Madam Butterfly is The Royal Opera's follow-up to last year's 3D opera film Carmen. The Puccini classic tells of one self-regarding and narcissistic Lt Pinkerton (James Valenti) who takes local girl Cio-Cio San (Zhang Liping) for his own without intending to fulfil his duties towards her. As he tells an aghast Consul Sharpless (Anthony Michaels-Moore), just as the lease for his swanky new bungalow is valid for 999 years but has a monthly get-out clause, the same goes for Japanese marriages. If the locals have such a loose concept of marriage, why shouldn't he get married and divorced Japanese-style? The tragedy of course is that's not what Cio-Cio San had in mind when she accepted the marriage proposal.
Following the operatic tradition, there is beautiful singing, splendid costumes, starry-eyed outpourings of love, and of course the titular character expiring dramatically as the curtain falls.
Director Julian Napier opts strangely enough for a minimalist set – the four walls of the mansion on the hill where the entirety of the opera takes place. Hence, the action feels almost stage-like, far less film-like and dramatic than last year's Carmen. I didn't think this choice of direction makes a compelling stand for a 3D film at all.
But on the upshot, the three principals eschew broad operatic gestures for a nuanced performance worthy of a stage repertory company. The tiniest of gestures accentuate the almost comic cocksure lack of self-awareness of Pinkerton (whose moment of illumination and regret is still hilariously dim), the world-weary nature of Sharpless, and the incandescent purity and conviction of Cio-Cio San. And that is where Madam Butterfly 3D succeeds as an opera film.