NEW YORK (AP) — Having disappeared from Lincoln Center for a season, New York City Opera is taking tiny steps toward recovery.
Puccini's "Madama Butterfly" returned Friday night in a revival of the pretty minimalist production by Mark Lamos that was first seen in November 1998. Joined by revivals of Chabrier's "L'Etoile," which opened Thursday, and Handel's "Partenope," which begins April 3, it completes the company's modest five-opera comeback season.
Next season will be just as limited, with another quintet of stagings. That's down from 13 productions, including six new ones, during the 2007-08 season. Bouncing back from the closing of its home for reconstruction and the hiring and abrupt departure of Gerard Mortier before he began his scheduled term as general manager will take a long time.
Lamos' "Butterfly" has proven to be popular. With large sliding shoji screens at the front and rear of the stage, eight steps that stretch across the set and pretty colors of sky blue, sunset red, aqua and pink, Michael Yeargan's sets and Robert Wierzel's lighting create an abstract hilltop house for Cio-Cio-San above Nagasaki harbor, one that allows breezy movement.
Reprising a role she sang when this production was telecast two years ago, soprano Shu-Ying Li was endearing as the 15-year-old geisha, although her voice had a steely edge to it.
Tenor Steven Harrison's voice came in and out of focus as Lt. Benjamin Franklin Pinkerton, depending on where he was on the set and which direction his head was turned, and there was a phlegmy quality to it when pushed.
Baritone Quinn Kelsey, making his company debut, did the best singing of the evening as Sharpless, the U.S. counsel, who tries to caution the officer against his callous behavior. He was the moral and vocal center of the performance.
Mezzo-soprano Nina Yoshida Nelsen, also making her debut, spent the night slightly hunched over as Suzuki, conveying her heartbreak with her voice. Eddie Schweighardt had a winning smile and energetic boyish charm as Sorrow, the young child of Cio-Cio-San and Pinkerton.
David Grabarkewitz, the stage director, blocked effectively throughout, culminating in a shattering final scene with Cio-Cio-San and Sorrow. Conductor Steven Mosteller settled down after some early coordination problems with the brass.
There are nine more performances through April 18.
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