Opera Review
ENO
English Translation by David Parry Directed by Anthony Minghella Original Choreographer and Associate Director - Carolyn Choa Conducted by David Parry Set Design by Michael Levine Costumes by Han Feng Puppets and Puppetry by Blind Summit Theatre
A review by Mary Couzens for EXTRA! EXTRA!
It is a rare case indeed when a production of an opera which has been performed intermittently for as many years as Puccini’s classic Madam Butterfly, written in 1902, is unanimously declared to be the definitive version. Yet, this double Olivier Award winning production, (Best New Opera and Achievement in Opera 2005) the imaginative vision of acclaimed film director Anthony Minghella and Associate Director Caroline Chao, now in revival at London Coliseum is, without doubt, such a case. American Naval Lieutenant Benjamin Franklin Pinkerton rents a house on a hilltop in Nagasaki where he is stationed, which, not only offers unprecedented views of the harbor, but also, a 999 year lease with an option to cancel at any time. To enhance this lovely lookout point, he takes a bride – fifteen year old geisha Cio-Cio-San or ‘Madam Butterfly,’ the loveliest girl he has ever seen, who has declared her undying love for him. In Japan, near the turn of the 20th century, when the opera is set, once deserted, wives were considered, after a brief period of abandonment, to be divorced. This law offers just the incentive needed for a fickle, self-serving man who secretly declares to the American Consul at his wedding to Butterfly that he will take a ‘real bride’ of his own nationality once he returns to his homeland, ‘God’s America’ for good.
Judith Howarth as Madam Butterfly / Gwyn Hughes Jones as Pinkerton Photo copyright Alistair Muir and ENO
One wonders if the compelling storyline of Puccini’s Madam Butterfly, written in 1902, has any basis in fact, apart from the widely acknowledged idea that the West was, then, intrigued with exotic notions of the ‘East,’ particularly the Orient. At that time, ‘marriages’ such as the one between Cio-Cio San aka Madam Butterfly and Pinkerton were common in Nagasaki, as they would soon become in other Japanese ports. Nevertheless, while Puccini was in London in the wake of his success with Tosca in 1900, he attended a performance of a dramatic one act play by David Belasco entitled Madame Butterfly, in which a despondent geisha commits suicide. It was the concept of the clash between Eastern and Western cultures alluded to in the play, however, which fascinated him most, and it was from this perspective that he began to compose Act I of his opera, in which a marriage is planned and Butterfly and Pinkerton wed. As the opera took shape, Puccini realized that the real twist lay in Cio-Cio San’s fervent interest in Western ways, a notion which, was to impact upon his final composition more than he’d originally anticipated. Coincidentally, or perhaps, serendipitously, it was around the time that he began to write his opera, Madam Butterfly that Puccini attended performances in Milan by the first travelling Japanese theatre troupe to ever perform abroad, featuring famed geisha, Sadayakko, the riveting experience of which, it is supposed, enabled the composer to add flesh to the bones of his youthful feminine protagonist. This powerfully emotive production never loosens its hold on dramatic impact for one moment, shifting as smoothly as the panels of its uncluttered set from joy to sorrow, with brief forays into hope and anguish on the way to its inevitably tragic conclusion. To say it is a visually stunning production would definitely be an understatement, as its astounding sets and lighting have already made indelibly unforgettable impressions on the consciousness before the awe-inspiring entrance of Madam Butterfly herself, seemingly, in silhouette against a striking red background, moving slowly down the polished black ramp to the stage below, beneath an angled mirrored ceiling, displaying the spread of her prophetically dark ‘wings’ from above. One seriously wonders whether Judith Howarth has taken lessons in how to move and behave like a teenage girl from a Kabuki master, as, despite the fact that she is not a young woman, she is thoroughly convincing as both fifteen year old bride and, eighteen year old mother three years on. Her thrilling voice and impressive emotional range as singer and actress are simply, unparalleled, so much so that the audience seemed completely enthralled with her every scene. In light of Ms. Howarth’s mesmerizing performance, it is difficult if not impossible to believe that she is making her debut in her role for the ENO in this revival. Her moving rendering of Madam Butterfly’s increasingly sorrowful sequences of the opera’s powerfully poetic libretto by Giuseppe Giacosa and Luigi Illica, here, in a lyrical English translation by David Parry, who also conducts, is heart-wrenchingly unforgettable.
Judith Howarth as Madam Butterfly Photo copyright Alistair Muir and ENO
Gwyn Hughes Jones brings late operatic star Lucianno Pavorotti to mind in both stature and presence as he revises his role as Butterfly’s fatally charming American, B.F. Pinkerton, wooing the audience along with his intended, becoming universally vile once he has revealed his self-serving plan to the American Consul during a toast between the two prior to his ‘marriage’ to his unsuspecting bride.
Gw y Gwyn Hughes Jones as Pinkerton / Ashley Holland as Sharplessa - Photo copyright Alistair Muir and ENO
As Hughes Jones as Pinkerton sings of his unbridled passion for his woman-child wife, one cringes in light of his character’s covert, sinister intentions towards his trusting teenage bride. The fact that this unfairly angled situation may be based upon historical realities of a similar nature only serves to heighten its tragic implications. Karen Cargill makes a very impressive ENO debut as Suzuki, Butterfly’s loyal maid and surrogate mother figure. Her singing and acting counteract that of her mistress beautifully and inspired much well-deserved applause on her re-appearance at the end of the opera. Hers is an integral role which allows viewers more insight into the true character of her young mistress, and she performs it most admirably, with great warmth and depth of feeling. Ashley Holland gives a fine performance as Sharpless, the American Consul who is grieved by his fellow countryman’s nonchalance towards the well-being of his youthful Japanese bride. And Christopher Gillet as Goro, Paul Whelan as the Bonze and William Berger as Yamadori, a rich man who longs to marry Cio-Cio San all add colour as well as welcome levity with their amiable performances.
Paul Whelan as the Bonze with Bunraki dancers Photo copyright Alistair Muir and ENO
Michael Levine’s wonderfully sparse, yet imaginatively spacious Set Designs reflect the frugal ambiance of Japanese theatre, particularly as they are composed from materials generally associated with Japan, such as paper, wood and bamboo. The reflective floors and ceilings of his designs accentuate the vibrantly coloured, ravishing Costume Designs of Han Feng to shimmering perfection. Peter Mumford’s beautifully realized Lighting Design is, without exception, the most effective this reviewer has ever encountered. His way of blending realism with just the right amount of the surreal not only lends mystery but enhances each emotion within the huge pallet encompassed during the course of the opera. Conversely, from a colour perspective, the ingenious Bunraki, a mysteriously dark clothed troupe of actors and dancers silently manage the handling of lanterns, sliding screens, origami birds and other props throughout, never intruding, but always, enhancing. An amazingly emotive, surprisingly scene stealing, life-sized puppet created and handled by talented Blind Summit Theatre portrays Butterfly’s three year old son, Sorrow with a fragility and grace that may not have been possible through the use of a ‘real’ toddler. Scenes between Sorrow and his sad young mother are among the most poignantly moving in the production. Puppeteers Mark Down and Nick Barnes of Blind Summit are to be commended for their finely tuned work, which I’ve witnessed and appreciated before, but never on so impressive a scale.
Blind Summit Theatre / Judith Howarth as Madam Butterfly / Karen Cargill as Suzuki Photo copyright Alistair Muir and ENO
Anthony Minghella, the original director of this magnificent, award winning production, perhaps, best known for his similarly lauded direction of the intriguing film The English Patient (1996), almost seems to have observed his work from an attentive, frame by frame perspective, as each exquisite moment adds greatly to the riveting whole. Carolyn Chao, the production’s original, Olivier Award winning Associate Director, along with Minghella, and Choreographer takes the directorial reins for this revival, providing masterful input, with vividly memorable results, particularly in regard to her impressive direction of supremely talented Judith Howarth as Madame Butterfly. Not only does proper attention to movement play an integral part in every scene, but similarly, the pauses in-between are also seamlessly realised which, is essential to the overall impact of the opera’s Oriental themed storyline. The orchestra carries both singers and audience along on the glorious waves of Puccini’s electrifying score, under the accomplished conducting of the production’s original maestro, David Parry, who graciously applauded his musicians when he joined the cast onstage to take his bows. This production of Madam Butterfly is truly, the stuff of operatic legend, in that it scales heights one may formerly, only have hoped opera could. It also takes one far away from the everyday, to another place and time, one in which Sorrow resides forever in a lonely Butterfly’s heart.
Judith Howarth as Madam Butterfly holding ‘Sorrow’ with Blind Summit Theatre Photo copyright Alistair Muir and ENO
Performance dates: 31 Jan; 8 / 14 / 17 (Sunday mat 3.00pm) / 20 / 26 / 29 Feb; 5 / 7 March 2008
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