Madama Butterfly

Siha Park/Kohei Umetani, alternately, with US flag

Director Mo Zhou is to be complimented for her prescient setting and her lighthanded approach to the material, as the lyrics speak for themselves, as Lt. B.F. Pinkerton illustrates:

"All over the world, the vagabond Yankee takes pleasure and profit, indifferent to all risks. He does what he pleases wherever he goes, so I'm marrying in Japanese fashion for nine hundred and ninety-nine years, except that I can free myself every month."

Eri Nakamura as Cio-Cio-San (Madama Butterfly) and Joseph Dennis as Lt. B.F. Pinkerton"

Joseph Dennis' finely tuned depiction of Pinkerton's incremental changes from crass to enthralled to insensitive to remorseful defines the nature of the character in the Greek manner, where he must live with his callous and tragic actions. His full range and expressive tenor is a delight.

Of course, the overarching tragedy is that of Cio-Cio-San (Madama Butterfly) which, in a metaphorical sense, respresents Japan's tragedy, her father having been ordered to commit hara-kiri by the Mikado as the only honorable means of saving face when your country's defenses have crumbled, and you have become a vassal of the United States.

Girlish in her mannerisms and with a soaring soprano and insistent optimism, Eri Nakamura's Cio-Cio-San illuminates the opera from beginning to end. When her marital illusion is finally shattered, her sacrifice, like her father's, resonates with honor and tragedy. The entire audience was palpably struck by her demise—a catharsis of majestic proportions, once again showing why this opera is so exalted. Nakamura's make-up and wig by Ronell Oliveri are superb.

Jordan McCready as Kate Pinkerton and Levi Hernandez as Sharpless

The supporting work is also excellent, including Kristen Choi's (mezzo-soprano) and Levi Hernandez's (baritone) stirring performances as Suzuki and Sharpless, compounding the vocal and emotional depth of our experience. Even tragedies have their comedic element, and Martin Bakari as Goro provides needed breathers from the ominous arc that is foreshadowed right from the first scene.

The production also features some brief but impactful archetypical appearances by Young Bok Kim (The Bonze), Mason O'Brien (Prince Yamadori), and Jordan McCready (Kate Pinkerton). Kudos to the young boy (the role is shared on alternate nights by Siha Park and Kohei Umetani) in the role of Sorrow for his excellent, on-cue work and, we might add (nice touch by the director), his swift and forceful shove delivering a final emotional blow to Pinkerton.

Eri Nakamura as Cio-Cio-San (Madama Butterfly) and Kristen Choi as Suzuki, with Sorrow

Maestro Ari Pelto and the Opera Colorado Orchestra bring full expression, the subtleties and the drama, to Puccini's score. The Opera Colorado Chorus, under the direction of Assistant Conductor and Chorus Master, Saqha Nouri, enhanced key moments. Marie Yokoyama's lighting design is sublime as the views of the ocean and the interior of the house change in synchrony with the time of day, as well as highlighting the scenery (designed by John Gunter, created for the LA Opera and provided as a courtesy the the Utah Symphony / Utah Opera) and bring out the lush, refined costumes, designed by Anita Yavich, from The Glimmerglass Festival, with additions from Kentucky Opera.

Compliments must be made to Zhou and Asuka Morinaga Derfler (Cultural Consultant) regarding the verisimilatude of the production to the Rokumeikan era (1883-1887).

Opera Colorado's presentation of Madama Butterfly, by Giacomo Puccini, runs through May 10th. For tickets: operacolorado.org/event/butterfly/.

Bob Bows