The Canadian Opera Company opened it’s “new to Toronto” production of Puccini’s Madama Butterfly on Friday night.  It’s a production that’s been around for a while having premiered in Houston in 2010.  It’s almost entirely traditional.  The one concession to critics of Puccini’s rather sordid tale is that Butterfly’s age is raised from fifteen to eighteen. The original concept was Michael Grandage’s but it’s revival directed here by Jordan Lee Braun.It’s visually attractive; certainly an improvement over the previous COC effort, and has some interesting touches.  Silhouettes of characters coming and going are used effectively and there is a rather painterly use of a revolving stage combined with projections during Butterfly and Suzuki’s night long vigil.  But, ultimately, it’s all the early 20th century’s idea of what 19th century Japan was like in operatic form.

Musically it’s pretty good.  Eri Nakamura is an attractive Cio-Cio San.  Her voice is lyrical rather than dramatic and she sings a rather lovely “Un bel di”.  Hyona Kim is an excellent Suzuki; singing accurately and showing some fire in the final scenes.  Michael Sumuel is a convincingly sympathetic Sharpless.  I had mixed feelings about Kang Wang’s Pinkerton (who got pantomime booed at curtain call… really).  For the first 15 minutes or so he sounded rather dry to me but he warmed up and produced a credible portrayal, almost becoming sympathetic at the end (when it’s too late of course).  Julius Ahn was a suitably fussy and busy Goro.

The minor parts were all taken effectively by current and past Ensemble Studio members and several members of the chorus singing their first “named” roles on the main stage.  It was particularly good to see Sam Chan back in Toronto doubling up here as the Imperial Commissioner and Yamadori.  Young Naleya Sayavong was rather charming as Sorrow.  The chorus was on its usual excellent form.  I think the best aspect of this show though is the conducting and orchestral playing. Keri-Lynn Wilson wasn’t afraid to go for blood and guts where required but mostly I noticed a detailed delicacy in the orchestral playing which supported the singers really nicely.

This Madama Butterfly does what it’s supposed to do.  It offers an undemanding, visually attractive evening at the opera and crucially it’s putting bums on seats.  Last night was sold out and availability for the rest of the run is limited.  It runs at the Four Seasons Centre until February 16th.

Photo credits: Michael Cooper.