‘Butterfly’ soars with fluid visuals

The Hawaii Opera Theatre ends its 2007 season with a charismatic and innovative production of Puccini's "Madama Butterfly." Recognized by audiences and critics as the quintessence of tragedy and one of the most manifest depictions of East-meets-West heartbreak, the opera always ignites controversies, discussions and huge expectation. Thousands of performances worldwide have triggered comments on the sophistication of costumes, set originality, performance quality and emotional impact.

'Madama Butterfly' Presented by Hawaii Opera Theatre On stage: 7:30 p.m. today and Tuesday; 7 p.m. Thursday. Also 7:30 March 17 at Maui Arts & Cultural Center Place: Blaisdell Concert Hall Tickets: $29 to $120 Call: 596-7858 Visit: hawaiiopera.org

Friday's production had no conservative intents on the visual side. Designer Jun Kaneko and director Karen Tiller have created a modern, minimalist yet very eye-catching version of the "Orient," stripping it from the traditional detail-oriented props that made the opera so popular. Instead of focusing on the knickknacks conventionally assigned to the theme (fans, hair ornaments, elaborate kimonos and furniture), the stage was the center of a perpetual change of lights, graphic patterns and colors. The extremely dramatic, top-quality visual spectacle sometimes overwhelmed the music.

Chinese soprano Shu-Ying Li conveyed the role of Cio-Cio San with traditional delicacy and grace. She transitioned with ease from a playful and spunky 15-year-old to a distressed, mature woman. Remarkable were both her beautiful low register in "Leri Son Salita Tutta Sola," in which she renounces her family and religion to assimilate American customs, and her sensual voice in the duet with Pinkerton, "Viene la Sera," both in Act I. And "Tu? Tu? Piccolo Iddio," the heart-rending, desperate cry of a mother being separated from her child, caused the spellbound audience to stop breathing.

Tenor Kip Wilborn completely entered in the role of Pinkerton, the young American cad. His healthy and attractive look, combined with powerful, old-fashioned singing in the love duet, made him a hit. Even if the orchestra covered some of his notes, his duet with Sharpless was remarkable.

And speaking of Sharpless, Quinn Kelsey shone throughout the evening. Everything comes easy from his beautiful baritone voice. His persona had no flaws and the audience loved him. Mezzo-soprano Yun Deng (Suzuki) also made a tremendous impression. She was gracious and touching, especially in her chanting. The humming choir was also delightful and moving.

Conductor Joel Revzen gave a good performance of the score, although at times the orchestra overshadowed the singers.

Eventually, Butterfly joined the unseen afterworld of other Puccinian heroines -- Liu, Tosca, Suor Angelica, Mimi and Manon Lescaut -- with an extremely powerful musical ending. Although Li measured up to the sad task, the image of a huge red stain on the panel on stage took some energy away from her dramatic presence. Sometimes Puccini's music should be left alone. Its verismo quality says it all.