‘sensitive and moving portrayal which draws out the emotion at the heart of this opera’
The heartbreaking beauty of this opera is perfectly presented by Director and Producer Ellen Kent in this sensitive and moving portrayal which draws out the emotion at the heart of this opera amidst the surrounding innocence and naïve humour, and whose final scene touched me deeply.
Marriage broker Goro (Ruslan Pacatovici) shows US naval lieutenant Pinkerton (Oleksii Srebnytskyi) around the home he will share with his bride-to-be in Nagasaki, although American Consul Sharpless (Iurie Gisca) warns him of the tragic consequences that may follow. The Butterfly duly lands in the form of young Japanese girl Cio-Cio-San (Elena Dee) supported by maid Suzuki (Yelyzaveta Bielous), and they are married by the Commissioner (Vitalii Cebotari). Her love makes her willing to sacrifice everything which sees her disowned by her uncle, a Bonze (Hovhannes Nersesyan).
Three years on and Cio-Cio-San and Suzuki are almost destitute as they await Pinkerton’s return. Shunning suggestions that she should follow local custom to divorce him and marry Prince Yamadori (Cebotari) instead, her hopes are raised by the arrival of Sharpless with a letter although he chooses not to reveal its full contents when she introduces him to her son by Pinkerton, Sorrow. The sound of a cannon from the harbour heralds the arrival of Pinkerton’s ship but after she emerges from a long night’s vigil, it is not him she discovers in the garden the next morning but another woman (Anastasiia Blokha): are Butterfly’s hopes to finally be fulfilled, or will tragedy ensue as the price of her honour?
Kent is renowned for her traditional approach and attention to detail, which is reflected in the wonderful set overseen by Stage Director Victor Donos, with staging framed by a flower-laden garden – complete with running water features – and foliage with a Hokusai-inspired backdrop to a paper house complete with sliding doors and lanterns. This colourful palette is equally matched by the traditional kimonos and robes that places us firmly in 19th Century Nagasaki.
Valeriu Cucarschi’s lighting design delightfully captures the change of season and time whilst the clever use of silhouette provided a powerful visual medium at key moments, and which supplemented the emotion that conductor Vasyl Vasylenko wrought from the Orchestra of the Opera International, Kyiv, with their sensitive rendition of ‘Coro a bocca chiusa (Humming Chorus)’ an absolute joy.
Sung in its original Italian with English surtitles provided by Mariia Maliuta, we were treated to some wonderful choreography from Chorus Mistress Kateryna Kondratenko-Savienkova, with students provided by Stagecoach Theatre Arts Liverpool.
As with her set, Kent achievements are further embellished from the long-standing relationship between the cast’s principals whose strong chemistry adds to the powerful, emotional, and heartbreaking scenes, with excellent use of the stage and set.
Srebnytskyi delivered a strong performance with his portrayal of a self-interested man driven by obsession with an impressive vocal and the right balance of arrogance and disdain behind the four-part love duet with Dee that so delightfully concludes Act I.
Gisca’s impressive vocal complemented his strong acting, capturing perfectly the frustrations of a well-meaning but ultimately toothless official and I particularly enjoyed his ‘Io so che alle sue pene’ with Andreaysan and Bielous in Act III.
Bielous’ more sensitive portrayal of Suzuki was pleasing, and I enjoyed the resulting dynamic between her and Dee. A special mention for Cebotari and Pacatovici who are very much the unsung heroes as they add such an important layer with their little flourishes and touches of realism throughout that ensure a rounded production.
The final word deservedly goes to Dee who delivers a mesmerising and moving performance with her exquisite acting and attention to detail more than matched by her beautiful vocal. Her delightful rendition of ‘un bel do vedremo’ reinforced her reputation as a leading Butterfly in a performance that simply moved one to tears.
Madama Butterfly is one of three productions touring throughout the UK and Ireland with full details available at www.ellenkent.com.
Review Date: 18th February 2026
Star Rating: FIVE