Madame Butterfly
★★★★I★
COMPARING the moderate turn-out for the return of the Welsh National Opera with a brand-new modern setting to the old favourite Madame Butterfly, to the numbers who greeted traditional productions of Grease and 9 to 5, it appears that Bristol audiences are playing safe supporting what they know rather than taking a chance on something new and innovative.
Visually Lindy Hume’s production – first seen only last month in Cardiff – set against a stark white background on Isabella Bywater’s revolving two-storey futuristic skeletal house, is about as far divorced from a traditional Madame Butterfly set as you can get.
This change of venue is emphasised by the modern costumes, with the occasional throwback to the 1960s; Butterfly’s bridesmaids in flared miniskirts, and knee-high white plastic high-heeled boots.
Taking advantage of Eleanor Higgins’ imaginative lighting plot, Lindy Hume achieved some excellent dramatic moments, but there were moments when the frequently moving set, which lacked the elegance, as did the costumes, of a traditional presentation, became intrusive, and you longed for some quiet and stillness.
Whatever your reaction to the visual aspects of the production – thrilled and excited or irritated in turns – there can be no argument as to the musical quality of the production, which was of the highest quality throughout.
Despite looking rather mature for a 15-year-old in the opening scenes, Joyce El-Khoury created a wonderfully vulnerable Cio-Ciosan, one minute a delicate flower easily trampled in the dust, the next ferocious in her defence of her child and absent husband.
She took the beautifully created character into each vocal challenge seamlessly, blending with fine balance with Leonardo Caimi’s equally well-balanced Pinkerton. With his easy-going manner, Leonardi Caimi made Pinkerton more thoughtless than the weak, selfish man we often see.
With Mark Stone providing a sympathetic Sharpless, a fine array of supporting roles and the WNO chorus handling their limited opportunities with aplomb, vocally the production was in good hands.
And behind them all providing outstanding support, was the WNO Orchestra, under the experienced beautifully restrained hand of conductor Carlo Rizzi. From the very first to the last note they were a joy to listen to.
Those who missed out on seeing the production on opening night have a second chance to catch up with it today.