DATE: Sunday, October 5, 1997               TAG: 9710050078

SECTION: LOCAL                   PAGE: B7   EDITION: FINAL 

SOURCE: BY LEE TEPLY, CORRESPONDENT 

DATELINE: NORFOLK                           LENGTH:   57 lines

BEAUTY IS IN THE DETAILS, ONSTAGE IN PUCCINI'S ``MADAME BUTTERFLY''

NORFOLK - The Virginia Opera opened its new season Friday with a production of Giacomo Puccini's ever-popular ``Madame Butterfly'' at the Harrison Opera House. The rather simple story was brought to life in a thoroughly detailed staging, which was matched by some equally detailed singing and acting.

In the title role of the Japanese bride, and on stage for most of the evening, was soprano Kaori Sato. She used her beautifully controlled voice to shape each phrase with care.

As is often the case with voices capable of such subtlety, hers is not a large voice, and there were many times when it was barely audible over the orchestra or other cast members. Although she reached all the high notes easily, they rarely had the sheer dramatic power expected in this role.

Like her singing, Sato's acting was filled with nuance. Her body, which seemed as small and fragile as a butterfly, was almost always in motion with meaningful gestures. All of this movement gave her character an appropriate youthfulness and made her sad story all the more touching.

Tenor Jay Hunter Morris, in the role of Pinkerton, the American love-'em-and-leave-'em Navy lieutenant, also has a particularly pleasing sound, but his voice, too, was occasionally covered by the orchestra or other singers. In the famous love duet, his voice blended with Sato's perfectly.

But in comparison with her acting, his character portrayal was somewhat bland, inspiring neither sympathy with his emotions nor disgust at his treatment of his child bride.

The secondary roles of Suzuki, Butterfly's servant, and Sharpless, an American official, were more than adequately filled by mezzo-soprano Misoon Ghim and baritone Edward Huls. Their reactions to the pitiful story led the audience in its own response.

Tenor Jon Kolbet's Goro was the scheming manipulator behind the tragedy. He was joined by Christopher Roselli and Troy Cook in smaller roles that helped provide a context for the leading characters.

Conductor Peter Mark led the singers and a very well-prepared orchestra of Virginia Symphony musicians in a sweeping performance. While the fast tempos were welcome in such a long opera, they also prevented the flexibility and especially the grandest of climaxes that one expects in Puccini's music. The power of key moments like the start of the Flower Duet or even the opera's final moments were not fully realized by Mark's functional, hurried approach.

A greater sense of theater was provided by Joseph Bascetta's stage direction, which allowed the characters to appear as humans. And David Latham's lighting of Wally Coberg's set also helped the audience respond. ILLUSTRATION: Graphic

OPERA REVIEW

What: Puccini's ``Madame Butterfly''

Where: Harrison Opera House, Norfolk

When: Friday evening

Other performances: Today and Oct. 12, 2:30 p.m.; Wednesday, 7:30

p.m.; Friday 8 p.m.

For tickets, call 623-1223

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