Madama Butterfly

Crystal chandeliers in the lobby of the Met

Once every semester, the Italian Department makes a trip to the Metropolitan Opera House to see an opera by an Italian composer. Last night, we went to see Madama Butterfly by Giacomo Puccini. I actually got standing room tickets in October 2007 for this production, which was new for the 2006-2007 season, but I enjoyed it so much more the second time. Seeing it from the back of the orchestra is actually not as good as seeing it from the back of the highest level (where we were last night), because the overhang cuts off the top of the stage when you see it from the standing room section on the lower level. In this particular production, the use of lighting and costuming, with very minimal sets, is extremely impressive, and I enjoyed it a lot more when I could see the entire stage.

One unique thing about the new production of Madama Butterfly at the Met is their use of Bunraku puppetry, a traditional form of Japanese puppetry executed only by highly trained professionals. Butterfly's son, for example, which used to be a non-speaking role played by a young child actor, has been replaced by a Bunraku puppet and three puppeteers, partially disguised by their all-black costumes.

Crystal chandeliers in the theater

This was definitely one of the most visually innovative operas I've seen. The combination of costumes, lighting, and set pieces that involved traditional Japanese elements - like a flock of paper birds on sticks held and controlled by members of the ensemble - blended together perfectly to transport the audience to Japan at the beginning of the 20th century. Everything was figurative, and very few elements were literal, but it was easy to suspend disbelief and be convinced by everything onstage. And of course, the music by Puccini never fails to make an impression.

Photo from metoperafamily.org