CHICAGO (2/2/2026) — Lyric Opera of Chicago presents Puccini’s
Madama Butterfly, on stage March 14 – April 12, 2026, in a production that dares to ask: what if everything we think we know about this classic opera is only half the story? Director
Matthew Ozawa — Lyric's Chief Artistic Officer — reimagines Puccini’s masterpiece by embracing what has always been hidden in plain sight: This isn't Japan. It's a fantasy of Japan, seen entirely through Western eyes. The result is a bold, visually stunning production that honors Puccini's grand and beloved score while revealing layers of meaning that have been waiting more than a century to be discovered.
Leading soprano
Karah Son, one of the foremost interpreters of the title role performing today, stars as Cio-Cio-San in her Lyric debut, joined by tenor
Evan LeRoy Johnson in his Lyric debut as Lieutenant B.F. Pinkerton, mezzo-soprano
Nozomi Kato in her Lyric debut as Suzuki, and baritone
Zachary Nelson as Sharpless. Conductor
Domingo Hindoyan leads the
Lyric Opera Orchestra through Puccini’s immortal score.
A beloved masterpiece reimagined through a revelatory new perspective. Puccini’s
Madama Butterfly has captivated audiences for more than a century with its heartrending story of love, betrayal, and sacrifice. Fifteen-year-old geisha Cio-Cio-San — known as Madama Butterfly — falls deeply in love with American naval officer B.F. Pinkerton, who sees their marriage as temporary amusement. When Pinkerton abandons her, the pregnant Butterfly waits faithfully for three years, convinced he will return. Her unwavering devotion leads to one of opera’s most devastating conclusions. Puccini’s lush, emotionally shattering score — featuring the unforgettable "Un bel dì, vedremo" and the haunting Humming Chorus — has made
Madama Butterfly one of the world's most popular operas.
Through whose lens are we seeing Japan? This question lies at the heart of director Matthew Ozawa’s bold reconceptualization. As a
fourth-generation Japanese American, Ozawa brings a deeply personal perspective to this work. "Like Butterfly, I have yearned for acceptance but never felt truly at home in any single culture or place," he writes in his
director’s note. Rather than attempting to depict a realistic or even a simply stylized depiction of Japan, Ozawa embraces the opera’s inherent fantasy, setting the action within a virtual reality framework that makes explicit what has always been implicit: this is Pinkerton’s imagined Japan, not an authentic representation of Japanese culture. The production employs striking visual elements — endlessly blooming cherry blossoms, stylized nontraditional kimonos, Mt. Fuji curiously looming from beyond Nagasaki — that signal to audiences they are witnessing a constructed fantasy. "The VR setting lets us be literal about the distorted, idealized view of Japan embedded in the opera," Ozawa explains.
Ozawa’s approach embodies his commitment to balancing tradition with innovation. "Producing the opera exactly as it has always been done can do more harm than good," he states. "We have to make room for upholding legacy while allowing for evolution." The music remains essentially unchanged, although Ozawa has incorporated material from Puccini’s rarely performed second version of the opera, first performed in Brescia in 1904, which offers more dimensional portrayals of the characters. "I didn’t want the audience to be lulled into singing along," he explains. "I wanted them to think about what they were seeing."
An all-Japanese, all-female design team brings authenticity and fresh vision. For the first time,
Madama Butterfly is realized through the creative vision of an entirely Japanese and Japanese American team of women. Set designer
dots in their Lyric debut, costume designer
Maiko Matsushima in her Lyric debut, and lighting designer
Yuki Nakase Link bring their lived experiences and artistic perspectives to bear on a work that has rarely been shaped by those whose culture it purports to represent.
"The women on my team told me they didn’t see themselves in
Butterfly, especially not in the final scene," Ozawa recalls. "The work has not been a multidimensional vision of who we are." By making visible the lens through which the audience has always viewed this story, the production creates space for both longtime opera lovers and those who have never felt represented by traditional stagings. "Our hope is that this journey enables our empathy to be open to the impact we have on each other, and the need for a more compassionate understanding of perspectives outside our own," Ozawa writes.
A soprano who embodies Butterfly’s complexity. Korean American soprano
Karah Son makes her Lyric debut as Cio-Cio-San, bringing to the role the interpretive depth and vocal artistry that have made her one of the world’s leading Butterflys. Son has performed the role at major opera houses internationally, earning critical acclaim for her ability to capture both Butterfly’s youthful innocence and the emotional devastation of her journey. Her voice possesses the lyric beauty required for Puccini’s soaring melodies while commanding the dramatic power needed for the opera’s most wrenching moments.
A cast of exceptional accomplishment. American tenor
Evan LeRoy Johnson makes his Lyric debut as Pinkerton, the American naval officer whose callous treatment of Butterfly sets the tragedy in motion. Johnson has performed at leading opera houses worldwide, including the Metropolitan Opera, San Francisco Opera, and Houston Grand Opera, earning particular acclaim for his performances in the Puccini repertoire.
Japanese mezzo-soprano
Nozomi Kato makes her Lyric debut as Suzuki, Butterfly’s devoted servant and the opera’s moral conscience. Kato’s international career includes performances at the New National Theatre Tokyo, Teatro Colón in Buenos Aires, and other major houses. Her portrayal of Suzuki brings both vocal beauty and deep understanding of the character’s cultural context to this pivotal role.
American baritone
Zachary Nelson returns to Lyric as Sharpless, the American consul who tries in vain to protect Butterfly from heartbreak. Nelson has been a mainstay at Lyric since his debut in the 2016/17 Season, with notable performances including Marcello in Puccini’s
La Bohème (2018/19 Season) and Ping in the composer’s
Turandot (2017/18 Season). His warm tone and subtle characterizations make him ideal for Sharpless, whose genuine concern for Butterfly provides the opera’s only moments of compassion.
The cast also features tenor
Rodell Rosel — an alumnus of Lyric’s acclaimed artist-development program, The Patrick G. and Shirley W. Ryan Opera Center — as the marriage broker Goro; bass
Jongwon Han in his Lyric debut as the Bonze; current Ryan Opera Center Ensemble members baritone
Sihao Hu as Prince Yamadori, mezzo-soprano
Alexis Peart as Kate Pinkerton, bass-baritone
Christopher Humbert, Jr. as the Imperial Commissioner, and baritone
Sankara Harouna as the Registrar; soprano
Kimberly McCord as Butterfly’s Cousin; mezzo-soprano
Yvette Smith as her Mother; mezzo-soprano
Emily Price as her Aunt; and tenor
Jared V. Esguerra as her Uncle.
A conductor who brings both precision and passion. Venezuelan conductor
Domingo Hindoyan returns to Lyric to lead
Madama Butterfly after his acclaimed debut conducting
La Bohème in the 2018/19 Season. The Music Director Designate of LA Opera, where he will begin his tenure in July 2026, Hindoyan serves as Chief Conductor of the Royal Liverpool Philharmonic Orchestra, a position he has held since 2021. He has rapidly established himself as one of the most exciting conductors of his generation, maintaining close relationships with the Vienna State Opera, Opéra national de Paris, the Metropolitan Opera, and other major opera houses. His interpretations of Puccini are notable for their dramatic intensity and orchestral clarity, revealing both the intimate chamber-music textures and the sweeping emotional power of the composer’s writing. Chorus Director
Michael Black leads the 36 members of the
Lyric Opera Chorus in interpreting some of Puccini’s most memorable vocal melodies.
When tradition and innovation unite in perfect harmony. With one of opera’s most beautiful scores interpreted by world-class artists, visionary direction that respects the past while interrogating the present, and a creative team bringing unprecedented perspective to this iconic work, Lyric’s
Madama Butterfly promises to be one of the must-see events on Chicago’s cultural calendar this spring.
Butterfly is opera at its most powerful — honoring the music that has moved audiences for generations while ensuring the art form continues to speak to our moment. From Puccini’s first haunting notes to the opera’s devastating final scene, this production proves that the greatest works of art can still reveal new truths when seen through different eyes.
Performance dates: Nine chances to see
Madama Butterfly:
Saturday, March 14, 2026 at 7:30 p.m.
Thursday, March 19, 2026 at 7 p.m.
Sunday, March 22, 2026 at 2 p.m.
Wednesday, March 25, 2026 at 2 p.m.
Saturday, March 28, 2026 at 7:30 p.m.
Tuesday, March 31, 2026 at 7 p.m.
Monday, April 6, 2026 at 7 p.m.
Thursday, April 9, 2026 at 2 p.m.
Sunday, April 12, 2026 at 2 p.m.
Language: Sung in Italian, with easy-to-follow projected English titles above the stage.
Running time: Approximately 2 hours and 55 minutes, including one intermission.
Pre-performance talks: Ticketholders are invited to a free pre-opera talk by noted opera scholar Dr. Elinor Olin on
Madama Butterfly’s composition history and cultural context; the talks begin one hour before each performance in the theater’s Steiner Parquet (the main floor).
Special events: Madama Butterfly Opera Insights — Thursday, March 12, 2026 at 7 p.m. at Asian Improv aRts Midwest, 4875 N. Elston Avenue, Chicago. Join Matthew Ozawa, Japanese artists Kyoko Miyabe and Tatsu Aoki, and Northwestern’s Tara Fickle as they explore the legacy of this classic opera and the importance of retelling and reshaping one-sided narratives.
Accessibility: Audio description, a guided touch tour of the set, and SoundShirts are available at the Sunday, March 22 matinee performance. Braille and large-print programs, high-powered opera glasses, assistive listening devices, and booster seats are available from the theater’s Steiner Parquet coat checks at all performances. For more information on these and other accessibility assets, visit
lyricopera.org/accessibility.
Production history: A co-production of Cincinnati Opera, Detroit Opera, Utah Opera, and Pittsburgh Opera; first seen at Cincinnati Opera in 2023.
Location: Lyric Opera House, 20 N. Wacker Drive, Chicago, Illinois.
For more information and tickets, visit
lyricopera.org/butterfly or call 312.827.5600.
