Huge Crowd on Hand for First Night of “Virtual Reality” Take on Puccini Classic
By George B. Parous
Whether it was a love of Puccini’s music, curiosity about the new production, or both, something drew the biggest opening night audience in recent memory to the Benedum for Pittsburgh Opera’s Madama Butterfly last evening. While Melanie Bacaling’s revival of Matthew Ozawa’s modern spin is indeed a revisionist take on the favorite opera, in the audience could be spotted a handful of patrons in traditional geisha attire. It was a fun crowd that sat silently spellbound through the entire first act before adding thunderous applause to the occasion, an ovation that was well deserved by all involved.
Much has been written and spoken of the new production, so an attempt to add anything new won’t be made here, aside from comment on the musical aspects heard last evening. One thing is certain, and that is anything but panoramic photography can’t do the staging any justice. Lighting, costumes, set design, direction – all are quite admirable and fill the entire Benedum performing space. The “virtual” aspects of the production, while obvious, aren’t enough to distract those who prefer the traditional, and the music certainly isn’t harmed in any way.
Cio-Cio-San (Karah Son) and her relatives
It was obvious from the start that Antony Walker and the orchestra were “on” for the night. Puccini’s rich orchestration received a lush performance. What new superlative adjectives can describe this remarkable body of musicians? Under Mark Trawka’s direction, the chorus delivered some of the most beautiful music of the entire evening. The off-stage intonements were ethereal and positively enchanting. A few of the choristers stepped forward in smaller roles, such as Veronika Schmidt (Cio-Cio-San’s Mother), Lilly Abreu (the Cousin) and Christina McCann (The Aunt), and Resident Artists Erik Nordstrom (The Imperial Commissioner) and Audrey Welsh (Kate Pinkerton) made the most of their roles.
In her Pittsburgh Opera debut, soprano Karah Son made a sterling first impression, and she seemed genuinely startled by the massive ovation she received at the opera’s conclusion. She should be used to such receptions by now, since she sings the role in a magnificent fashion, and by her own estimation has performed Cio-Cio-San hundreds of times in numerous productions. Her entrance was a magical mixture of soprano and choral tones. She gave a glorious interpretation of the role, building anticipation for what she would do with the famous “Un bel dì, vedremo” aria, and she didn’t disappoint. Aside from a lack of carrying power in the brief lower passages of the part, her voice is ideally suited to Butterfly. Much the same may be said of mezzo-soprano Nozomi Kato in her local debut, even if her Suzuki is required to make her first appearance emerging from a refrigerator. Her voice and interpretation were an ideal match for the part, and her warm, velvety tones glide easily to the higher ranges.
Pinkerton (Eric Taylor, right) confides in US Consol Sharpless (Nmon Ford)
As Lieutenant B. F. Pinkerton, tenor Eric Taylor is also new to the local opera scene. His voice is notable for its powerful clarity, and he made a great success of the role’s comparatively limited opportunities. The part is by no means small, but at the Met’s 1907 American première of “Butterfly,” Enrico Caruso sulked in the wings while Puccini himself was on hand to watch. Taylor doesn’t seem like the sulking type, and his singing roused a mighty hand from the audience. Baritone Nmon Ford, last heard here in a production of Salome, if memory serves, sang and acted the role of Sharpless, the U. S. Consul. His voice is rich and ringing and at its best in sustained passages, even if one or two of them lie too low for his range. He’s a convincing actor and made the most of his part.
A tiny charmer named Risa Kozai, according to the program, won instant endearment as the little bit of “Trouble.” The dress rehearsal photo included here features Roy Santarella (who will rotate by performance with Risa) according to the information supplied by the photographer.
Suzuki (Nozomi Kato, left) and Cio-Cio San (Karah Son, right) play with Cio-Cio San’s son (Trouble, Roy Santarella)
Other small roles were handled effectively by Yazid Gray (Yakusidé), Julius Ahn (Goro), Jacob Junbo Zhou (The Official Registrar and Prince Yamadori) and Hyungjin Son (The Bonze); so effectively that they, too, came in for a fair share of recognition at the final curtain. That curtain was dropped with a finality far too soon – the audience reaction was going strong and by no means over when the lights came up.
All told, the production is an excellent one and will be repeated Tuesday, March 25 (7:00 PM); Thursday, March 27 (10:15 AM, the student matinee); Friday, March 28 (7:30) and Sunday, March 30 (2:00 PM).
Pinkerton (Eric Taylor) realizes he’s caught between his two wives – Kate Pinkerton (Audrey Welsh, left) and Cio-Cio San (Karah Son, right)
For complete details about the production, tickets and more, visit Pittsburgh Opera.
The Artistic Team for Madama Butterfly –
Conductor, Antony Walker; Revival / Associate Stage Director, Melanie Bacaling; Set Designer, dots; Costume Designer, Maiko Matsushima; Wig and Make-up Designer, James Geier; Assistant Wig and Make-up Designer, Candace Leyland and Travis Klingler; Lighting Designer, Yuki Nakase Link (Re-created by Kristina Kloss); Stage Manager, Cindy Knight; Assistant Conductor, Glenn Lewis; Chorus Master, Mark Trawka; Associate Coach/Pianist, James Lesniak; Resident Artist Pianist, Maeve Berry; Assistant Stage Director, Anderson Nunnelley; Assistant Stage Director, Dana Kinney; Assistant Stage Managers, Bee Anderson, Tess Naval
Original production conceived and directed by Matthew Ozawa
David Bachman Photography for Pittsburgh Opera
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