Lianna Haroutounian resplendent in Madama Butterfly

 

 

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Lianna Haroutounian gave a world-class performance as the abandoned teenage bride. Her Butterfly was trusting but dignified, and devoid of simpering silliness. With its rich, silk-wrapped vibrato, even focus from top to bottom, and that ductile quality Italians call morbidezza (softness), Ms Haroutounian’s voice is ideal for the young heroine. And she is a true spinto soprano, with enough power and stamina to tackle the onerous third act. Her full top notes are confident and lustrous. She did not take the high D flat at the end of the entrance aria, but the composer-sanctioned lower alternative, and quite beautifully too. “Un bel dì vedremo” (One fine day) was vocal perfection. She effectively built up the tension during Butterfly’s imagined reunion with Pinkerton and ended the aria in a stunning high B flat. Visibly emotional in the suicide scene, she veered a little sharp in “Tu, tu, piccolo iddio” (You, you, my little god). Halfway through, she refocused her voice and sailed through to a secure finale. Unsurprisingly, the hall gave her a clamorous ovation. San Francisco Opera has already announced that Ms Haroutounian will be their Butterfly next season. No doubt she will be invited to sing this role at several other houses. As many Puccini fans as possible need to hear her in it. In fact, opera fans of all types need to hear Ms Haroutounian, in any of her roles—hers is one of the major voices of our time.

 

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