Madama Butterfly By Giacomo Puccini
Madama Butterfly By Giacomo Puccini
In early July of 1853 an American Fleet under the command of Commodore Matthew Perry docked outside Tokyo, Japan. The presence of a foreign naval power was not particularly welcomed by the Emperor, who had, like rulers in the past, embraced a strongly isolationist policy. However, it was regarded as prudent to welcome these foreign visitors in order to cultivate their goodwill and avoid armed conflict. Thus, the period of isolationism in Japan came to an abrupt end. By the beginning of the Meiji Era, around the beginning of the Twentieth Century, a huge influx of Western goods, along with a fair share of missionaries and military personal arrived on its shores.
This is the period in which Madama Butterfly takes place. The story itself emerged from an 1898 novella of the same name penned by the American writer John Luther Long. Puccini became intrigued with the novella. He decided that it was perfect material for an Opera.
One hundred twenty-two years later this piece remains one of the most well liked and frequently performed works in the entire operatic repertory; and no wonder. The music is simply gorgeous throughout. Puccini’s genius allowed him to combine both Western and Japanese musical elements. The result is a series of haunting melodies that appear both exotic and expressively romantic.
This 2026 production by the Santa Fe Opera more than satisfies. The storyline is quite simple: An American naval officer (B. F. Pinkerton) on a short assignment in the port city of Nagasaki, hires a “marriage broker” (Goro) to secure both a house and a wife. He selects a 15 year old girl (Cio-Cio-San) as his bride. She comes from a once well-off family who have descended into poverty. While Pinkerton’s motives are duplicitous, Cio-Cio-San (the word for Butterfly in Japanese), is snow-blind in love and admiration for the handsome young naval officer. She is totally committed to the marriage and demonstrates this by disavowing her ancestors and her religion.
But Pinkerton’s stay with Butterfly is short-lived. However, before he departs he promises the young girl he will return “when the robins nest again.” He indeed, does return three years later, with an American wife and the knowledge that soon after he returned to America Butterfly bore him a son. His aim now is to raise the son in America to “secure his future.” Tragically, the hand writing is on the wall. Butterfly sees no alternative but to kill herself; and so the tragedy ends with this innocent creature stabbing herself with her father’s dagger as Pinkerton enters and collapses beside her dead body.
There are many reasons to praise this production: the singers were all quite competent, the settings were simple and charming (note the captivating lighting in Act I), the staging was intimate, yet retained its spaciousness, and the orchestra was exacting in revealing many subtle inner instrumental voices that appear throughout Puccini’s score.
Of particular note was Soprano Chia-ling Ho as Butterfly. She has a voice that is both powerful and controlled, lyrical yet commanding. Likewise, Mezzo-soprano Sun-Ly Pierce made her presence known by her dramatic and lucid interpretation of Butterfly’s cautious and grief filled maid Suzuki. Honorable mention needs to be given to Stephen Costello as Pinkerton. He has a charming tenor voice which was sometimes eclipsed by the over-zealous volume of the orchestra. Conductor John Fiore who made his SFO debut in 1989 gave clear direction to the always dependable musicians of the orchestra.
For a wonderful and captivating summer evening under the stars, this production of Puccini’s Butterfly will not disappoint.
OPERA: Madama Butterfly
COMPOSER: Giacomo Puccini
PERFORMANCES: July 17, 24,
August 3, 8, 10, 15, 20, 26, 29
BOX OFFICE: 505-986-5900
REVIEWED BY: Barry D. Cooney
