Madame Butterfly killed at the Met

Film director Anthony Minghella (Truly, Madly, Deeply; The Talented Mr. Ripley) brings his London ENO production of Madame Butterfly to the Metropolitan Opera replete with an amazing light show, a ceiling mirror, and Bunrako puppets. The resulting theatrical, overblown mess resulted in the only version of this moving opera I have ever seen (at least five different stagings) that made me laugh with frustration at the absurdity of it all. The story is simple - Butterfly is brokered into a marriage of convenience to U.S. Navy Captain Pinkerton only to cling to the delusion that it is a real marriage. He leaves her alone for three years with hopes that he will return one day to live with her and their illegitimate son he doesn't know about. I can always count on Madame Butterfly to pull at my heart, often bringing me to tears in the second act. I always love a traditional set with the Japanese house on the hill looking over the harbor. Butterfly watches for Pinkerton's return. Local flowers like cherry blossoms usually add to the charm of the production. Details matter.

Even when I resisted the modern staging of NY City Opera's Madame Butterfly last year, I found my opinion changing as the opera progressed. Their use of cherry petals, a stage-filling fabric wave, and beautiful, transitional lighting and colors made the emotions shine through the minimalist design. In particular, I loved how they had Butterfly's boy come out in a kimono made of the Stars and Stripes, her gift to Pinkerton showing her dedication to adapt to his world, just as she did by giving up her religion and family for him. I was so sure the NY City modern production would have no effect on me emotionally but it all worked - I was a sobbing mess by the end.

I expect nothing less from The Met. They surely attract the best, premier singers. Cristina Gallardo-Domâs does a nice job with the vocals but she had so much make-up , along with heavy black hair and layered clothing, that she looked like a puppet herself, as if plucked from the Dark Crystal prop closet. Minghella tried to really show off his theatrical side. The cast silhouetted against colored horizons was very effective particularly when a solo male figure comes from back stage to join the action, as if Mifune in a Kurosawa film. Unfortunately the remainder of the production design and directing sucked. There was an annoying mirror reflecting people from above as they came onto set, pulling the viewer's focus in different directions. There was no commitment to either traditional choices or a modern interpretation. The women's kimonos were bright and colorful from the front but checkerboard nightmares from the back, reminding me of Chinese finger traps. There was no traditional 'house on the hill', only sliding Japanese doors. And instead of more native flowers, which are important to the story, they used rose petals and peonies. The most annoying direction decision, however, was in the use of the puppet child. The creepy face and strange motion disgusted and repulsed me - as if Chucky had somehow slipped into the back door of the Lincoln Center stage to possibly kill Butterfly. I disagree with those who feel the puppet worked from afar (I was in Family Circle at the very top). The dang thing just seemed unnatural. Worse was when Butterfly is preparing to commit hari-kari the puppet comes out looking for motherly love. She should send him away off-stage with the nanny, saying "go play". In this production she blindfolds the puppet to go play, no nanny around, and he is left to roam dangerously around the stage without any sight. How are you suppose to have sympathy for a woman who puts her child in danger like that? Why not put him on train tracks or have him run around with scissors? You think he is going to be O.K. after he takes the blindfold off only to see his mother in a pool of her own blood? I laughed with pain and sadness at the stupidity of these choices. What a horrible way to ruin one of the most moving operas we have. Minghella should never be allowed stage directing jobs again. After English Patient, I don't think he should be allowed to make movies, either.