Madama Butterfly – Flying High Since 1904

Premiered to derision and howls of disapproval when it was first aired at Italy’s La Scala in 1904, Madama Butterfly continues to defy history as it reaches new heights of popularity with every passing decade.

Ellen Kent’s popular ‘trio’ productions at Bradford’s Alhambra – she invariably stages three operas back-to-back between Friday and Sunday night – continue to attract large audiences, testimony to this female tour de force who has genuinely taken opera to the masses for nigh on four decades.

And last night’s opener, Puccini’s Madama Butterfly, invariably dubbed the inspiration for that more recent copycat, Miss Saigon, saw the wonderful Korean soprano, Elena Dee back in the title role.

It’s as if she draws inspiration from her very soul, calling on every emotion across two hours during this marathon role. But, she pulls it off in style.

I first saw Dee many years ago in that other Puccini favourite, La Boheme in which she played Mimi. Since then, she has matured as a performer under the wing of Madama Kent.

Puccini’s Madama Butterfly orchestration, once the source of much criticism until he trimmed it down and determined to stick to a Two Act format – he had dallied with a Three Act version until critics advised him against it – is divine and, at just 46, some would argue that he was at the height of his powers in 1904.

However, when you close your eyes to listen to the music, you miss the Giacosa Illica libretto but, read that, and you are in danger of putting the music second! Either way, there is plenty of meat on the bone to salivate over!

The story is not unduly complicated.

Pinkerton, an American naval officer (Vitalii Liskovetskyi), falls in love with a Japanese geisha girl, Cio-Cio-San (Elena Dee) known as Butterfly, and goes through a ceremony of marriage with her, despite the warning of the American Consul, Sharpless (Vitalii Cebotari).

Pinkerton goes back to America, but Butterfly waits for his return with their child Sorrow and her servant Suzuki (Mariia Davydova). He finally returns with his new American wife and, learning that he has a son, wants to take him back to the US. The grief-stricken Butterfly kills herself.

During Act II when Cio-Cio San, is waiting for Pinkerton’s return, it is a gut-wrenching moment as you feel her pain and sense of loss: he has been away for three years and her joy at his pending return is indescribable.

However, the audience know that he is not returning for Butterfly but, ultimately, his son and, as silent witness, you feel her pain as reality dawns.

Georgi Meladze, the Spanish tenor, as Pinkerton ‘the cad’, got his customary applause and boos at the end.

“You are tall and strong and laugh with such ease,” sang Butterfly. Not sure we were looking at the same bloke, however, he did have a fine set of pipes!

Kent’s sets are always somewhere between glamorous, luxurious and downright jaw dropping, especially when she brings horses and other animals or large props onto the stage.

Last night’s set was beautifully colourful, capturing the glory of Japan’s cherry blossom season.

However, at times some of Ellen Kent’s leading men can be a little long in the tooth but, in truth, she has probably done more for opera in the UK than many others, making it, as I say, accessible and for that she must be applauded and forgiven for any left of centre casting choices.

A night of passion and tragedy. Let’s see what’s in store tonight as Bizet whisks us from Japan to Spain’s Seville for Carmen! Olé!