Glyndebourne, 2018
Omer Meir Wellber, Annilese Miskimmon, Olga Busuioc, Joshua Guerrero, Carlo Bosi, Elizabeth DeShong, Michael Sumuel, Jennifer Witton, Eirlys Myfanwy Davies, Adam Marsden, Oleg Budaratskiy, Simon Mechlinski, Ida Ränzlöv, Shuna Scott Sendall, Michael Mofidian, Jake Muffett
Culturebox - 21 June 2018
Opera houses don't tend to get adventurous when it comes to Madama Butterfly, but there have been some interesting new looks at one of Puccini's most popular works. La Scala in Milan went right back to the original 'failed' 1904 version of the opera that Puccini was forced to rewrite, which was fascinating even if in the end it still played mostly to the conventional locations and imagery. A more abstract Madama Butterfly at La Monnaie in 2017 on the other hand certainly stripped it back of its kitsch Japanese elements and expectations only to prove that most of those elements and the melodrama may be integral to the opera, and it won't work without it. Madama Butterfly almost demands 'safe' by definition, as any attempt to tinker around too much with expectations is unlikely to play well with its target audience.
Madama Butterfly and even the selection of it is surely more a consideration of providing a safe choice for Glyndebourne audiences (and as a touring production) than for any desire to artistically explore the work for new meaning. Annilese Miskimmon's production however makes one or two concessions towards modernisation, placing it in a different period and context that seeks to highlight certain harsh realities and truths of its subject. She tries to strike a balance that attempts to bring it a little more up to date rather than appearing to be a situation so far removed from familiar modern attitudes as to appear as almost fantasy, but there's also clearly a necessity not to throw Butterfly out with the bathwater.
Act I doesn't differ greatly from any traditional representation of the marriage scenes. It's a 50s' setting, where Goro's Marriage Bureau handles matches for US troops with Japanese brides after the war, a situation that is a little more relatable, even if it still carries implications of inequality. Projections are used showing genuine documentary newsreel footage: "Yanks Marry Japanese Maids", with the new brides given instruction on "Learning to be an American Wife". It's perhaps not exactly the same situation as Cio-Cio-San, but even if it's presented in contrast it does highlight the reality. Or if not so much a reality, selling the American dream as a reality. There's no real commentary or emphasis placed on the ethics of it all however, on Pinkerton marrying a 15 year old, collecting her like a butterfly or even commentary on the American imperialism side of things here. It leaves the match it open as if it's something that both parties go into in good faith. The real test of the marriage and the production will come later and there's plenty of opportunity there to feel outrage.
In line with the tone of Puccini's music, Act II does indeed mark a strong contrast to Act I. Butterfly has adopted American lifestyle big time, not just in little details of her manner of western dress, but in her confidence and attitudes as well. Or rather it's more like rather a Japanese view of American life that is influenced by the Technicolor melodramas of Douglas Sirk, and I can't imagine any film director who is closer to the sentiments of Madama Butterfly than Douglas Sirk (although you could try Mikio Naruse or Kenji Mizoguchi if you were going for a more authentic view of the perspective of a Japanese woman rather than an American director - or even Yasujiro Ozu's later colour films which show the creeping influence of America on Japanese life in the 1950s). So from that point of view, the 1950s' Sirkian setting works perfectly, working with the light, the colour and the seasons, as leaves fall and darkness draws in.
Thereafter it's wiser to just let Puccini do his work, and this production does just that. Conducted by Omer Meir Wellber, it felt like a relative straightforward interpretation of the score, but there were a few nice touches that worked with the mood and the production. I'm not sure what instrument usually plays the melody in the Humming Chorus, but here it has the distant melancholic sound of a harmonica playing that feels appropriate. It may not be inspiring or inspired, but it's certainly successful in getting across the intended impact and message of the opera. You can't work against Puccini without defeating the purpose of the work and to do that would not only be failing the opera and failing the audience, but in many ways you're failing Cio-Cio-San and many like her in real life over the years.
You'd need to be made of stone to get through Act III unmoved here, the trio of Sharpless, Suzuki and Pinkerton, the choking sobs that are the only answer's to Butterfly's question "Quella donna, che vuol da me?", and the recognition that "Tutto è finito". Watch it through a wet blur, which is as it should be. Which is as much to the credit of the singers here as Puccini. It only really carries that urgency if the director can make the characters real and for there to be anguish and sympathy on all sides. Often Pinkerton is made out to be a villain, and that can spur indignation at his treatment of Cio-Cio-San. Some, including Miskimmon, see it more as a human failing, the Pinkerton of three years later not so much regretting his fake marriage as realising that it was never realistic. It doesn't mean that he is blameless, but it helps to see all sides, and that's what this production seems to be able to balance well, finding the true emotional weight of each.
As such, it's easier to admire the heartfelt performance of Joshua Guerrero's Pinkerton here. It's a little 'operatic' but in the context of a Sirkian response to Puccini it's acceptable and effective. Olga Busuioc handles Cio-Cio-San just as well, if rather holding to the conventional mannerisms and gestures. The experienced Carlo Bosi as Goro, Michael Sumuel's Sharpless and Elizabeth DeShong's Suzuki all support the leads well, although the latter may be a little too emotionally overwrought. Again however, it's to be expected, the cast fulfill what we expect of them, the director and conductor giving us the full Puccini, and the resulting impact is not unexpected either.
Links: Glyndebourne, Culturebox
