North Carolina Opera Presents a Devastatingly Beautiful Madama Butterfly

Caitlin Gotimer and Emery Hedges in North Carolina Opera's Madama Butterfly. Photo by Eric Waters.

The North Carolina Opera’s homepage states, “We believe opera is for everyone,” and the warm, welcoming vibes at Friday’s opening night production of Puccini’s Madama Butterfly, staged at Raleigh Memorial Auditorium, prove that statement to be true. Similarly, the opera itself features a story that anyone can understand and relate to. With a libretto by Giuseppe Giacosa and Luigi Illica, based on the play by David Belasco, which was itself inspired by other works, this classic tale has spawned many iterations, including the much-lauded Miss Saigon, since its premiere in 1904. Despite its age and its setting in 20th century Japan, its themes of love, youthful hope, heartbreak, and self sacrifice still resonate in powerful ways.

The story leaps into busy, excited action as a marriage broker, Goro (Johnathan White) chats with Navy lieutenant Pinkerton, portrayed by a dastardly but regal Eric Taylor, about his upcoming (arranged) nuptials. The bride-to-be, Cio-Cio-San (Caitlin Gotimer) is revealed to be only fifteen, which, by modern standards, is more than a little concerning, but to Pinkerton, that’s no big deal. Though the wise American Consul, Sharpless, portrayed with heart by a charming Efraín Solís, warns Pinkerton about the dangers of not taking the marriage seriously, Pinkerton plows ahead with a conqueror’s selfish single-mindedness. 

The first act proceeds for quite some time without the physical arrival of Cio-Cio-San, creating a buzzing anticipation. And, when she finally does arrive, she disappoints neither Pinkerton nor the audience. To Pinkerton, her beauty, innocence, and ready devotion exist only to stroke his own ego. For the audience, though, her hopefulness and willingness to embark on and embrace a new life are as brave and beautiful as Cio-Cio-San herself. Though there’s an immediate sense that things will not end well for her, viewers cannot help but hope and dream right along with her. 

As the remaining two acts unfold, Cio-Cio-San clings to her hope, managing to hold out for much longer than the audience and everyone around her does. And, as the story winds its way to its bitter end, her love never fully wavers. Though she’s cast aside, left destitute, and even forced, by circumstance, to give up her son, Sorrow (Emery Hedges), the beauty of her spirit prevails.

While the story itself is undeniably tragic, the production’s aesthetic and auditory beauty is equally undeniable. Michael Yeargan’s scenic design is soft, simplistic, and perfectly complemented by Robert Wierzel’s extra-bright lighting design. Viewers can see every facial expression, every open-mouthed crescendo, with startling clarity. The lighting also creates a beguiling sanguinity that firmly aligns the viewer with Cio-Cio-San. Almost all of her actions are carried out in the brightness, while many of Pinkerton’s are thinly concealed behind transparent set pieces, adding a smart dimension to the production. Another nice nuance is the American flag—surrounded by poignant lines from the Pledge of Allegiance—that serves as an imposing backdrop early in the story. And, in later scenes, such as when flower petals drift softly to the ground and when a crimson curtain drops dramatically, Cio-Cio-San’s heartbreak and loss are experienced visually as well as vocally. These breathtaking effects create an all-encompassing intensity in which viewers feel all the pain and devastation of the characters, without losing sight of the fact that love and faith, no matter how ill-fated or one-sided, still spring from something beautiful.

And, speaking of “something beautiful,” Francesca Zambello’s emotional direction and Arthur Fagen’s strong but never overpowering conducting bring out the best in both the story and the performers. In the title role, Gotimer is painfully evocative with a raw, haunting soprano that sweeps over the audience and lures them inside her character’s devastation. Her voice is often joined with Lisa Chavez’s (Suzuki, Butterfly’s maid) warmer mezzo-soprano, such as in the “Flower Duet,” creating a heart-wrenching but lovely harmonic melody. On the male side, Taylor gives Pinkerton the heroic voice he doesn’t deserve but that helps explain Cio-Cio-San’s trust in him, and Solís provides real trustworthiness and a healthy dose of compassion with his deep baritone. And, though he doesn’t sing, little Hedges is a natural delight in every flower-throwing second he spends on stage. Sorrow’s love for his mother comes through loud and clear, even without words. All together, these performers create something impactful and utterly unforgettable.

While there are some inherently problematic themes nestled inside Madama Butterfly, its effectiveness as a cautionary tale makes it necessary and startlingly relevant. It’s a warning against conquest without thought, against the destruction of the beautiful, and against misguided superiority--all of which are pressing topics that everyone could use a refresher in.

The opera’s second and final performance will take place on February 1st, and tickets are available here or via the box office.

-Susie Potter