Juan's 'new' Puccini opera, Butterfly, a superb actress

Despite the music score remaining unchanged, this reviewer felt it was a “new” Madame Butterfly as conceptualized and directed by the widely acclaimed Anton Juan. Sets, lighting, action — all these and more drastically veered away from the traditional.

The rear bridge spanning the entire stage was a brilliant idea, rendering movement more varied and visceral. In Act II, as the UP Manila Chorale intoned, from the bridge, an exquisite melody, characters in front of the stage were waving black capes decorated with white flowers, their sight deepening the gloom. Film clips injected searing realism into a chapter of Phl history vis-à-vis the Japanese Occupation. This adding another dimension or perspective to the Japanese inspired opera.

The wedding night scene eloquently articulated the stark contrast between East and West cultures, the shy, coy, demure Japanese bride and the aggressive, bold, passionate American bridegroom. (His eagerness to undress — taking off coat and shirt — was a masterful directorial touch).

Not all of Juan’s flights of fancy appealed to my aesthetic sense although they may have been admired by others. Curtains opened to a stage cluttered by too many props — new, imaginative and contemporary as they were. Succeeding scenes, likewise, had the stage cramped and crowded, hampering movement.

Entrances and exits should be unobtrusive. In this regard, white pieces of canvas, manipulated by persons behind them, served as doors. Inevitably, as entrances and exits occurred, the audience waited for the doors to open and close, with its attention briefly distracted. The arrestingly long flight of stairs led to an odd thought: a mis-step could send the principals tumbling down. But rehearsals must have been so rigid, they sang and emoted without even looking at the perilous stairs — while leaving this reviewer holding her breath!

The plot of Madame Butterfly is too familiar to bear repetition. In Juan’s version, Cio-Cio San climbs the stairs, and on reaching the top, plunges a knife into her throat, dying with arms outstretched. What a devastating, gripping climax! However, it deviated from the original story, herewith I quote from the Victor Book of Operas: “Pinkerton, after Cio-Cio San dies, is heard calling her name. A moment later, he rushes into the room, kneels beside Butterfly, sobbing with grief and shame.”

Just to what extent can a story be justifiably changed? Juan’s ending, in any case, was as enthrallingly tragic.

The excellent cast, in varying degrees, reflected Puccini’s genius through Juan’s closely coordinated direction. Singaporean Lim Yau, conducting the Philippine Philharmonic Orchestra, meticulously followed the singers’ tempo, volume and expression. As Cio-Cio San, Mako Nishimoto, a real-life Japanese portraying the Japanese heroine, was a superb, captivating actress. Her timber was not very rounded or pleasant but her incredibly long sustained top notes proved her considerable technical skill. The audience’s favorite, she garnered lusty applause after each intense aria. Her impassioned Un bel di (One fine day) conveyed stirring poignancy.

Mexican tenor Dante Alcala as Lt. Pinkerton was vocally and dramatically impressive. And assertive. (His good looks were a definite asset, besides!) Andrew Fernando, international baritone, projected his glorious “booming” voice as he portrayed the American consul Sharpless with emotional depth. Seasoned singer-actress Camille Lopez Molina, Cio-Cio San’s companion, performed with ultimate assurance. The Flowers Duet, which she sang with Nishimoto, was utter delight, her ringing voice firm and powerful. Musical director was Dr. Francisco F. Feliciano.

In brief, secondary roles, Juan Gaerlan, the marriage broker Goro; bass Jun Jaranilla, the Imperial Commissioner; Gilbert Chua, fuming, dissenting uncle; baritone Nonon Baang, suitor of Butterfly; Kay Balajadia-Liggay, her mother, and not the least, Fame Flores as Mrs. Pinkerton laudably contributed to the opera’s over-all success.

Not to be overlooked, six-year-old George Windsmith as “Trouble,” Butterfly’s son, never missed a cue as he hugged his mother, joyfully scattered spring blossoms, kicked his legs playfully, etc. What a marvelously talented child!

The curtains repeatedly rose to prolonged, loud clamor. Juan’s unique, original presentation at the CCP theater will be long remembered. Every seat was taken, thanks to MusicArtes headed by Jay Valencia-Glorioso, president, and Josie Tan, chairwoman.

The printed program had messages from CCP president Raul Sunico and v-p Chris Millado; Ambassador Luca Fornari, Puccini being Italian; Japan Foundation director Shuji Takatori, Cio-Cio San being Japanese; Ambassador Javier Calvillo Unna, Pinkerton being Mexican.