“Addio fiorito asil”, sings Pinkerton in the final act, as he bids farewell to the location where he once had been blissfully happy with Butterfly. These words had added resonance last night, as Moffatt Oxenbould’s much-loved production of Puccini’s opera will be retired by Opera Australia at the end of this Sydney run. My sole previous experience of seeing a Butterfly mounted by this company was in 2014, when Àlex Ollé’s politically charged staging was the Harbour-side production. Within the Sydney Opera House itself, Oxenbould’s minimalist take has reigned supreme since 1997. Due to renovations to the iconic building, the metaphorical curtain will come down on this production in the Capitol Theatre.
A production’s time can come for many reasons: wear-and-tear to the sets (any Puccini opera in Opera Australia’s repertory is going to be heavily used), diminishing box-office returns or simply the feeling that something new is needed. The production itself does not feel at all dated. This timeless staging has as few props as a traditional Japanese ryokan, although the water features with the floating candles were quietly spectacular. Many of the most telling effects were achieved through changes in lighting, as well as the varying configuration of the floor-length windows/doors around the sides and back of the set. For the wedding-night scene at the end of Act I, the back wall vanished to reveal a gorgeous starry night.
To the occidental eye, the costuming choices seemed to fuse together different aspects of Japanese culture. The silent, prop-shifting assistants wore facial masks that seemed to cross the bunraku (puppet theatre) tradition of invisible puppeteers with the sort of surgical masks one sees daily on the Tokyo underground. The colours of the guests during the wedding ceremony were derived from Kabuki theatre, with Butterfly’s fellow geishas in pinks, her family in blue, and the interruption of the diabolical-looking Bonze and his crew in red. The final Act I duet utilised the symbolism of white (Butterfly) and black (Pinkerton), foreshadowing where our sympathies would lie.
Among the chattering classes, the issues of ethnicity and opera casting have recently become a hot topic: London performances of Peter Eötvös’s The Golden Dragon were cancelled for “whitewashing” this story of Chinese immigrants by casting no Asian actors. But verisimilitude as a criterion for casting comes with its own problems: the black soprano Latonia Moore has spoken of being typecast as Ethiopian princess Aida, whereas she thinks Butterfly is her best role.