Striding onto Miller Auditorium's stage Friday night in an authentic Japanese kimono, Maestro Yoshimi Takeda gave a firm downbeat for the Kalamazoo Symphony Orchestra's concert performance of Puccini's opera "Madame Butterfly."

From the start, it was clear that this semi-staged production of Puccini's 1904 masterpiece would equal the excitement of the KSO's other recent ventures into the opera realm. And, as with last April's production of "Turandot," "Madame Butterfly" excelled thanks to marvelous staging, a first-rate orchestra, and a sterling froup of singer-actors.

Although not as impressive in proportion or complexity as the set for "Turandot," Friday's set worked perfectly for the smaller focus of "Butterfly." A low fence-like wall running almost the entire width of the stage suggested the love nest of Butterfly and Pinkerton, while also separating the action from the KSO, seated further upstage. Seated across the back upstage during the first act was the fine-sounding opera chorus of several dozen, led by Thomas Kasdorf. The mandatory walk-bridge came from off stage to stage left, allowing for effective entrances and exits. Stage props were few and indeed were not needed, given the extraordinary descriptive power of the music and lyrics. Guest Stage Director Joseph Bascetta obviously had a spendid concept in mind to lend coherence and cohesiveness to the staging.

Once she comes on stage a third of the way into the first act, Madame Butterfly rarely goes off for the rest of the opera. Undaunted by the challenge, Guiping Deng as Butterfly (or Cio-Cio San) released phrase after phrase of lovely tones, meshed with superior acting. Moreover, Madame Deng's graceful movements around the stage took on a balletic quality, revealing the singer's training in dance as well as voice.

Her upper range was especialy thrilling and effective, given a tight vibrato and fine intonation throughout. Only a very occasional sharping in the final act, after long stretches of singing, constituted anything less than superb vocalizing. As Pinkerton, the American naval officer who betrayed her love, Antonio Nagore impressed mightily. Though less agile a stage actor than Madame Deng, Nagore was possessed of an especially handsome tenor voice that achieved all notes - including some very high ones. His timbre is quite attractive and manly, thus tapping the macho qualities inherent int he character of Pinkerton.

Helen Yu sang the role of Suzuki with conviction enhanced by fine acting. Her burnished contralto gave hints of an intruiguing timbre, deserving to be heard further. Sharpless, the American consul at Nagasaki (the site of the action), was sung well by Kenneth Shaw. His bass-baritone bleated less than many baritones', and his acting remained stiff though acceptable. Goro, the marriage broker, was given life and vitality by Darren Keith Woods. Donald Harman was fine as both the Bonze (Butterfly's uncle) and as Butterfly's sometime suitor Prince Yamadori. Nearly stealing the show, as usual, was Butterfly's child named Sorrow, here performed wonderfully by Leslie Guerrero.

Finally, as with its other opera outings, the orchestra was willing to subordinate itself to a large cause - the production of fine opera. The orchestra's sound was warm and cushy, befitting the romantic score. The end result was a nother KSO opera winner.