With its epic music and heartbreaking story, it is no surprise that Giacomo Puccini’s Madama Butterfly remains one of the most popular and beloved operas of all times. It has been over 10 years since Madama Butterfly was last staged by the Canadian Opera Company after the pandemic forced the cancellation of its mainstage performances in 2022.
This opera has also struggled with many controversies related to western imperialism, along with cultural and gender stereotypes. In this production (seen Jan. 26), COC has at least in part addressed them by foregoing the traditional geisha makeup, and by having an all-Asian cast in the Japanese roles (and going even further by casting a Chinese tenor in the role of the American Pinkerton).
A scene from the Canadian Opera Company’s production of Madama Butterfly, 2025. Photo: Michael Cooper
Despite the vulnerability of her character, kudos to soprano Eri Nakamura for shattering the stereotypes of a submissive Japanese woman with her characterization of Cio-Cio San as a woman of immense strength and dignity. Her silky voice is best when singing piano in the tender passages. This is complemented by expressive acting that depicted her transformation from a timid teenage bride to a woman steadfast in love and loyalty for the man she married.
Although her vocal colour sounded too mature for Act 1’s 18-year-old Butterfly, it was used to great effect in Act II where Nakamura demonstrated incredible stamina by nailing the relentless successions of high As and B flats. Her “Un bel dì vedremo” was a revelation, and the emotional pain she unleashed after she discovered she had lost everything was utterly gripping.
Kang Wang as Pinkerton and Eri Nakamura as Cio-Cio San in the Canadian Opera Company’s production of Madama Butterfly, 2025. Photo: Michael Cooper
Tenor Kang Wang makes a welcome return to the COC stage, after his acclaimed performance as Rodolfo in last season’s La bohème. His handsome looks befit the dashing Pinkerton who is both flamboyant and callous. His anguish and remorse upon discovering the consequences of his actions was genuine. Wang’s gorgeous tenor has a hint of darkness reminiscent of a young Jonas Kaufmann. Along with Nakamura, he offered one of the performances’ musical highlights as they both soared to a high C in the beautiful love duet “Vogliatemi bene.”
Also delivering strong performances were a pair of singers making their COC debuts. Mezzo-soprano Hyona Kim was excellent as a sympathetic and convincingly tearful Suzuki, delivered with a powerful top range. Her “Flower duet” with Nakamura was filled with sublime lyricism and harmony. Michael Sumuel’s rich bass-baritone sounded like a well-aged wine. His Sharpless was the voice of reason warning Pinkerton not to take Butterfly’s vows lightly.
Michael Sumuel as Sharpless, Naleya Sayavong as Sorrow, and Eri Nakamura as Cio-Cio San in the Canadian Opera Company’s production of Madama Butterfly, 2025. Photo: Michael Cooper
The remaining cast included tenor Julius Ahn as a lively marriage broker Goro. Baritones Samuel Chan (Commissioner and Yamadori) and Gene Wu (the Bonze) were unfortunately overpowered by the orchestra, whereas current Ensemble Studio soprano Emily Rocha was a rather bland Kate Pinkerton.
The women of the COC Chorus deserve special credit. Their harmonies during Butterfly’s entrance scene and the off-stage rendition of the famous “Humming Chorus” were simply ethereal.
A scene from the Canadian Opera Company’s production of Madama Butterfly, 2025. Photo: Michael Cooper
This revival of a co-production from Houston Grand Opera, Grand Théâtre de Genève, and Lyric Opera of Chicago was in good hands with revival director Jordan Lee Braun. The set, though simple, was enhanced by effective lighting and use of shadows.
The undeniable standout element of Madama Butterfly is Puccini’s ravishing score, arguably his most sumptuous. Conductor Keri-Lynn Wilson led the COC Orchestra in an energetic reading, doing justice to Puccini with good dynamic contrasts. The orchestra, in its usual fine form, played with a good balance of gusto and delicacy.
This was a profoundly moving Madama Butterfly that took audiences to the extremes of emotions. There is no doubt the COC got it right this time.
Canadian Opera Company’s Madama Butterfly continues its run at Toronto’s Four Seasons Centre for the Performing Arts through Feb. 16. www.coc.ca
