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The production is based on that of the film director Anthony Minghella, who died in 2008 (made in Vienna by his widow Carolyn Choa). It offers impressive show experiences and colorful paintings right out of the box. A huge mirror tilted above the stage creates kaleidoscopic effects, a large number of paravents and the possibility of mysterious appearances and exits.
Minghella’s “Butterfly” is a cleverly used magical theater, very simple, aesthetic, but also aesthetic, eye-catching and engaging, effective and garish in the way people are guided. Butterfly’s son is a doll that is guided at least with the same affection as the protagonists.
The production was first shown in 2005 at the London English National Opera and in 2006 it opened Peter Gelb’s direction at the New York Metropolitan Opera.
The fact that 14 years later it is heralding a new era in Vienna can only be explained in the general context. First of all, it replaces the oldest production of the repertoire of the State Opera (from 1957) and is a baby compared to this one. Second, it is the beginning of a major repertoire renewal by taking over some successful productions from other houses, because the new director quickly identified the imbalance between musical and stage quality at the State Opera and intends to remedy it.
If Oper am Ring is to be a total work of art again in the future, this performance with its aesthetic, which despite all the American clichés has international relevance, is a sensible start. Of course, it would be ridiculous to dare to look forward to the next few years of management after just one release. But at first, the Vienna State Opera documented its quality standards.
