Canadian Opera Firm, manufacturing from Houston Grand Opera, Grand Théâtre de Genève, and Lyric Opera of Chicago: Madama Butterfly. Eri Nakamura, Cio-Cio San (Butterfly); Kang Wang, Pinkerton; Hyona Kim, Suzuki; Michael Sumuel, Sharpless; Julius Ahn, Goro; Samuel Chan, Yamadori; Gene Wu, Bonze; Emily Rocha, Kate Pinkerton (January 24 to February 6); Karoline Podolak, Kate Pinkerton (February 8 to 16). COC Orchestra, Keri-Lynn Wilson, Conductor; Christopher Oram, Set & Costume Designer. 4 Seasons Centre, Toronto. Continues till February 16, 2025; tickets right here.
Madama Butterfly returns to the Canadian Opera Firm stage with a stellar forged that delivered an emotionally wealthy efficiency with breathtaking vocal artistry and highly effective appearing. This manufacturing involves the COC from Houston Grand Opera, Grand Théâtre de Genève, and Lyric Opera of Chicago. Toronto opera goers might keep in mind, as I do, the COC’s 2014 mainstage manufacturing initially directed by Brian Macdonald, which I do know is a favorite of many. This manufacturing looks like a contemporary tackle an operatic basic and aligns extra intently with the sensibilities of as we speak’s cultural local weather.
Puccini’s masterpiece is a poignant opera with a number of layers, themes, and complexities. Cio-Cio-San (Butterfly), a younger Japanese geisha falls in love with a U.S. naval lieutenant, Pinkerton. They marry, however Pinkerton abandons her. Butterfly raises their son whereas she waits for his return. Three years later, he returns with an American spouse. Devastated, and having made so many sacrifices within the identify of affection, she makes the final word sacrifice together with her life.
Performances
Australian-Chinese language tenor Kang Wang as Pinkerton delivers a robust efficiency that elicits the nuanced aspects of Pinkerton. There’s a richness and readability to his singing that demonstrates Pinkerton’s bravado and confidence. And but, Wang reveals a tenderness and compassionate facet of Pinkerton when he consoles Butterfly after she renounces her faith. Wang’s Pinkerton is likely one of the most compelling points of this manufacturing. Along with his distinctive singing and appearing, he’s a expertise I’m wanting ahead to seeing once more on stage.
Japanese soprano Eri Nakamura’s portrayal of Butterfly is extraordinary. At moments, there’s a delicateness of Nakamura’s voice that fits the youthful Butterfly (who was solely 18 when she first met Pinkerton). Then, there are additionally moments of outstanding assuredness that reveal Butterfly’s emotional depth, transcending her years. Nakamura’s interpretation of Butterfly is knowledgeable and insightful, imbued with verismo. She portrays it with dignity and poise. This interpretation is one which resonated with me, and I consider, will endure for years to return.
Of specific notice is the well-known aria “Un bel dì”, undoubtedly the opera’s most iconic second. Nakamura’s voice superbly conveys a way of hope and optimism, embodying Butterfly’s unwavering religion in Pinkerton’s return. Whereas the viewers is conscious of the inevitable final result, this data solely deepens the tragedy of the scene. On this second, Suzuki, Butterfly’s dutiful servant, remarkably carried out by Hyona Kim, serves as a poignant reflection of our shared sorrow throughout this emotional second.
The opposite supporting singers have been additionally very good. Michael Sumuel deserves specific recognition for his portrayal of the sympathetic Sharpless.
The Manufacturing
The orchestra, which gives a lot of the emotional and dramatic components of the opera, was in high quality kind below the route of Keri-Lynn Wilson. Though, there was a second when the orchestra was too overwhelming that left Bonze virtually inaudible.
I discovered the lighting design (authentic lighting designer Neil Austin, revival lighting designer Michael Kangas) to be very lovely and efficient. Its subtlety and ease supported the emotional journey. The costumes, make-up, and set design, are additionally thoughtfully completed, avoiding the danger of caricature. The staging and visible storytelling demonstrates a well-informed, respectful strategy to the cultural context of the opera. Revival director, Jordan Lee Braun, gives an illuminating must-read notice in this system.
It was a profoundly emotional efficiency that left a long-lasting impression on me. This can be a manufacturing I’ll keep in mind for years to return.
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Albert Wong is a author, composer and musician primarily based in Toronto. He’s lively within the choral group and sings with the Toronto Mendelssohn Choir and Babεl. He additionally has a selected curiosity in gamelan music, and performs Balinese gendèr wayang with Seka Rat Nadi.