Puccini is the star of Madama Butterfly so it’s appropriate that, at nearly every turn in their current production of the ultra-famous opera, the Canadian Opera Company does right by the music. Backed by the always excellent COC orchestra and chorus, the principal players in the production deliver beautiful performances with nuanced, steady vocals. Skilled tenor Kang Wang is a particularly dreamy Pinkerton in an intriguing piece of casting that unlocks new intellectual ideas about the story’s commentary on race and identity while supporting players Michael Sumuel and Hyona Kim flesh out the world of the opera with compelling performances to complement their rich vocals. Eri Nakamura sounds beautiful in the tricky role of Cio-Cio San but she defies logical character choices with a big, overacted performance.

There is really only one moment when Puccini specifically is let down here and it’s an indicator of larger problems with directors Michael Grandage (original) & Jordan Lee Braun (revival)’s stylish but somewhat thoughtless production. In order to facilitate what’s clearly meant to be a show-stealing visual of Butterfly awaiting the return of Pinkerton’s ship, the production utilizes a large turntable that spins the audience’s perspective from designer Christopher Oram’s artfully curved slope to the stark cliff on the set’s back side. It’s a fine idea, though I’m never a fan of an expensive set piece that only gets used once, but this particular turntable is heavy or old or some combination of the two that results in an unmissable groaning when it’s moved. The choice, then, to set this movement during the iconic (and notably, famously quiet) humming chorus feels a bit criminal. As the COC’s excellent ensemble toils offstage on the complex and subtle piece, the stage itself outshouts them.

It’s the quiet sadness that makes Madama Butterfly a classic, that and Puccini of course, and this oddly loud production in key moments squanders the beauty of both.