Lofty rendition of Puccini’s Madame Butterfly
Spectacular lighting creates striking visual imagery

Riek van Rensburg

Opera: Madame Butterfly by Puccini

Cast: Mina Yamazaki, Jannie Moolman

Cape Town Philharmonic Orchestra

Conductor: Maestro Giuseppe Raffa

Venue: PRETORIA

Operama Production

Purists might have reasoned that the mere scale of this presentation of Madame Butterfly by Operama runs counter to the spirit of Puccini’s masterpiece. However, this instrumental, high tech, amplified staging did not unduly impede on the intimate, private nature of the work.

The spectacular lighting plot by Operama innovatively translated Puccini’s music into striking visual imagery and atmosphere. Hardly any props were used. The sophisticated projection system did the trick.

Images synchronized with stunning effects with crucial as well as incidental text details as, for instance, where reference is made of Cio-Cio-San’s father, the lighting mirrored this with chilling impact.

The sharp communicative focus on the narrative development and impetus of the character motivation was admirable. All credit to the principals who realised the overt and undercurrent emotions. Milking initially sounded awry with singers at times sounding as though they were duetting with themselves! One also became used to the rumpled backdrop.

Mina Yamazki in the title role galvanised proceedings on stage with her searing acting. Musically her Cio-Cio-San contained peerless Puccini singing. In Act 2, in particular, she was in radiantly warm and resonant voice, triumphantly rising above orchestral floods. At the end she performed with gleaming vocal and dramatic input. In her solo arias she captivated by sheer beauty of her voice. The many effects, the gently upward sweeps of tone, lovely mezza voice qualities and subtle colourings suggested a voice deployed to rare, fine musical ends.

Jannie Moolman was a model Pinkerton. He sang with agility and warmth and acted the part of roué with due nonchalance.

In the love duet, he blended exquisitely with Yamazaki. Roberta Mattelli fulfilled the demands attached to the part of Suzuki competently and pleased with her dark hued singing. As Sharpless, Zbigniev Macias sang and acted with authority. The minor cameo roles were taken by an impressive array of South African singers. The chorus did their eloquent best in the Humming Chorus.

Maestro Giuseppe Raffa elicited fine sounds from Napop. Textures glowed and melodic lines surged with a blend of urgency and plasticity. Nature itself seemed to bless the musical proceeding at Loftus: a wonderfully, clear, cool night lent extra magic to the intrinsic beauties of Puccini’s elegant score, performed with such panache.