JADAR

★★★★★

Ellen Kent’s adaptation of Giacomo Puccini’s Madama Butterfly had the audience glued to their seats as a combination of soaring vocals, a gorgeous flowery set, and a tragic tale bloomed ostage.

With an enthralling static stage design filled to the brim with flowers, cherry blossoms, roses, Buddha statues, and trickling water fountains surrounding Butterfly’s abode, the set is truly a heavenly paradise… at least before tragedy strikes the tranquil gardens. 

Puccini released several versions of the opera in his lifetime, the first in 1904 and the last ‘standard’ version in 1907 with varying success. It follows the story of a fifteen-year-old geisha named Cio-Cio San or Madama Butterfly (Elena Dee) who becomes enthralled with a U.S. naval lieutenant as he pays to marry her in his stint in Nagasaki, Japan.

Despite the warnings of her closest friends and her caring maid Suzuki (Natalia Matveeva), who predict that the relationship will not end well, she gives up her religion and culture to satiate her new husband and is shunned by her community and left ardently waiting for him to return as he travels back overseas.

In effect, it’s the tragedy of betrayal, identity-loss and heartbreak; this beautiful, young girl being treated as a commodity, falling in love, and giving up everything, including her cultural identity and freedoms, to please her beloved.

The imagery of a butterfly plucked from paradise, damaged, and pinned to the wall becomes a beautiful representation of the aptly named Madama as her isolation slowly takes hold and her wings are effectively clipped. 

Such a passionate and burning story is effortlessly conveyed by the stunning vocalists, especially Elena Dee (Madama Butterfly), Georgi Meladze (B.F. Pinkerton) and Iurie Gisca (Consul Sharpless). I particularly enjoyed the comedic segments sprinkled in with the Consul, along with Dee’s convincing portrayals of the pangs of heartbreak, accompanied by moody dramatic lighting, and her emotional outbursts. The show also includes traditional antique Japanese wedding kimonos that were truly a sight to behold!

Concluding with a standing ovation, and one of the biggest boos (followed by a loud applause) I’ve heard outside of panto for Meladze, playing the villainous Mr. Pinkerton, the show was a hit with the audience and had one last touching tribute for Ukraine before curtains.

Madama Butterfly was an impressive rollercoaster of emotions, a romance doomed to fail perfectly reviving Puccini’s classical score and encapsulating everything an opera should be… elegant, emotional, and pure. 

Ellen Kent was at Opera House Manchester for three days in total, beginning with La Traviata (Verdi), followed by Carmen (Bizet), and ending with Madama Butterfly (Puccini). Ellen Kent tours the UK with this selection of shows until May 29. Check out our review of La Traviata and Carmen.