Review: MADAM BUTTERFLY, Welsh National Opera (Birmingham Hippodrome)

Photo credit: Richard Hubert Smith

After being starved of live music for such a long time it was a joy to walk into the Birmingham Hippodrome and hear the orchestra warming up. A plain white curtain greets you as you enter, a blank canvas which will soon be filled with Lindy Humes’ interpretation of Madam Butterfly.

Madam Butterfly centres around a young Japanese girl and her aspirations of freedom. Beginning with a beautiful wedding, the butterfly’s dream quickly turns into a nightmare. Abandoned and betrayed, she embarks on a fresh fight for survival with devastating consequences.

Humes brings a refreshingly modern breath into Madam Butterfly. Isabella Bywaters design is clean and muted. The white set, theatre surround, curtain and costumes provide a sterile space, tarnished by the pain portrayed on stage. This clear white design also provides the perfect backdrop for Ash J Woodward’s mesmerising video projections; so full of colour, they are an intense reminder that we live in a technicolour world. Elanor Higgins’ lighting brings depth and texture to space, all combined to bring what could be a dull white space to life, whilst not detracting from the performances.

Birmingham are blessed with Joyce El-Khoury as Butterfly, her velvety voice glides around the auditorium filling every nook and crevice. None of the performers appeared to be wearing microphones, which is a huge testament to the vocal skills though, at times, some lines are lost to the strong orchestra, led on this occasion by Carlo Rizzi who conducts with passion and flare.

This is a deliciously decadent presentation of Puccini though, if new to the opera genre, may be slightly too rich for the novice palette. Those who are fond of Madam Butterfly will be in awe of this modern take to this classic tale.

**** Four stars

Reviewed by: Alanna Boden

WNO’s Madam Butterfly continues to tour until May 2022. For more information and to book tickets, please click here.