Inspired by the 1888 novel Madame Chrysanthème by the French novelist Pierre Loti, Puccini undoubtedly created his masterpiece, Madame Butterfly. This work reflects the craze for Japanism in European society at the end of the 19th century and early 20th century.
Robert Wilson’s stage design presents us with a “silent” opera with his minimalist style. Without a dazzling and glamorous set, all the audience could see are changes in colours of the lighting and the geometric composition on the stage. However, within these mute decors lies an aesthetic implication, and a particular atmosphere prevails.
Far from the usual splendours of classic stages, the monochromatic style evokes an air of chromatic idleness from the beginning. This suffocating atmosphere underlines the tragic life of Cio-Cio-san. From the first notes of the orchestra and the raising of the curtain, it is clear that there will be no “happy ending” for Cio-Cio-san; the woe of this young woman is announced when Lieutenant Pinkerton says:
And on the day that will see my real marriage, with a true American wife…
(e al giorno in cui mi spouseròcon vere nozze a una vera sposa americana.)
Although I acknowledge the high aesthetic level and innovative approach to reimagining this classic, personally, Robert Wilson’s “zen” staging is not entirely my cup of tea. Nevertheless, even for me, who always favours flamboyant designs, Cio-Cio-san’s suicide in the finale of the opera represents the apex of modern staging. The emptiness nihility transmitted from the stage, the simplicity of the costumes, and the gestures convey a powerful force to the despair of unreturned love.
One of the most interesting innovations of Robert Wilson’s Madame Butterfly is that Cio-Cio-san is interpreted by two artists: a singer at the front of the stage and an actress on stage. On the one hand, Alexandra Marcellier’s voice is seraphic. It seems that she could reach the high notes effortlessly, allowing the audience to witness the blossoming of her virtuosity. At the same time, the tonality of her singing retains the youth and innocence of Cio-Cio-san, who is only fifteen, despite already being a geisha.
On the other hand, Marina Frigeni’s physical interpretation of Cio-Cio-san on stage adds a paralysing ambiance. Despite her ethereal movements, the sensation she brings is neither calming nor romantic. On the contrary, this tranquillity that permeates the opera seals the fate of the character and her inevitable death.
The voice that impresses me the most is that of Suzuki, interpreted by Aude Extrémo. Her tone is rich and full. When she sings, it feels like a church bell tolled in the distance. Listening to the depth of her wonderful voice, I can “see” a woman who is not only a maid but, most importantly, the faithful protector and solid support of Cio-Cio-san.
This production of Madame Butterfly is meditative. Through silhouettes drawn by light, movements, and the characters’ movements, Robert Wilson transcends physical space. With the continuation of melodic and vocal lines, audiences are allowed to travel through time and space. This evening, we are plunged through extreme stylisation into a melodrama from the Far East.
