In November 2012 Vincent Boussard presented his vision of Madama Butterfly at the Staatsoper Hamburg where its premiere was highly acclaimed by the public. Reviews.

The Deutsche Presse Agentur (12.11.12) gives the following résumé: "In the ambiance of a timeless flat with red poppy decorations and spiral stairs symbolising danger (setting: Vincent Lemaire), Vincent Boussard searched to show the affecting tale of woe of an abandoned woman with all her bursts and her ambivalence, so to say to develop the psychogram of a young modern woman in jeans and a trendy skirt of tulle who delivers herself blindly and obsessively to her love." Die Welt (13.11.12) claims that the concept is focussed on the title role in a convincing way: "The staging provides the necessary space for the Greek soprano Alexia Voulgardiou in order to nest her voice and body language in the chambers of the heart of the geisha in the way of a robin to whom Pinkerton ties his promise of returning home." The Hamburger Abendblatt (13.11.12) adds to the virtuosic staging: "an impressive transformation from the compliant geisha to the woman of today." Madama Butterfly is and will stay a tragedy whose tension concerning the question of the child Vincent Boussard wishes to intensify, a fact that the Kieler Nachrichten emphasise: "Divergent from Puccini's melodramatic conception, Vincent Boussard's staging leaves it open in a meaningful way whether her child really exists or whether she sacrifices it herself as a kind of Medea Butterfly with greetings to Hitchcock in order not to give the opportunity to Pinkerton to hand the child to his new infertile wife, the American dream girl Kate (Ida Aldrian). Spiegelonline (17.11.12) gets the closing words: "Puccini's opera visually seems like out of a teaching book as an example for an effective staging of classic opera splendour."

20 November 2012