CENTER STAGE

Production excels on all levels

By Whitney Smith

November 21, 2004

Madama Butterfly
• What: An Indianapolis Opera production of Giacomo Puccini's tragedy. In Italian, with English subtitles. With the Indianapolis Chamber Orchestra, conducted by James Caraher.
• When: Remaining show, 2 p.m. today.
• Where: Clowes Hall.
• Bottom line: A show to remember.

When opera companies rise to the occasion and almost everything goes as well as it could, listeners are allowed to hear composers at their finest.

That happened at Friday's opening-night performance of Indianapolis Opera's "Madama Butterfly," which will be repeated today at Clowes Hall.

Four excellent lead singers, intelligent stage direction, a good performance by the Indianapolis Chamber Orchestra and sensitive lighting all honored composer Giacomo Puccini and librettists Luigi Illica and Giuseppe Giacosa.

As a result, local opera goers may appreciate an all-too-familiar view of America as some early 20th century Europeans saw it. The composer and librettists profiled a U.S. military man who took a young Japanese wife while stationed in her country but did not take the commitment as seriously as she did.

Listeners also may enjoy the genius of Puccini's multicultural score, which is rooted in Italian romanticism but incorporates Japanese music and "The Star-Spangled Banner" to symbolize the relationship of Lt. B.F. Pinkerton and the teenage former geisha, Cio-Cio-San, aka Butterfly.

The cast is led by two powerful singer-actresses, portraying a tragically abused Butterfly and her maid, Suzuki, who is sympathetic but unable to alter fate.

Jee Hyun Lim, a soprano based in New York, makes her Indianapolis Opera debut as Butterfly, while mezzo-soprano Hyounsoo Sohn, who is at work on an artist's diploma at the Indiana University School of Music, also sings her company debut as Suzuki. Each turns in a striking solo performance. Their collaboration is sublime.

Lim's demure characterization of a shy Japanese teenager torn between two worlds gives no hint of the huge sound the soprano is capable of, especially in her searingly beautiful "Un bel di," Butterfly's money aria at the top of Act 2, when the abandoned wife is in denial about whether her husband will return.

Sohn projects her rich middle and low registers with strength, making Suzuki's Flower Duet with Butterfly a tour de force. Previously deferential to Butterfly and Pinkerton despite skepticism, Suzuki finally lets her true colors show in Act 3, unleashing the melancholy she felt all along.

William Joyner captures Pinkerton's offensive, ugly-American bravado with his famous Act 1 aria, "Dovunque al mondo." Joyner sings it with a full sound and appropriate swagger. But in this production stage directed by Benjamin Spierman, Joyner's Pinkerton is convincingly overcome with remorse in Act 3. On seeing how his disrespect devastated Butterfly, he practically transforms into a character out of a Greek tragedy.

Timothy Noble, an IU professor who has sung a series of roles for Indianapolis Opera, completes the lead ensemble as Sharpless, the American consul at Nagasaki. He comes across as a kindly friend to the couple but also an uncompromising voice of morality.

The Indianapolis Opera Chorus was too hushed in the "Humming Chorus," though the women had been impressive earlier in the wedding scene.

The scenery, originally designed by Carey Wong for Tacoma Opera, depicts an open, Japanese-style wood house in a lush garden. Lighting designer Jeff Davis' sunshine and dappled shadows echo the gamut of moods in this bittersweet classic.