When the 15-year-old bride Cio-Cio-San (Butterfly) was introduced to her groom, Lt. Pinkerton, in Act I of Cincinnati Opera's Madame Butterfly Thursday night, the effect was startling. Instead of the romantic setting of the little Japanese house, she enters Pinkerton's world, the American consulate in Nagasaki, Japan, one of starched uniforms and a large American flag.

        The culture clash is unmistakable. As the opera unfolds, it is clear that this Butterfly, movingly sung by Beijing soprano Chen Sue, is a modern woman: brave, independent and willing to suffer the consequences for abandoning her world for the love of a man.

        This was just one of many revealing sides of the luminous interpretation of the Puccini classic by director Francesca Zambello and designer Michael Yeargan, a co-production for Houston Grand Opera, San Diego Opera and Dallas Opera, which opened the Cincinnati Opera season.

        Some in Music Hall's cheering audience of 3,031 may have missed the pretty house on a hill, the traditional setting of Puccini's Madame Butterfly. But, from the magnificent portrayal by Chen Sue to the stunning visual effects, this Butterfly is not to be missed.

        It gradually draws you in, building up to the suicide finale, a moment of high emotional and visual impact. (So as not to spoil it, I will mention only that its color was blood-red.)

        In contrast to the U.S. consulate — where Pinkerton and Cio-Cio-San marry and where she returns to hear Pinkerton's letter — Cio-Cio-San's world is given minimalist treatment. Hers is an almost bare stage with translucent panels. Exquisite lighting (Thomas Hase), changes, sometimes imperceptively, with the mood.

        Indeed, the feel of this show is almost cinematic. Take the way the consulate falls away in Act II, seamlessly revealing backlit ships in the harbor. Butterfly and Suzuki, wonderfully portrayed by Chinese mezzo Zheng Cao, sing the Flower Duet in a blizzard of tissue cherry blossoms and pale pink lighting, while little Sorrow (the adorable Ayano Ishida, 6) lies on his back catching blossoms. It is a moment of euphoria that becomes almost slow motion, and the effect is poignant and stirring.

        unusual Many in the cast were making company debuts. Chen Sue was utterly gripping as Butterfly, and her glorious voice cut through orchestral textures with power and emotion. She sang the celebrated Act II aria “Un bel di,” starting on her knees, and building passionately as the orchestra, led by John DeMain, added sweep.

        Marcus Haddock was excellent as Pinkerton, the cad who deserts her and marries Kate (well sung by Jennifer Rivera). His singing was confident and his love duet with Chen Sue in Act I — she shy, he virile and soaring — was a musical high point.

        Ms. Cao added a genuine quality to Butterfly's servant, portraying her with warmth, humility and beauty. As Sharpless, the American consul, Ashley Holland projected a blustery baritone and carried himself stiffly, as the role suggests.

        One of the striking elements of this production, staged by Garnett Bruce, is the casting of Asian singers in the Asian roles. The Bonze, Butterfly's disapproving uncle, who arrives in a giant Buddha, was powerfully sung by Dong-Jian Gong. Joseph Hu, as the marriage broker Goro, was suitably unpleasant.

        The female chorus was sung by American women in white Victorian dress (expertly prepared by Henri Venanzi).

        Then there was Puccini's music. Mr. DeMain drew a full-bodied, rich sound from the Cincinnati Symphony Orchestra. Overall, the orchestra played superbly, though at times it was a bit heavy and singers became swamped. One of the most gorgeous moments of the opera — the Humming Chorus — was almost ruined by a ringing cell phone.

        Madame Butterfly repeats at 8 p.m. today and on June 29. Tickets: 241-2742.
       

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