Traditional approach to ‘Madama Butterfly’ simply lovely

Opera in Las Vegas is hot. Sin City Opera is introducing opera to young audiences with exciting nontraditional takes on accessible chamber operas. Opera Las Vegas is generating buzz with its stunning traditional production of one of opera’s top 10 works, Puccini’s “Madama Butterfly.”

This frequently performed opera is familiar in popular culture because of the changes that have been rung on the traditional plot by hit plays such as “M. Butterfly” and “Miss Saigon.”

For Opera Las Vegas’ production, director Henry Akina and designer Ian Mangum went with a traditional approach that was simply lovely. Elegant cherry trees in blossom flanked the stage as a reminder of Pinkerton’s promise to return to Cio-cio San like the robins returning in spring.

Costume designer Jennifer Van Buskirk’s period costumes lent opera pageantry. One interesting touch was the use of blackclothed ninjalike mimes as living stage props and figures of death amid the bright Japanese colors. Kudos to lighting designe, Ginny Adams.

U.S. Navy Lt. B. F. Pinkerton is one of operas’ worst scoundrels and tenor Viktor Antipenko was so convincing in the role that he received a couple of heartfelt boos at curtain. His voice was so beautifully assured that you wanted to believe he was a changed man because of Cio-cio San’s devotion. But his words revealed his heart — he is just looking for a place to throw out his anchor before his next berth home.

I had a moment of doubt about soprano Inna Los in the title role of Butterfly, or Cio-Cio San. It is a difficult role because the actress must exhibit the girlishness of a 15-year-old, the restraint of a geisha and the fierceness of a Tosca. Los’ voice initially sounded strained.

But by the second act I was a believer in her bravura performance, which perfectly captured Butterfly’s many nuances. Her Un bel dì (“One beautiful day”), the opera’s “hit” aria, was sung with such fresh passion that it was like having your heart broken for the first time. She deserved the audience’s spontaneous ovation.

Daniel Sutin was marvelous in the curious role of Sharpless, the U.S. consul in Nagasaki. The character’s name connotes a certain lack of backbone either to call Pinkerton out or to perhaps show his own affection for the lovely Butterfly. Sutin’s performance brought out subtle undertones in the character. His clear, full-bodied baritone was a delight.

UNLV voice professor and mezzo-soprano Stephanie Weiss was well-matched with Los as Butterfly’s maid Suzuki. Their second-act “Flower Duet” was hauntingly lovely.

The role of Goro, the comically cynical matchmaker, who sells Cio-cio San to Pinkerton was well sung and acted by tenor Joseph Gaines, who was both amusing and sinister.

Bass-baritone Eugene (Trey) Richards III made a startling entrance as The Bonze, Cio-cio San’s Buddhist priest uncle. He was fierce in voice and presence. When Butterfly converts to Christianity out of her love for Pinkerton, she is shunned by her family.

Baritone Brian James Myer as Cio-cio San’s hapless suitor Prince Yamadori and bass Nathan Van Arsdale as the imperial commissioner supported the leads with their excellent performances.

The adorable Noah Sirulnik in the nonsinging role of Dolore (Sorrow), Cio-cio San’s young son, made Butterfly’s tragic self-sacrifice all the more heart-wrenching.

Gregory Buchalter conducted the superb Opera Las Vegas orchestra with confidence. Choral director Megan Franke achieved rich vocal depth from the opera chorus.