SF Opera's Madama Butterfly

* Notes *
San Francisco Opera ends 2016 with yet another run of Madama Butterfly after only two years, but with a very fine soprano in the title role that makes it worth the time to hear again.

I am not a big fan of Puccini or of this opera with its Orientalist theme, however, Lianna Haroutounian (Cio-Cio-San) had me right away. She is completely emotionally engaged and her brilliant, flexible voice is never seems strained or constricted. The support of the orchestra, which was a little fast in Act I under Yves Abel, was wonderful in Act II.

The rest of the cast is likewise strong, as has been the case all season. Tenor Vincenzo Costanzo's US debut as Pinkerton was notable, his voice is plaintive, with much vibrato at the top, but not at all unpleasant. His duet with Butterfly at the end of Act I seemed quite heartfelt and lovely. In his San Francisco Opera debut, Anthony Clark Evans was a warm Sharpless.

Zanda Švēde (Suzuki) was not her usual self, as she was ill, but she did fairly well and certainly hit all her marks as far as acting is concerned. Julius Ahn was an unctuous Goro whose sliminess reads with perfect clarity even from the very back of the house. Raymond Aceto made for a convincing Bonze.

The revival production (Act I pictured above, photograph by Cory Weaver), designed by Jun Kaneko and directed by Leslie Swackhamer, has much appeal in its spiraling circular stage filled with concentric circles and off center round platform. The set forces a certain kind of movement to navigate, which is more apparent from above, and keeps the staging from ever feeling static.

This is helped also by the many screens raised and lowered for moving projections and by the four stagehands dressed in black (kurogo). The scenes keep moving without having to stop the drama or music.

* Tattling *
A group of six sat near me in Row L Seats 118 to 128, and they chattered a lot when Haroutounian was not singing. I was able to ignore them, especially since I kept crying during Act II.