly’s son, and Butterfly herself in a prologue to the final act.
There were some minor problems with the production of the opera. Although Patrick Summers conducted excellently throughout the opera, the voices were sometimes lost amidst the blast of the resounding orchestra. Puccini used little action in the second act. Act 2 is dragged out in order to create the sensation of anxiousness that Cho-Cho-San feels, but it is overdone to the point where the act is tiring. The prologue to act three where Pinkerton dances with a puppet, seems out of place, as if it were placed there as filler in order to enhance the feeling of anxiousness for Pinkerton’s return.
Overall, Madama Butterfly is a masterpiece, which accurately embodies emotions of love, hate, fear, sadness, desperation, and anxiety that were present during the era of the late 19th century to the early 20th century in Japan. It shines light upon the problems and struggles that the Japanese had to face during this era through Madama Butterfly’s pain and suffering. The opera will leave a lasting impression on the viewer and on society itself. Madama Butterfly is airing at the Metropolitan Opera House.
by: Eli Mordechai
A Taste of Japan in New York City
The Metropolitan Opera House filled its seats on November 11th with opera enthusiasts and virgin opera-goers alike. The classic Madama Butterfly played that night with director Carolyn Choa’s vision attached to it. The opera is set in the home of Cio-Cio-San aka Butterfly in 1904 Japan. Butterfly, a former geisha, is married off to B. F. Pinkerton, a U.S Navy Lieutenant. Pinkerton stays with Butterfly for only 3 months and then leaves to go back to America. Before leaving, Pinkerton tells Butterfly that he will be back when the robins lay their eggs. This leaves Butterfly with false hope because she is not exactly sure what Pinkerton meant. She holds on to the belief that perhaps robins lay their eggs at different times according to their country or location. Finally, after 3 years of waiting, Pinkerton arrives in Japan with his new American wife. When Butterfly comes face to face with Pinkerton’s wife, she is overcome with emotions. The opera comes to a close with the dramatic results of Butterfly’s heartbreaking decision.
When I arrived to the Opera House, I was very disappointed to find out that the lead performers were absent from the stage and in their place were their understudies. Patricia Racette, who normally plays Butterfly, was performed by Maria Gavrilova and Roberto Aronica’s usual role, as Pinkerton, was replaced by Marcello Giordani. However, Giordani’s vocals were not unfortunate at all. His voice boomed from the stage all the way to the balcony. I had no complaints with Aronica’s understudy. Yet I can’t say the same for Racette’s. Gavrilova’s voice is certainly powerful and she was definitely able to hit the high notes that were needed from her but as Butterfly, she was far from believable. A voice as strong as Gavrilova did not suite the delicate naïve character of Butterfly. Hopefully, Mrs. Racette is never sick on a performance night again or I would suggest trading in your ticket for another night. Butterfly sings almost non-stop throughout the opera. To have someone portray her character in an unconvincing way is more than just a let down.
Besides that disappointing aspect, Madama Butterfly came to life in many spectacular ways. The set design by Michael Levine captured the essence of Japanese culture magnificently. The use of only shoji screens as the set for Butterfly’s house emphasized the simplicity of the Japanese way of life. In those 3 years of waiting, Cio-Cio-San felt very alone. The bareness of the stage captivated her loneliness and isolation.
Levine’s set design, Carolyn Chao’s choreography and Peter Mumford’s lighting design combined wonderfully during the after-wedding scene. Coi-Coi-San shyly avoids Pinkerton’s advances through a maze of Japanese lighted paper lanterns. Stagehands, dressed head to toe in black, held the paper lanterns and danced swiftly about the stage. This gave off the illusion that the lanterns are dancing in mid air. The scene ended with a passionate kiss between Pinkerton and Butterfly while a backdrop of pink sakura petals fell gently from the sky.
The opera also included puppetry from the Blind Summit Theatre and detailed costume design by Han Feng. The whole production was visually unforgettable from start to finish. Madama Butterfly is now playing at the Metropolitan Opera between West 62nd and 65th Streets and Columbus and Amsterdam Avenue. Go see this performance if you want a taste of Japan without the nuisance of airport security and the high cost of flying.
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