Madama Butterfly - Opera House - 03/03/08 by Matthew Berrisford

Following on from her recent production of ‘The Nutcracker’ and her forthcoming ‘La Traviata’, Ellen Kent once again returns to the Manchester Opera House – this time with Puccini’s ‘Madama Butterfly’.

Set during the turn of 20th century Japan, the show follows an American Lieutenant, Pinkerton, as he enters into a paid marriage with the fifteen-year old Geisha, Cio-Cio – or, as she is known to her friends, ‘Butterfly’. Abandoning the ways of her ancestors and accepting Pinkerton and his ‘American God’, Butterfly is subsequently ostracized by her community and left waiting for her Pinkerton as he returns to sea. Three years later, Pinkerton, newly remarried, returns to his Geisha and tragedy ensues.

To the uninitiated (me), Kent’s production of Madama Butterfly is a very accessible and highly enjoyable introduction to opera. The set design and lighting structure are both wonderfully subtle and effective, and Elena Dee’s piercing performance as Butterfly is a mighty force in its own right.

Likewise, Ruslan Zinevych as Pinkerton provided a refreshing contrast to the typical chisel-jawed, chest-beating G.I. one would expect from a Lloyd Webber production. Short in stature and suitably rounded, Zinevych’s Pinkerton came across more as a slimy pipsqueak who fecklessly rolls into town and wrecks a community – not to mention the girl! Coupled with his good humoured and commanding performance, Zinevych’s casting suggests a satirical undertone in Kent’s astute direction.

Gheorghe Stanciu’s musical direction also warrants credit as he and his orchestra masterfully followed the proceedings – serving great justice to Puccini’s composition. Combined with Dee’s heart-breaking last moments as Butterfly, the tragic climax to the story really was a hand in mouth moment.

This short run of ‘Madama Butterfly’ will no doubt be an enduring and enjoyable experience for anyone lucky enough to see it and once again represents the excellent ongoing work of Ellen Kent.