I didn’t like this as much as everyoneelse. Mainly this was down to the minimalist set and staging, which felt a lot like a “one room drama”, and was about as edifying as a trip round Ikea.
Nods to early 20th century Japan look instead like twee japonisme. (There’s a fine line between accuracy and stereotype). Seen in light of Opera Australia‘s more modern-day production, which I could not help recalling, this production seems in all ways a little stiff. Taking place as it does in this austere space, with the backwall made up of a huge shoji screen and a bare floor, it is up to Kristine Opolais to light up the evening.