Madama Butterfly

Broken Winged Butterfly

Madama Butterfly

by Giacomo Puccini, libretto by Luigi Illica and Giuseppe Giacosa

Ellen Kent Productions, Richmond Theatre until 23^rd April, then on tour until 15th May as part of the Ellen Kent Farewell Tour

Review by Heather Moulson

It’s 1904 in Nagasaki. Against a backdrop of a lovely Japanese house, surrounded by vibrant colourful flowers and blossom, all seems idyllic. What could possibly go wrong in such a beautiful setting?

But, for this tragic and iconic tale of devotion and betrayal, the floral setting is pure irony.

The handsome B F Pinkerton, confidently played Oleksii Srebnytskyiassu, a lieutenant in the US navy, and the American Consul Sharpness, (Iurie Gisca) discuss arrangements for Pinkerton and his new bride. Gisca is a powerful baritone and, with the assured tenor voice of Srebnytskyiassu, they make a striking duet, conveyed in Puccini’s native Italian, with English surtitles. Pinkerton settles us into this poignant tale in three acts, and a foreboding for Cio-Cio San, the eponymous “Butterfly”.

The maid, Suzuki, an effective conduit to the two Americans, is beautifully portrayed by Yelyzaveta Bielous. The shrewd negotiator Goro, the matchmaker and efficient businessman, is a delightful Ruslan Pacatovici.

The geisha women make a gentle and effective entrance with Elena Dee as Madama Butterfly at the forefront. A role that has most demanding soprano, Dee carried it off smoothly with deep emotion. Children and young and older women were vibrant in their traditional geisha dress, a charming tableau. Until that is, the wedding is darkened by the The Bonze, who set out to disown her, as Butterfly has converted to Christianity to marry her American husband, in a very taboo act with severe consequences. The other geishas form a striking circle as they turn on Cio-Cio San, and cast her out for good.

Butterfly is a fifteen year old girl unwittingly drawn into a marriage of convenience, until Pinkerton found a proper American wife. However Pinkerton and Butterfly sing a stunning love duet before their first night together, viene la sera, tenderly indicated as silhouettes behind the translucent doors. (The immaculate lighting design is by Valeriui Cucarschi.)

Act Two darkens considerably as three years have passed since her husband went away. Short of money, the maid does her best to bring comfort to the vulnerable and devoted Butterfly. The poignancy increases when the Consul visits with a letter from her “husband”, and Butterfly’s fate becomes tangibly felt.

Pinkerton no longer wishes to be married, and Goro makes another charismatic entrance, now with a replacement suitor, as Butterfly is considered to be divorced under Japanese law. A rather sinister Prince Yamadori appears, and tries to persuade the beautiful and abandoned wife. Vitalie Cebotari, as Yamadorei, has great stage presence. Along with his entourage, including dog Akita, he is a natural scene stealer.

Butterfly reveals to the Consul her child, named Sorrow and sired by Pinkerton, which rather changes events.

Act III sees the return of pseudo-husband with his American wife (who is dressed splendidly in turn of the century costume). The couple want to adopt Sorrow and take the child to the United States. The Act is short and intense, as Butterfly blindfolds her child (a placid Iris Hamilton) and we witness the mother’s demise through the silhouetted door. The tragic consequences are sensitively and tenderly depicted. (Pinkerton was rightly booed on his curtain call, even if a bit tongue-in-cheek.)

Madam Butterfly is directed in fine detail by producer Ellen Kent, and the Orchestra of the Opera and Ballet Theatre Kyiv is conducted splendidly by Vasyl Vasylenko. Beautiful compositions of arias and duets are hauntingly sung, notably the love duet viene la sera in Act 1, which contrasts so ironically against Butterfly’s heart-wrenching solo aria un bel di, verdremo in Act III. Equally memorable is the Humming Chorus was that create such an atmosphere as the plot reaches is climax. An incredible production.

Heather Moulson, April 2026

Photography courtesy of Ellen Kent