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WNO’s ‘Butterfly’ Simply Glorious

By Galegirl
WNO’s ‘Butterfly’ simply glorious

WNO's elegant 'Butterfly'

In the spirit of full disclosure, I need to say that I was predisposed to write a generous review of Washington National Opera‘s ‘Butterfly’–I received two premium tickets for winning their opera songwriting contest last fall.  However, I  am not the most ardent Puccini fan, which I’ve mentioned on this blog, once comparing him to Nicholas Sparks, also on this blog, so there’s no shrinking from that comment. 

However, WNO’s Madama Butterfly was a synthesis of beauty and artistry–the best live opera production I’ve seen this year. And I’ve seen a bunch–more shows than ever. All the elements worked this time–music, direction, design, costumes, lighting–in tandem to produce a seamless opera experience that was nothing short of transcendent. 

I can scarcely describe the fulfillment I experienced as an audience-goer from such careful shepherding of all production elements toward a common end. 

Credit must go to WNO General Director Plácido Domingo and WNO management for selecting to present the Ron Daniels’ version that was so successful in San Francisco, despite the fact that it’s not a brand spanking new production. It’s a luminous treatment that deserves to be seen and appreciated by audiences on this coast. 

It’s no straight revival, but this version does honor the spirit of more traditional productions. All the artistic choices served the opera, and not the other way around, which, if I may say so,  is becoming annoyingly common  and tiresome these days. 

WNO’s ‘Butterfly’ simply glorious

Audience members were wiping tears away by this scene, when Butterfly waits for Pinkerton

Ana María Martínez was a brave and graceful ‘Butterfly’–her voice was as strong and supple as a nylon string. Under the lithe and lively baton of Plácido Domingo, the orchestra supported the singers as if cradled in a gloved hand. We heard every nuance of Martínez’s performance, and there were so many to enjoy–the gentle trills, the beautifully controlled decrescendos on the highest notes the role demands. Her “Un bel di vedremo” was simply a triumph. She has a pure sound–never overdone–as some Puccini sopranos are wont to do. During a question and answer session after the show, I asked her what goes through her mind at the moment before she sings one of the most famous arias Puccini wrote and she said, “Of course, I’m in character. And after that I am only thinking how much I love singing it.” 

The curtain call was perfectly conceived. After the final scene, the curtain rose, and Martínez took a solitary bow. How fitting. It really is Butterfly’s show. Then the curtain fell and the traditional bows began. Though Martínez had already brought the audience to its feet, the standing ovation continued in sincere appreciation for the part that everyone played in making the production a stunning whole. 

Clearly, Plácido Domingo is that remarkable hand guiding each WNO production to its artistic zenith and will be sorely missed when he steps down at the end of this season. Here’s hoping the next general director will possess even half of his talent, taste, discretion, and maganimous spirit.


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