The Washington National Opera’s production of “Madama Butterfly” at the Kennedy Center is proof of Giacomo Puccini’s mastery of the very essence of opera, a seamless meshing of music and theater. The success of the production depends on many factors: the lush music; the vibrant Washington National Opera Orchestra and an outstanding cast. None of these elements alone could create the profound effect of this “Butterfly” without the guidance of director Ron Daniels and his designers, who provide a home for this story of a beautiful 15-year-old geisha who falls in love with a callous American naval officer in late-19th-century Nagasaki.
| Onstage |
| ‘Madame Butterfly’ |
| Where: Washington National Opera, Kennedy Center, 2700 F St. NW |
| When: Through March 19; see Web site for performance dates and times |
| Info: $25 to $300; 202-295-2400, dc-opera.org |
As Cio-Cio-San, Catherine Naglestad brilliantly captures the paradox of Puccini’s heroine. Seemingly delicate, she develops through the opera to become the epitome of strength and authority. Naglestad performs from the beginning of the first act, and her voice remains clear and controlled throughout.
Alexey Dolgov is equally strong as Lt. Pinkerton, the heartless American who adores Cio-Cio-San while she remains an elusive creature, but who breaks her heart once they are married and he returns to the States. Cio-Cio-San’s attendant, Suzuki, is convincingly portrayed by mezzo-soprano Margaret Thompson, who establishes a bond of trust and understanding between herself and her beloved mistress.
Michael Chioldi is powerful as Sharpless, the American consul, a man of conscience who tries unsuccessfully to warn Pinkerton of the dangers of his immoral behavior. The rest of the cast is top-notch, particularly the Matchmaker (Robert Baker) and Prince Yamadori (Javier Arrey).
On Michael Yeargan’s evocative, spare set, two layers of moveable screens slide in and out to create Cio-Cio-San’s house. Pushed into place by black-clothed, hooded figures, the screens at first reflect Japanese art, then increasingly contain American images (the flag, the Statue of Liberty), reflecting Cio-Cio-San’s growing obsession with America and Pinkerton’s return.
With its intriguing blend of abstraction and realism designed to illuminate Puccini’s not-so-subtle condemnation of American imperialism, and with its brilliantly drawn visions of conflict — between love and desire, East and West, morality and immorality — this production explains why “Madama Butterfly” has remained one of Puccini’s most beloved operas.
EDITOR’S NOTE: This production is double-cast. The second-cast stars: Ana Maria Martinez, Thiago Arancam, Hyung Yun. This review reflects the cast performing on opening night.
