Madame Butterfly at the Aotea Centre

By BERNADETTE RAE

Madame Butterfly loses none of her magic in the translation from opera to ballet stage. From the stunning opening moment, when a stylised geisha, with dramatic wings, shimmers into being behind a gorgeous fall of chrysanthemum blossoms, the Royal New Zealand Ballet production tells her tragic tale with great beauty, style and piercing poignancy.

The choreography by Stanton Welch is an interesting blend of classical line with quaint characterisations, such as the occasional flatfooted walk of the women that evokes both Japanese footwear and feminine subordination.

The sets and costumes, all part of the original Australian Ballet production, are another clever blend of Japanese style and blossom-hued prettiness.

John Lanchbery's arrangement of Puccini's music gives the arias to the cello. It works well in the hands of the Auckland Philharmonia.

Guest artist Amy Fote is an exquisite Butterfly (and will alternate with Yu Takayama in the role). A wonderful dancer and fine actor, she takes her character through the trusting innocence of a 15-year-old bride approaching a most unequal marriage, the blossoming as a young woman experiencing adult love for the first time, motherhood, long years of desertion, to the final despair, with integrity and conviction.

In the final scene she flings herself to the floor, and holds the audience captive to her agony, in one long stare. It is a power-packed portrayal, for all the fragility that goes before.

Nadine Tyson as Suzuki, Cio-Cio San's loyal companion, matches her mistress in grace and drama, her face reflecting every nuance of the story in wonderful clarity. It is her warm and crumpling humanity that might make you cry. Tyson has announced her retirement - her great personality and passion will be much missed.

Douglas McCubbin, as Pinkerton, is an admirable partner to Fote in the climatic pas de deux that completes the first act, with its myriad dramatic lifts and flying catches. What McCubbin lacks in lyricism is adequately compensated in a strong physical presence. He works well as Pinkerton in the opening scenes with the Lieutenant's parade of brash insensitivity. But later, he needs to move more from his heart and less from his head.

Mikhael Plain is an impressive Goro and Vivencio Samblaceno's comic Yamadori - the elderly proposer of marriage, though rejected by Cio-Cio San - is irresistibly cute.

The company has lots of young and new faces this season. Together they do this lovely Madame Butterfly proud.