PUCCINI’S Madama Butterfly, one of the great staples of romantic opera, is so well known for its earworm Humming Chorus and its aria Un bel di (One Fine Day is a highpoint in every soprano’s repertoire), that you sometimes don’t remember what the story really says about American imperialism and the very different religious and societal life of the Far East.

Those things could not come over more clearly than they do in Paul Carr’s intense and intimate production for Celebrate Voice in Salisbury’s tiny Medieval Hall. Close to the audience, on a stylish and simple set designed by Fred Broom and atmospherically lit by Ben Lapworth, the doomed romance of Cio Cio San and Lt Pinkerton plays out. He is an arrogant and entitled naval officer who takes a fancy for a “wife” while he’s stationed in Nagasaki, and arranges to buy one from a marriage broker.

The 15-year-old girl is entranced by the handsome American, and, ignoring the warnings of her family and the threats of the local religious leader, determines to create an American home for him, forever. Pinkerton leaves, and the woman he calls Butterfly waits for his return, bearing his child and watching for his ship to re-enter the harbour. She sees the ship on the horizon. Between Acts II and III Butterfly and her faithful servant Suzuki sit and wait for Pinkerton’s arrival in a heart-wrenching moment shared by the entire audience, all involved in the vigil as the sun sets and rises again.

Victoria Armallotti is an astounding Butterfly, fragile, strong, terrified and determined, her body expressing every emotion and her voice capturing the essence of one of opera’s greatest heroines, raw hope and resignation exposed, the ending inevitable.

Robert Forrest’s Pinkerton, careless and supercilious, is palpably enraptured by his Butterfly, but already thinking of when he will leave her for a real, American, bride. Celebrate Voice favourite Philip Smith is a helplessly touching Sharpless, and Victoria Simmonds brings a gentle gravitas to the role of Suzuki, another of those who can see the inescapable conclusion and can only cherish and wait.

I have known the opera since I was a very young child, seen and heard it on countless occasions, but never more painfully touching and convincing than in this extraordinary production.

It is a triumph, and it overcomes any of the 21st centry qualms about the validity or probity of continuing to stage the work. The performances are sold out, but if you are very lucky you might just get a return ticket.

GP-W