Opera Review: Madam Butterfly (Puccini)
Kelly Kaduce as Cio-Cio-San. Picture: James Rogers

Madam Butterfly (Puccini)
WA Opera
His Majesty's Theatre

I first saw Andrew Sinclair's production of Madam Butterfly years ago and it was the first time opera moved me deeply.

It was partly the story of a teenage Japanese girl's sacrifice of family, faith and eventually her son, for a faithless American sailor, and it was also the exotic beauty of the set and music.

Puccini did everything right when he set David Belasco's popular play about a marriage of convenience between a sailor stationed in Nagasaki and a Japanese geisha.

The romantic tragedy is perfectly paced and decadently scored. WA Opera has been staging Butterfly roughly every six years, most recently in 2006, though there was a concert-version Opera in the Park performance in 2008.

Director Sinclair's early 20th century French interpretation of Puccini's east-west tragedy was fresh and original when it premiered in 1993. If you haven't seen Madam Butterfly before, this will be a good introduction. But the Monet-inspired waterlilies, the impressionistic Japanese costumes and revolving wooden house (designer Kenneth Rowell) are looking familiar and worn. The sensational cast were required to justify dusting it off a fourth time.

Fortunately, American soprano Kelly Kaduce didn't disappoint as Cio-Cio-San, giving a deeply felt performance with a rounded, mellow soprano inflected with giggles, tenderness and rage, as her character required. Angus Wood was a golden-toned Lt Pinkerton, singing with youthful brashness that a sailor's life isn't complete until he's "picked the flowers of every place he's visited" and taking the boos at curtain call good naturedly.

Cio-Cio-San's maid Suzuki was sung by the dutifully concerned Fiona Campbell whose face reflected in every scene the truth Cio-Cio-San was avoiding. James Clayton was the increasingly disapproving American consul Sharpless and Andrew Foote was Cio-Cio-San's ever hopeful suitor, Prince Yamadori.

The kimono-clad WA Opera Chorus shuffled and bowed as Cio-Cio-San's wedding entourage and were fiercely condemning when they discovered her secret conversion to Christianity.

The clash of east and west is written clearly into Puccini's music, with tam-tams and pentatonic scales versus The Star Spangled Banner references. In 2006 Joseph Colaneri's conducting was one of the highlights of the performance. Returning now as the company's artistic director, Colaneri was equally satisfying.

The WA Symphony Orchestra was lush and cohesive, injecting the drama required to drive the opera to its devastating conclusion.

I've seen Madam Butterfly five times and my son is a similar age to Cio-Cio-San's blue- eyed Japanese baby so the opera has taken on a new power. But I won't see it again.

With the WA Opera presenting only three operas a year, this repetition of even the most enduring favourite runs the risk of overkill. This season of Madam Butterfly follows the revival of the museum-piece production of Lucia di Lammermoor. Is dusty repertory opera all that is left after the effort to create a new production like Elektra? I think Perth deserves better.

Madam Butterfly is performed on Tuesday, Thursday and Saturday until November 3.

The West Australian

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