Utah Opera’s production of Madame Butterfly opened Saturday night at Capitol Theatre. I was excited and intrigued to attend because I hadn’t seen this classic opera before. Madame Butterfly is a problematic opera for companies to stage because its premise relies on racist, sexist stereotypes and practices that reduce Japanese women and culture to “exotic” objects of Western male fantasy. Similarly, productions of Madame Butterfly have often worsened the situation with casting, costumes, and sets that create nothing more than a caricature. And yet, Puccini’s magnificent score rightfully retains its place in the opera canon. What are current opera houses to do — avoid the piece entirely or find insightful ways to reimagine its problematic content? Japanese-American director Matthew Ozawa, in collaboration with an entirely Japanese and Japanese-American creative team, found a way forward, framing the original story with a modern, technological twist and incorporating music and plot developments from earlier versions of Puccini’s composition. Utah Opera’s cast and creative team bring Ozawa’s vision to life with vivid color and evocative sound.
Ozawa’s reimagined Butterfly frames the original plot with action that occurs in the present day. Throughout my review, I will remain intentionally vague about the details of the frame to avoid spoiling it for opera-goers who will see the production later in the week. The scene opens in silence with present day B.F. Pinkerton (Eric Taylor) at home in what appears to be a sleek urban apartment. He shuffles listlessly, conveying uncertainty and ennui. He sits and resumes a fantasy that had previously engaged his attention. The overture starts, and the original action ensues, presented as an artificial world to which Pinkerton retreats periodically to escape his present circumstances.
Pinkerton’s fantasy transports him to Nagasaki, Japan where he adopts the identity of a U.S. Navy lieutenant. As Lt. Pinkerton, he examines a home that he and his imagined bride Cio-Cio-San, also known as Madame Butterfly, (Hiromi Omura) will occupy after their nuptials. Sharpless (Nmon Ford), a U.S. Consul, enters the scene, and Pinkerton relates his vision of a pleasure-seeking sailor and the beautiful Japanese girl who has captured his attention. Sharpless attempts to warn Pinkerton of the short-sightedness of this view, but Pinkerton laughs and toasts the American woman who will become his “real” wife someday.
Butterfly arrives with her friends and family to celebrate her marriage to Lt. Pinkerton. In preparation for her wedding, she has secretly converted to Christianity — secrecy being important to avoid angering her traditional Japanese family. She also explains to Sharpless that since her father’s death, she has made her way as a geisha. After Imperial Commissioner (Rodney Sharp II) presides over the marriage ceremony, Butterfly’s uncle, the Bonze (Zaikuan Song) storms in, angrily cursing her and stirring up the crowd. Pinkerton protects and consoles Butterfly, ordering the guests away.
Three years pass, and present-day Pinkerton has married an American bride, but the two have become estranged. Thus, Pinkerton continues indulging his fantasy of the imagined Japanese bride whose future he can shape. Back in this artificial world, Cio-Cio-San faithfully awaits Pinkerton’s return. Her servant, Suzuki (Nina Yoshida Nelsen), anxiously petitions their traditional gods for assistance, but Butterfly encourages her to keep faith that Pinkerton will come “home.” Sharpless arrives with a letter to notify them of Pinkerton’s marriage to an American, but before he can relay the news, Goro (Martin Bakari), a marriage broker, arrives with a new suitor (Kevin Nakatani) for Butterfly. Butterfly refuses the proposed marriage, reveals her son fathered by Pinkerton, and insists that Pinkerton will return once he knows of his son. A cannon signals that Pinkerton’s ship is arriving in the port, so Butterfly’s hope increases, and she keeps vigil.
In the final act, Butterfly encounters Pinkerton’s American wife, Kate (Sarah Scofield), and Pinkerton realizes how devoted Butterfly has been. He hurries away after a painful farewell. Butterfly relinquishes her son to his father’s care and ultimately frees herself from being a character in Pinkerton’s fantasy.
I read about Ozawa’s plot innovations in the program notes before the performance began, and I had misgivings about whether or not they would accomplish the goal of portraying Butterfly’s character and Japanese culture as more than just exotic objects. It seemed that relegating Butterfly’s story to a modern man’s escapist fantasy ran the risk of taking us further away from seeing the Japanese characters as fully human, keeping them as merely superficial, as well as amplifying the cruelty of the man’s actions. My misgivings kept me from be able to fully suspend disbelief because I was consciously aware that Butterfly’s narrative was being presented to us as just a fantasy. Attending the post-performance Q&A provided insight that helped me see the director’s vision. He and his creative team made specific artistic choices that worked toward an ending in which Butterfly gains her freedom rather than merely succombing to a tragic demise. I appreciate having the director’s point of view, but for me, his approach didn’t improve the original plot. Problematic though the original plot is, I would have preferred to see it presented as a realistic narrative without blurring fantasy and reality. A diverse cast delivering strong character portrayals would have been sufficient to give greater depth to Butterfly’s story.
That criticism aside, I loved other elements of Utah Opera’s production, and I have continued thinking about them since Saturday night. Eric Taylor as Pinkerton, Hiromi Omura as Cio-Cio-San, Nina Yoshida Nelsen as Suzuki, and Nmon Ford as Sharpless deliver superb performances. Despite the fantasy element of how the story is told, they imbue their characters with nuanced emotion, achieving a high level of believability. Their voices fluidly glide over Puccini’s music while retaining warm, rich tones underneath. This is especially true of Eric Taylor whose singing is powerful and passionate. Hiromi Omura matches his energy and enhances her upper notes with pristine clarity. Utah Opera has created a visually stunning production with vibrant sets and costumes that take their inspiration from Japanese interior design and natural elements such as cherry blossoms. I particularly loved Butterfly’s wedding robe that features flowing sleeves and shimmering fabric.
I enjoyed Utah Opera’s Madame Butterfly overall, and I wholeheartedly recommend seeing it. The production continues at Capitol Theatre through Sunday, May 11, 2025. Click here for information and tickets.
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