State Opera SA’s final main-stage production for this year is Moffat Oxenbould’s highly acclaimed Opera Australia production of Puccini’s Madama Butterfly.

The production may have originated elsewhere, but the performance features and showcases South Australian talent, especially the splendid Joanna McWaters in her first major lead role as Cio-Cio San (Madama Butterfly).

McWaters revels in the role, and the opening-night audience delighted in her interpretation. She radiated the joy and hope of a young Japanese wife desperate to start a new life with her American husband, then the anguish and despair when, after waiting three years for his return, she is discarded for an American woman. McWaters received an appropriately enthusiastic ovation for her magnificent performance of the beautiful aria “Un bel di”.   

Madama Butterfly is one of the most popular operas around the world. Set in 1904, it tells the story of BF Pinkerton, a lieutenant in US Navy who decides to take a 15-year-old geisha girl for his bride, while always intending to leave her to marry an American woman. When he returns to Japan after three years, he discovers Cio-Cio San has had his son, whom she is asked to give up to Pinkerton and his new wife. Rather than face the shame of her situation, Cio-Cio San commits hari-kiri.

Puccini’s score is stirring, emotional and powerful, with occasional references to recognisable American music such as the “Star Spangled Banner”, a possible comment on America’s imperialism and disregard for the Asian nations. Conductor Nicholas Braithwaite had the Adelaide Symphony Orchestra making the most of this rich and varied score.

James Egglestone is a powerful tenor, and was in good voice throughout. He conveyed the insensitive, manipulative nature of Pinkerton so convincingly that the audience gave him a good-natured boo. Adam Goodburn is appropriately despicable as Goro, the marriage-broker who happily sells off young Cio-Cio San, and Catriona Barr had some terrific moments as Suzuki, Madama Butterfly’s hand-servant.

The timbre of Douglas McNicol’s baritone voice reverberated throughout the Festival Theatre in his flawless performance as Sharpless, the US Consul who provides some sense of decency and contrast with Pinkerton’s cruelty.  The principals are ably supported by Steven Gallop as The Bonze, Butterfly’s uncle, and Luke Gabbedy as Prince Yamadori, who seeks to marry Cio-Cio San.

Madama Butterfly is a very stylish production. Peter English and Russell Cohen’s set and costume designs create the symmetry and serenity of a Japanese garden, which provides the perfect setting for this enduring tragedy. Walkways left, right and upstage, similar to the Kabuki stage, lead to a central wooden platform surrounded by shallow pools of water. White panels create the delicate walls of a Japanese house, but they are extended by tall, textured, greyish panels that reach to the full height of the stage. Robert Bryan’s lighting reflects picturesquely from the water, and transforms the peaceful, innocent stage into numerous striking, dramatic states.

Chorus master Timothy Sexton has assembled a very experienced, talented cast and orchestra in the hands of a highly credentialed conductor, inspired by exceptional designers. Madama Butterfly is a very satisfying experience.

Madama Butterfly will be performed at the Festival Theatre again on November 26, 28 and 30.