Midway through its 62nd season, Anchorage Opera returns to the Alaska Center for the Performing Arts in 2025 with a sensational rendition of Giacomo Puccini’s tragic masterpiece, “Madama Butterfly,“ the story of Cio-Cio-San, a young Japanese geisha and her ill-fated love for an American naval officer, Lieutenant B.F. Pinkerton.
Set in 20th-century Nagasaki, the opera follows Cio-Cio-San as she marries Pinkerton, believing it to be a true union of love and devotion. However, Pinkerton sees their marriage as a temporary arrangement. When he departs for America, he leaves behind a pregnant and hopeful Cio-Cio-San, who waits faithfully for his return.
Several years later, Pinkerton returns to Japan with his American wife, Kate, intending to take custody of their child. Heartbroken by this betrayal and the loss of her son, Cio-Cio-San takes her own life in a final act of despair.
Lauded and renowned General Director and Stage Director Ben Robinson’s captivating modern take on Puccini’s epic tale intertwines historical perspective and costume with leading edge artificial intelligence enhanced laser projected backdrops that elevate set design to splendid new heights nothing short of extraordinary.
Robinson’s masterful artistic vision brings forth what Puccini himself was never able to accomplish upon Butterfly’s debut at La Scala. Robinson delivers us all through a luminous cascade of heart-wrenching arias and orchestral ecstasy where Madama Butterfly unfurls the tragic tapestry of Cio-Cio-San as a delicate yet indomitable blossom of devotion who, blinded by youthful innocence, clings with hope to the perfidious embrace of the faithless Pinkerton, only to be shattered upon the cruel altar of fate, where passion dissolves into despair, and the silken petals of her unwavering soul drift, sorrow-laden, into the abyss of an agonizingly beautiful oblivion.
Maestro Andy Anderson leads Anchorage Opera’s amazing orchestra with precision, passion, and deep sensitivity, bringing Puccini’s lush score to life with breathtaking nuance. From the opening bars to the devastating climax, Anderson maintains impeccable balance, ensuring that every phrase breathes with emotional depth and dramatic urgency.
Puccini’s “Madama Butterfly” explores themes of love, betrayal, the clashing of eastern and western cultures, as well as the devastating consequences of imperialism. With Ben Robinson at the helm, the incredible cast and crew of Anchorage Opera deliver this message beautifully.
Making her role debut, Karen Vuong’s portrayal of Cio-Cio-San is nothing short of breathtaking. From her first note, her voice soars effortlessly, filling the theater with a richness and clarity that seems almost amplified. Her “Un bel dì vedremo” is a masterclass in control and emotion, balancing delicate pianissimi with powerful, soaring high notes that reach the farthest balcony seats with ease.
And yet, beneath this vocal grandeur, Vuong infuses every phrase with an emotional truth so raw, so devastatingly human, that one feels not merely a witness to Butterfly’s anguish, but a participant in her exquisite suffering. Her final moments are painted in sound so heartbreakingly delicate that the silence in the theater grows thick, reverent, as though the universe itself holds its breath.
Beyond sheer vocal ability, Vuong brings raw emotional depth to the role, making Butterfly’s hope and heartbreak feel deeply personal. Her final moments are devastating in their fragility, leaving the audience in stunned silence. This is a performance that lingers long after the final curtain—a triumph of vocal and dramatic artistry.
Also making a role debut, and fresh off a debut at New York’s iconic Metropolitan Opera, Edward Graves delivers a striking performance as Lt. Pinkerton, embodying the character’s charm and callousness with seamless conviction. His bright, ringing tenor cuts through the orchestra with effortless power, filling the theater with a presence that is both alluring and foreboding. From the passionate intensity of “Dovunque al mondo” to the lyrical warmth of his Act I duet with Cio-Cio-San, Graves brings an intoxicating vocal beauty to the role.
Yet it’s in his final act return that his artistry truly shines—his remorse palpable, his voice weighted with regret, making his betrayal all the more devastating. Graves gives Pinkerton complexity beyond the usual cad, offering a portrayal that is as vocally thrilling as it is dramatically compelling.
Making his role debut as well, Robert Mellon brings both gravitas and compassion to the role of Sharpless, his rich, resonant baritone anchoring the drama with warmth and authority. From his first interaction with Pinkerton, he exudes a weary wisdom, his voice carrying the weight of unspoken warnings and quiet despair. His phrasing is immaculate, each line delivered with a measured sensitivity that underscores his growing unease.
As the tragedy unfolds, Mellon’s performance deepens, his Sharpless torn between duty and conscience. His final scenes, heavy with regret, reveal a man powerless to stop the inevitable, his voice colored with quiet anguish. With both vocal strength and emotional depth, Mellon offers a deeply moving portrayal of Butterfly’s lone advocate.
With hundreds of performances as Suzuki, Nina Yoshida Nelsen brings unmatched depth to the role. Her warm, velvety mezzo exudes devotion and quiet strength, grounding Butterfly with unwavering support. Every phrase is infused with emotion, her deep understanding of the character evident in every glance and gesture.
In the final act, her heartbreak is palpable, her voice rich with sorrow as she realizes Butterfly’s fate. Nelsen’s performance is masterful—both vocally and dramatically—making Suzuki not just a supporting role, but the emotional core of the opera.
Ramon Gabriel Tenefrancia’s crisp tenor and sly charisma make Goro both engaging and unsettling. His pointed delivery and lively phrasing capture the character’s opportunism, adding depth to his scheming presence in the unfolding tragedy.
Benjamin Chen’s smooth baritone brings warmth and dignity to Yamadori, offering a sympathetic contrast to the opera’s darker themes. His performance adds depth, portraying a man genuinely affectionate toward Cio-Cio-San.
Returning for his second show with Anchorage Opera this season, Isaiah Musik-Ayala brings a commanding bass to The Bonze. His performance exudes authority and menace, making the character a formidable presence in the opera’s intense drama.
Anchorage local Laurie Soderstrom’s radiant soprano and striking beauty perfectly capture Kate Pinkerton’s elegance. Her poised presence adds sophistication to the role.
The remaining cast of Madama Butterfly adds significant depth and richness to this production, each performer delivering a memorable portrayal in their respective roles.
Mari Hahn’s portrayal of Cio-Cio-San’s Mother is a commanding presence, her demeanor perfectly capturing the protective nature of her character, while Akiko Naomoto’s portrayal of Cio-Cio-San’s Aunt brings a touch of wisdom and humor, balancing her gravitas with a gentle warmth. Crista Cady’s portrayal of Cio-Cio-San’s Friend provides a comforting presence, her bright voice offering a light moment in contrast to the opera’s heavier themes.
Brewster Jamieson’s portrayal of the Registrar is a solid figure, his authoritative voice adding to the tension of the bureaucratic scene. Finally, Kyle Gantz’s portrayal of the Commissioner rounds out the ensemble with a voice of clarity and precision, underscoring the power dynamics at play.
Together, these talented performers enrich the production, providing a strong foundation and contributing to the overall emotional and dramatic impact of Madama Butterfly.
Last but not least, a very special acknowledgment must be given to young Dawson Sausen for his incredible portrayal of Sorrow, the child of Cio-Cio-San and Pinkerton, who is ultimately taken away to be raised by Lt. Pinkerton and Kate. At just three years old, Dawson does an incredible job remaining focused and alert, owning his role way beyond his bedtime.
Beyond the talent on stage, this incredible production would not have been possible without the many hours, days and weeks of time and effort from the crew. Led by Production Stage Manager Helen Irene Muller and Assistant Stage Manager Andrea Anderson, everything always runs smoothly and flawlessly. Projection Designer Sean Amato’s incredible work makes every scene and backdrop glow, shine and shimmer in mesmerizing fashion. Furthermore, the special contributions of cultural advisors Dr. Hiroko Harada and Dennis Arashiro ensured accurate cultural continuity from start to finish; arigatou gozaimasu.
To Ben Robinson and everyone at Anchorage Opera, you have done it again: Perfetto!
Don’t miss the opportunity to experience the magic of live opera in the heart of Alaska! More information is available on the Alaska Center for the Performing Arts website: AlaskaPAC.org. Tickets are on sale now and can be obtained through CenterTix.com or by calling 907-263-ARTS (907-263-2787). Performances are scheduled for February 6, 8 and 9, and all shows are at or very near being sold out.
Ahsan Awan has been covering opera, performing arts and live events for two decades, and has been covering Anchorage Opera, since the 2022-2023 season. Images taken by Ahsan Awan for Anchorage Opera and ©2024 American Presswire. Editorial use by Anchorage Opera with permission and subject to unrestricted use under license unless otherwise noted. Ahsan Awan can be found on X as @quackarazzi and on Instagram as @quackarazzi. American Presswire can be found on X as @ampresswire and on Instagram as @ampresswire.