William Adams, DMA
Although it was announced before the performance that it was sold out, there were a few empty seats evident around the auditorium. Their loss. Those who braved subfreezing temperatures to venture out for a night at the opera were treated to an evening of Puccini’s masterpiece Madama Butterfly presented with elegance and passion by North Carolina Opera.
Francesca Zambello’s staging was at times austere and minimalistic utilizing an open stage broken up by hanging set pieces resembling Japanese fusuma originally crafted for the Glimmerglass Festival by Michael Yeargan. Lighting designer Robert Wierzel further accentuated this look with rectangular pools of light. The combination was striking both in its simplicity and its authentic representation of the Japanese aesthetic.
In both Butterfly and later in Turandot, Puccini utilized existing folk melodies of Japan and China to create a soundscape that would have seemed “exotic” to western audiences in the early twentieth century. Today such devices are scrutinized in an effort to avoid even the semblance of cultural appropriation. It is quite easy to stage Butterfly or Turandot and fall into the trap of what is sometimes referred to as “Orientalism” where Asian culture is caricatured. This production focuses its light on Cio-Cio San and realizes a rich and nuanced character.
Cio-Cio San is a difficult character for today’s audiences to understand. At only 15 years of age, it is easy to dismiss her devotion to Pinkerton as nothing more than naïveté. Thankfully, modern portrayals create a dynamic and multifaceted character who not only loves unconditionally, but remains optimistic in the face of great hardship. When she is finally forced to realize the truth, she makes the most difficult and heartbreaking decision possible for a young mother showing a grace, even a nobility far beyond her years. Puccini gifts the sopranos who sing Cio-Cio San with some of his most enduring and intensely passionate melodies. It is a career defining role. Caitlin Gotimer was nothing short of devastating. She carried herself with the grace expected not just of a geisha but of a woman with an indomitable spirit and yet allowed us to see the youthful naïveté both endearingly but ultimately tragically. Ms. Gotimer sang the role flawlessly. Her powerful, yet lyric soprano is fully at home in the role whether impersonating other characters or soaring breathtakingly in Un bel di. It is nearly impossible to reconcile this as her role debut as Butterfly. It is as if she has been singing the role for years. No doubt she will continue to sing the role for years to come in opera houses all over the world.
Eric Taylor is the quintessential Puccini tenor. His voice was bright, clear, and full of emotion. It is easy to dislike and dismiss Pinkerton, and Mr. Taylor gave us every opportunity to do so in the first act. His cavalier disregard for Cio-Cio San as anything more than an opportunity was played with just the right amount of arrogance and entitlement. When he returns, Pinkerton’s cowardice usually makes it easy for the audience to fully write him off with contempt. Mr. Taylor, however, found a way to humanize Pinkerton and made us feel the utter despair he carries with him as he realizes the full extent of his betrayal of Cio-Cio San. Although Pinkerton is still unredeemable, and rightly so, Mr. Taylor brought us behind the curtain of the obvious superficialities of imperialism that are often part of any analysis of Pinkerton or Butterfly.
Suzuki is more than a housemaid. She is a confidant, a protector, and a friend to Butterfly who is not just fiercely loyal but deeply loving and compassionate. Lisa Chavez gave us a deeply moving performance. Her movements were studied and controlled until they needed to be unhinged in bursts of rage against those who would threaten Butterfly. Her voice is astonishing, a luscious mezzo soprano that melts throughout the hall. She brought a gravitas to Suzuki that was expertly crafted and profoundly emotional.
Efraín Solís brought Sharpless to life with a natural, easy presence that never wavered. His baritone voice is beautiful and rich. His warnings to Pinkerton and his later condemnations were laced with the proper amount of bite and disdain while his expressions of regret and sorrow for Butterfly and Suzuki were full of compassion and tenderness. His command of his voice dramatically is impressive.
Although there is much to be praised in this performance, special recognition must be made of the Flower Duet between Butterfly and Suzuki. Ms. Gotimer and Ms. Chavez were mesmerizing. Every conceivable inflection and nuance was precisely together and sung with exceptional artistry. It was, truly, the highlight of the evening, musically.
The acoustics in Raleigh Memorial Auditorium are neither friendly nor forgiving. Only Ms. Gotimer and Ms. Chavez seemed able to completely carry the orchestra throughout the evening. Maestro Arthur Fagen conducted the performance very sensitively and with an excellent awareness of his principals; the ensemble was exceptional. Jeanie Wozencraft-Ornellas’ chorus sang with great character, both onstage and off, but did occasionally suffer from synch issues in the more rhythmically complex passages which was likely a symptom of the acoustics and not their musicianship or preparation.
Once again, North Carolina Opera brought world class talent to the Triangle and presented an operatic masterpiece with exceptional poise and professionalism.
