Bowl Warms to a Grand ‘Butterfly’

A celebratory weekend--the Hollywood Bowl Orchestra has now played 201 concerts in its nine-year history--concluded with an old-fashioned but felicitous concept: a concert version of Puccini’s “Madame Butterfly,” conducted by the ubiquitous John Mauceri, sung by an able cast and played expertly and with gusto by the orchestra.

Sunday night, after taking much of Act 1 to warm up to chilly temperatures, variable microphoning and their own vocal conditions, the singers produced engaging performances, and by the end, after three hours total, Puccini was handsomely, effectively served.

Mauceri, whose summertime familiarity may cause him to receive less credit and honor than he deserves around here, led the score with real sweep and careful detailing. He also, as is his wont, talked to the audience and revealed things about the music we might not have known. In an era in which music appreciation has practically been forgotten, Mauceri is one of its, and Hollywood Bowl’s, most persuasive advocates.

The singers’ simple, clever stage movements brought dramatic clarification to the action, as in the final scene, in which the principals interacted naturally because of their placement, all the way across the stage length. One strategy that did not work was placing Cio-Cio San far front for her first entrance, too distant for dramatic and musical reasons from the female chorus at the back of the stage.

Natalia Dercho, once warmed up, sang passionately and with telling details, most touching and vocally impressive in the complex emotional changes of Act 2 and beyond. Alfredo Portilla, a tenor from Mexico in his Bowl debut, made warm and ringing sounds--once the sound system was wholly operational--and delivered strong textual values throughout.

Zheng Cao, a practiced Suzuki, sang beautifully and made the most of what can be an ungrateful role; she shone particularly in the last scene. Louis Otey’s Sharpless blustered more than he convinced; the voice does not move easily, as it once did. The supporting singers did honorably, especially veteran Joseph Frank as Goro. The Opera Pacific Chorus, sounding initially underpowered, made a stronger impact as the evening wore on.