A change of management in an arts organization can sometimes be traumatic for all concerned, especially the audience. Happily, the changes at Cleveland Opera should allow its traditional audience to both relax and rejoice in the new faces to be seen both on and off stage. The theme now seems to be ‘new!’. New repertoire, new productions, new singers. In addition, Robert Chumbley, new general director, promises a new excitement to accompany all the other new items. One might also wish for a new—or at least improved—amplification system in the State Theater. One better suited to operatic voices, that is.

Overall, Friday evening’s performance of Puccini’s Madame Butterfly was outstanding! Director Joseph Evans (himself a notable Pinkerton in years past) highlighted the aspects of Butterfly which are usually overlooked—she was but fifteen when she married Pinkerton. The petite stature of Guiping Deng as Cio-Cio San (Butterfly) reinforced the believability of her status as a teen-ager. When she knelt on the floor to play with her son, Trouble, (charmingly played by Carissa Bellino) it was easy to believe she was barely more than a child herself, making the betrayal by Pinkerton all the more tragic.

Ms. Deng’s voice, however, was fully mature, accurate in pitch and changeable in timbre to meet the demands of the role. Un bel di was silvery and shimmery as she expressed the longing she felt while waiting for the return of Lieutenant Pinkerton. When she and Suzuki (Ryu-Kyung Kim) sang their flower duet— Tutti i fior —in the final act, there were more than a few tears shed. The singing and the acting were poignant as well as engaging.

Carlo Scibelli as Pinkerton was as boorish as a man in that position could be. A robust gentleman, his tenor voice was beautiful as well as accurate. Eventually, he came to realize his mis-treatment of his young wife, but it was too late. The main love duet in the first act between Pinkerton and Butterfly, Viene la sera, blended their voices marvelously well, even as he was eager for the consummation, while she was hesitant.

Jake Gardner was a Sharpless of poise and dignity, one who is also humbled by the bitter realization of the wrong he has committed. The somewhat comic role of the marriage broker Goro was convincingly portrayed by Joseph Hu, making his Cleveland Opera debut (as was Ms. Kim.) Other principals in the well-balanced cast were Jonathan Stinson as the Imperial Commissioner/Prince Yamadori, T. Steven Smith as The Bonze, and Jennifer K. Bromagen as Kate Pinkerton.

Conductor Imre Palló set a brisk pace, but not so fast that words could not be easily understood. The text was sung in Italian, but some of the phrases have become familiar to opera goers, and if not, there were projected English translations which were not only sensible, but in synch with the singing. The orchestra played well, although there were occasional balance problems, but these were the fault of the amplification system, not the conductor or musicians.

The stage setting by Richard M. Isackes, was a most attractive and inviting Japanese house set in a garden, overlooking the bay in which Pinkerton’s ship was anchored. Costumes by Malabar, Ltd., were colorful and appropriate. The lighting designs of Jeff Davis deserve special mention, especially in the night-time scenes where the moon rose slowly over the harbor, surrounded by twinkling stars.

In all, this was a production that would have put a smile on the face of the composer, whose first attempt at the story was not an instant success. His instincts were correct, however, as there have been many versions of the story based on cultural misunderstandings in the century since the first production. The most recent, of course, is Miss Saigon.

Cleveland Opera has announced the schedule for next season, a much more ambitious one than seasons past, with new directions and new repertoire. They invite you to ‘Fall in Love’ which is the overriding theme of the five operas selected. Call 575-0903 or visit http://www.clevelandopera.org.

from Cool Cleveland contributor Kelly Ferjutz ArtsWriter@Adelphia.net

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