Pinkelton, tenente da marinha norte-americana conhece a sua nova casa no Japão, onde viverá com a noiva japonesa, Cio Cio San, delicada como uma borboleta (Butterfly), apesar de se gabar de ter uma mulher em cada porto e afirmar que, um dia, se casará com uma americana. Conhece Suzuki, a criada da noiva. É desaconselhado a casar por Sharpless, o cônsul americano. Contudo, casa com Cio Cio San, de 15 anos que, contrariando a família e tradições, afirma a sua felicidade.
Após três anos, Butterfly não tem notícias de Pinkelton, mas imagina as palavras de amor que ele lhe dirá quando regressar. O cônsul americano tenta ler-lhe uma carta dele mas Butterfly interrompe-o constantemente e acaba por lhe mostrar uma criança loira e de olhos azuis, filho de ambos.
Madama Butterfly foi interpretada pelo soprano italiano Amarilli Nizza. No primeiro acto foi uma cantora algo rígida, com tendência para estridência quando cantava em forte. Nos actos seguintes melhorou muito, dando-nos uma interpretação credível. O papel é de grande exigência e, no cômputo final, proporcionou-nos uma interpretação convincente.
(James Valenti foi vaiado. Fica a dúvida se pela interpretação ou se pelo papel desempenhado)
(a homenagem a Robin Leggate na sua despedida dos palcos)
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MADAMA BUTTERFLY (I) – Royal Opera House, July 2011
Madama Butterfly is an opera by Giacomo Puccini with libretto by Giuseppe Giocosa and Luigi Illica, according to the work of the same name by David Belasco, based on a story by John Luther.
Pinkelton, a lieutenant in the U.S. Navy, visits his new home inJapan , where he will live with his Japanese bride, Cio Cio San, delicate as a butterfly (Butterfly), although he is proud of having a woman in every harbour and he says that, one day, he will have an American wife. He meets Suzuki, the maid of his bride. He is advised by Sharpless, the American consul, not to marry. However, he marries Cio Cio San (15 years old) against the traditions and the wishes of her family, but she assumes the marriage and stresses her happiness.
Pinkelton, a lieutenant in the U.S. Navy, visits his new home in
After three years, Butterfly has not heard from Pinkelton, but she imagines the words of love he will tell her when he will return. The American consul tries to read a letter from Pinkelton but Butterfly constantly interrupts him and, ultimately, shows him a blonde blue-eyed child, that is son of Pinkelton.
A cannon shot announces the arrival of a ship and Butterfly asks Suzuki to spread flowers around the house. Pinkelton arrives accompanied by Kate, his American wife and, with the consul, asks Suzuki to persuade Butterfly to hand them the child. Butterfly sees the woman and, reluctantly, agrees to give away her son, but only directly to Pinkelton. Alone with her son she says good bye. She kills herself according to the traditional Japanese way, when Pinkelton calls by her name.
A cannon shot announces the arrival of a ship and Butterfly asks Suzuki to spread flowers around the house. Pinkelton arrives accompanied by Kate, his American wife and, with the consul, asks Suzuki to persuade Butterfly to hand them the child. Butterfly sees the woman and, reluctantly, agrees to give away her son, but only directly to Pinkelton. Alone with her son she says good bye. She kills herself according to the traditional Japanese way, when Pinkelton calls by her name.
The production by Moshe Leiser and Patrice Caurier with costume designs by Agostino Cavalca is a conventional approach to the work of an unusual beauty. The scenarios are sober, with a very effective set of panels and shadows, where the Japanese habits are always present. The last scene, with an almost empty stage, topped by a large horizontal tree branch with white flowers, which fall as Cio Cio San dies, is impressive.
Conductor Paul Wynne Griffiths directed the Royal Opera Orchestra in another performance of high quality level. The Choir of the Royal Opera was also excellent.
I attended two very different performances on consecutive days. In this first text I will mention the “normal” performance.
Madama Butterfly was interpreted by Italian soprano Amarilli Nizza. In the first act she was a “stiff” singer, with a tendency to stridency when she sang forte. In the following acts she improved a lot, giving us a credible interpretation. The role is very demanding and, after all, she offered us a convincing interpretation.
I attended two very different performances on consecutive days. In this first text I will mention the “normal” performance.
Madama Butterfly was interpreted by Italian soprano Amarilli Nizza. In the first act she was a “stiff” singer, with a tendency to stridency when she sang forte. In the following acts she improved a lot, giving us a credible interpretation. The role is very demanding and, after all, she offered us a convincing interpretation.
Pinkelton was interpreted by American tenor James Valenti. Despite having an excellent figure (young, tall and thin), his interpretation was somewhat rigid. He sings in a unique way, seeming to be tense, but he reaches the top notes in tune. However, he does not show the expected flow.
English baritone Anthony Michaels-Moore was a fantastic Sharpless. The voice has great quality, excellent technique and nice timbre. Artistically he was blameless.
American mezzo-soprano Helene Schneiderman played a Suzuki of considerable vocal and artistic quality.
The artists of the secondary roles were at the same level of the soloists. I highlight British Robin Leggate who played the role of Goro and, after 35 years of activity, made his last appearance on stage (before retiring). He was honoured both in the room program abd by the conductor.
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Thanks for the review. I really must try to visit the ROH for the sake of fine British artists like Michaels-Moore. Just a word on Valenti (not to dispute your assessment of this performance, of course): I heard him a year or so ago as Alfredo in Traviata, and his easy phrasing struck me as one of the virtues of the performance, as well as his pleasing timbre and good stage presence. He may be going through a rough patch, but I still have hopes of him!
ResponderEliminar@ Lucy,
ResponderEliminarFeel free to contradict me whenever you want! I heard Valenti also in that Traviata you mention (with Gheorghiu as Violetta, right?). But I felt he seemed "tense" and "rigid" in his performance this time. He was booed at the end (what I wrote in portuguese under the legend of his photo) but I think that was more due to the disgusting character of Pinkelton that due to his singing than was remarkable.
Regards
@ Sonsprinter,
Greetings from Portugal
very dear my friend Fanatico .. very thank you for your valuable friendship..I felt always your presence.. I,even when disconnected from my blog, you'll always be there somewhere in my soul..
ResponderEliminar---always from the heart...İsmail Hakkı ÖZER... best regards...
attention: ooo dear Fanatico... I saw now..that,first comment is incorrect ... this comment is right...must change with this comment...
Yes, on the BBC broadcast of a previous show they told that "a small booing to Pinkerton" was an old thing at ROH. They are not booing the singer ;)
ResponderEliminarMais um dia em grande em Londres, FanaticoUm!
ResponderEliminarFico contente por ter gostado e a sua descrição da encenação, principalmente aquele pormenor do final deixa-me rendido porque são estes pequenos pormenores que amim me tocam sempre em encenações que, no geral, são boas a muito boas.
Não conheço James Valenti mas parece-me pouco provável que, com o porte que tem (a avliar pelas suas fotos), conseguir cantar sem ser de forma rígida.
Estas suas fotos são talvez as melhores até agora! Muito boas, mesmo. Para quando os videos? :)