Reviews

Puccini's Madama Butterfly

PUCCINI MADAMA BUTTERFLY - TEATRO LIRICO D'EUROPA
CUTLER MAJESTIC- BOSTON, Oct. 26, 2007
"Madama Butterfly" is easily becoming one its best efforts, and this year, no less than last, it was a production that scored big with Boston audiences.

Puccini's opera of a philandering naval officer's whirlwind romance and abandonment of a young Japanese geisha is perhaps one of his most tragic and romantic compositions.
This year, as last, Teatro Lirico D'Europa revisited Boston with one of last year's favorites, and with pretty much the same cast. The amazing soprano Olga Chernisheva returned, singing the role of Butterfly, capturing all the delicacy, hope and humanity of a young girl who finds herself crushes by the betrayal at the hands of the man she loved. Her lover, B.F. Pinkerton, was sung by the equally talented tenor, Orlin Goranov, who hit all the right notes.

And these weren't the only singers giving it their all and turning in some pretty strong performances. Brava to mezzo-soprano Viara Zhelezova for giving us a faithful maiden, "Suzuki," and hats off to baritone Plamen Dimitrov for a solid, empathetic and nicely acted American Consul in the character of Sharpless.

As I have noted in previous reviews, regardless of the number of times one sees a particular show, something new always surfaces in the way different singers interact, and here, Ms. Chernisheva and Zhelezova produced a perfect blending of vocal beauty and complimentary acting, such that their characters, when on stage together, not only tugged at our heartstrings with some fine acting, but swept us away with their smooth delivery and vocal evenness. I don't think the interaction and match of voice and personality could be any better.

As with last year the chorus did a splendid job, and the placement of all performers on stage was natural and easy on the eye, thanks to solid stage direction by Giorgio Lalov. The costumes and sets by Valetine Topencharov were smart and realistic and the stage was beautifully lit by Giorgio Bajukliev.

Lastly, the orchestra, under the direction of Martin Mazik gave us a full and resonant performance, and complimented the cast wonderfully throughout. Well done!

Again, Teatro Lirico D'Europa has delivered a solid production peopled with a talented cast filled with amazing voices and strong acting abilities. Its "Madama Butterfly" is easily becoming one its best efforts, and this year, no less than last, it was a production that scored big with Boston audiences. When attending opera, what else can one ask for?
OPERAONLINE.US – Paul Walkowski – Oct. 2007 

Madama Butterfly - Teatro Lirico d’Europa - Cutler Majestic Theatre, Boston – Oct. 2007
“Teatro Lirico D'Europa brought "Butterfly" to the Cutler Majestic Theatre on Friday in a traditional production that combined its wonderful, big-voiced singers who made the most of Puccini's soaring melodies and shrewd sense of dramatic pacing. The big moments never failed to hit their mark. I heard the first sniffles when Cio-Cio-San rushes offstage and brings out, for the first time, her half-American child.

In the title role, Russian-born soprano Olga Chernisheva looked beautiful, and moved gracefully. She had plenty of volume, and topped her entrance with a soft, easy C-sharp. She was dignified and strong in her final moments.

As Pinkerton, Bulgarian tenor Orlin Goranov was vocally splendid. He cleaved the house with his high notes, and yet was capable of beautiful soft singing, too. The smaller roles were well sung, especially Viara Zhelezova's warm-voiced Suzuki.”
David Perkins - BOSTON GLOBE – Oct. 2007

Note from Executive Director – Jacksonville, FL about BUTTERFLY  Nov. 2007
“The Soprano was wonderful – what a voice and she was also a great actress. Standing ovation. I thought all of the principals were excellent.  She was also wonderful with the child! We all tend to forget how intimidating being on the stage can be for a child, but Ms. Esperian took the child in her arms when introduced and held her. Obviously she knew just what to do to put the child at ease. Giorgio also did another wonderful presentation – maybe one of the best yet!   Thanks Again!!”
Milton A. Russos
Executive Director, FCCJ Artist Series, Jacksonville, FL

Note from GM of Newberry Opera House, SC about BUTTERFLY
Jan. 2008
“It was wonderful, thank you so much. Your folks were fantastic and the crew very easy to work with and very professional. Butterfly herself was just gorgeous, a lovely voice- nothing but great comments form the audience! Please come back next year.”
Deborah Smith, GM
Newberry Opera House, Newberry, SC

BUTTERFLY in Clearwater, FL – Jan. 2008
“What a night!!!!!! Thank you and Giorgio so much.
Performance was wonderful. Orchestra. Singers. Set design. We did 1460.
Thanks again. Talk to you soon!”
BOBBY ROSSI
DIRECTOR OF ENTERTAINMENT
RUTH ECKERD HALL, CLEARWATER, FLORIDA

Gold Coast Opera: Madama Butterfly, a review
By Lawrence Budmen - South Florida Sun-Sentinel - Feb. 2008
“In recent seasons Gold Coast Opera has formed a working relationship with Teatro Lirico D’Europa. On February 19, 2008 Cavendish led Puccini's Madama Butterfly at the Coral Springs Center for the Arts. A strongly cast, intelligently conceived production offered a compelling evening of music-theater.

Teatro Lirico founder Giorgio Lalov's direction was straightforward, moving the drama toward its final inevitable tragedy with a minimum of artifice. Valentin Topencharov' set emphasized simple, clean lines that suggested a garden and hilly path next to the heroine' s house. His multi-hued costumes filled the stage with color, an eye catching wedding gown rich in blends of white and yellow pastels.

Elena Razgylaeva embodied the heroine Cio-Cio-San Her gleaming lirico-spinto soprano is effortlessly produced. Cio-Cio-San' s treacherously difficult entrance aria was capped by a fearless high C. A consummate singing actress, Razgylaeva turned Un bel di into a dramatic declaration of faith rather than mere vocal display. Her agitated death scene proved a final musico-dramatic tour de force. Razgylaeva encompassed the heroine's emotional spectrum in a radiant vocal palette that could ring out in fury and rhapsodize in romantic ecstasy.

Gabriel Gonzalez epitomized the self - righteous arrogance of Lieutenant B.F. Pinkerton, Cio-Cio-San's faithless husband. He voiced Puccini's lyrical paragraphs in a sizable, vibrant tenor that was not always securely focused.

As Suzuki, Cio-Cio-San's maid, Viara Zhelezova's rich, smoothly produced mezzo glistened in duet with Razgylaeva. Plamen Dimitrov brought dignity to the American Consul Sharpless.

As Kate Pinkerton, the lieutenant's American wife, Veselina Ponorska looked like a Hollywood goddess and sang with a molten, dusky soprano timbre that made one regret the role's limited opportunities.”

MADAMA BUTTERFLY – Wilkes-Barre, PA – Mar. 2008
“The audience loved the show, I heard several positive comments on the lead and the overall performance.”
Mark Thomas
Director of Programming
F.M. Kirby Center
Wilkes Barre, PA

TEATRO’S BUTTERFLY HAS WINGS
“Madama Butterfly” was the first opera I ever saw. I was 11 years old and told myself afterward, “I never want to see THAT again.”

Five Butterflies later, an outstanding production will send me out of the theater muttering the same thing. So the Teatro Lirico d’Europa performance at the Philharmonic Center for the Arts Monday night earned my highest praise: “Ugh. I never want to see this opera again.”

 
I cringe with the rest of the crowd when Cio-Cio-San, the doomed Butterfly, hides from her uncle, as he orders the family to disown her for adopting her new husband’s Christian gods. Like them, I sniffle when Butterfly and Suzuki dance around the garden, pitching flower petals and singing to celebrate what they believe is Pinkerton’s homecoming after three years.

The dew points in “Madama Butterfly” are as plentiful as its musical zeniths. Teatro’s artistic director, Giorgio Lalov, has wisely cast it with acting as well as vocal strength. Foremost is Olga Chernisheva, a Cio-Cio-San of vast range. Chernisheva develops Butterfly skillfully from blushing 15-year-old — a coy bride in denial that she is rented — to a resolute matriarch, determined to keep her loyalty, and in the end, her honor.

There are few moments when Chernisheva isn’t on stage and singing, yet she is the heroine to the end. She refuses to showboat (brava, Butterfly!) on the famous “Un bel di (One fine day).” She harmonizes as beautifully with Suzuki in their “Flower Duet” as she does on her wedding night with Pinkerton in a thrilling “Viene la sera (Evening is falling).”

Orlin Goranov is her vocal match as the shallow Lt. B.F. Pinkerton, who rents his wife as facilely as he rents their wedding home. Goranov’s tenor is astoundingly melodic, powerful and emotional.

Plamen Dimitrov made his debut as Sharpless, the emasculated American consul, and he has more the look of Pinkerton, but a good feel for his role and a warm baritone voice. The background star of the production is Viara Zhelezova — a strong, supportive mezzo who played the loyal Suzuki with blend of ferocity and wisdom. Vladimir Hristov worked a trio of supporting roles, including that of the oily marriage broker, with relish.

The Naples Philharmonic is developing a potential second career as opera orchestra, sparkling in its performance Monday under Joe Mechavich. Mechavich, whom we’ve seen before, has complete command of the synergy between orchestra and singer. It was wonderful. It was awful. I never want to see it again.”
NAPLES DAILY NEWS – Harriet Heithaus – Mar. 2008

PUCCINI"S MADAMA BUTTEFLY DELIGHTS TOUHILL AUDIENCE
by Myron McNeill—THE CURRENT, St Louis, MO - 11/13/06 Section: Arts and Entertainment

"Puccini's opera "Madame Butterfly" was performed in front of a sold-out audience at the Touhill Performing Arts Center on Saturday night, a show saturated with tones of emotions, anger and deceit. The show is put on by Teatro Lirico d'Europa, a European opera touring company formed in 1988 by Giorgio Lalov. The company is scheduled to make 80 performances of opera this season in the U.S. The backdrop of the theater piece was contemporary Japan. The set consisted of a timber frame house with sliding doors and a walk up deck. Trees lined the house and the walkway to give it an aesthetic yet simple look. The songs, lighting, characters, plot and musical accompaniment intermingle to keep the audience on the edge of their seats waiting to know what will happen to poor Cio-Cio-San. After the first act is finished, Cio-Cio-San has officially been married for many years and is living with her child Sorrow, played by Christian Lalov. Pinkerton has been away and everyone is awaiting his return. This is where Cio-Cio-San (soprano, Victoria Litherland) commands the stage and reveals the many emotions of a woman who is torn between truth and lies, reality and fantasy, love and death. She sings about living in disgrace or ending the pain with death. She also sings in hopes of Pinkerton's return and how she cannot wait to see her husband. Her deliveries of these dichotomy-like emotions are extreme, yet accurate. They truly conveyed the feelings of a person torn between optimism and pessimism. She eventually commits suicide upon the return of her husband, who has married back in the Americas. Mrs. Pinkerton, played by Veselina Ponorska, accompanies Pinkerton back to his home in Japan. All of Cio-Cio-San's fears come to the surface and she kills herself after running everyone off so she can be alone. The opera ended to standing ovations as the audience was moved by this stellar performance."

About Teatro Lirico D'EuropaMADAMA BUTTERFLY - St. George, Utah
"Hi Jenny -- Madama Butterfly opened our season this year and what an opening!  We had a full-house both nights and the audience couldn't seem to get enough of them.  I've gotten so many compliments on their terrific performance, what a way to begin the season, huh?   I'm still floating.  Victoria was outstanding!  Not only is she a superb soprano and a good actress, she is also kind and accommodating.  Both she and Georgio attended the luncheon yesterday and those in attendance loved them!  It was because of Victoria that our little three - year old was able to do so well on stage.  The child's mother said that she was not afraid of going on stage because of the loving way Victoria treated her. 

And, speaking of Georgio, he is fantastic.  Over the 21 years I've been doing this, there are some managers who are difficult and disagreeable and it creates a situation where I won't book an artist on a return engagement (no matter how good) because of the manager or tour director.  BUT you couldn't get better than Georgio. He is very professional and seems to work without a stressful ruffle. He does an outstanding job.  There weren't any problems, it seemed to go off without a hitch.

After the concert last night, I was cornered by several audience members and board members and I didn't get back stage to thank them.  Would you please convey my deepest gratitude to all of them and especially Victoria and Georgio?

Thank you too, Jenny, for all you do to make this a success.  We all profit from it.  I look forward to next season."
Gail Bunker
Celebrity Concert Series
Cox Perf. Arts Center
St. George, Utah

MADAMA BUTTERFLY - Tilles Center, Long Island
"On 3 November 2006, Teatro Lirico D'Europa presented Madama Butterfly at Long Island University's Tilles Center, a modern auditorium in Nassau County. The title character was portrayed by Russian soprano Elena Razgylyaeva as a docile bride who gives up her native customs and family relationships in order to marry the American naval officer. As Pinkerton, Gabriel Gonzalez was a suave and romantic lover who told his bride what she most wanted to hear as he sang with warm golden tones. Their voices blended beautifully in the enchanting love duet that ends Act I.

Robust voiced Lithuanian baritone Vytautas Juozapaitis was a spirited but easy going Sharpless who tried to avert the tragedy from the beginning. Viara Zhelezova's Suzuki was never deceived by Pinkerton.  She did not trust him from the beginning, nor did she expect him to return. Nevertheless, she supported Butterfly's blind faith. Although she had no aria, the mezzo-soprano gave a well thought out portrayal of this down to earth servant.

Razgylyaeva's voice assumed more dramatic qualities as the opera progressed and she brought tears to many an eye with her rendition of the opera's most famous aria, Un bel di.
Pinkerton, of course, did not realize the harm he had done until he returned to Japan with his American wife, Kate, but he seemed truly remorseful when he sang a beautifully phrased, sentimental Addio fiorito asil. By the time he learned that Butterfly would have loved him forever if he wanted her, it was far too late. For her, the only possibilities were an honorable death or life as an outcast so, like her father before her, she chose to die.

As Goro, Giorgio Dinev was a hard working marriage broker who tried to find a new husband who would support Butterfly and her child. One of his candidates was the playboy Prince Yamadori, admirably portrayed and ably sung by Hristo Sarafov. Although her part was small, Liubov Methodieva made an impression as an energetic and thoroughly western Kate.

Giorgio Lalov's staging was realistic. The piece was presented in the original nineteenth century Japanese setting designated by the composer and his librettists. Thus, the atmosphere of the story was brought out by the period sets and costumes of Valentin Topencharov. Conductor Krassimir Topolev emphasized the emotional punch and expansive romanticism of this powerful work. He gave a well balanced interpretation of Puccini's masterpiece and the suburban New York audience showed its appreciation for the company who brought an excellent performance to them instead of expecting them to travel to the inner city for art."
Music and Vision Daily, Maria Nockin - November 2006

Teatro Lirico Singer Flutters through BUTTERFLY!
"Puccini's Madama BUTTERFLY is foolproof as long as you have a heartbreaking Cio-Cio-San. That's exactly what Teatro Lirico D'Europa offered in Qilian Chen who sang the title role. With her radiant smile and demeanor, Chen easily evoked the idealistic, trusting 15 - year old geisha who marries the cad Pinkerton. Chen was up to revealing the levels of tragedy. She went the marathon distance with strength and dignity and with subtle and affecting phrasing. She carried the opera to its triumphant conclusion."
LOS ANGELES TIMES - Chris Pasles - Feb. 2002
(Performance at Cerritos Center for the Perf. Arts, Cerritos, CA)

Madama BUTTERFLY - A Musical Polish that would Grace any Stage in the World!
"Teatro Lirico D'Europa tours with a 50-piece orchestra and 40-voice chorus plus all the sets and costumes necessary to present grand opera in a stylish, very European way. The success of 'Madama Butterfly' rises and falls with the title role. Soprano, Su-Jin Lee did not disappoint, offering as dramatic a rendering of Cio-cio-san as might be imagined with her seamless, powerful voice and suavely elegant acting style. Roumen Doikov's sharply focused tenor voice allowed his singing to project above the orchestra's commanding presence. Nicolai Dobrev's Sharpless was a musical triumph. Elena Marinova portrayed the role of Suzuki with grace and beauty, blending magnificently with Su-Jin Lee. The solid performances of the orchestra along with compelling performances in all the supporting roles gave this production a musical polish that would grace any stage in the world."
THE TRIBUNE (San Luis Obispo, CA) Alan Boehmer - Feb. 2002
(Performance at Christopher Cohen Center, San Luis Obispo, CA)

Madama BUTTERFLY at Stanley 's
"Su-Jin Lee as the ill-fated Cio-cio-san sang the role of the teen lover with stunning voice and astute dramatics. Lee used her high lyric soprano to etch the sorrowful wails of an unfortunate love. Besides her gripping vocals, Lee also captured the soul of the girl and the roller coaster of emotions in her every gesture. The audience gave the cast a rousing reception at the finale."
UTICA DISPATCH OBSERVER - Jonas Kover - Feb. 2003
(Performance at Stanley Perf. Arts Center - Utica, NY)

A Magnificent Madama BUTTERFLY
"Su-Jin Lee was most convincing as Cio-cio-san. It's rare to see such fine acting ability, combined with magnificent vocal cords. Act II, perhaps had the finest singing, notably "Un bel di vedremo" and the flower duet with Elena Marinova as Suzuki, who captured the emotions of every moment before her mistress experienced them. Lee rose above the pack... The suicide scene was heart-rending. The opera was well produced, as indicated by the attention and extraordinary quiet of the audience. Sets were simple yet effective, lighting was extremely well done, costumes were attractive and reflected the period Puccini intended. The orchestra deserves high praise for its sound and conductor Krassimir Topolov did a superb job. Roumen Doikov as Pinkerton and Nicolai Dobrev as Sharpless sang very well. The chorus sounded great. This is a first class organization. Let's hope for a return."
THE STAR - ( Chicago Heights ) - D. J. Luksetich - Mar. 2003
(Performance at Center for the Perf. Arts, University Park, IL)

Lirico's BUTTERFLY: All Things Bright and Beautiful!
"It's not often that Boston - or any town- hears a BUTTERFLY on the order of Korean soprano - Su-Jin Lee: her voice was almost too big for Jordan Hall, but it remained full and rich at the top, the aural equivalent of a room full of cherry blossoms. She also has the most radiant smile. Her characterization was superb. Mexican tenor, Gabrielle Gonzales, brought a rich voice and stock-but sensitive characterization to Pinkerton. Ted Lambrinos was more nuanced as Sharpless, whose face registered increasing shades of dismay as Pinkerton contemplated the joys of "Japanese marriage." The chorus sang sumptuously and the orchestra gave Puccini's score both physical and emotional weight."
BOSTON PHOENIX - Jeffrey Gantz - Mar. 2003
(Performance at Jordan Hall, Boston, MA)

Heroine Gives Wings to Touring BUTTERFLY!
"Korean soprano Su-Jin Lee was the compelling focus of the action Saturday night as Teatro Lirico D'Europa brought its BUTTERFLY to the Kravis Center . Lee was a persuasive Cio-cio-san, gifted with a strong, rather dark voice, that held up well throughout the evening and that ably covered the gamut from awakening passion to bleak despair. Just as comprehensive was her acting range. She inhabits the part completely. Italian tenor, Maurizio Graziani, was a good Pinkerton with a pleasing, soft edged lyric tenor that blended suavely with Lee in the big love duet that closes Act I. There was fine singing also from the American baritone Theodore Lambrinos as Sharpless, and Elena Marinova, as Suzuki, who was at her best in the Act II flower Duet. Teatro Lirico's orchestra acquitted itself well and conductor Krassimir Topolov proved to be a sensitive accompanist. A 'Butterfly' well worth seeing, especially for its lead soprano, whose Cio-cio-san came through much as Puccini would have liked, as a real flesh and blood person with whom the audience can deeply empathize."
PALM BEACH POST - Greg Stepanich - Nov. 2003
(Performance at the Kravis Center, W. Palm Beach, FL)