OPERA REVIEW: ‘Madama Butterfly’
Beautiful ‘Butterfly’ spreads its wings

WHAT: IU Opera Theater’s production of Puccini’s “Madama Butterfly” WHEN: 8 p.m. Friday and Saturday WHERE: Musical Arts Center HOW MUCH: $15-$35 INFO: 855-7433

The Indiana University Opera Theater production of Puccini’s “Madama Butterfly,” currently on view at the Musical Arts Center, has the benefit of two sopranos from Asia who naturally look the part of the tragic heroine Cio-Cio San, without the need of makeup or artifice. Even one such singer is rare. To have a pair, one for each of the two casts, might be close to unprecedented, save for companies performing the opera in the Far East itself.

Of course, none of that would mean much if the chosen artists weren’t capable of producing the sounds of a work that, although permeated with touches of the orient, is as Italian as they come. Fortunately, both Cio-Cio Sans — Jung Nan Yoon on Friday and Jing Zhang on Saturday — provided all the necessary goods, both dramatic and musical. Yoon’s voice is a bit fuller and soothing, Zhang’s slightly brighter and more girlish.

No matter which singer audiences hear next weekend (if custom holds, the days will be reversed), listeners should be well pleased. Each soprano earned a standing ovation for suffusing this operatic character with full life, revealing in clearest fashion how Cio-Cio San matures from trusting child bride to a tragic heroine in heartbreak, yet also in knowing command of self.

In part at least, that depth of characterization must be credited to Nicholas Muni, the visiting stage director, a seasoned veteran whose vision of the opera and apparently uncanny ability to coach his singers into sharing it resulted in one of the most convincing productions of “Madama Butterfly” this viewer has ever seen, with the sweep of the story ever rising in intensity and with details that enriched the action time and again.

The still beautifully effective set by the late Max Rothlisberger, kept fresh by C. David Higgins, and magical lighting designed by Michael Schwandt certainly added to the effect.

Musically, the production had the benefit of conductor David Effron, who had his pit orchestra, the IU Symphony, playing with all the passion Puccini could have wished for, while also keeping critical control of the singers.

Although casting the role of Butterfly apparently proved easy, the search for the opera’s ugly American, the naval lieutenant Pinkerton who deserts her, ran into problems. Those in charge came up with one student tenor, Marcos Aguiar, who performed bravely on Friday, managing his share of effective moments while, more than occasionally, struggling with the numerous high notes that he had to belt out. For the other Pinkerton, an outsider was brought in, a national finalist in the 2003 Met National Auditions and a product of Yale, Adam Diegel. His voice had all the ring and range needed; he made an excellent Pinkerton.

Both mezzos portraying Butterfly’s devoted servant Suzuki, Heng Xia and Abigail Peters, most definitely honored their role. So did baritones Brad Raymond and Kenneth Pereira as Sharpless, the U.S. consul. Tenors Carmund White and Jason Wickson made the sleazy and yet also faithful-to-Butterfly marriage broker Goro more than a secondary character; they made him a presence.

Helpful contributions came from Jesse Malgieri and Miroslaw Witkowski as Butterfly’s formidable uncle and Buddhist priest, the Bonze; Joseph Legaspi and Jong-Hun Cha as Butterfly’s unsuccessful suitor Yamadori, and Elizabeth Ashantiva and Angela Brower as Pinkerton’s American wife. A special bow goes to the charming-to-watch Alexa Minton as Sorrow, the child born to Butterfly and Pinkerton.

This “Madama Butterfly” leaves a powerful impression.

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The Indiana University Jacobs School of Music would like
to thank the Herald Times for permission to republish this review.