Opera Bohemia: Madama Butterfly
St John’s-Renfield Church, Glasgow - 02/08/23
Alistair Digges, conductor
It is just under a year since I reported on Opera Bohemia’s hilarious Fawlty-esque English-language adaptation of Mozart’s ‘Marriage of Figaro’ and I am pleased to review this Summer’s Tour of the same chamber company’s 2012 abridged adaptation of Puccini’s Madama Butterfly, sung in Italian, from the same venue, St John’s-Renfield Church in Glasgow, on Wednesday 2nd August.
The setting is modernised with mobile phones and emails. The sleazy Goro becomes an internet bride agency rep from the USA, for example. The simple but effective set (designer, Magnus Popplewell) evokes a retro Japanese interior with black wooden lattice holding cream paper panels for the walls and doors, but the sliding doors are automatic with a remote control. A couple of retro chairs, an occasional table, and ever-changing flowers, augmenting the rich thread of floral imagery that permeates the libretto, complete the visual elements. The bedchamber behind one of the paper walls projects silhouettes when backlit. A screen with English surtitles tops the centre panel of the set.
The reduced orchestral score is expertly played by the tiny Opera Bohemia Ensemble with just 2 violins, viola, cello, double bass, flute, oboe, clarinet, bassoon, horn and “piano”, directed by Alistair Digges. The inverted commas denote my belief that a digital instrument was employed, because Puccini’s exquisite harp part was rendered verismo and must have been synthesised (keyboard, Andrew Brown). In the absence of a chorus, the Humming Chorus in Act II was played as a violin solo by Colm Ó Braoin, if anything, heightening the irony of the peaceful night before the heart-breaking tragedy reaches its dénouement. Does verismo grand opera work in reduction? True that so much of the sumptuousness of Puccini’s scoring is lost but, on the other hand, new clarity of detail is found, while the pathos written into the dialogue between singers and orchestra becomes more poignant. It’s a ‘yes’ from me. That should not be taken to mean that I’ll ever want to pass up on an opportunity to hear Puccini Full Monty, though.
Puccini in performance is all about tugging at the heartstrings of the listener. That is my excuse for unashamedly and subjectively judging any such performance by how effectively it tugs at my heartstrings and, even on those terms alone, this was an excellent performance. John Leo Wilkie’s direction drew out some stellar vocal and acting performances. Catriona Clark as Cio-Cio San was totally convincing as naïve adolescent, hesitant yet committed lover, fierce and insistently loyal defender of a feckless husband, devoted mother and, of course, ultimately betrayed and heartbroken suicide; in a vocal performance where flawless phrasing and breath control were supported by equally projective facial expression and body language. ‘Un bel di’’ was, as ever, a show-stopper, but actually her whole performance was top-drawer. Louise Collett was a superb Suzuki, wise, solicitous and empathetic, fiercely defensive of Butterfly and suspicious of the men, daring to challenge Butterfly’s credulity and ultimately projecting a heartbreak that was no less real, with another fine vocal and acting performance. Whitaker Mills’ rich baritone was a ruefully prophetic Sharpless, aware of the enfolding tragedy, racked by guilt at his part in it and inability to avert it – A great voice and stage presence used to ominous effect. The anti-hero B. F. Pinkerton is a role full of contradictions: infatuated yet callously planning betrayal from the outset, intelligent yet emotionally illiterate, ultimately guilt-ridden yet unrepentant. Cameron Mitchell met the challenge and delivered a fine vocal performance. And acting? Well, at the end, he got a resounding pantomime “Boo” from the audience – the ultimate accolade for an anti-hero. Seumas Begg was a stylish sleekit Goro, while Ines Mayhew-Begg was the ‘not insensitive but not entirely innocent’ Kate, Pinkerton’s American fiancée, both vocally and visually very persuasive. Robert Nairne-Clark, 7-year-old son of baritone Douglas Nairne (producer/admin/translator offstage in this production) and soprano Catriona Clark (Cio-Cio San) was adorable as Butterfly’s child (Dolore) to Pinkerton. No wonder the mother-and-child moments were so real.
There were many other special directorial moments, but two in particular stand out for me as meriting special mention. Near the end of Act II, following ‘Tutti i fior?’, Suzuki brings all the flowers in from the garden but, instead of an exercise in Japanese flower-arranging, she, Butterfly and Dolore strew them about the floor in joyous gay abandon, in anticipation of Pinkerton’s return. Supremely joyful and full of hope, building a contrast for the despair to follow - genius. The second moment, near the end, when Butterfly realises the betrayal and dismisses Suzuki to be alone, she stands motionless with her back to the closed sliding door, arms stretched out horizontally to the side and partially backlit. Crucifixion. Bearing in mind that she has abandoned her own Buddhist faith in favour of Pinkerton’s Christianity, this is a powerful image. Also, genius.
Opera Bohemia continues to punch well above its weight. This production tours Scotland (including, for the first time, the Outer Hebrides) until 19th August. Highly recommended.