The Washington National Opera premiered its 2026/27 season at DAR Constitution Hall, launching Puccini‘s Madama Butterfly on a boldly immersive, custom-built “Revolutionary Stage,” which delivers a visually unique, three-dimensional landscape.
Breaking away from a traditional opera house and embracing set designer Walt Spangler‘s striking multi-level dreamscape, director E. Loren Meeker cinematically leans into the complexities and nuances of Puccini’s century-old masterpiece by removing the standard 40-foot gap, thereby accentuating the production’s psychological and cultural depth.
To ensure cultural authenticity, Meeker collaborated closely with Maestra Erina Yashima, who led the musical direction of the Washington National Opera Orchestra (positioned on stage, behind the action, rather than in a traditional forward pit, keeping the sound balanced); original costume designer Florence Klotz, who illustrated the realistic, turn-of-the-century setting of Nagasaki; and Kanji Segawa and Jessica Lang, who beautifully stylized and blocked each performer’s movement and choreography.
The cast for Madama Butterfly‘s reimagined residency is exceptional, underscoring their vocal prowess in tandem with the intimate, up-close staging. They resolutely met the production’s high technical demands amid the orchestra’s unique presence, the integration of vibrant ensemble choreography, and the fluid 360-degree environment.
Karah Son makes a spectacular company debut as Cio-Cio-San. The renowned South Korean soprano seamlessly serves as the emotional anchor of the show. Specifically, her rendition of “Un bel di” is compelling: she balances her grand operatic power with subtly vulnerable facial expressions.
Similarly, Matthew White delivers a standout performance in the complicated and controversial role of Lieutenant B.F. Pinkerton. His rich, robust lyrical tenor voice soars effortlessly and commands immediate attention, particularly in his love duet with Son in the first act.
Mezzo-soprano Michelle Mariposa is convincing as Cio-Cio-San’s fiercely loyal confidante and protective maid, Suzuki. Her expressive performance in Act II during the famous “Flower Duet” with Karah Son highlights her keen ability to blend her mezzo tones with Son’s soaring soprano as they scatter cherry blossoms throughout the custom thrust stage.
Rounding out the fantastic cast are Rodell Rosel, who performed as Goro, the opportunistic marriage broker; Will Liverman as Sharpless, the American Consul; Atticus Rego as Butterfly’s furious uncle; Chandler Benn, who took on double supporting duties as both the wealthy suitor and the marriage registrar; Lauren Carroll as Kate Pinkerton, playing Pinkerton’s sympathetic American wife in the final act; and Robert Frazier as the Imperial Commissioner who reads the legal marriage agreement.
In this remarkably intimate and emotionally raw production, the Washington National Opera successfully reinvigorates Madama Butterfly as a stunning cinematic masterpiece, stripping away traditional operatic boundaries.
Running Time: Approximately two hours and 40 minutes, including a 25-minute intermission.
Madama Butterfly plays November 7, 13, 18, and 20, 2026, at 7:00 pm and November 15 at 2:00 pm, presented by Washington National Opera, performing at DAR Constitution Hall,1776 D Street NW, Washington, DC. Purchase tickets ($57.60–$329, including fees) online via Ticketmaster.
Sung in Italian with projected English titles.
Madama Butterfly
Composer: Giacomo Puccini
Librettist: Luigi Illica and Giuseppe Giacosa
The Washington National Opera fall season digital program is here.
SEE ALSO:
Washington National Opera announces 2026/27 season (news story, May 25, 20266)
