REVIEW: “Butterfly” succeeds on wings of lead talent
The Utah Festival Opera season opened this summer with one of the best-known and best-loved tragedies, “Madame Butterfly.” Sounds like an oxymoron — loving a tragedy — but “Madame Butterfly” has been wetting eyes since the Puccini-penned opera premiered in 1904.
“Madame Butterfly” is a production that flies — or fails — on the delicate wings of a single character. If Cio-Cio San, also known as the Butterfly, fails to reach our hearts, the production will fail. Lucky for the UFOC, Allison Charney reaches the audience’s heart. Charney’s soprano voice drips with emotion and her demeanor and attitude reflect the love Cio-Cio-San feels for her life and situation. Even in moments of whispering or during soft, delicate presentations, Charney’s voice carries perfectly throughout the Ellen Eccles Theatre.
Those supporting Charney, however, do not generally rise to the same heights that Butterfly is able to achieve.
“Madame Butterfly” tells the story of an American serviceman in Japan who undertakes what he considers to be a temporary marriage situation with his “little toy” Cio-Cio-San. He is paying rent month to month on a home overlooking Nagasaki harbor and suggests that his marriage could be month to month, as well. Capt. Pinkerton (played by Richard Sanchez) is warned by the Consulate (played by Michael Corvino) that the 15-year-old little Butterfly is considering this marriage to be much more serious than he is.
Of course, he pledges his love. Of course she believes him. And she believes him to the degree she converts to Christianity to further adapt to Pinkerton’s culture. In the middle of the marriage ceremony, she is renounced by her family and friends, but comforted by her new husband.
Pinkerton leaves the nest soon, vowing to return. Butterfly is introduced by her landlord and marriage agent Goro to a wealthy prince, but vows to wait for Pinkerton. Always at her side is her best friend and helper Suzuki and we soon learn that one of Suzuki’s duties is to care for a new member of the family, a child with blonde curls who is introduced as Sorrow. But Butterfly said he will soon be known as Joy, when Pinkerton returns.
Of course, the audience by now is in pain for the Butterfly, who it appears will never be reunited with her lover.
Besides the strong performance by Charney — who truly does endear the audience to her plight through her soft, yet penetrating voice — Lisa van der Ploeg is also very strong as Suzuki. Both Charney and van der Ploeg have the ability to be at ease and strong of voice in an almost effortless manner. Both were standouts and appreciated by the audience. Sanchez, on the other hand, appeared to be straining as Pinkerton and though he looked the part, never overcame his stiffness on opening night to consistently penetrate hearts. Other ancillary characters and moments — the wedding scene comes to mind — were also lackluster, with the exception of Butterfly’s uncle, The Bonze, played by Bryan Davis, and Goro, with an animated and professional Simeon Esper.
The percussion section kept the orchestra in line, though even the underlying music felt a bit stripped down and tentative.
Which left Butterfly to carry the day, and thankfully she did. Right to the fateful re-uniting with Pinkerton and the decisions that have to be made regarding Sorrow, Charney was the center of attention.
And, yes, our eyes were wet. Just like Puccinni planned it.