Except for a Japanese-looking roof which hangs mid-air, the stage is empty. But this becomes the strength of the production, which plays with lighting, panels and props being taken on and off stage swiftly, and this results in a flexible and lively, never boring change of moods and feelings. Many scenes turned out beautifully, such as the binoculars with projected boat during the waiting scene or the flowers during the women’s duet. The fact that Butterfly was a doll throughout the show maneuvered by 3 puppeteers, while Miss Voulgaridou stood at the corner of the stage dressed in a kimono, impressed me less.
The musical part was less exciting. I don’t know which of the many reviewed versions was played (after the fiasco of the first 1904 production in Milan, Puccini changed the score several times) but the second and third act are interminable and one of the reasons not to play Puccini too often. I enjoyed all singers except Pinkerton, who had a very tremulous voice with a top register reached only with strain. The conductor did a good job also but I sometimes felt a drop in emotional participation. Oh and by the way, the humming chorus is supposed to hum, not sing on the “u”, small detail, but changed the mood completely.
Muzikale leiding-Roberto Brizzi-Bignoli, Regie-Kirsten Dehlholm (Hotel Pro Forma), Artistiek medewerker-Jon R. Skulberg, Decors-Maja Ziska, Kostuums-Hernik Vibskov, Belichting-Jesper Kongshaug, Cio Cio San-Alexia Voulgaridou, Suzuki-Ning Liang, Kate Pinkerton-Marta Beretta, B.F. Pinkerton-Marcelo Puente, Sharpless-Aris Argiris, Goro-Riccardo Botta, Il Principe Yamadori-Aldo Heo, Lo zio Bonzo-Mikhail Kolelishvili, Il commissario/l’ufficiale-Wiard Witholt, Yakusidé-René Laryea, Madre di Cio Cio San-Birgitte Bonding, Zia di Cio Cio San-Rosa Brandao, Cugina di Cio Cio San-Adrienne Visser