LA Opera at the Music Center opened its 2024/25 season with Puccini’s Madame Butterfly. The production uses the original staging of Spanish-Uruguayan director Mario Gas that juxtaposes the Japanese setting onto a 1930’s Hollywood film soundstage.While we get seated, on stage, period dressed performers set up movie cameras, apply makeup, and also chat with each other. Throughout the performance, the screen displaying the English translation of the Italian lyrics projects the live action as a B&W movie.
LA Opera Puccini’s Madame Butterfly
Karah Son as Cio-Cio-San and Jonathan Tetelman as Pinkerton in LA Opera’s 2024 production of Madame Butterfly (Photo: Cory Weaver)
The heart-rending story unfolds as American naval officer, Benjamin Franklin Pinkerton, lusts for the enchanting 15-year-old Cio-Cio-San, Butterfly. A corrupt marriage broker arranges their union, assuring him that he can easily dissolve it. Her family and community forsake Butterfly who truly loves him. He goes back to the United States, while she, who now considers herself American, yearns for his return. During this time, she raises their child on her own while fighting off poverty and new suitors. When he returns years later, her excitement is tragically extinguished as he arrives with his new American wife to take the child.
The Cast, Madame Butterfly
Soprano Karah Son as Cio-Cio-San gives an emotionally captivating performance accentuated by close-ups of her shown in the film. While tenor Jonathan Tetelman vocally holds forth as Pinkerton, upright in posture with a sense of taken-for-granted privilege and control. Mezzo-soprano Hyona Kim makes her LAO debut as the distraught and unwaveringly supportive Suzuki. Baritone Michael Sumuel is a strong presence as Sharpless, the American Consult grappling with his sense of morality, yet unable to intervene. Tenor Rodell Aure Rosel is Goro and bass Wei Wu appears as the Bonze. Appearing are three members of the Domingo-Colburn-Stein Young Artist Program: soprano Gabrielle Turgeon as Kate Pinkerton, baritone Hyungjin Son as Prince Yamadori, and bass-baritone Vinícius Costa as the Imperial Commissioner.
Karah Son as Cio-Cio-San and Hyona Kim as Suzuki in LA Opera’s 2024 production of Madame Butterfly.(Photo: Cory Weaver)
Direction & Design
Music Director James Conlon conducts the orchestra with bravura along with Jeremy Frank who directs the LA Opera Chorus. The scenery, designed by Ezio Frigerio, features a rotating structure of steel columns with a painted ocean backdrop. Franca Squarciapino beautifully designed the costumes, which were mostly muted in tone. Sueko Oshimoto consulted on the colorful kimono.
Given the outstanding production and performances, it is interesting to mention some acknowledged culture clashes. LA Opera recognizes the challenges in depicting racial and gender stereotypes and inaccurate representations of Asian culture. Noted in the program is that during the 1930’s the Hays Code would not have allowed a film depicting a romance by actors of different races. Also, an essay by Ashlyn Aiko Nelson, Ph.D. speaks to the discomfort associated with the “white gaze.” The term refers to the “assumption that the default perspective of an audience is white and depicts a Western fantasy of Asian eroticism.”
For the LA Opera 2024/25 Season, go to LA Opera – https://laopera.org/
