Madama Butterfly – Irish National Opera – Review
by Brian Merriman

An Irish National Opera co-production with Scottish Opera.
Duration 3 hours, including an interval

Dates – November 2nd – 8th at the Bord Gáis Energy Theatre. 

The catalyst for Japan, a closed society, to emerge into the western consciousness, was rapidly progressed when US Commodore, later Admiral, Matthew C Perry forced Japan in 1853 to enter into a diplomatic and trading arrangement, thus ending two centuries of virtual isolation for this amazing culture and country. There are perhaps parallels with today’s US tactics of reaching another Japanese ‘trade agreement’ this week. Perry’s delivery of President Fillmore’s ambition finally equated the US with the other major world economic powers at the time. Japan slowly and reluctantly opened up as a country, where Western influence took decades to take hold.

Perry concluded that Japan’s traditional policy of isolation could be breached if naval forces were evident and if he approached Japanese officials with a Trumpian “resolute attitude.”  He entered the fortified harbour of Uraga on July 8, 1853, with two frigates and two sailing vessels —an act widely publicised throughout the world. He ignored Japanese orders to leave and said that if the government did not delegate a suitable person to receive the official documents from the President, he would deliver them by force if necessary. The inadequate traditional Japanese defences were unable to resist effectively.  Within a few days, they accepted his letter and agreed to diplomatic relations and a trade treaty. Japanese society remained wary of the strangers who, along with trade, brought diseases like influenza, which wreaked havoc on the local people for many decades.

European countries were curious about this exquisite culture, and it began to feature in art, design, music and light opera (The Mikado, whose personage gets a mention in this plot) by the end of the century.

Puccini’s iconic and popular opera opened in 1904; its reputation remains eternal. He chooses a naval influence for his opera, which adds not only to the courage of Cio-Cio San (Butterfly), but further emphasises just how far she was stepping out of cultural norms to associate herself with a US Naval Lieutenant Benjamin Franklin Pinkerton.

This nicely sets up the sacrifice and depth of feeling, going against the advice of those who knew them, and the struggles or hopes that the fifteen-year-old heroine would have, to be welcomed into both of their widely different cultures. The plot remains politically, socially and culturally relevant today, reflecting the recent history of both countries and their people. The passion, of course, is Puccini’s.

Dovetailing into the end of the 74th Wexford Opera Festival, Irish National Opera presented an opulent Madama Butterfly in the Bord Gáis Energy Theatre, at a tummy rumbling time of 5pm on Sunday. It was a real treat, vocally, visually and in the dramatic performance. Pinkerton, in the fine voice of Otar Jorjikia, was opportunistic, culturally irreverent and detached when he was entranced by the idea of marrying young Butterly.

Many generations boast of having been in the presence of a real talent, and Celine Byrne truly reigns in our era. Her Butterfly is a vocal and dramatic tour de force. Her commanding on-stage presence never falters in over two and a half hours of musical prowess. Her dynamic and dramatic range illuminated the challenging score in a performance to be spoken about for many years to come. Hyona Kim’s Susuki was every bit her equal, in drama and voice – another of the many highlights. Together, they were harmony itself.

Iurli Samoilov’s fine Sharpless, the American Consul, was full of powerful empathy and a lovely, mellow vocal contrast to his more detached countrymen.

The INO production under Director Daisy Evans is remarkable. The seamless synergy between her interpretation, the stunning design by Kat Heath and the wonderful lighting design by Jake Wiltshire ensured the visual and dramatic treat matched the rich playing by the Orchestra, under the assured and expressive direction of Conductor Fergus Sheil.

The concept of opening the show silently (I missed a drum beat) at old Pinkerton’s funeral in the USA, where a box of memorabilia is opened to reveal Sorrow’s origins as Butterfly’s son, was innovative. This required Imelda Drumm’s Kate Pinkerton and Michael Mullen’s Sorrow to witness their history as widow and son on stage for the duration of the plot. It is a concept that could be tested over two and a half hours, but Drumm’s knowledge of every beat of the score and Mullen’s dramatic expression added so much to this production that hugely impressed. Their (almost) mute performance added so much to the emotion of this tragic love story.  Add to that an adorable and accomplished Child Sorrow from Ewan Gaster, whose chemistry with Byrne and Mullen was magical, and there were no heartstrings left unplucked.

Production Manager Peter Jordan, with Stage Managers Paula Tierney, Mel Purves and Anne Kyle, with their first-class technical team, deserve a bow in their own right. The set design was beautifully evocative and so seamlessly executed all night as to intrigue. When illuminated so artistically, it turned Butterfly into the visual treat that such an operatic triumph deserves. This is a real quality production from start to finish, where all elements of the production are as harmonious in their delivery as were the musical performances on stage and in the pit.

There was considerable expectation for this production, and it lived up to that royally. It is such a joy to see such quality production across the board, and in this, the INO and all its expert elements should take another bow. A beautiful night, not to be missed. It truly was Un Bel Di.

Starring: Celine Byrne as Madama Butterfly, Otar Jorjikia as Pinkerton, Hyona Kim as Suzuki, Iurii Samoilov as Sharpless and John Molloy as Bonze, Paul Grant as Yamadori, Imelda Drumm as Kate Pinkerton, Michael Mullen as Sorrow and Ewan Gaster as Young Sorrow.

Madama Butterfly – Irish National Opera

Starring: Celine Byrne as Madama Butterfly, Otar Jorjikia as Pinkerton, Hyona Kim as Suzuki, Iurii Samoilov as Sharpless and John Molloy as Bonze, Paul Grant as Yamadori, Imelda Drumm as Kate Pinkerton, Michael Mullen as Sorrow and Ewan Gaster as Young Sorrow.

Conducted by Fergus Sheil,
Directed by Daisy Evans
Set design by Kat Heath,
Costume design by Catherine Fay
Lighting design by Jake Wiltshire.
Featuring the Irish National Opera orchestra and chorus

The Italian libretto by Luigi Illica and Giuseppe Giacosa is sung with English surtitles.