The Canadian Opera Company opened its winter season on January 24th with Madama Butterfly, one of Puccini’s most beloved operas. A quick bit of research shows that it was staged by the COC in its inaugural season of 1951, and it was subsequently revived a total of 15 seasons, the last in 2014.
In fact, it was slated for its 16th production in 2022, but the COVID pandemic sadly reduced it into a single, online concert performance. Thankfully, we are once again able to experience its magic in person. Judging by the huge ovations accorded the artists at the final curtain, it was an unalloyed triumph.
Without a doubt, Madama Butterfly is a key bastion of the standard repertoire. Based on the statistics kept by the authoritative Operabase website, it’s the ninth most popular opera worldwide as measured by the number of performances and productions. Among Puccini’s 10 operas, it ranks third, just after La bohème and Tosca.
It’s easy to see why – its sublime score, combined with a heartrendingly tragic story, makes it an unforgettable night at the opera house. Based on the short story “Madame Butterfly” (1898) by John Luther Long, it was later dramatized by David Belasco into a play, Madame Butterfly: A Tragedy of Japan, which premiered first in New York (1900) and later in London, where Puccini saw it. The rest is history, as they say.
For the current run, the COC decided to retire its own Brian Macdonald/Susan Benson production that premiered in 1990. Instead, we are getting the Michael Grandage production from Houston Grand Opera, Grand Théâtre de Genève and the Lyric Opera of Chicago. Its Toronto revival director is Jordan Lee Braun.
Not unlike the old COC production, this one is also entirely traditional, although with a more elaborate stage mechanism such as the use of a turntable, which, combined with expert lighting, allows for more visually striking and evocative scene changes. Some might consider this production rather generic, but to my eyes, it allows the music to speak for itself.
Photo Credit: Michael Cooper
Suzuki (Hyona Kim), Sorrow (Naleya Sayavong) and Butterfly (Eri Nakamura) scatter petals in advance of Pinkerton’s return
Indeed, musically it was a superlative evening at the opera. Kudos to a wonderful cast led by Japanese soprano Eri Nakamura in the title role. Her Butterfly was beautifully sung, with exemplary mezza voce and lovely high pianissimos. One could have wished for a bit more volume, but in dramatic moments she was able to produce effective bursts of power.
Partnering her was Australian Chinese tenor Kang Wang, returning to the COC after his marvelous Rodolfo in La bohème last season. As Pinkerton, his big ringing tenor and brilliant top register was a real pleasure, and the couple had great chemistry in their love scene. Pinkerton is an anti-hero, but Wang’s gorgeous vocalism almost makes one forget that the character is such a cad.
American bass-baritone Michael Sumuel made his COC debut as Sharpless. His physically imposing figure as well as his warm timbre and sympathetic stage persona was perfect for this most grateful of baritone roles. Also debuting was Korean Hyona Kim as Suzuki, whose huge dramatic mezzo and surefire theatricality turned the maid into a starring role.
The excellent, large supporting cast was made up of many current and former members of the COC Ensemble Studio as well as guest artists. Particularly impressive was American character tenor Julius Ahn as the slimy marriage broker Goro. The beautifully sung Yamadori of former COC Ensemble baritone Samuel Chan was also deserving of praise. Canadian conductor Keri-Lynn Wilson made a welcome return to the COC, leading the orchestra in a well-paced and passionate performance of the beloved score.
Finally, I would like to close this review with a little personal anecdote. My guest for this opening night was 98-year-old Canadian soprano Jean Edwards, who made her professional debut as Gretel in Hänsel und Gretel in 1947. She was also Susanna at the COC’s first ever Marriage of Figaro in 1951. At her grand age, she’s still a passionate opera lover. At the end of Madama Butterfly, she turned to me and said “This was the most beautiful opera performance I’ve seen…”
I rest my case.
Photo Credit: Michael Cooper
The overnight vigil for the return of Pinkerton
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Joseph So is Professor Emeritus at Trent University. He is also a long-time contributor to La Scena Musicale and Opera (London, UK). His interest in music journalism focuses on voice, opera as well as symphonic and piano repertoires. He appears regularly as a panel member of the Big Canadian Opera Company Podcast. He has co-edited a book, Opera in a Multicultural World: Coloniality, Culture, Performance, published by Routledge (Taylor & Francis Group).
