BROOKLYN MEDIA GROUP MARCH 9 - MARCH 15, 2018 37
“Madama Butterfly” soars at Regina Opera
A VIEW
FROM
THE CLIFF
BY CLIFF KASDEN
A tragic tale of unrequited love
unfolds at Regina Opera in
Puccini’s immortal “Madama
Butterfly.”
The century old story is filled with
so many cultural contradictions that
it seldom escapes criticism. Nevertheless,
the outstanding performances by
this troupe deserve praise. Clearly, it is
a musical masterpiece that has deeply
touched theatregoers for generations.
The three-act opera has been reborn
and retitled on Broadway and
elsewhere as “Miss Saigon.” In any
incarnation, it is a story of a mother’s
deepest love for her child. It is also a
depiction of the unresolvable conflicts
between clashing societies forever
challenged by the power of love.
At the opening performance,
soprano Christina Rohm provided a
mesmerizing interpretation. She is
Cio-Cio-San, nicknamed Madama Butterfly,
the impoverished geisha who
stubbornly clings to false romantic
hopes.
Of course, the aria “Un Bel di Vedremo”
is beautifully performed by
Rohm. She glides across the stage until
the powerful climax. Her voice and
emotions pierce the building tension
with unmistakable conviction.
Butterfly’s devoted maid Suzuki is
played with intensity and strength
by mezzo-soprano Caroline Tye. The
paradoxical American naval officer,
Pinkerton, is performed by tenor
Lindell O. Carter. His forceful and
emotional actions and reactions keep
the audience off balance. Is he a coward
or merely a callous example of that
colonial era?
Much more sympathetic is baritone
Scott Lefurgy as Sharpless, the
American consul. He brings compassion,
realism and dignity to the role.
Well intentioned Mrs. Kate Pinkerton
is well played by Taerra Pence.
Tenors Goro (Justin Scott Randolph)
and Prince Yamadori (Grant Mech)
along with basses Luis Alvarado as the
Bonze, David Tillistrand as the imperial
commissioner and Thomas Geib
as the registrar represent various
characterizations of the Far Eastern
mentality in the early 1900s.
To European audiences a century
ago, which country did they see as the
victor or villain? The most innocent
victim in this tragedy is Dalia Maria
who is just charming as little “Sorrow.”
Some new, very talented faces join
maestro Gregory Ortega in the orchestra.
Kudos as well to Stage Director/Set
Designer Linda Lehr and president/
producer Francine Garber-Cohen.
A heartfelt “bravi!” to the officers,
artistic and production staff with the
supporting cast and ensemble.
For information on this and future
presentations, call 718-259-2772, click
on www.ReginaOpera.org or “Like”
the company on Facebook. As always,
save me a seat on the aisle.
Photo courtesy of Wayne Olsen
A scene from “Madama Butterfly” as performed by Regina
Opera.