Madam Butterfly

by Giacomo Puccini, libretto by Giuseppe Giacosa and Luigi Illica

seen at the London Coliseum on 29 February 2020

This is ENO's revival (by no means the first) of Anthony Minghella's 2005 production (here directed by Glen Sheppard), with Natalya Romaniw as Cio-Cio-San (Madam Butterfly), Stephanie Windsor-Lewis as Suzuki, Dimitri Pittas as Pinkerton and Roderick Williams as Consul Sharpless; set design by Michael Levine and costumes by Han Feng. 

Though slightly controversial at the time for introducing Japanese-style puppet-masters to manipulate a doll-figure representing Butterfly's infant son, this production has evidently become a favourite - the house was packed; and actually the puppetry makes for some very affecting scenes towards the end of the opera. The overwhelming impression is of restrained but intensely aesthetic splendour, as we are presented, in effect, with the interior of a black lacquer box in which all the action takes place. The opening is at the back, with behind it a white screen on which various colours representing the mood of the scene or the time of day are projected, giving an effect like James Turrell's sculptures in light. Into this space Cio-Cio-San emerges bathed in light, dressed in white with great red ribbons trailing behind her, performing an intricate dance in complete silence before the conductor (Martyn Brabbins) has even lifted his baton. It's an arresting image, and stylised movement combined with gorgeous colour effects dominate the presentation of all the Japanese characters, without resorting to ill-informed caricature. In contrast the Americans are soberly clad; even Pinkerton's dress uniform cannot compete. The inexcusable shallowness of his approach is all the more painful when contrasted with the deep sincerity of the naive Butterfly as expressed here in graceful ritual.

The story is one of exploitation, and of Western exploitation of a fantasised Orient at that. Pinkerton's early insouciance is grating; his impassioned duet after the marriage may lull suspicion, but his almost immediate desertion - no doubt easily justified by the departure of his ship - is a harbinger of future betrayal. To modern ears his breast beating remorse when he brings his 'proper' American wife with him and proposes to 'adopt' his own child, just sounds like massive self-indulgence, and one can hardly believe that Kate Pinkerton will be a contented sailor's wife.

Everything thus depends on our reaction to Butterfly herself. Of course an accomplished singer can hardly convince as a fifteen-year-old, but this minor quibble aside, the opera shows a young woman facing a bitter experience of disillusionment, and Natalya Romaniw rose to the occasion magnificently, with a commanding stage presence and a perfectly controlled voice. Her radiant love, her obsessive faith in her husband's return, her steely resolve to wait for him overnight once she knows his boat is in the harbour, her momentary brokenness when forced to confront his demand, and her final determination to act with honour, are all beautifully portrayed. Surrounding her is the exquisite setting, with white sliding screens creating domestic spaces, gently swaying lanterns forming an idyllic night sequence for the love duet, a curtain of leaves descending slowly cross the stage poignantly indicating both the beauty of nature and its evanescence at the close of the first act. 

Stephanie Windsor-Lewis as Suzuki provided a loyal and troubled maid, while Roderick Williams invested Consul Sharpless with a warm sympathy blocked by his powerlessness to influence or advise Pinkerton; Katie Stevenson in the brief scene allotted to Kate Pinkerton managed to convey the kaleidoscope of emotions experienced by a character whose life experience could well be the subject of an opera in its own right.

Though I had seen this production once before (possibly in its first season; certainly not long afterwards) I had forgotten the powerful impact it makes with this almost perfect fusion of music and spectacle; it was a great pleasure to see it again.