On Wednesday, January 22, I had the pleasure of revisiting Madama Butterfly at the Op茅ra de Lyon, presented in the same production as the 2024 Aix-en-Provence Festival. The minimalist yet evocative staging, so strikingly effective in Aix, worked its magic once again, with nearly the same cast. The key difference? The title role of Cio-Cio-San was performed by the brilliant Italian soprano Francesca Dotto, a voice I鈥檝e admired for years, especially in her stunning Desdemona in Otello at Piacenza.
Francesca Dotto brought exceptional charm and depth to Butterfly, delivering a portrayal that was tender, tragic, and radiant in equal measure. Her expressiveness was a standout鈥攈er eyes conveyed as much emotion as her impeccable phrasing. A particularly poignant moment came during the scene where Butterfly contemplates the idea of marrying Yamadori instead of waiting in vain for Pinkerton. Dotto鈥檚 nuanced performance and vocal richness left a lasting impression, and I sincerely hope this won鈥檛 be the last time I see her tackle this role.
Meanwhile, Adam Smith, who played Pinkerton, demonstrated clear growth since Aix-en-Provence. His Italian diction felt much more polished and assured this time around, allowing his voice to blend effortlessly with Dotto鈥檚 in the Act I love duet. Their voices intertwined beautifully, creating a shimmering harmony that left the audience enraptured.
A special mention must go to Lionel Lh么te, the Belgian baritone who has rapidly become one of my favorites. He delighted audiences with his humor in La Fille du R茅giment in Paris just weeks ago, and here, as Sharpless, he transformed into the wise and empathetic uncle we all wish we had. His warm baritone and understated acting added gravity to his scenes with Butterfly, making him an emotional anchor for the production.
The musical direction, under Sesto Quatrini, was yet another highlight. The orchestra handled Puccini鈥檚 sweeping score with sensitivity and precision. The intermezzo鈥攁lways a personal favorite of mine鈥攚as especially moving, building to a crescendo that resonated deeply and left me momentarily breathless. Quatrini鈥檚 attention to detail in shaping both the delicate moments and the powerful climaxes was a testament to his skill and passion for Puccini鈥檚 music.
Finally, I must applaud the Op茅ra de Lyon for their impressive trajectory in recent years. It鈥檚 heartening to see the theater programming major operas with such high-quality productions and stellar casts. This season promises to be a triumph, with La Forza Del Destino on the horizon in March鈥攁 performance I鈥檓 already eagerly anticipating.
A heartfelt thank you to Anna, whose professionalism, kindness, and bright smile made this experience all the more memorable.
