Clockwise from left: Madama Butterfly; Ben Connor goes behind the scenes; below Lucia di Lammermoor Unwrapped; Madama Butterfly
introduced. We‘re avvay. The ()rchestra packs a punch and the tenors discuss. seemingly quite passionately. the peculiarities of Japanese furniture. Admittedly the conversation evolves and the orchestra. to good dramatic effect. inserts the American national anthem during a haughty spiel from Pinkerton. but I‘m finding it hard to engage.
The scene is cut and Burne .lones cues another. introducing Butterfly. her maid Su/uki and a stand in for the absent 3()-strong chorus — Butterflyk family. In the scene Pinkerton learns that Butterflyk family. once \vealthy. is now poverty stricken. l-‘ollovving the instruction from Burne Jones I come to appreciate the vvay the orchestra expands and contracts and plays around with Japanese melodies. The understudies are singing beautifully. I might even he warming to conversational singing.
Dissected in this way. opera doesn‘t seem that intimidating or dry after all. The scenes are short. sharp and fresh. Burnc .lones‘ pithy plot descriptions are a nice lead in and his joking with the understudies keeps everything light and easy.
A bit of historical detail adds to the charm. Despite being one of the most successful operas of all time Mar/(mm Butler/Iv was received with jeers and boos from the audience at its first performance at La Scala. Milan in 1904. Its poor reception has been attributed to a down- on-his-luck publishing rival of Puccini who may have bribed core audience members. The opera did not recover from this damning reception until. after being altered. it was
reintroduced to the public months later in a performance in Brescia. There. after an ecstatic reception. it began It)” years of global success. The next scene really pulls me in. Butterfly. abandoned for three years. foretells the magical return of her husband‘s ship in the harbour in 'l'n bel di‘. a truly heart-melting aria. With one last tragic scene ()pera l'nvvrapped is over.
As i collect my tickets for .lIur/(mlu [fuller/[v —‘ my first ever visit to a full-length opera I realise that I‘m looking forvvard to experiencing the real thing. With an additional 3() chorus members and a full costume performance it promises to be quite an experience. Spruced up to the nines my partner and I arrive at the theatre and take our seats in the auditorium.
So. second time round. am I an expert‘.’ No. but familiarised vvith the key arias. I understand the shape of the opera for the first time.
I'm not sure that I'm a complete convert yet ll found the short and digestible l'nvv rapped experience far more enjoyable than the real thing). But as a believer in acquired tastes. my new insights into the theatrical and musical side of opera has definitely \vhetted my appetite. l vvon‘t be block booking a box just yet. but I might have to book myself in for the Walter Scott-inspired Lucia (Ii Lammermoor \vhich Scottish Opera is performing in .lune.
Madama Butterfly, Theatre Royal, Glasgow, 25, 28 Apr and 17, 23, 25, 30 May and Edinburgh Festival Theatre, 13, 15, 19, 21, 23 Jun; Lucia di Lammermoor Theatre Royal, Glasgow, 16, 19, 22, 26, 31 May and EFT 16, 20, 22 Jun. Madama Butterfly Unwrapped, EFT, 14 Jun, Lucia di Lammermoor Unwrapped, Theatre Royal, Glasgow, 21 May, EFT 18 Jun.
SCOTTISH OPERA
SOAP OPERAS
Mark Robertson breaks down five famous productions to their bare essentials
Carmen Carmen is a saucy gypSy who likes the fellas. She woos Corporal Don Jose. convincing him that mutiny and running off to join a gang of bandits is a fantastic idea. The initial bliss doesn't last long as Carmen's eye starts to wander. She hooks up With a bullfighter. Don Jose goes mad. Carmen ends up dead.
Marriage of Figaro Isn't life a hoot when you're a 'olithering c0unt with a fondness for the ladies? Well no. as the Count is a showy. jealous sort who gets humpy when his valet {Figarol hooks himself a cutie (Susai‘ina). When the Countess spies a bottle for herself (Cherubinol the count sends him to the front line for a bit of close quarter combat. Subsequently. everyone gangs up on the Count to show him ,iust what a scheming old tart he is. there's much to-ing and fro-ing and plenty of mistaken identity but then it's all forgive and forget by the end.
The Ring Cycle Everybody wants to be the top dog but they need the ring to truly top the charts. Wotan and a whole bunch of godly miscreants set about trying to get their hands on the coveted piece of jewellery. Siegfried and his girlfriend Brunnhilde lVVotan's daughteri finally get their paws on it and Wotan and his pals are vanquished. Sixteen hoors of singing. sl‘iouting. fighting. flying. and betrayal.
La Boheme Marcello. Rodolfo. Coline and Schaunard are aspiring artisans dossing around their squalid gaff. They blag some grub and booze. avoid paying the rent and generally live it up. Mimi, the tuberc:ilosis-ravaged love interest. falls for Rodolfo. Marecello and his one-time beau Musetta reconcile. A whole load of jealousy— indueing, consumptioninspired shenanigans ensue. Everyone blows their remaining cash on medicine for Mimi but she dies anyway.
La Traviata Boy (Alfredo) meets girl iViolettal. Girl is sick but madferrit. living eveiy day like it's her last. BOy- falls for her big style. They shack up together. She gives up on her crazy ways. Boy's Dad demands he give her up and threatens to withhold his ltllitjl'lifll‘iCQ. Violetta takes the hint. goes back to her old hedonistic ways and gets even mere Sick. Alfredo finally gets the girl back. Violetta snufis it.
"u' .'.'ii. .. 'THE LIST 15