Above: Eleanora Buratto and Brian Jagde in MADAMA BUTTERFLY
Saturday April 30th, 2022 matinee - Kind of on the spur of the moment, I went to see today's matinee of MADAMA BUTTERFLY at The Met. I had enjoyed Eleanora Buratto's Liu a couple of seasons ago, and I enjoyed Brian Jagde's Cavaradossi earlier this season, so I wanted to hear them again.
The Minghella production is still quite beautiful, especially Butterfly's entrance, but it is compromised by the use of a puppet instead of a living child to portray Butterfly's son, Trouble; thus, one of the most poignant and intimate scenes in all opera - Butterfly's farewell to her child - is spoilt by the presence of the puppet-masters, and by the blank facial expression of the 'doll'. Overall, it seems to me, there have been changes in the staging since the premiere, and it is now less visually engrossing than it used to be.
But the wonderful playing of the MET Orchestra under the baton of Alexander Soddy gave us all the passion and spine-tingling subtlety of Puccini's score, assuring the performance's musical triumph. I enjoyed the afternoon immensely.
Ms. Buratto was a captivating Butterfly, bringing some superb dynamic details to the "Spira sul mare" and making the narrative about renouncing her religion in favor of Pinkerton's really meaningful. Every note and word of the Love Duet seemed cherishable in Ms. Buratto's interpretation; from her gentle plea "Vogliatemi bene" to the the build-up starting at "Dolce notte, quante stelle" and on to the ecstatic climactic high-C, Ms. Buratto's vocalism was a lyrical treat.
Everything in Act II was on a similarly high level: "Un bel di", "Che tua madre", and the triumphant "Ei torna, e m'ama!" kept me thoroughly engrossed;. And the scene of Butterfly's agreeing to give up her son was extremely moving, as was her wrenching farewell to the child, and her horrific death. For all this feast of lyricism, I was wary of the soprano's heavy leaning on the lower range at certain moments; it makes a good effect dramatically, but over time it could compromise the top.
Mr. Jagde is a powerful and generous singer, his upper notes ringing out into the hall to thrilling effect. He also cuts a handsome figure onstage and is emotionally involved in every phrase of the role. Throughout Act I, he poured out his voice with warmth and passion, and his aria of farewell to the fiorito asil in the closing scene was exciting. Bravo!
Above: Elizabeth DeShong as Suzuki and Eleanora Buratto as Cio-Cio-San; photo by Richard Termine
In a portrayal both vocally and dramatically compelling, mezzo-soprano Elizabeth DeShong made a marvelous impression as Suzuki. The voice is distinctive, with rich, velvety chest tones, and her colouring of the words traced each emotion as she watched helplessly while her mistress's world collapses. The great trio of Suzuki, Pinkerton, and Sharpless became a highlight of the opera today.
Later, sternly dismissing the faithful maid after learning of Pinkerton's betrayal, Butterfly watches her turn to leave and then suddenly embraces her, silently thanking her for her steadfastness, knowing this is a final goodbye. I was literally choking on my tears.
Above: Eleanora Buratto as Cio-Cio-San and David Bižić as Sharpless; photo by Richard Termine
David Bižić was the latest in my long line of superb Sharplesses; his voice is warm, sizeable, and has that same wonderful "humane" quality that made the great Juan Pons so memorable in this role. Mr. Bižić and Mr. Jagde made their Act I scene together a feast of Puccini spinto singing, and the baritone's parting "Giuduzio!" to the newlywed groom was a foreshadowing of all that is to come. Mr. Bižić was very impressive in the letter scene with Ms. Buratto, and in his upbraiding of Pinkerton's deceitfuness. And his "Andate: il triste vero da sola apprenderà" was so touching.
Above: Ms. Buratto as Butterfly with Jeongcheol Cha as Yamadori
The 'smaller' roles in the opera were very finely delineated today, with Jeongcheol Cha's well-sung and noble-in-defeat Yamadori, Scott Scully's beautifully sung Goro, the ever-welcome Raymond Aceto as the Bonze, and the slender and gracious Edyta Kulczak as Kate Pinkerton. And who was that basso making such resonant sounds as the oft-overlooked role of the Imperial Commissioner? Why, it was Bradley Garvin, of course.
The audience gave only dutiful applause to Ms. Buratto's fine "Un bel di"; such moments as Butterfly's "Ei torna, e m'ama!" and Pinkerton's "Addio, fiorito asil" so longer seem to evoke an audience reaction. But everyone, including the tireless and graceful black-clad set movers, was cheered at the final bows, with Ms. DeShong winning an appropriately loud chorus of "bravas".
CAST:
Metropolitan Opera House
April 30th, 2022 matinee
MADAMA BUTTERFLY
Giacomo Puccini
Cio-Cio-San.............Eleonora Buratto
Pinkerton...............Brian Jagde
Suzuki..................Elizabeth DeShong
Sharpless...............David Bizic
Goro....................Scott Scully
Bonze...................Raymond Aceto
Yamadori................Jeongcheol Cha
Kate Pinkerton..........Edyta Kulczak
Commissioner............Bradley Garvin
Yakuside................Craig Montgomery
Mother..................Marie Te Hapuku
Aunt....................Anne Nonnemacher
Cousin..................Elizabeth Sciblo
Registrar...............Juhwan Lee
Dancer..................Hsin-Ping Chang
Dancer..................Amir Levy
Conductor...............Alexander Soddy
~ Oberon