Opera productions as spot-on and long-running as WNO's 1978 version of Puccini's Madam Butterfly can only be diminished by the casts that populate them.
But hardly ever have its revivals been less than sympathetic towards the vision of Joachim Herz, its original producer, and his design team.
Some terrific sopranos have graced the title role - Helen Field and Nuccia Focile among sometime company regulars, for example - and explored different shades of wilfulness and vulnerability in the ill-fated geisha.
To the best must now be added Amanda Roocroft, who blends the character's innocence with womanly stature by evolving one from the other under cover of a resourceful voice which she is at pains to curb when necessary.
At this performance, conducted with vigour by Simon Phillippo, she was suffering from an offstage whiplash injury. It scarcely showed, but she must have been in agony. A heroic effort from the heroine.
Also on the casualty list was Claire Bradshaw, who had to pull out as Suzuki, leaving Scots mezzo Aileen Sim to sing the part accurately if a little tentatively.
American tenor Russell Thomas is the latest Pinkerton, a barrel-chested performer whose exciting, Pavarotti-style voice currently out-distances his range of bodily gestures. He could learn something from Neal Davies as Sharpless, a part the Newport-born bass-baritone continues to refine. Dependable Philip Lloyd Holtam enters as Goro, the unscrupulous marriage broker
Revival director Caroline Chaney maintains standards on a set already refurbished, but one wonders if this landmark piece will soon need to be laid to rest. Howls of disapproval all round, I hear. |
