Madama Butterfly – Opera House

Every betrayal begins with trust and curiously this production of Madama Butterfly became more powerful simply because of where the orchestra came from.

As they say on the telly when the football scores come on look away now if you don’t want to know the essential twist in the plot of this opera. Many will be aware of how this story unfolds but if you don’t want to know, stop reading now.

I usually avoid giving the plot away in my reviews but the intersection of life and art that this production unwittingly brought means I have to mention it to do it justice. At the centre of the play is a betrayal by an American and the music for this production was played by the Orchestra of the Ukrainian Opera and Ballet Theatre, Kyiv. I hate to bring politics into a work of art but the betrayal felt about what a certain US president is proposing for that brave nation was not lost on the audience.

This is a rather simple but highly emotional opera which was carried by a striking central performance by Elana Dee as Cio-Cio San, the naïve ex-geisha girl betrayed by an American naval lieutenant, B. F Pinkerton (Hovhannes Andreasyan). They marry, he sails away, she waits and when he returns, she finds out he has betrayed her.

Like the heroine of an 18th-century novel, Dee expressed a moving vulnerability and purity alongside that single-minded desire to believe her lover would be true to her. It was a heartfelt performance that was rather profound in its sincerity. Her authoritative and elegant voice made it all the more heartbreaking in the tender moments.

Andreasyan had the unenviable role of being the rather effete, sightly decadent and unthinking villain of the piece. It is a famously thankless role and he does not have time to add any depth to the character. We are told early on that he is not committed to this relationship so it is difficult to believe it when he appears to be authentic and loving. His voice was dynamic and his performance had a certain charisma that made it compelling.

Yelyzaveta Bielous as Cio-Cio San’s maid, Suzuki, was exemplary, the embodiment of the loyal, caring servant who deeply feels the tragedy that befalls her mistress. Her singing seemed to bring out this veracity and it seems odd to say but there was a moral quality to her tone. A special talent.

The staging and costumes were colourful and there was a matching vibrancy to the direction. Ellen Kent teased out the drama of every moment and some delightfully memorable set pieces helped to make it more accessible. Dramatic use was made of shadow images of characters during the most sensitive moments.

This opera is a cultural minefield and the orientalism that was accepted when Puccini wrote it would not be accepted today. I got the feeling the production did not want to confront the racism and sexism inherent in the piece, which was disappointing. It should be acknowledged that these sensitivities will always make the staging of Madama Butterfly problematic.

As I hinted the real world came bursting in at the curtain call as the audience rose and applauded as the orchestra played the Ukrainian National Anthem. The cast held a Ukrainian flag and a lady near me was holding one as well. This was exceptionally moving given the current political situation and the betrayal that the country feels towards a certain American president.

Madama Butterfly continues on tour and tickets are available from https://www.ticketmaster.co.uk/madama-butterfly-an-ellen-kent-production-tickets/artist/5305904

Reviewer: Adam Williams

Reviewed: 22^nd February 2025

North West End UK Rating: