This Madam Butterfly is out of this world

Madam Butterfly by Giacomo Puccini
La Fenice, Venice

Venice’s opera house, La Fenice, which was restored to its former glory in 2004 after the disastrous fire of 1996, manages to retain the memory of that event at every performance. The foyer always has at least half a dozen firemen on duty in case of another disaster.

The opera house has witnessed some of the premières of many of the great operas such as La Traviata and Rigoletto. It has also seen some of the important reinterpretations of the classics.

The latest production, Madam Butterfly, is an interesting version considering the criticisms levelled at productions of the work (as well as the Mikado which Auckland Theatre Company was made aware of earlier in the year) of being “yellow face.”  Rather than setting the work in 19th century Nagasaki or some contemporary update, the work is set in the future, on some planet in a galaxy far away. This removes, though not entirely, the issues of racism and cultural insensitivity.

The staging and costumes have been designed by the Japanese artist and designer Mariko Mori whose work often features fantastic deities, robots, alien creatures and spacecraft. This relates to the artist's fascination with technology and spirituality as well as the links between traditional Japanese culture and contemporary society.

The Spanish director, Alex Rigola, has built his production around Mori’s ideas so the production is removed from the sentimentality of most productions focusing on the personal drama of the key characters.

Pinkerton becomes a space traveller from America with his rocket named “Abraham Lincoln,” which explains many things about the production, such as why he has been away for three years.

There are no traditional costumes, obsequious staff, Japanese gardens or pagodas. The sets are almost devoid of scenery, with a vast white backdrop that curves up at the back of the stage making it look like a vast photographic studio.

Suspended above the stage is a huge three-dimensional shape in the form of the infinity shape, symbolic of the space between the two worlds of Butterfly and Pinkerton but can also be seen a representation of Pinkerton’s spacecraft. Later in the opera, when Pinkerton has arrived, the shape alights on to the stage.

Pinkerton and Sharples are dressed in clean white uniforms that could have been used in Star Trek while Butterfly and her attendants are robed in white – as many alien women have been portrayed.  The one note of colour is Pinkerton’s wife, Kate (Julie Mellor) who appears in an ordinary contemporary blue dress.

There is virtually nothing on stage although in the first act there are three round shapes, which are enough to designate the area as a house. In the second act, as well as the large infinity shape, there is a small silver bonsai tree, the only reference to Japan, and a small circular glass shape, which is Butterfly’s altar.

Adding to the otherworldliness of the work is a group of three women attendants to Butterfly who also perform a series of dances, notably when Pinkerton sings about the joys of American imperialism. They are like ethereal spirits conveying notions of a parallel spiritual or psychological dimension. It’s a clever idea, which looks good, but a distraction from the main action and the singing.

The intermezzo at the start of Act Three where Butterfly holds her lonely vigil features a full screen on which are projected images of the cosmos, not so much a waiting period but a reference to the period of travel  Pinkerton must endure.

Serena Farnocchia singing the role of Butterfly created a strong character who starts off singing as a young girl but ends up as a mature woman. She displayed a spectacular voice laden with emotion as she expressed her feelings of both love and wretchedness

Vincenzo Costanzo as Pinkerton provided an excellent complement to Farnocchia, with a soaring voice and exceptional acting, which showed itself in the closing scenes with his expressions of sorrow.

As Sharpless, Luca Grassi displayed a powerful voice that conveyed his position as the sole voice of reason in the sad tale.

As Suzuki, Manuela Custer gave the part sensitivity and understanding, which helps make Butterfly’s predicament all the more heart-breaking.

The minor roles were all perfectly integrated, particularly Armando Gabby as wealthy suitor Yamadori.

The chorus never appeared on stage and when it sang “The Humming Chorus,” its members entered from the rear of the theatre and sang from there, preserving the elegance of the uncluttered stage and performance.

Forthcoming productions at La Fenice: Wolfgang Mozart and Lorenza Da Ponte, Don Giovanni, October 13-26; Franz Lehr, The Merry Widow, February 2-13; Gioachino Rossini, The Barber of Seville, February 3-8;  Giacomo Puccini, La Boheme, March 16-25;  Giacomo Puccini, Madam Butterfly, April 6-24; and Antonio Vivaldi, Orlando Furiosa, April 13-21.