MADAMA BUTTERFLY
MADAMA BUTTERFLY, Opera Australia at the Joan Sutherland Theatre, Sydney Opera House, 3 January-25 March 2026
Marking the company’s 70th anniversary with a legacy production might have been a retrograde decision if the choice were not former artistic director Moffatt Oxenbould’s still vivid and much-loved 1997 version of Madama Butterfly. Although officially retired from the repertoire in 2017, the deceptive simplicity of setting and costumes, by Russell Cohen and Peter England, is just as gasp-inducing as the shoji screens, shimmering moat, and colour-coded characters were 30 years ago. And the same must be said of Robert Bryan’s exquisite lighting. It’s quite literally a production for the ages.
And if that weren’t enough, in recent years, Sydney and Opera Australia have been blessed with two marvellous visiting Cio-Cio Sans: Hiromi Omura, who was unforgettably heartbreaking in the 2023 Handa on Sydney Harbour version, and now, making her debut in Australia – and in the role – a glorious Guanqun Yu.
On opening night of the summer season, the Chinese-born soprano galvanised the audience into a rare standing ovation as the final notes of Puccini’s tragedy floated into the night. It seemed to surprise her, yet it was more than deserved. She had spent the previous almost three hours having us live and feel with her through the extraordinary contrast between impossibly beautiful music and the brutality of the story.
Ms Guanqun’s rich, full tones and empathetic acting made for an unusually credible human being and life journey: from the hopeful young girl with stars (and stripes) in her eyes, in love with US naval lieutenant Pinkerton, through to the heartbroken mother who realises she is abandoned and must give up her son for his sake. American imperialism and the unthinking misogyny of generations of entitled white men have never been so starkly illustrated, even as, on the same night, the US invaded Venezuela!
Aside from global upheavals and a brand new heroine, revival director Matthew Barclay also had to deal with the late withdrawal of American tenor Robert Watson and his fortuitous replacement, the experienced and popular Diego Torre. From their interactions, both choreographed and vocal, no one would have known the tenor and Ms Guanqun had only just been introduced – even though what happens backstage in opera is often almost as perfunctory. The same could be said of Sian Sharpe as Cio Cio San’s faithful Suzuki: the two women mesh voices and performances as if genuinely the dearest of companions and add immeasurably to the whole.
Under conductor (and newly-announced Musical Director) Andrea Battistoni, the OA Orchestra and Chorus are taut and on point in responding to Puccini’s score as if newly-minted. The “Humming Chorus” is particularly touching for its unlikely conveying of deep emotion, the duet between Cio Cio San and Pinkerton is equally beautiful as the voices work exceptionally well together, and of course, “Un bel dì, vedremo” (One Fine Day) would touch the hardest heart, and when sung by Ms Guanqun, it’s heartbreaking and electrifying.
As the American consul, Sharpless, Samuel Dundas is linen-clad diplomacy and decency personified, and a delicious contrast to the oleaginous marriage broker Goro (Virgilio Marino). As the Bonze David Parkin is a magnificent sight in bare chest and golden-orange robes, he sings up a storm too. At the other end of the social spectrum is Jane Ede as the hapless real wife Kate Pinkerton: it’s a small, vital role and an unforgiving one, and she’s excellent, as is Leon Vitogiannis as Cio Cio San’s would-be suitor Yamadori.
Mention too must be made of Angus Flint – the small boy at the heart of the story and one who must endure the tug between opposing parents and cultures. He’s impossibly cute. How he’ll grow up is anyone’s guess, but he surely won’t make more of a mess of it than we see played out on the Joan Sutherland stage. And rather than be inured to terrible behaviour and cruelty as we’ve seen in 2025 – and 2026 already – the combination of sublime music and these performances is enough to remind us that humanity and love is what count in the end. And as it leads to calamity in this instance, it is enough to send the audience out into the night, both exhilarated and sorrowful. Cio Cio San’s honour and sacrifice suggest a good year ahead for Opera Australia’s big birthday.
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