"Don't mind – forget". In white type characters the lapidary words from the stage darkness shine. Like a helplessly banal swearing to formula. Mach you nothing draus - forget it simply! But it is not so simple with forgetting. For the American Pinkerton is the marriage with the Japanese Geisha Butterfly only one episode. A beautiful, temporally limited play. She against it means it serious and is ready to up-sacrifice itself up to the self denial.

In a head-on collision opera drama madame Butterfly emotional throwing away mentality and unverbruechliche loyalty hit one on the other in Puccinis. Even if the tender light effects of the scenery behind transparent gauze (Nanette Carpenter) suggest eastern Exotik, it concerns in the production from Anouk Nicklisch only at the edge the meeting of strange cultures. Above all a relations drama is shown.

Like an arrow the pointedly gathering stage points in emptiness. The actors act on inclined level. They keep the equilibrium only laborious. Naval second lieutenant Pinkerton returned to America. In the house the world from the joints is guessed/advised its Japanese wife. Rigid-intimately an individual board rises up out of the bevel of the stage soil. On this narrow dare-right surface Butterfly looks for refuge. Persistent she locks the eyes before the reality. Up to the conclusion it clasps to the illusion, its marriage with Pinkerton – that it long relied - would stand on firm reason.

Impressively the symbol-strong language of the scenery brings the emotional content of the piece on the point. Only the meaning of a meter-long rope, which is out-pulled in the Liebesduett, then however nearly two hours - to find without further attention - on the stage to lie remains, does not want not to be opened. Although the aesthetic-disciplined scenery refuses itself consistently to everyone kit ski towards opera Exotik, the person direction remains frequently in the plate arrested. It is missing to the relations conflict at emotional depth sharpness. The supergau of the feelings is missing.

In the red kimono a small Japanese doll is located on the stage at the beginning of the piece. By their defenseless-tender fragility the Butterfly of the Russian Sopranistin Tatjana Zaharchuk is mile far distant. With metallic Timbre she arranged the title portion rather divenhaft dominant as eastern modest. Despite individual uncertainties in the height it provides in the airs interpreted with extreme jet strength for the famous Puccini Gaensehaut. Shining one stimmliche accents sets also Mezzosopranistin Stefanie shepherd in the role of the Suzuki.

Less Belcanto bloom, for it however zupackende Dramatik serves the South African tenor Pieter Roux. With safe height it over-radiates the sound elbows of the orchestra. With Kay Stiefermann as Sharpless, Arthur Friesen as Goro, Katharina Greiss Mueskens as Kate Pinkerton are also the middle portions throughout convincingly occupied.

In the best way disposed the orchestra under the direction of George Hanson shows up. Even if the playing trumps dynamics sometimes shoot ueber's a goal outside, that offers sinfonisch –close, colorful orchestra sound to the singers a outstanding foundation. Thus the intensity from the orchestra ditch, which one missed on the stage by sections, came. For the Wuppertaler stages the performance is above all a musical triumph, which the public with euphoric applause honored.

Guarantees kitschfreie Butterfly production. Musical high-altitude flights troesten over the person direction arrested in the plate away.