Review: MADAME BUTTERFLY at Opera Orlando

I have always wanted to like opera. I grew up being classically trained in it, but my love was, has always been, and will always be musical theater. That doesn't mean I don't appreciate it for what it is. I was invited to come and see Opera Orlando’s season opener production of Madame Butterfly. I have not been to the opera since I was probably 17 or 18, but after all of the shows that I have seen over the past year, I saw this one in a different light and realized a few things in the process. 

First of all, opera walked so musical theater could run. It was the first form of musical storytelling. One of my first observations with this show is that the performers are not mic’d. My plus one, a former opera singer herself, told me that opera singers are never mic’d . But as I made the observation in my head, I understood why. Musical theater relies very heavily on the words that the performers are saying. If the audience can't understand the words, then often times that impacts the story. Unlike musical theater, where dialogue and lyrics often drive the storytelling, opera places equal, and sometimes greater, emphasis on music, emotion, and vocal performance. Understanding every word is less important than experiencing the story through the music itself.

Madame Butterfly, written in 1904 by Giacomo Puccini, is a story that many musical theater fans may recognize through its Broadway descendant, Miss Saigon, with which I am much more familiar.  As someone who grew up in the 80’s and 90’s, shows like this one, Les Miserables, Cats and Phantom of the Opera were staples of theater kid core.     

Most operas are done in some foreign language. Madame Butterfly is done in Italian because it's Puccini. Unless you are fluent in Italian, which most modern opera patrons in the United States are not, they don't understand what is being said. The English translation is projected on a small screen above the stage, but everything in Italian sounds beautiful.  From literal metaphors to insults about family dynamics and the poor treatment of women, it all sounds like poetry.  This was the case the last time I went to the opera, somewhere around 1997. It's not as important for the audience to understand every single word, as it is for them to know that the performers are good singers. 

And that they were for this production. The control that Cio-Cio (Yeawon Jun) had in her voice was unlike anything I have seen in a very long time. This was the 44th live show I have seen since January 1st, 2026. And while I have seen some very talented performers, the type of control that you need to sing opera and the type of control you need for musical theater are very different. She hit every note with mastery and ease. High notes, low notes. She moved effortlessly through the score, maintaining both power and control across her entire range.  She was able to handle all of them. 

Beyond the performances themselves, one aspect of the production caught my attention when I looked through the program. Despite the talent on the stage (and there was no lack of that), after going through the program, it seems that most of the leads are all from out of town.  I may not be reading the program correctly but based on what I can deduce, this seems to be the case.  While I am not as familiar with the opera world as I am the musical theater world in the central Florida area, given the depth of talent we have in Central Florida, I found myself wondering whether there were opportunities for more local artists to be featured in principal roles.  As someone who has cast shows and had people outraged at my choices, I am sure Opera Orlando has their reasons; but one of the things I love most about seeing so many shows in this area is seeing so many familiar faces.  While I may not know a lot of them personally, sometimes it’s like watching old friends or even some of my students on stage.  I hope to see more local talent showcased in the future.  

The set was simple. They built a raked stage, which I think was a very bold choice. Madame Butterfly is a Japanese story. Traditional Japanese attire involves flip flops. Watching performers navigate a steeply raked stage while wearing traditional footwear made me appreciate the physical demands of the production even more. Now, granted, they don't have the level of movement that a big musical theater number has. But I can't imagine it being any less difficult. Within the raked stage, they had several platforms that slid off and on the stage as necessary, and were also dressed with a few set pieces that they needed. This production did not have much in the way of a tech crew; It was many of the performers that handled this aspect of the show. While this is sometimes common in musical theater, a lot of times it is also very show specific as to whether or not they need a whole tech crew, or if it's just as acceptable for the performers to do that. 

The costumes were nice. Because of the setting of the opera, it was mostly military wear and kimonos. A lot of people think of opera as ball gowns and sequins, but this was not the right show for that. The kimonos were beautiful. They were clearly embroidered and in vivid colors that stood out during the production. Opera is, by its nature, a slower storytelling medium than modern musical theater.  I have mentioned before that in some shows, certain parts drag. Sometimes this is how the script is written, sometimes it comes down to direction. But the way opera is structured, it takes a long time to get from point A to point B. If you understand that going in, you will enjoy it a little bit more. 

The cutest moment of the evening came courtesy of Butterfly's young son (Kelsier Kilsgaard). The performer couldn't have been more than three years old. While he was clearly following the guidance of the adults around him, he occasionally decided to do his own thing, which only added to the charm. It worked perfectly for the character and provided some genuinely heartwarming moments.

Did this production suddenly turn me into an opera fanatic? Probably not. Musical theater is still, and likely always will be, where my heart lies. But after seeing Madame Butterfly, I walked away with a much deeper appreciation for opera as an art form. The vocal technique, discipline, and artistry required to perform at this level are remarkable, and it is impossible to ignore opera's influence on virtually every form of musical storytelling that followed.

Opera Orlando delivered a beautifully sung and thoughtfully staged production. While Madame Butterfly is undeniably a tragedy and not always the easiest story for a modern audience, its themes still spark important conversations about power, cultural understanding, and the treatment of women. It may not be the most uplifting evening at the theater, but it is certainly a meaningful one.

If you're already an opera fan, this production will likely give you everything you're looking for. If you're more like me and come from a musical theater background, it's worth experiencing simply to better understand the foundation upon which so much of modern musical storytelling was built.

And if Madame Butterfly isn't quite your speed, Opera Orlando's season also includes Show Boat this spring, a production that bridges the gap between opera and musical theater. After seeing the company's work here, I'm especially curious to see what they do with a classic that sits so comfortably between both worlds. Whether you're an opera devotee or just theater-curious, this season offers a good reason to find a production in a city near you and give the art form a chance.

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Video: Opera Orlando's MADAME BUTTERFLY at Steinmetz Hall Run

10/2/2026