Miskimmon’s updated concept for Glyndebourne gives new layers of resonance without compromising the original’s spirit…Guerrero is suitably handsome and has both a creamy voice that exudes tenderness and power and the acting skills to make you believe that he genuinely comes to care for Cio-Cio San. Olga Busuioc, vocally more steely than sweet, does a fine job of conveying Butterfly’s journey.

All told, given the attractive lead singers immersed in a successfully theatrical setting, there is a great deal to enjoy here—nothing detracts from the opera’s sure-fire impact. The video has excellent sound, camera work, and visuals. The sets are given Western touches, in keeping with the leading theme of the production, but the atmosphere of Japan is preserved.

The cast is solid without being outstanding. Moldovan soprano Olga Busuioc, a pupil of Mirella Freni, sings well, with ample tone…Guerrero comes across well as Pinkerton…The finest singer here is Elizabeth DeShong as a sincere, affecting Suzuki, her plum tones ripe and round. Omer Meir Wellber conducts the London Philharmonic Orchestra in a similarly ripe performance, alert and dramatic to Puccini’s score, but never overwhelming his singers.

In broad terms the show is an effective piece of theatre, though its view of the piece is sometimes applied with a heavy hand…Busuioc’s observant performance of the title role is marked by vocal discrimination and generally ample tone, though she’s tested by the grander phrases…DeShong’s Suzuki misses nothing; it’s rare that this character steals the opera but she comes close to doing so…The LPO is on sterling form.