yasko sato

‘Madame Butterfly’ review: caged dreams

While confronting social and cultural issues, Seattle Opera's new production of Puccini's classic doesn't neglect the music

by ANGELA ALLEN

Giacomo Puccini’s Madame Butterfly debuted in 1904 and it has been jerking tears ever since. The opera classic remains resilient and fresh when done well, as it is in this Seattle Opera production playing through Aug. 19 at Seattle’s McCaw Hall.

The opera has heartbreakingly lyrical music, a heartrending story — and Butterfly. She is a huge character: tough, demanding, sweet, beautiful, desirable, playful – and stubborn. She refuses to  face reality until she can’t do anything about it. She is Puccini’s bona fide tragic heroine, unlike Mimi in La Boheme, whom we know will die. Mimi is not destroyed by herself, by some tragic flaw; she dies of tuberculosis. On the other hand, Butterfly crafts much of her own fate.

Yasko Sato (Cio-Cio-San) and Renée Rapier (Suzuki). Photo: Jacob Lucas.

Puccini created exquisite music and knew how to seduce us by synching it with dramatic moments. The music is chock full of mellifluous tunes and gorgeous arias. But it’s as complex as Japanese customs. Underneath, like a bass line, the music suggests caution and treachery. The ominous boom of the drums reminds us that all is not well.

The opera’s plot is as familiar as the first act’s “love duet” between Butterfly and Lt. Pinkerton. But here goes again: A mid-level American sailor (Lt. Pinkerton sung alternately by Dominick Chenes and Alexey Dolgov) stops off in Japan, marries Butterfly when she’s 15 with help of a marriage broker, sets up house with her, impregnates her, and leaves. Butterfly believes he will return for her and her son and their life as a family will commence. She holds on to this fantasy despite warnings and reasoning from those around her. She has another suitor, she has ways out. But she shrugs him off and turns her back. No one can convince her that her dreams are doomed.

Pinkerton returns three years later when Butterfly is 18, not to again take up housekeeping with her, but to retrieve their son, Sorrow, with his new American wife, Kate (Sarah Mattox). And when the moment arrives, he lets his wife do the dirty work by telling Butterfly her son will go to America. Meanwhile he has a minor breakdown. It’s clear why Pinkerton gets booed over and over again at curtain calls even if the role is sung by decent tenors.

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