Puccini’s Opera of Enduring Love Pleases with Musicality & Passion

by K. Marguerite Caronna

S.F. Opera’s production of Madame Butterfly highlights the familiar story of a woman’s seduction, her love, and her abandonment by a callous man—underscored by Giacomo Puccini’s rich musicality.

Under the assured baton of Music Director Eun Sun Kim, Butterfly sweeps along to the woman’s desolate, tragic end.

In a convenient ceremony, U.S. Navy officer B.F. Pinkerton (American tenor Michael Fabiano)  “weds” 15-year-old Japanese girl, Cio-Cio-San (Korean soprano Karah Son). She holds fast to the marriage, adopting American culture and suffering rejection by her community.

For Pinkerton, she provides a playful dalliance—then he abandons her. Years later, he returns to claim their son, accompanied by his American wife (Mikayla Sager). Butterfly shuns “dishonor,” choosing an “honorable” death by her own hand.

First performed in 1904, the opera’s themes come under scrutiny in the 21st Century. SF Opera’s pre-show discussions explore the history of exploitation, colonialism, and misogyny.

Puccini explored Japanese culture and music, incorporating Japanese instruments, pentatonic scale, and folk song motifs as a foil to the bombastic chords of the Star Spangled Banner. Cio-Cio-San’s music starts with a non-Western sound; then her arias shift into classic Italian form, echoing Japan’s subjugation to foreign powers.

This production opens with a pantomime frame story, developed by director Amon Miyamoto, revealing the continuity of human lives after loss. On his deathbed, Pinkerton is haunted by the specter of Butterfly. Decades later, he seeks redemption from their son, Trouble (John Charles Quimpo), who discovers his own origin.

In Boris Kudlička’s set, flowing curtains frame Cio-Cio-San’s simple house. The wafting drapery serves as a screen for atmospheric videos. Bartek Macias’ projections conjure forests and sea fog—fleeting and ephemeral as first love.

A backdrop displays a starlit sky, then the sunrise of Butterfly’s overnight vigil. Updated costumes by the late Kenzō Takada, developed by Sonoka Takeda, evoke traditional dress. Modern makeup and hair make them contemporary.

In contrast, Butterfly’s Uncle Bonze (Jongwon Han) wears traditional Japanese robes, representing the culture she loses. Bonze exhorts the community to shun her.

Son’s tender rendition of Butterfly at times loses strength in the lower ranges, her voice overpowered by the orchestra. She recovers for the upper registers of hallmark aria “Un bel di,” soaring into sublime longing for her absent love.

As Lt. Pinkerton, Fabiano provides the self-assured swagger of an imperialist cad. He brags of having a woman “in every port”; he sees nothing wrong with “pinning” the butterfly—just another resource to exploit. In the end, he cannot face Butterfly in his sweeping rendition of Act III’s aria “Addio fiorito asil”—”I must run away,” leaving his American wife to take the child.

Powerful mezzo-soprano Hyona Kim brings dignity to the role of Suzuki, Cio-Cio-San’s devoted helpmate.  As U.S. Consul Sharpless, baritone Lucas Meachem provides a solid moral and compassionate touchstone.

As the marriage broker Goro, tenor Julius Ahn craftily maneuvers as Butterfly’s “manager.” Wealthy Yamamoto, baritone Kidon Choi, commands with licentious intent. Yet, Butterfly stands up to Goro’s attempts to “marry” her  to Yamamoto, holding true to her abiding love for Pinkerton.

At times, Pinkerton and Butterfly’s duets lack credible passion and energy. And Trouble’s frantic stalking of Butterfly distracts. But, in the end, enduring love elevates the story beyond mere cliché.

Madame Butterfly by Giacomo Puccini, directed by Amon Miyamoto, costumes by Kenzo Takada & Sonoko Takeda, set design by Boris Kudlička, projection design by Bartek Macias, by SF Opera in co-production with The Tokyo Nikikai Opera Foundation, Semperoper Dresden, and Royal Danish Opera. Info: SFOpera.com – to July 1, 2023.

Cast: Karah Son, Michael Fabiano, Hynona Kim, Lucas Meachem, Julius Ahn, Kidon Choi, Jonwon Han, John Charles Quimpo, Mikayla Sager, and Viva Young Maguire.

Banner photo: Karah Son (Cio-Cio-San). Photos by Cory Weaver