Soviero Butterfly review
Charlie
Date: 02/14/2000 5:04:23 PM Eastern Standard Time
From: DWSpiro
To: Placido 21, Uzan
From the Denver Rocky Mountain News:
Soviero gives 'Madama Butterfly' delicate strength
By Marc Shulgold
Denver Rocky Mountain News Critic
There's a lot to love in Puccini's Madama Butterfly. Visually, it can be a pure
delight: a stage populated by colorfully garbed geisha and a handsome tenor in
sailor suit; a set dominated by gracefully blooming cherry trees framing the
sliding shoji screens of our heroine's home.
The music contains some of Puccini's loveliest melodies -- including the
instantly recognizable Un bel di. And the dramatic tale of a young geisha girl
jilted by her American husband never fails to tug at the heartstrings.
But, in the end, none of that matters. Madama Butterfly will not succeed
without a believable Cio-Cio San. The ill-fated Butterfly must elevate her
characterization above simple pathos and childlike innocence to tragic heights.
The soprano entrusted with this complex role must project equal parts little
girl and grown woman.
No surprise, then, that Diana Soviero's triumphant performance in Opera
Colorado's Butterfly carried the night on Saturday, smudging out the
season-opening production's smaller faults and shortcomings. Her gracious solo
curtain call instantly brought a full house to its feet in the Buell Theatre.
A veteran singing actress (she's well into her 50s), Soviero understands the
power of a well-timed glance or a simple movement of the head or arm -- and she
knows how to project the subtlest expression to the last row. Witness her
heart-breaking reaction as she realizes that her beloved sailor boy has dumped
her for an American wife. No melodramatics here -- just an honest, horrified
awakening. And what a marvelously understated, fully detailed Un bel di, sung
with a keen awareness of the text.
Credit Soviero's triumph to her polished gifts as an actress and the leadership
of director Bernard Uzan (who happens to be her husband).
Vocally, the voice isn't as attractive as in earlier times, but her impeccable
pitch and dynamic range were put to good use -- Soviero can float a pianissimo
phrase with sopranos half her age. In fact, age (and experience) proved more an
ally than a hindrance in her portrayal of a naive teen-ager.
Gliding nimbly through the elegant unit set, borrowed from Uzan's L'Opera de
Montreal, Soviero and her cast mates told the story in simple, uncluttered
fashion. James Sale's quietly unfolding lighting scheme contributed mightily,
setting moods and directing our attention.
Uzan could not always keep the action moving -- notably in the stiffly acted
and staged confrontation between Sharpless and Pinkerton late in the opera. But
the solo entrance of Butterfly in Act I was a nice touch, separating her from
her similarly dressed army of geishas. The director seemed content to let the
drama speak for itself -- not a bad approach in this potboiler. Nice decision
to link Acts II and III, as well.
Craig Sirianni (Pinkerton) brought a thin, light tenor that was pleasant but
hardly memorable. Continuing a recent spate of stiff, insecure Pinkertons, he
rarely connected with Cio-Cio San -- or anyone else, for that matter. William
Stone, as a clean-shaven Sharpless, sang effectively and showed enough humanity
to enliven his exchanges with Pinkerton and Butterfly. Judith Christin, always
dependable in supporting mezzo roles, sang and acted with sympathy as Suzuki.
Smaller parts were handled competently by Jonathan Green (Goro), Andras Palerdi
(Bonze), Dean Thoma (Yamadori), Lisa Walecki (in the thankless role of Kate
Pinkerton) and little Emily Gamel (oddly cast on Saturday as Butterfly's son).
Christian Badea kept things moving along in the pit, leading the Colorado
Symphony in a full-blooded (sometimes overwhelming) accompaniment.
I watched the Video of the Dress and I AGREE!!!!!!!!!!!!!!!!!!!!!!Charlie H.
As ever Charlie,who invites you to check out my live opera website at:
ctb
"Charlie" <plac...@aol.com> wrote in message
news:20000215011803...@ng-fv1.aol.com...
Did you agree with his statement that M.B. is a potboiler?
ctb
OmbraRecds
a hint from Opera l and NOT quote the entire message from the previous post. It
is not necesary to do this as one can follow what has beem written from the
first message in the thread.
Respectfully,
Patrick Byrne
Tom Silverwood
article when he described MB's plot as "maudlin." He also quoted Soviero as
suggesting that Cio-Cio San is a more tragic, enduring role than Mimi, and
that shortly Mimi and other verismo operas will not be sung as much because
there is a lack of singers with that fach. At least Soviero seems to like
MB better.
I see MB tonight and will report tomorrow.
Tom
Tom Silverwood
at www.denverpost.com . He praises Soviero but bashes the production more.
Tom
Enzo62
>Glenn Giffin also reviewed Saturday's performance odf MB for the Denver Post
>at www.denverpost.com .
The Denver Post also interviewed Soviero several days ago:
http://www.denverpost.com/scene/butterfly0206.htm.
In addition to singing Cio-Cio-San in Vancouver later this spring, the
interview mentions that she is singing Tosca in two other theaters. Can anyone
tell me where these productions are scheduled to take place?
The interview also stated that she will appear in a new opera that Tobia Picker
is writing for the Dallas Opera. The work will be based on a novel by Emile
Zola. Again, if anyone has more info, I'd love to hear it.
Regarding Soviero and Butterfly, I think she is unquestionably the greatest
interpreter of the role since Renata Scotto retired the opera from her active
repertoire. I have seen Soviero perform the opera in New Orleans, Miami and
during 4 different seasons at the Met. On each occasion, the audience
responded with enthusiastic ovations for her totally committed, heartfelt
portrayal.
In addition to the venues listed above, Soviero has sung Butterfly at the
Teatro all'opera di Roma, Torre del Lago, the Vienna Staatsoper, Covent Garden,
the Bastille Opera (new production by Robert Wilson), Bilbao, San Francisco
Opera, L'Opera de Montreal, Winnipeg, Houston and Dallas. A very impressive
resume of experience in the role.
Keep those reviews coming.
Jason McVicker
"What is best in music is not to be found in the notes."
Gustav Mahler
Enzo62
>In addition to the venues listed above, Soviero has sung Butterfly at the
>Teatro all'opera di Roma, Torre del Lago, the Vienna Staatsoper, Covent
>Garden,
>the Bastille Opera (new production by Robert Wilson), Bilbao, San Francisco
>Opera, L'Opera de Montreal, Winnipeg, Houston and Dallas. A very impressive
>resume of experience in the role.
Several people wrote me privately with additions to the above, including the
Berlin Staatsoper, Santiago and Baltimore.