Madama Butterfly
by Giocomo Puccini
Original production direction by Michael Grandage
Revival direction by Louisa Muller
Original production direction by Michael Grandage
Revival direction by Louisa Muller
Lyric Opera of Chicago
Thru January 26
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I think I like opera more the less I
go.
About a decade ago, already an
aficionado of musical theater, I decided to explore opera and
eventually became a full season subscriber to the Lyric Opera of
Chicago for 5 seasons.
While I saw, and enjoyed, many
magnificent works and productions, I never came to “feel” opera
on an emotional level like I do with the best of Broadway, rock 'n
roll and jazz. But getting to 8 operas a season was also a bit much,
both in terms of effort and experience, and I think it may have been
somewhat counterproductive in acclimating to the operatic art form.
In more recent years, I've gone to an
opera or two each season, typically picking more dilettante-friendly
operas by the likes of Puccini, Mozart, Verdi and Richard Strauss,
plus the Lyric's lavish stagings of musicals like Show Boat and
Oklahoma.
On Tuesday night, for the first time in
the Lyric's 2013-14 season, I went to such an opera: Puccini's Madama
Butterfly. Although this was somewhat chosen for me—my friend Paolo
bought tickets for us to go as a birthday present—and I had seen it twice before at the Lyric, my memory is such that it felt new and
exciting.
I am not enough of an opera buff to
provide much of a critical assessment, and this one still didn't
quite get me in the gut, but I enjoyed everything I saw and heard.
While even from the upper balcony, it
was hard to perceive Patricia Racette as a teenage Japanese girl—i.e.
the titular Butterfly—her singing was exquisite (flawless as far as
I could tell, and per Paolo, better than the star who sang the role
during the production's October run at Lyric), as was Stefano Secco as
Pinkerton, the U.S. Navy officer who marries and then desserts her as
she yearns for him with an unwavering yen.
Although the story is rather simple—and
the basis for Broadway's Miss Saigon—I appreciate Madama Butterfly
as being an ideal opera for novices, not just due to Giocomo
Puccini's lush score, but because unlike other operas I've seen, the libretto by Giuseppe Giacosa and Luigi Illica isn't cluttered or complicated by too many
characters.
The current Lyric production is based
on one originally staged by noted British theatrical director MichaelGrandage for the Houston Grand Opera, and employs rather minimalistic
scenery. Though devoid of the splendiferous spectacle of more lavish
productions—even of Madama Butterfly, which I can't specifically
recall but which Paolo scenically prefers—I liked how this staging
echoed the sense of simplicity and serenity found in Japanese art.
At a couple of junctures, the pacing
got a bit too slow for my tastes, and given the relatively small cast
of characters, Madama Butterfly doesn't have many of the vibrant
choral pieces that I particularly enjoy. Still a handful of
collective songs were powerfully rousing and Racette's take on
Butterfly's aria near the beginning of Act II—"Un Bel Di" = one beautiful day—was wondrous, along
with much else.
Whether you're an avowed opera lover, a complete beginner or, like me, a dabbler, this rendition of Madama Butterfly should delight your senses and further your appreciation of the art form.
And especially as there were more empty
balcony seats than I ever recall at the Civic Opera House, especially
for a Puccini opera, the Lyric needs to expand—and lower the
average age—of its audience base.
So if you have ever thought it might be
nice to take in an opera, there's no need to—à la Butterfly—continue to wait
for your ship to come in. The 4 remaining performances of Madama
Butterfly should provide the perfect opportunity.
