Madama Butterfly

The opera lover's answer to “chick lit,” Puccini's Madama Butterfly is the ultimate tearjerker, the story of a caddish naval officer who marries the titular geisha, then leaves her with a promise to return, but comes back with an American wife in tow (the heroine leaves her son in the couple's care and does the honorable thing—committing suicide with the knife her father used for a similar purpose years before). Madama Butterfly is a war horse—never having left the repertoire since its debut in 1904—that over the years has become somewhat of a cliché: good for a cheap cry, but not serious. Director Robert Wilson aims to remedy this by stripping the production to its essence and letting the music prevail. And he gets it entirely right in this meticulously mounted offering that features a minimalist stage with a series of low, softly-toned wooden platforms; brilliantly conceived and emotionally evocative changes of light; spare black and white costuming (though the choice of strapless shoulders for both sexes is odd); and movement that is confined to a series of stylized gestures. The cast is terrific: Cheryl Barker is magnificent in the title role, a convincing actress as well as a fine soprano, who even injects fresh insight into that old chestnut, “Un bel dì.” Martin Thompson as leading man Pinkerton has a rich tenor voice; Catherine Keen is outstanding as Suzuki; Richard Stilwell is a stalwart Sharpless; and the minor roles are equally well cast (with Peter Blanchet particularly good as Goro, the marriage broker). Recorded live at the Muziektheater Amsterdam, with Edo de Waart leading the Netherlands Philharmonic, this 2003 production is presented in DTS and LCPM stereo. DVD extras include an illustrated synopsis and interviews with cast and crew. A gorgeous production that is powerful and emotionally involving, this is highly recommended. Editor's Choice. Aud: C, P. (J. Reed)