“Madame Butterfly” photography by Don Ipock for Lyric Opera of Kansas City
The Lyric Opera of Kansas City took flight last weekend, with an absolutely captivating “Madame “Butterfly.”
The stellar production gave much to praise, but kudos must begin with the stunning Soprano Yunuet Laguna in the lead role of Cio-Cio-San. Cio-Cio-San is the center of nearly every scene in “Butterfly,” and Laguna’s blazing performance lifted this “Butterfly” to transcendent heights.
Laguna’s ravishing soprano pours forth with gorgeous color, astonishing fullness, flawless technique and utter ease. Enough cannot be said about Laguna’s talent. She is the total package — a vocal powerhouse and mesmerizing performer of exceptional artistry and storytelling skill.
Laguna’s exquisite upper register shone like silver in “Un bel dì, vedremo.” But it was her ability to fully inhabit her character’s fiercely held hope that made the familiar strains so freshly devastating. Laguna takes Cio-Cio-San on a harrowing arc from infatuated, pure-hearted teen to tragically betrayed and heroic mother. Her “Butterfly” was magnificent, and her career is one to watch.
Mezzo-Soprano Alice Chung was a standout as Butterfly’s faithful servant Suzuki. Older and worldly wise, Suzuki sees the danger of Butterfly’s innocent hope, and suffers for knowing the truth. Chung’s nuanced portrayal was as rich and poignant as her voice. Chung and Laguna’s duet on “Scuoti quella fronda di ciliegio” was incandescent — a moment of magic.
As Lieutenant Pinkerton, Tenor Matthew White more than earns our contempt, his gleaming tenor ringing with insincerity and gleeful anticipation of “flexible contracts,” whether of houses or wives. His imperialism and misogyny are scathingly signaled with repeated orchestral references to “The Star-Spangled Banner.”
U.S. Consul Sharpless (Jarrett Ott) attempts to awaken Pinkerton’s conscience and smooth the damage in his wake. Ott’s earnest baritone is especially expressive in his duet with Laguna, “Ora a noi,” as he attempts to bridge Butterfly’s excitement with the harsh news he has come to deliver.
The oaken voiced-Bass-Baritone Christian Simmons made a commanding entrance in the role of The Bonze. As the pompous and clueless Prince Yamadori, Lyric Resident Artist Alex Smith makes clear Cio-Cio-San has no better option of Japanese suitor.
The Lyric Chorus provided several memorable moments, including a picturesque parade of Cio-Cio-San’s family and a stunning tableau of lantern lighting at dusk. Their glimmering account of the famous “Humming Chorus” was positively otherworldly.
This is the Lyric’s eleventh-ever production of “Madame Butterfly,” and its first since 2018 — a lifetime ago, given everything since. This fresh production features many Lyric debuts on both the cast and creative team.
In her first outing with the Lyric, director E. Loren Meeker shaped a complicated story into a cogent and dramatically moving whole. Her staging was especially effective in the second half, from Butterfly and Suzuki peering to sea for sight of the USS Abraham Lincoln, to the final devastating image of Butterfly collapsed on the winding path in her white wedding kimono, under the red wash of sunrise.
The minimalist set by Christopher Oram of Houston Grand Opera is emotionally evocative, a nice departure from overly detailed teahouse designs. The pine silhouettes, saturated skies and hanging lanterns beautifully recall Hiroshige woodcuts.
The Symphony Orchestra, conducted by Roberto Kalb, had fun with Puccini’s lush instrumentations, pivoting from to whimsical Japanese folk motifs to sweeping scene-setting.
Nothing reminds us of the heights and depths of human experience the way opera can. Despite the challenges facing all performing arts organizations these days, the Lyric is operating on an impressively superb level, and this season looks to be one of its best ever, thoughtfully programmed from beginning to end.
So in this Thanksgiving month, grateful thanks to this excellent company for a sublime “Madame Butterfly.”
Reviewed November 14, 2025
Lyric Opera of Kansas City
Puccini’s “Madame Butterfly”
Performed November 14, 15 and 16, 2025
