Star soprano Karah Son makes a triumphant return for Butterfly on the harbour

When you listen to Karah Son’s glorious soprano ringing out over Sydney Harbour, it’s difficult to imagine how close she came to abandoning her career.

Fireworks at Handa Opera's Madama Butterfly on Sydney Harbour. Picture Keith Saunders

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When you listen to Karah Son’s glorious soprano ringing out against such a stunning backdrop as Sydney Harbour, it’s difficult to imagine how close she came to abandoning her career – and what a loss that would have been to audiences around the world.

The Korean soprano was 14 when she saw her first opera, Puccini’s Manon Lescaut, in Milan and that experience transformed her. She had spent four years studying Italian and graduated from the Vivaldi Music Conservatory in Novara, northwestern Italy, but she began to doubt her own talent and wondered whether working in Italy was even possible for a Korean performer.

The birth of a son was an added complication at that difficult time in her life.

But talent has a way of attracting attention, even behind the scenes. Mirella Freni (1935-2020), one of my favourite sopranos, recognised her abilities and persuaded her to persist.

With Mirella’s support, she won a three-year scholarship to the Accademia di Bel Canto in Modena, where one of her strongest supporters was Mirella herself.

We’ll never know what would have happened if Mirella had not intervened. The international superstar was a generous patron of the arts and a loyal supporter. Interestingly, if Wikipedia is to be believed, she had the same wet-nurse as Luciano Pavarotti, with whom she grew up and who was to become a frequent partner on stage.

And so to the opening night of Madama Butterfly on the harbour …

If it was any one person’s night it was Karah Son’s. Hers is an extraordinary talent; a wondrous voice full of expression and emotion, colour and sensitivity. What amazing vocal control as she becomes Cio-Cio-San, the beautiful and trusting young geisha so cynically exploited by Pinkerton, the heartless, misogynistic American naval lieutenant.

Karah Son and Diego Torre appearing in Handa Opera's production of Madama Butterfly on Sydney Harbour. Picture Keith Saunders

This was not her first crack at the title role: she played Butterfly in OA’s 2017 and 2019 seasons but this latest effort was simply outstanding.

It’s clear from the opening scenes that Pinkerton, even on his wedding day, intends to abandon Butterfly and acquire a “proper” American wife. It’s just a matter of watching how and when the betrayal will bring the tragedy to its bloody conclusion.

As Pinkerton, Mexican-Australian singer Diego Torre is more than competent vocally, with a powerful top and an expressive tenor. Physically, however, they seemed an ill-assorted pair and hence unconvincing despite the attraction expressed in the lyrics.

Torre is another regular in the Butterfly cast list: he appeared in the 2015, 2017 and 2019 seasons as Pinkerton. One of his greatest assets is his flexible technique, allowing him to range up and down from lyric to spinto roles, a talent that allows him to tackle varying vocal challenges with confidence

Popular Australian baritone Michael Honeyman played the sympathetic US consul Sharples in the 2014, 2015, 2017 productions as well as last year’s.

An ex-banker with a versatile baritone and an engaging onstage persona, his is almost an unlikely success story. Fortunately for operagoers, talent will out.

Sian Sharp, a mezzo who has played Suzuki, Butterfly’s faithful servant in many productions going back to 2015, was contemplating a career as an accountant when she left school. Now she’s a leading soprano in OA’s line-up and deservedly so.

Tenor Virgilio Marino, as the contemptible marriage broker Goro, and bass David Parkin, as Butterfly’s malevolent uncle the Bonze, provided solid support.

Marino once sang Pinkerton at a matinee and Goro in the evening, a not inconsiderable achievement.

At interval, if you can resist the urge to pee or drink in the view, it’s fascinating to watch the behind-the-scenes crew assemble sections of a prefabricated house for Butterfly with the help of two big cranes.

The cast apart, the real attractions are the setting and the sheer beauty of Puccini’s luscious score.

But the night unquestionably belongs to Karah Son; she is worth seeing for this performance alone.

DETAILS

• OPERA: Madama Butterfly

• STARS: Karah Son, Diego Torre, Sian Sharp, Michael Honeyman

• AT: Fleet Steps, Mrs Macquarie’s Point

• UNTIL: April 23

• BOOKINGS: 9318 8200 or at opera.org.au