There is nowhere to hide in Madama Butterfly. It is a well-known opera, contains very little in terms of stage action and changing scenery, is intensely lyrical in its vocal writing, and its orchestral writing is exposed. None of these factors bothered Opera Australia in their latest production, which was superb from beginning to end in every respect.
The Australian Opera and Ballet Orchestra under conductor Ryusuke Numajiri was on top form, as good as I have ever heard them. The violins handled the exposed lines with great lyricism and excellent tuning, while the wind and brass sections were extremely solid, underpinning the string sound with panache and a great sense of ensemble. This supported a superlative cast headed up by Japanese soprano Hiromi Omura making her Opera Australia debut. She was much appreciated by the audience, receiving loud cheers and a standing ovation from sections of the theatre and fitted the role perfectly, performing with charm and singing in an utterly beguiling manner with the required amount of innocence and vulnerability, which the role demands. She was admirably supported by Dominica Matthews as Suzuki her maid, who has a difficult role to play, caring for Butterfly and entertaining her fantasies, while at the same time as knowing the truth and maintaining a sense of realism and pragmatism.
However, for me, the real revelation of the evening was James Egglestone, who played the part of Pinkerton, Butterfly’s husband. He has not been heard much in Opera Australia productions and I hope, based on this performance, we will have many more opportunities to hear him again in the future. He sang the demanding tenor role of Pinkerton with great ease but also with passion. His voice had a lot of colour and also much resonance and was thrilling in its upper register. The love duet with Butterfly at the end of the first act was sublime. He was utterly compelling in the role. His sense of guilt when he returns at the end of the opera was raw and heart-wrenching.