At the Aix-en-Provence Festival in France, the renowned soprano Ermonela Jaho delivered a mesmerizing performance of Giacomo Puccini’s “Madama Butterfly” at the Theatre Jeu de Paume. The opera, which tells the tragic story of a young Japanese woman named Butterfly who is abandoned by an American naval officer, features the iconic aria “Un bel dì.” Jaho’s rendition of this piece was nothing short of breathtaking, capturing the essence of Butterfly’s desperate hope and longing.
Jaho’s performance was marked by her ability to produce delicate, ethereal notes that seemed to float in the air. This was particularly evident in the opening of “Un bel dì,” where she sang a hovering G flat with such softness and precision that it felt as if the sound was coming from a distant place. This effect was further enhanced by the intimate setting of the Theatre Jeu de Paume, which allowed the audience to fully appreciate the nuances of her voice.
Daniele Rustioni, who conducted the Lyon Opera Orchestra for this production, praised Jaho’s ability to deliver these high, quiet passages with both the gauziness of a watercolor and the precision of a pen drawing. He noted that her performance of the G flat was like “hope being suspended in midair,” a sound that perfectly captured the moment when Butterfly imagines seeing her lover’s ship on the horizon.
Jaho, who recently celebrated her 50th birthday, has made a name for herself with her ability to convey the fragility and suffering of her characters through her unique vocal technique. Her pianissimi, or very soft notes, are not just a technical feat but an expression of the soul. In an interview, Jaho explained that these soft notes can be more dramatic than screaming, as they capture the essence of her characters’ inner turmoil.
Despite the challenges of singing such delicate passages, Jaho’s voice is secure enough to be heard even in large venues. The Theatre Jeu de Paume, with its seating capacity of about 1,200, was an ideal setting for her performance. However, Jaho has also performed in much larger venues, such as the Metropolitan Opera in New York, where her ability to draw the audience in with her soft, intimate singing has earned her critical acclaim.
Jaho’s combination of consummate technique and emotional commitment has made her a favorite among both audiences and colleagues. Conductor Antonio Pappano, the former music director of the Royal Opera in London, praised her for giving “150% of herself” on stage. Andrea Breth, the director of the Aix production, described Jaho as “a beautiful artist,” while Rustioni noted that her performance keeps the audience on their toes, waiting for each delicate note.
Interestingly, Jaho’s journey to becoming a celebrated soprano began in a military family in Albania, where she initially thought opera was all about shouting. It wasn’t until she saw a performance of “La Traviata” at the age of 14 that she fell in love with the art form. She soon moved to Italy to study voice, and Violetta in “La Traviata” became one of her signature roles.
Jaho’s performances are known for their emotional depth and lack of routine. Even in well-known roles like Violetta, she brings a fresh, unsettling reality to her performances. Her aria “Sempre libera” in “La Traviata” is delivered with a defiant intensity, while “Dite alla giovine” is hushed and sensitive, showcasing her ability to convey a wide range of emotions.
The production of “Madama Butterfly” at the Theatre Jeu de Paume was designed to keep the focus squarely on Jaho. The minimalist set, featuring just a few painted screens and chairs, created an intimate, chamber drama atmosphere. The chorus was kept offstage, and a slow-moving conveyor belt around the perimeter of the stage added a sense of fate moving inexorably forward.
Jaho’s performance was notably uncluttered and restrained, avoiding the coquettish vocal affectations and gestures that some sopranos bring to the role of Butterfly. Her voice was straightforward and unembarrassed as she described her past as a geisha, and her face registered pure satisfaction as she prepared for her wedding night. After intermission, her voice took on a darker, more mature quality, reflecting Butterfly’s emotional journey.
Rustioni noted that while some might think Butterfly requires a more powerful voice, Jaho’s ability to convey emotion through her delicate, soft singing is more than sufficient to reach the audience. Her performances are a testament to the power of subtlety and emotional honesty in opera.
Jaho has been careful in choosing her roles, focusing on the doomed heroines of the Italian verismo school. Her repertoire includes many of Puccini’s works, such as Butterfly, Liù in “Turandot,” Magda in “La Rondine,” and Suor Angelica in “Il Trittico.” She has also performed in Umberto Giordano’s “Fedora,” Francesco Cilea’s “Adriana Lecouvreur,” and Francis Poulenc’s “La Voix Humaine.”
Despite her success, Jaho is aware of her limits and has turned down roles that she feels are too heavy for her voice, such as Tosca and Salome. Pappano agrees, noting that she is a classic lyric soprano with a unique ability to convey heart and vulnerability through her singing.
Jaho’s performances often leave her emotionally and physically drained. After the opening night of “Madama Butterfly,” she appeared almost destroyed as she took her bows, leaning on the set’s thin columns for support. This emotional intensity is not an act; Jaho insists that she gives everything in her performances, leaving her completely empty by the end.
Breth, her director, described Jaho as vulnerable and in need of love and support, but also as the perfect Butterfly. Jaho’s ability to convey the emotional depth of her characters through her unique vocal technique and emotional commitment makes her one of the most compelling sopranos of her generation.
Source: The New York Times
