Producer Ellen Kent has been collecting awards for her opera
and ballet productions since 1985. Looking at her latest production of
Puccini's Madama Butterfly, it is not hard to see why.
The story remains one of great power as it grips you along with Puccini's
glorious score. It has gained greater understanding over the years and
accessibility due to the Miss Saigon connection. Cameron Mackintosh's hit show
was based on this classic opera.
Cio Cio San decides to marry Lieutenant Pinkerton of the American Navy. He sees
the marriage as short lives, whereas her love runs much deeper. She is devoted
to him and she sacrifices all that she knows to be with him.
Act One brings the happiness and ecstasy that Madama Butterfly feels. As Act
two begins we see Pinkerton leaving the country, vowing to return. But
heartache and betrayal looms for the protagonist.
Beautifully played and sung, this is one opera which is so accessible that it
has been seen in
Manchester
on many occasions. Maria Tonina imbues Madama with a sense of wistfulness which
makes her slow downfall very heartbreaking to watch. She hits the high notes
with her wonderful vocal delivery also. Ruslan Zinevych gives Pinkerton a sly
edgy quality which Cio Cio San never sees.
Zarui Vardanean gives the performance of the night as Suzuki, a devoted friend
and servant. This understated turn provides the opera with a sense of hope as
you want to believe that this one person can help Madama get over her
heartbreak.
Subtitles scroll across the stage - but to be honest you do not need them. The
acting, vocal delivery and mannerisms guide you through the narrative. The
great thing about Ellen Kent's productions is that a new audience gain access
to a one time elitist cultural pastime.
This provides problems though also. The audience on the night I went was noisy
- rustling their way through bags of sweets as if they were at the cinema. Many
booed and hissed characters also, mistaking the show for a pantomime. Some went
for regular toilet visits getting whole rows up on their feet as a result.
It's a shame as this opera deserves as wide an audience as possible but not at
this cost, surely. The touring venues themselves could curb some of this by not
allowing latecomers to their ticketed seats, pouring sweets into tubs and not
allowing people back into the auditorium until a suitable moment within the
show.
But not to put a total dampener on the proceedings, catch this beautiful
butterfly while you can as it is a great production.
Glenn Meads
(Reviewed at the Opera House, Manchester)
www.ellenkent.com
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