In an insightful conversation about the intricacies of the East-West relationship, we delve into the remarkable performances that unfolded during the recent concert staging of “M. Butterfly” at the Barbican, London, featuring the BBC Symphony Orchestra. The narrative begins with the 1988 Tony Award-winning play by David Henry Hwang, which dissects the West’s fascination with the stereotype of the submissive Asian woman, drawing inspiration from Puccini’s 1904 opera. Interestingly, Hwang, an Asian American playwright, based his work on the true story of a French diplomat who maintained a 20-year sexual relationship with a Beijing opera singer, oblivious to the singer’s true gender. The story takes a dramatic turn with a scandalous trial that reveals the diplomat’s partner as a spy for the Chinese Communist Party.
In this opera version composed by Huang Ruo, which premiered in Santa Fe in 2022, we observe the character René Gallimard, an ambitious yet somewhat naïve diplomat, whose sexual fantasies color his understanding of international relations. His misguided belief that the East desires Western control ultimately leads to his downfall, as he underestimates the shifting power dynamics in the region.
Huang effectively distills the original script into a compelling libretto filled with arias, duets, and choruses, while maintaining the intrigue surrounding the characters’ awareness and motivations. The powerful performances keep the audience guessing until the final moments. We wonder about Gallimard’s sexuality—does he identify as gay or fear that he might be? Is Song Liling, the opera singer, merely a deceptive temptress, or does she genuinely fall in love? A chilling reminder of homosexuality’s prohibition in Mao’s China prompts a reevaluation of Song’s vulnerabilities.
On the musical front, the score is described as immediate and colorful, blending Western instruments with traditional Eastern percussion, such as bell trees and temple gongs, effectively setting the scene for the opera. Notably, elements of Puccini’s work are subtly integrated, culminating in Song Liling’s powerful interpretation of “Un Bel Dì.” Carolyn Kuan leads the BBC Symphony Orchestra and BBC Singers with a disciplined hand, creating a taut and engaging performance.
The minimalist staging, directed by James Robinson and revitalized by Kimberley Prescott, is enhanced by striking video projections from Greg Emetaz. Mark Stone’s portrayal of Gallimard is commanding, navigating the character’s journey from detached diplomat to emotional wreck with remarkable skill. Kangmin Justin Kim captivates as Song, with a powerful countertenor voice and nuanced expressions. Fleur Barron makes a strong impression in her supporting role as the stern Comrade Chin.
While contemporary discussions of gender fluidity may have dulled some of the original play’s shock factor, “M. Butterfly” continues to challenge societal norms and provoke thought, particularly in the face of persistent racial stereotypes. The opera remains a poignant exploration of identity and desire, relevant to today’s audience.
