Madama Butterfly

Few operas are performed more often, or with greater emotional impact, than Puccini’s ever-popular 1904 tearjerker about Cio-Cio-San, a beautiful young Japanese woman who is abandoned by her husband—the caddish American naval officer Pinkerton—and hopefully waits with their son for his return. Annilese Miskimmon’s 2018 Glyndebourne production makes some intriguing changes to the staging, updating the tale to the years following World War II and situating the first scene in Goro’s brokerage office, where the marriage is contracted. She also introduces newsreel footage of Japanese women married to GIs assimilating to their new role as American housewives. Back in Nagasaki, Butterfly buys into the dream and prepares herself for the day when her husband will come to take her and their boy to the United States, putting aside her Japanese kimono for a fashionable Western suit and learning to smoke cigarettes while her servant Suzuki looks on with apprehension—justifiably, it turns out, as Pinkerton’s return with his new wife seals Butterfly’s unhappy fate. Miskimmon’s conception, aided by convincing sets and costumes, proves surprisingly persuasive, and the musical side is also quite good. Omer Meir Wilber leads the London Philharmonic in a lushly romantic account of the score, and while the singing of Olga Busuioc (Butterfly) and Joshua Guerrero (Pinkerton) is not quite of the highest standard, they bring their characters to dramatic life. Elizabeth DeShong is an extraordinary Suzuki, and Michael Sumuel endows the American consul Sharpless with imposing power. In all, this take on Puccini’s warhorse makes some interesting alterations without devolving into Eurotrash. Presented in DTS 5.1 (DTS-HD 5.1 on the Blu-ray release) and LPCM stereo, extras include a "making-of" featurette. A fine alternative—or supplement—to more traditional versions, this is recommended. (F. Swietek)