David McVicar's 14-year-old take on Puccini's Madama Butterfly has become a Scottish Opera stalwart, the kind of bullet-proof production that any company would be glad to have in its stockpile. It's a handsome period piece (designs by Yannis Thavoris), unsentimental enough to be stylish, perceptive enough to be mildly provocative, safe enough to be a classic. The set is elegant and timeless, all gently askew angles and muted beiges and greys that would never tire the gaze. Touches of symbolism keep the mind ticking over: the butterfly silhouette as Cio-Cio San unwraps on her wedding night, the looming cherry branch laced with pretty flowers yet hinting at a lightning bolt. The final tableau (I won't give it away) looks impressive and provides a neat jab at the illusionary American dream. Altogether it works as allegory, for those inclined to prod, but also as straight, heartfelt entertainment.
A strong cast is led by the magnetic Cio-Cio San. South Korean soprano Hye-Youn Lee inhabits the role with absolute conviction and ideal nuance: she is wide-eyed and girlish-voiced in act one, ardent and womanly in act two, heartbreakingly dignified in act three. Hanna Hipp as Suzuki is likewise excellent, with a knowing, competent demeanour and a glowing mezzo timbre.
Alongside two such compelling women, Jose Ferrero's Pinkerton makes a hulking, glaikit presence. His voice is sweet enough but lacks subtlety, while his character musters bewilderment at best – no lust, deceit, nonchalance, self-loathing or anything else that might make him interesting. Christopher Purves contributes an august Sharpless, while the chorus sing warmly and move gracefully. The orchestra sounds hearty and supple in the Festival theatre's gaping pit; conductor Marco Guidarini occasionally lets it swamp the voices, but the players' surging, irresistible climaxes are worth it.
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