Madama *sniff, *choke, *sob Butterfly

On Wednesday, September 30, fellow Lifestyle writer, Diana Cina and I had the great fortune to attend a production of the Canadian Opera Company’s Madama Butterfly. It was the second opera I’ve ever been to, and the second I’ve attended in Toronto’s spectacular Four Seasons Centre for the Performing Arts. Whenever I’m there — be it for the opera, a ballet, or a special occasion — I’m always humbled by how gorgeous it actually is. As COC general director Alexander Neef told me recently, “It has changed everything for the company.” (See more of my chat with Neef in the Winter issue of Lifestyle. ) I always leave wishing that the bar was open to the general, non-opera-going public (you really can’t beat the view, or the handsome clientele).

But enough about architecture, and back to the art within. My previous COC experience was in 2008, when I saw a production of Tchaikovsky’s Eugene Onegin. I was moved by the stunning set, the singing, and the relatable story. Puccini’s Butterfly is an altogether different opera — in setting (Japan as opposed to Russia), in music, in story etc…

Butterfly is the tale of a young, naïve and beautiful Japanese geisha, Cio-Cio San a.k.a. Butterfly who gives up her life, religion and family to marry a Lieutenant in the American navy. From the get-go, we learn that her husband to be, B.F. Pinkerton, has no intention of staying with Butterfly very long. Unbeknownst to the love-struck and devoted 15-year-old, he will return to American for a “real” marriage to an American woman.

So sets up a tragic three acts. There are few light moments in Butterfly, which is not to say that it’s a drag, by any means. The simple set of sliding Japanese doors comes to life with incredible costumes. The beautiful singing takes centre stage and the audience was completely enraptured every time Adina Nitescu (Butterfly) opened her mouth. Her heart-wrenching performance was the standout, and by the show’s tragic conclusion tear drops were softly rolling down my cheeks like a light morning snow on a Nagasaki rooftop.

As a woman, the too-familiar tale — man meets naïve girl, man takes advantage of naïve girl, girl pines disproportionately and pathetically for indifferent man — was obviously, at times, frustrating to watch. Any exasperation, however, is made up for by the purity of Butterfly’s character. Fragile and aptly named, Butterfly believes in true love from the very beginning, through impossible circumstance. Her dedication is at once perfect, tragic, honest, beautiful and admirable.

The ultimate message of the opera — the one that had the hankies out at full mast — is the supreme sacrifice a mother will make for her child, and the incredible strength it takes to do so. 

Catch the COC’s remarkable production of Madama Butterfly until November 3, 2009.

— Julia LeConte