In all my years of going to hear Puccini’s Madama Butterfly, I have never heard a better interpretation than that of Canadian soprano Michele Capalbo, who sang the lead role of Cio-Cio San on Saturday at Palm Beach Opera.
Capalbo led the company’s “B” cast; the “A” cast opened Palm Beach Opera’s 50th season the night before. Taking on such demanding lead roles means opera singers must get at least one day’s rest between appearances. That is why the company alternates the lead singers.
Capalbo’s soprano has a beautiful, rich, rounded tone and her middle and lower ranges are just as strong as her top. The lead tenor, Rafael Davila, singing Pinkerton, is infatuated with his Japanese geisha girl, but little understands how much store the sweet 15-year-old beauty puts into such a union.
Note for note, Davila matched Capalbo, magnificently. She has the bigger role; after Act I, Davila appears briefly in the last act. Davila’s tenor has a ringing, pure, full sound with a honeyed head tone that is quite impressive. Their Act I wedding love duet was tender and superbly sung by both artists.
The combination of Puccini and conductor Bruno Aprea, Palm Beach Opera’s artistic director, was magical. The orchestra responded beautifully. Every section played well, and the horns, who are asked to underscore so much of the later singing in the opera, were champions. No fluffs, just smooth sounds.
As a body, the orchestra shone when they played the famous intermezzo between acts. I have always believed they should take the stage alone, without singers, to show off their prowess. Perhaps an ideal venue would be among the orchestras chosen to play in the Kravis Center’s Regional Arts series. They are a match for any visiting orchestra, foreign or domestic.
Chorus master Greg Ritchey schooled his choristers well. On stage and off, they sounded perfect. Nothing was overdone; a light touch was all that was needed in their few appearances, and that’s what came across: delicate, beautiful, sensitive choral work.
Ron Daniels’ stage direction handled the opera with a deft understanding of Japanese sensibilities; crowded nations like Japan and England tend to practice reserved restraint in first meetings, and so it was here, and very apt. Daniels’ direction was superb, and he had the audience spellbound. Only once did they dare to break the spell with applause for Capalbo’s Un bel dì, which was much deserved.
Baritone Michael Chioldi was excellent as Sharpless, the American consul general in Nagasaki, who cautions Lt. Pinkerton not to take this marriage lightly. Three years later, it falls to him to tell Butterfly that there is now a second Mrs. Pinkerton (Shirin Eskandani, a member of the Young Artists troupe). Acting and singing with great distinction, Chioldi’s voice is plum rich, and beautifully modulated.
Suzuki, sung by mezzo Irene Roberts, was perfection as the maid to Butterfly. Her singing is delicious and her acting absolutely on point. Her Flower Duet with Capalbo was particularly memorable.
Julius Ahn played and sang the role of Goro, the marriage broker. He has a good tenor voice and rather than be too pushy, as is so often seen, he acted subtly. It works. Baritone Valentin Vasilu was “dangerous” as The Bonze, Butterfly’s uncle, who interrupts the wedding to condemn her for changing religions. A terrifying presence, but not too terrifying. Kenneth Stavert, another Palm Beach Opera Young Artist, was very good as Prince Yamadori. He sang it nicely and was convincing as the jilted suitor to Butterfly.
Not at all convincing, however, were Benjamin Clements and Jesse Enderle, playing the imperial commissioner and official registrar, respectively. Their singing was weak, and it was a good thing their roles were short. I’ve always said that in casting comprimario roles, one should choose professionals, especially on such an enormous occasion as a half-century celebration.
Kathy Waszkelewicz’s makeup, much assisted by Japanese wigs, made the cast and chorus members look suitably Asian. The lighting design by Steven Strawbridge was adequate, and the scenery and costumes were on loan from San Francisco Opera. The American battleship Abraham Lincoln in Nagasaki harbor was ghoulishly realistic.
But the kudos, as always, go to Giacomo Puccini for his magnificent music and orchestrations, which gave a lush and memorable start to this 50th anniversary season of Palm Beach Opera.
Rex Hearn, who founded Berkshire Opera in 1995, regularly reviews opera, music and theater in South Florida.