Review: OPERA REVIEW: MADAME BUTTERFLY AT THE WASHINGTON NATIONAL OPERA

Madame Butterfly is a tragic tale with a colorful beginning. Act I begins on the incredibly-named Benjamin Franklin "B.F." Pinkerton's (Brian Jagde) wedding day. As he awaits the arrival of his 15 year-old geisha/bride Cio-Cio-San, aka Madame Butterfly (Ermonela Jaho), he pals around with his Japanese "fixer" Goro (Ian McEuen) and the American consul, Sharpless (Troy Cook).

It's evident from the outset that B.F. is no operatic hero. Despite the loveliness of his wife, he is not invested in his Japanese marriage. No surprise, Acts II and III find Butterfly abandoned and despondent.

Madame Butterfly features hefty doses of themes that are still relevant today: cultural insensitivity, the exploitation of marginalized members of society, and the idealization of women. B.F. Pinkerton is the archetypal ugly American (the Star-Spangled Banner is a recurrent musical theme) and Goro is little more than a pimp.

Japanese Production Designer Jun Kaneko's designs are akin to a colorful puzzle and the undeniable highlight of Washington National Opera's Madame Butterfly. Kaneko juxtapose patterns, block of colors, and negative space within the bounds of traditional Japanese aesthetics. The effect is otherworldly and yet it happily falls short of being cartoony.

The stage is Butterfly's cage - just as B.F. intended. Kaneko's design makes use of large projection screens downstage and centerstage (imitations of the moveable screens that divide the rooms in traditional Japanese households). At times mystifyingly abstract, the colorful projections literally and figuratively loom over the artists, providing windows into the outside world and the larger-than-life events which dictate Butterfly's fate. As effective as the screens are, the more abstract of Kaneko's designs are distracting and confusing.

The most ingenuous aspect of Kaneko's Madame Butterfly are the black masked supernumeraries that lurk about the stage: the harbingers of darkness among the color. There are a million subtle, stylistic touches throughout the production that I wish I could discuss with my readers in greater detail.

The Kennedy Center Opera House is notorious for its bad acoustics and this production of Madame Butterfly is no exception. Conductor Philippe Auguin's was not able to maintain a suitable balance between the orchestra and the vocalists. Director Leslie Swackhamer and Kaneko seem to have scarified artistry for design, specifically the installation of a large ramp upstage, which, as far as I can tell, is where sound goes to die.

Cook, and even Jaho, are at times overshadowed by Jagde's powerful tenor vocals. It's hard to overshadow a soprano but Jagde makes a valiant attempt. A better balance could have been struck between the performers.

WNO's Madame Butterfly features an array of exceptional actors. Jaho's dynamic, heart-wrenching portrayal of the doomed Butterfly squashes the age-old debate: soprano or actress?

Alto Kristen Choi brings dramatic weight to the role of Butterfly's long-suffering and disillusioned companion Suzuki.

Kaneko's buzz-worthy design is buoyed by undeniable artistry.

Giacomo Puccini's turn-of-the-century opera is accessible and engaging, tailor-made for opera buffs and newbies alike. At just over 2 hours it's pretty short by traditional opera standards. Get your tickets while you can - it's basically a no-brainer.

Running Time: Approximately 2 hours and 45 minutes, including one 25-minute intermission

Madame Butterfly runs through May 21, 2017 at The John F. Kennedy Center for the Performing Arts Opera House at 2700 F St. NW, Washington, DC 20566. For tickets call (202) 467-4600 or click here.

Photo Credit: Ermonela Jaho as Cio-Cio-San (Butterfly). Photo by Scott Suchman for WNO.