Magnetism of madama

Madama Butterfly/ Don Giovanni at the Royal Opera House

Raymond Gubbay, audacious people's impresario, turned out to be the mystery link in the opening weekend of the Royal Opera's new season. Ever a thorn in the "official" opera world's flesh, especially now that he is to set up his own company, he surely earned a little chuckle. Francesca Zambello, his newest arena opera recruit, had directed the opening Don Giovanni on Friday. The following night, one of his first arena discoveries, the Chinese soprano Li Ping Zhang, was Madama Butterfly, the role she sang triumphantly at the Albert Hall five years ago. At this rate, the only distinction between companies will be the price of seats.

First seen in March, Caurier and Leiser's ROH Butterfly was coolly received at the time. Low on ideas, it certainly doesn't distract with intrusive ingenuity. Now a fresh cast, with several debuts, lifts it from tedium to acceptable simplicity. The catalyst of this change was Li Ping Zhang.

Physically fragile, light-toned but intense, she was a magnetic presence, convincing emotionally but never self-indulgent, which is the best one can ask of a Butterfly. All the other parts were decently sung.

The Texan Marcus Haddock, who soars easily to his high notes, made for a Bush-like Lieutenant Pinkerton, aptly glossy, glassy and imperious. The Russian, Kirill Petrenko, conducted with a true feel for the grand, long lines with which Puccini's piece is effectively made.

The previous evening, Antonio Pappano conducted a fizzing, bristling, provocative Don Giovanni in Zambello's revived 2002 production, with a prime cast and Maria Bjornson's burnished religio-Spanish sets. This was his first Mozart with the company. What would it reveal? Speeds were brisk, the orchestral sound warm yet limpid. Tony Legge's upfront, richly embellished forte-piano continuo was a characterful bonus.

The dynamic Russian soprano Anna Netrebko, a late replacement, proved a febrile, lustrous Donna Anna, boldly showing us who's in charge. She caused a stir in Salzburg this year and one can see why. Darren Jeffery's young Massetto was sympathetic, Erwin Schrott's Leporello outrageously assertive if too crowd-teasing. As Don Ottavio, Ian Bostridge looked most ill at ease with pistol and revenge but sang with tonal beauty. Nuccia Focile's Elvira was a nervy, silveryvoiced wraith-waif, stalking the villainous Don with rifle and telescope.

Other optics in the audience were largely trained on Gerald Finley, stripped to the waist and giving a visibly muscular account of the title role, negotiating 10ft high hellfire flames and displaying enough soft, seductive, serpentine arrogance to fell any woman from a thousand paces. Damn him.

Madama Butterfly