By Lee Hyo-won
Staff Reporter
For the fourth installment of its popular My First Opera series, the National Opera of Korea presents a modern yet thematically periodic rendition of Puccini's ``Madame Butterfly'' through July 25 at Towol Theater, Seoul Arts Center.
The summer program invites not only those who are new to the genre, but also big time fans to enjoy staple operas. Tickets are inexpensive ― from 10,000 to 50,000 won ― and the tiny theater seats only 617 people, but the National Opera shows that quality and quantity are two different things.
In a press rehearsal Wednesday the talented cast showed off their flair amid the striking stage set that made optimal use of the limited space, giving way to an intimate and heartfelt audiovisual experience.
Set in early 20th-century Japan, the opera tells the story of Cio-Cio San, a budding geisha who marries an American Navy officer Pinkerton. Even when he leaves her, she waits with their son, persevering faithfully and patiently. When Pinkerton finally returns ― with his American wife to adopt his child he's never met ― Cio-Cio San kills herself.
Soprano Lee Ji-eun was a most impressive Cio-Cio San with gorgeously toned middle notes and an expansive breadth of emotion that expressed both girlish glee and dramatic despair. Her slender kimono-clad figure and beautiful looks also heightened her character portrayal. Tenor Kim Do-hyoung as the despicable Pinkerton exuded a soft charisma that complimented his co-star.
The story, which is often considered an outmoded Orientalist fantasy, was depicted with a thoroughly modern and Romantic twist, though without compromising the Japanese exoticism (in the most positive sense) that transports viewers to a different time and space.
In the production, Cio-Cio San takes her own life in neither wrath nor reproach _ rather, she fully endorses disillusionment, decides to disappear and transforms quite literally into a million butterflies.
The atmospheric set featured a paper lattice wall that evoked the image of a butterfly, both delicate and ominous. ``The production's foremost visual texture is that of paper. Paper can wear bright, fancy colors but it can also be restructured when folded or cut,'' said director Lee Na-ra in a statement.
The set sat upon a revolving stage. The clockwise rotation carries the despair and uncertain future of the patiently waiting Cio-Cio San, while the counterclockwise movement undoes the negativity.
In March, Trieste Verdi staged ``Madame Butterfly'' under the direction of Giulio Ciabatti. The large scale, video art-embellished production may remain fresh in the minds of many, but the National Opera offers something palpably different.
Tickets were sold sell out as of Tuesday, but call to see if there are cancellations, (02) 586-5282. Fans can also look forward to the company's September production of ``L'Elisir d'Amour'' ticket sales for which will open at the end of the month.