Opera Review: ‘Madama Butterfly’

Opera Review: ‘Madama Butterfly’
Hui He as Cio-Cio-San and Roberto Aronica as Pinkerton in Puccini's "Madama Butterfly." Ken Howard/Metropolitan Opera
Barry Bassis
Updated:

NEW YORK—The death at age 54 of Anthony Minghella, the director of “The English Patient,” “The Talented Mr. Ripley,” and “Cold Mountain,” among others, was a significant loss for the film world, but he is also mourned by the opera world. His production of Giacomo Puccini’s “Madama Butterfly” is currently revived at the Met.

Minghella’s production is a tearjerker with exquisite music derived from a once-popular play by David Belasco. It uses an evocative but spare set by Michael Levine, summoning mid-19th-century Japan with a mirrored ceiling and puppets from London’s Blind Summit Puppet Theatre and choreography by Minghella’s wife, Carolyn Choa. The colorful costumes are by Han Feng.

The Plot

In Nagasaki, Japan, during the early 20th century, U.S. Naval Officer Pinkerton is renting a house that comes with a staff—and a wife. He plans to go through with the fake marriage to a 15-year-old girl. He cynically expects to find a “real” wife back in the States.
Barry Bassis
Barry Bassis
Author
Barry has been a music, theater, and travel writer for over a decade for various publications, including Epoch Times. He is a voting member of the Drama Desk and the Outer Critics Circle, two organizations of theater critics that give awards at the end of each season. He has also been a member of NATJA (North American Travel Journalists Association)
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