Opera Southwest’s ‘Butterfly’ performed dramatically, as it should be

	‘Madama Butterfly’ WHEN: 7:30 tonight and 2 p.m. Sunday, March 24 WHERE: Journal Theatre, National Hispanic Cultural Center, 1701 Fourth SW HOW MUCH: Tickets range from $10 to $80 and are available in advance at the NHCC box office, by calling 724-4771 or 243-0591 or by visiting www.operasouthwest.org or at the door. Senior, student and group discounts available

One is forced to the conclusion that in the mind of the general public Puccini and especially “Madama Butterfly” is opera per se. In the grand scheme of things that is unfortunate as opera is and can be so much more. That perception, however, was certainly in favor of Opera Southwest having its opening Sunday afternoon a sold-out house.

David Bartholomew’s direction is as always superb. The overall look of the production is traditional in costumes and set, but stunning, even cinematic in its meticulous attention to detail in this story of ill-fated cross-cultural romance. Many small, unfailingly effective gestures add up to a striking realism. This is, after all, verismo opera.

In the title role of Cio-Cio San, called Butterfly, soprano Kaori Sato is a petite, even doll-like figure, much closer, so I’m told, to the character in the original play. In the lower registers she has a sweet, appealing voice, though it must be said that she develops an exaggerated vibrato when sustaining high pitches. Overall she gives a performance full of arresting emotion, demonstrating an impressive acting skill both touching and unflagging, especially in the second act. Her big aria, “Un bel di” (One fine day) carries a full dramatic charge.

Tenor Josh Kohl portrays Lt. B.F. Pinkerton with a boyish enthusiasm that may, to some small degree, mitigate his atrocious behavior towards his Japanese wife Butterfly. His tone is robust and focused throughout. And though this should always be a secondary criterion in casting principal operatic roles, he cuts a handsome and dashing figure as the sexually appealing young officer. The innocent love play between the two that closes the first act (on stage, that is) is quite touching.

Perhaps most impressive of the principals is Stephen Hartley as the American Consul Sharpless. Hartley, you may remember, was a thorough delight as Figaro in last year’s “Barber of Seville.” Here he perfectly embodies the cool demeanor and veteran confidence of an elder statesman. He invokes a warm sense of humanity in his sympathy for Butterfly in the second act. One could only wish to hear more of his mellow baritone. The part cries out for at least an arioso of some sort, especially in the second act. Bring back Hartley, a New York resident, anytime.

The comprimario parts, too, are well filled. Sam Shepperson, is excellent as the toady marriage broker Goro, as is Paul Bower as both the commanding Imperial Commissioner and Prince Yamadori. Kathryn Cowdrick as Butterfly’s maid adds well to the drama unfolding. The stormy entrance of the bonze, Cio-Cio San’s uncle and a kind of Japanese monk pronouncing a curse, is not to be missed.

Bolstered by players from the New Mexico Philharmonic, the Opera Southwest orchestra, led by music director Anthony Barrese, provides strong support with an essential spark and sympathetic rendering of the score, never overpowering any of the voices despite often thick instrumentation.