Silky tones bring this Butterfly to glorious life
Madam Butterfly (English National Opera) Verdict: Return of a classic production ★★★★✩
THIS is the ENO at its best. After the appalling new Luisa Miller, how good to see this sensitive 2005 staging refurbished, with two outstanding performances, including Butterfly herself.
Welsh-born, American-trained soprano Natalya Romaniw has already proved how well she can sing Puccini, and she rises to new heights of pathos and emotional intensity as the trusting Japanese girl deserted by a callous Yankee sailor. She has dignity, too.
Roderick Williams is wonderfully sympathetic as the American consul Sharpless.
Puccini gives his baritones little to work with, and since the days of Antonio Scotti, blessed few have brought this role to life.
Williams with his silky tone and intelligent acting is one.
Opera buffs will find New Yorker Dimitri Pittas a bit ordinary (or should that be ornery?) as the caddish Pinkerton. He is at his best when singing out, but elsewhere has an inflexible tone.
Stephanie Windsor-Lewis is marvellous as the faithful Suzuki. But in the key role of the marriage broker Goro, Alasdair Elliott seems to have wandered in from The Mikado — he needs to sharpen up his portrayal.
The production, also on in New York, is one of Anthony Minghella’s best legacies, sensitive to all nuances. Michael Levine’s spare but effective set is beautifully lit by Peter Mumford, and Han Feng’s costumes are ideal.
Clever use is made of Bunraku puppetry and the dancing is nicely integrated. The one false step is putting a second interval after the Humming Chorus.
Martyn Brabbins mostly conducts with his usual flair, but some passages need tightening. The orchestra and singing are excellent, though.
Anyone who loves this opera should not hesitate to see it.