Reviewed by Regina Su
Puccini’s
Madama Butterfly is now playing at
the Sydney Opera House and to miss this would be more than an irreversible
regret. The costuming was detailed in silk creating a sense of sensous
voluptuousness. Visually, this opera was spectacular, easily the most stunning
show I have ever had the privilege to watch. Subtle breezes over the stage sent
white curtains billowing, the water moat around the raised stage was used to
float tea-light candles. Somehow, the opera crew created a sacred and stunning
space, something so breath-taking that ladies in the row in front of me were
actually in tears at the performance.
But
it’s not just the staging that can evoke the use of a tissue, it’s the whole
atmosphere. When the lights are dimmed, they reveal the pinpricks of a starry
night, and a perfect moon overlooking one of the most romantic and tragic love
stories of all time. The entire show was like witnessing a picturesque Japanese
post card and the lighting was totally flawless. I was seated where surtitles
could not be seen, but this was not an issue. At one point, a letter of bad
news is read out. Butterfly’s face lights up with energy, passion and
excitement and the stage is awash in pink. Later, the same letter reads a great
tragedy for Butterfly- her beloved American soldier has since married in the
US. Her face darkens, as the lighting changes dramatically to deep blues and
greens and I felt a heart-breaking pain; I had invested so much emotional
energy in Madama Butterfly.
Puccini’s opera is
recognisable, hum-able and so very poignant. Commendation to the actor who
played Madama Butterfly’s son- he was so perfect and gut wrenching in his
silent performance of love for his mother. As we watch Butterfly await the return
of Pinkerton that will never happen, we watch her suspense, her loving devotion
and adoration. She smiles, but there are tears in her eyes. Her dedication to
the dream that is Pinkerton is manic, borderline lunacy and we feel so much
sympathy for this Japanese woman wronged by a marriage of convenience. We had
invested so much in Butterfly’s story that when Pinkerton came to bow onstage
in the finale, the audience in fact boo-ed him off, (all in jest of course). The
show has a sad nostalgia, a tragic loss of a romantic ideal, a sensual and
perfect night of Opera. I cannot regard this performance more highly.
Performance dates: 20th September until the 1st
of November.
