Inspired by Pierre Loti's 1888 novel Madame Chrysanthème, Puccini’s Madame Butterfly reflects the fascination with Japanism in late 19th- and early 20th-century Europe.
Robert Wilson’s minimalist staging strips away traditional grandeur, focusing instead on subtle lighting shifts and geometric compositions. This pared-down approach crafts a silent yet evocative atmosphere, mirroring the suffocating tragedy of Cio-Cio-san’s life. From the opening orchestral notes, the inevitability of her fate is apparent, reinforced by Pinkerton’s dismissive promise of a “real” marriage to an American wife.
Wilson’s production introduces a dual portrayal of Cio-Cio-san: Alexandra Marcellier’s seraphic vocals effortlessly capture the youthful innocence of the fifteen-year-old geisha, while Marina Frigeni’s ethereal onstage presence conveys the character’s haunting stillness and tragic destiny.
Aude Extrémo’s rich, resonant performance as Suzuki stands out, her voice embodying unwavering loyalty and strength. The interplay of voice, light, and movement in this meditative production transcends space and time, immersing the audience in a stylised melodrama of love and loss.
While Wilson’s minimalist vision might not appeal to all, the final scene—Cio-Cio-san’s despairing suicide—achieves a devastating poignancy, solidifying this production as a profound reimagining of Puccini’s masterpiece.
(Full text and article available in 2 other languages on Nereid, Elle Rêve)
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