After the Met's deeply disappointing production of 'Manon Lescaut', directed by Richard Eyre, back in March despite superb orchestral playing and conducting and solid performances, there was the hope that this revival of late film-maker Anthony Minghella's production would be much improved. Much to this reviewer's relief it was.
'Madama Butterfly' is a very moving, if sometimes implausible, opera and contains some of the most beautiful music that Puccini ever wrote (the Act 1 love duet, the Humming Chorus, "Un Bel Di Vedremo" and the final scene particularly). It is blessed with a strong recording competition, and on DVD the only one not really worth bothering with is the visually ugly and distasteful Daniela Dessi production, which was like "Madama Butterfly goes to insect land".
This is a truly wonderful production of 'Madama Butterfly', and won't be easily forgotten, probably will go as far to say that it is one of the better productions of 'Madama Butterfly' personally viewed. While the original production was very good, because of stronger leads and the touches that didn't quite do much for me first time round but came over better here in the revival (i.e. the controversial use of puppetry).
It is a very striking production visually, some may find the sets on the bare side but to me they were atmospheric and made more interesting than they could have been by the clever way they're used (especially with the magical sliding doors and the mirror), the dazzling lighting and the bright sumptuous costuming. The production is staged very compellingly too, immediately striking being how affectingly nuanced the many intimate scenes were (with the final scene being an emotional tour-De-force) and the clever and very stylish choreography that helped solve potential problems in the storytelling. You couldn't have asked for a more cinematic entrance for Cio-Cio San either, and the interactions and chemistry between the performers is admirably naturalistic. The puppetry was not a distraction this time round, instead having a haunting humanity.
On a technical front, the production acquits itself just fine. The high definition is splendid as ever, with the video directing being refreshingly cinematic and the picture quality clear as crystal. The sound quality is clear and resonant, allowing the viewer/listener to fully savour Puccini's music. Deborah Voigt's hosting is charming and poised, and the interviews are fun and quite interesting if not completely illuminating.
This production couldn't have been better musically, if there were any sore spots they weren't obvious to me. The orchestral playing is rich and warmly beautiful in tone, while the tenderness, lyrical sweep, dramatic tension, passion and nuances all come through. The chorus sing ravishingly, with great musicality, phrasing and diction and there are no obvious balance issues. Their stage manner is very involved and hardly static, the Met Chorus over time have grown considerably over time and their acting is much more individual generally. Karel Mark Chichon's conducting (one of the improvements over the original production), very much like the character of Sharpless, is firm but also sympathetic.
Kristine Opolais may not be entirely convincing dramatically as a teenager, but that doesn't stop her from giving a wholly committed, impassioned and truly heart-rending account of the title role. Her singing has a gleaming yet dark beauty that shines especially in the final scene and "Un Bel Di Vedremo". It is not easy giving likability and charm to one of opera's most dislikeable tenor (overall too) characters (Pollione from 'Norma' is right up there too), but Roberto Alagna manages to do so remarkably well. He is also in great voice, ringing and masculine yet he's gentle when needed while his phrasing, musicality and diction are right on point. He and Opolais have strong chemistry together, looking much more at ease and more like lovers in the Act 1 Love duet in this production than they did in 'Manon Lescaut', and blend beautifully in the duet as well.
Maria Zifchak sings very warmly and is in better voice than she was in the earlier Met HD production six years earlier. She is very touching as Suzuki, and her sympathetic, firm and affecting reactions to Cio Cio San resonates every bit as much as their chemistry together. Dwayne Croft is along with Juan Pons the most sympathetic and nuanced Sharpless since perhaps Giorgio Zancanaro, and he brings a gruff firmness to the role too. His singing is mellifluous and as sturdy as an oak. In smaller roles, Tony Stevenson is an enjoyably serpentine Goro, and while characterful his singing is more attractive than most singing the role, and Stefan Szkafarowsky booms ominously as Bonze. Yamadori and Kate are good.
Overall, wonderful performance that improves on the original production. Won't be easily forgotten. 10/10 Bethany Cox
'Madama Butterfly' is a very moving, if sometimes implausible, opera and contains some of the most beautiful music that Puccini ever wrote (the Act 1 love duet, the Humming Chorus, "Un Bel Di Vedremo" and the final scene particularly). It is blessed with a strong recording competition, and on DVD the only one not really worth bothering with is the visually ugly and distasteful Daniela Dessi production, which was like "Madama Butterfly goes to insect land".
This is a truly wonderful production of 'Madama Butterfly', and won't be easily forgotten, probably will go as far to say that it is one of the better productions of 'Madama Butterfly' personally viewed. While the original production was very good, because of stronger leads and the touches that didn't quite do much for me first time round but came over better here in the revival (i.e. the controversial use of puppetry).
It is a very striking production visually, some may find the sets on the bare side but to me they were atmospheric and made more interesting than they could have been by the clever way they're used (especially with the magical sliding doors and the mirror), the dazzling lighting and the bright sumptuous costuming. The production is staged very compellingly too, immediately striking being how affectingly nuanced the many intimate scenes were (with the final scene being an emotional tour-De-force) and the clever and very stylish choreography that helped solve potential problems in the storytelling. You couldn't have asked for a more cinematic entrance for Cio-Cio San either, and the interactions and chemistry between the performers is admirably naturalistic. The puppetry was not a distraction this time round, instead having a haunting humanity.
On a technical front, the production acquits itself just fine. The high definition is splendid as ever, with the video directing being refreshingly cinematic and the picture quality clear as crystal. The sound quality is clear and resonant, allowing the viewer/listener to fully savour Puccini's music. Deborah Voigt's hosting is charming and poised, and the interviews are fun and quite interesting if not completely illuminating.
This production couldn't have been better musically, if there were any sore spots they weren't obvious to me. The orchestral playing is rich and warmly beautiful in tone, while the tenderness, lyrical sweep, dramatic tension, passion and nuances all come through. The chorus sing ravishingly, with great musicality, phrasing and diction and there are no obvious balance issues. Their stage manner is very involved and hardly static, the Met Chorus over time have grown considerably over time and their acting is much more individual generally. Karel Mark Chichon's conducting (one of the improvements over the original production), very much like the character of Sharpless, is firm but also sympathetic.
Kristine Opolais may not be entirely convincing dramatically as a teenager, but that doesn't stop her from giving a wholly committed, impassioned and truly heart-rending account of the title role. Her singing has a gleaming yet dark beauty that shines especially in the final scene and "Un Bel Di Vedremo". It is not easy giving likability and charm to one of opera's most dislikeable tenor (overall too) characters (Pollione from 'Norma' is right up there too), but Roberto Alagna manages to do so remarkably well. He is also in great voice, ringing and masculine yet he's gentle when needed while his phrasing, musicality and diction are right on point. He and Opolais have strong chemistry together, looking much more at ease and more like lovers in the Act 1 Love duet in this production than they did in 'Manon Lescaut', and blend beautifully in the duet as well.
Maria Zifchak sings very warmly and is in better voice than she was in the earlier Met HD production six years earlier. She is very touching as Suzuki, and her sympathetic, firm and affecting reactions to Cio Cio San resonates every bit as much as their chemistry together. Dwayne Croft is along with Juan Pons the most sympathetic and nuanced Sharpless since perhaps Giorgio Zancanaro, and he brings a gruff firmness to the role too. His singing is mellifluous and as sturdy as an oak. In smaller roles, Tony Stevenson is an enjoyably serpentine Goro, and while characterful his singing is more attractive than most singing the role, and Stefan Szkafarowsky booms ominously as Bonze. Yamadori and Kate are good.
Overall, wonderful performance that improves on the original production. Won't be easily forgotten. 10/10 Bethany Cox
