Great emotional event in Munich: Ermonela Jaho in the role of Madama Butterfly

There are those operatic evenings when one finally feels that he has seen and heard something pleasant, then goes home and sleeps quietly. But there are also performances by Ermonela Jahos. After such evenings, man often finds himself tearful in the hall, thinking he would need a quick intervention unit to face what he has seen and for a long time still feels shocked. This woman is a great emotional event in her own and her interpretation of Giacomo Puccini’s Madama Butterfly would need to have a preliminary warning.

 It seems that the Albanian soprano had come to the Bavarian State Opera to common condolences to the public, and in fact she fulfilled expectations in every respect. Voice and performance are inseparable from Ermonela Jaho, so her voice in the first act sounds energetically youthful as this Butterlfy comes out on the scenes. She looks too touching further involved in the desperate hope in the second act and when her voice at the beginning of “Un bel di” strikes surprisingly, the vibrations are inevitable.

 Just as masters of sweets reach the finest caramelized yarns, Ermonela Jaho is also keen on her glamorous sophisticated “Piani”, where her soul completely eats. When Cio-Cio-San already realizes that Pinkertoni will not come back to her, Ermonela Jaho seemed to be floating away from her vocal timbre, her warm timepiece and a lover of genuine despondency prevailed from that moment on . Extremely shocking, then she would bid farewell to her son through some vocal outbursts and ultimate suicide; the whole final scene would be interpreted so terribly realistically that the public would feel deeply relieved when the soprano returned to full health after setting up her solo for her.

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