A Victim of Virtue

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The current San Francisco Opera production of Madama Butterfly is pure Puccini perfection. Casting, conducting, and stage design are so ideally aligned that this is one of the most satisfying productions that I have ever experienced.

Foremost is the superior interpretation of Patricia Racette. While this artist has presented the role many times, she sang it with such freshness at last Saturday’s opening matinee that it felt spontaneous. Racette has deepened her interpretation, making her Cio-Cio-San not only innocently deluded and overly trustful as the little Japanese bride, but proud, boastful, and confident as the new American that she feels she rightfully is. And Racette carefully realizes Puccini’s intention, that Butterfly is a victim of her own virtue, her steadfastness.

Patricia Racette as Cio-Cio-San

All photos by Terrence McCarthy

Vocally she let her character mature from the early girlish sing-song when taken in “marriage” by the handsome American naval lieutenant, to a riveting rendition of her unwavering trust (”Un bel di vedremo” / One fine day he will return) delivered with such intensity that the audience burst into applause, spoiling the moment but relieving the pent-up emotion. And Racette’s full-voiced hurt and rage after years of waiting with “Ah! m’ha scordata!” (Ah, he has forgotten me!), and the ensuing possibility of taking her own life (”Ah morta!”), were deeply moving.

Brandon Jovanovich as Lt. Pinkerton

This was equaled in every way by the thoughtful interpretation of Brandon Jovanovich in his San Francisco Opera debut as Lt. Pinkerton. (The 2007 recipient of the coveted Richard Tucker award, this young tenor may be recognized by locals for his roles as Don José in La Tragédie de Carmen and as Tom in Susannah a few seasons ago at Festival Opera of Walnut Creek.)

An Ideal Pinkerton

Jovanovich is ideal in the role, not only being tall and appealing, but also possessing a warm, virile voice in the manner of Placido Domingo. He brought forth a much more thoughtful American than most tenors do, as perplexed by the Japanese customs as he was impatient, as bemused as he was arrogant, as wrong-headed as Butterfly, thus assuring the inevitable tragedy. And his final “Addio fiorito asil” (Farewell, flowered refuge), sung prostrate at the marriage bed, was not the usual tenor grandstanding but was emotionally wrenching.

Zheng Cao as Suzuki

Mezzo-soprano Zheng Cao likewise gave a vocally rich interpretation as Butterfly’s attendant, Suzuki. More than a servant, Cao mirrored her mistress in happiness as well as in sadness, and when the two strew petals in their flower duet at the expectation of Pinkerton’s return (”Tutta la primavera”), Cao’s voice was as lovely as it was loving.

Stephen Powell as Sharpless

Baritone Stephen Powell was equally effective as Sharpless. This role is pivotal to the drama, for the American consul is the unfortunate go-between, and while Powell was excellent throughout, his reading of Pinkerton’s letter to Butterfly was so tender, so sympathetic, that it gave new poignancy to the scene.

Adler Fellow Matthew O’Neill added to his increasing stature as a character tenor in the role of Goro, the Japanese broker who in this production is often on the take, and baritone Eugene Chan in his local debut as Prince Yamadori was impressive with a rich voice and appropriately dismissive demeanor. Katharine Tier was a compassionate Kate Pinkerton, Raymond Aceto forceful as the condemning Bonze, and choristers William Pickersgill and Jere Torkelsen effective as a Registrar and an Imperial Commissioner.

Soaring Performance in the Pit

Much credit must be given to Maestro Donald Runnicles and the members of the San Francisco Opera Orchestra for their superb rendering of Puccini’s score, from its opening flurry of incisive strings, to the massive, ominous chords for the arrival of Pinkerton’s ship, the frequent tonal delicacy, the hammering of the timpani like shattered hopes, and the soaring finality at the opera’s end. You will hear none better.

Having to work with one of the most familiar operas ever written is surely an artistic challenge, yet the production team never resorted to anything less than respect for Puccini’s creation. Pinkerton states that the Japanese setting is “a house made of air,” and Michael Yeargan’s design was just that: spacious and airy as well as confining as a cocoon with its artful use of sliding screens. Stephen Strawbridge’s lighting made the characters into moving sculptures, while Anita Yavich’s designs looked like richly detailed clothing rather than costumes.

Kathleen Belcher’s direction was exceptional, giving the audience a number of indelible moments: the marriage bed against a starry sky, the surreptitious selling of Butterfly’s artifacts, the large American consul forced to sit upon tiny Japanese pillows, the looming hulk of the distant ship, the all-night vigil with a rising sun, the confrontation of East and West as Butterfly silently stands staring at Kate Pinkerton.

Attention must also be given to Jerry Shirk and Francesca Zambello’s artistic translation for the supertitles, which reflected much of the libretto’s poetry, some of which Puccini wrote himself.

But be prepared: Take plenty of tissues and expect to be emotionally wrung dry. It is a soul-searing experience.

James Keolker is a frequent writer and lecturer on opera, as well as a professor of opera studies at the Fromm Institute at the University of San Francisco. He is the author of the award-winning book Last Acts: The Operas of Puccini and His Italian Contemporaries.