The 'Sorrow' girls bring joy to Seattle Opera

Twins Scarlett (left) and Hazel (right) Del Rosario pose backstage with soprano Yasko Sato (Cio-Cio-San). The 7-year-old sisters alternated as Sorrow, Butterfly's child. Photo by Renee Rapier. 

By Lauren Brigolin 

Those who saw Madame Butterfly twice may have had the opportunity to experience dramatic performances by two sets of sopranos and tenors. But there was another another character who was double-cast—the child of Cio-Cio-San and Pinkerton’s doomed romance. In Seattle Opera’s recent production, this role of “Sorrow” was played by 7-year-old fraternal twins: Scarlett and Hazel del Rosario. The sisters shared the same black wig for their performances, which allowed them to transform into Butterfly’s little boy. 

The twins getting a fitting for the wig they shared for the role of Sorrow. Photo by Liesl Gatcheco. 

While the girls had performed in school plays, Butterfly was the first professional production they’ve been in together. The experience has clearly been one to remember; the girls practically explode with energy and excitement in describing their summer with the opera.

“It was amazing,” says Scarlett, who performed with soprano Lianna Haroutounian. Hazel, whose favorite part was being spun in the air by “mom” Yasko Sato adds: “So fun! Once I got off the stage I screamed, ‘fun!’”

The girls’ father, DJ del Rosario, says each twin had their own take on the role—much of the blocking onstage came from their own impulses. For example, the girls got to choose whether they wanted to hug Pinkerton or Sharpless.

Scarlett in costume as Sorrow with her sister, Hazel, backstage. 

It helped to have a cast and creative team who were so welcoming.

“Maestro (Carlo Montanaro) gave the girls an an opportunity to bow, something we didn't expect and have really been touched by. This is definitely their professional debut," DJ says.

Of course, learning the ropes of performing in an opera took some getting used to. Speaking about the rehearsal process, Hazel says, “I was trying to pretend there was an audience there. It was kind of scary.”

Hazel del Rosario (Sorrow) and Yasko Sato (Cio-Cio-San). Philip Newton photo

Scarlett also says she felt nervous backstage, not always being sure what to do. But then she discovered there was always someone on the cast or crew who was there to help her. After going through the entire process, it was clear that the girls are naturals—devotedly clinging to an anguished Cio-Cio-San, sweetly looking upon their caretaker, Suzuki.

“My favorite part has been to watch their confidence grow. To watch them feel the energy of McCaw filled. To watch them really perform and be in the moment,” DJ says.

Of course, having one’s children commit to being in Madame Butterfly was no small matter. With numerous rehearsals and eight performances, it represented a commitment for the entire family.

And yet, according to DJ: "It’s really worth the time. We rearranged a lot of our lives for this and we’re really happy we did it."

Lianna Haroutounian (Cio-Cio-San) and Scarlett del Rosario (Sorrow). Philip Newton photo

Praise for Madame Butterfly

Alexey Dogov (Pinkerton) and Lianna Haroutounian (Cio-Cio-San). Philip Newton photo

"A magical production filled with eye candy and, most importantly, stunning vocal performances.” – LA Opus

"Every so often a performance – and a performer – have the capacity to completely transport us to a different dimension, emotionally, psychologically and physically. That is the case with Seattle Opera’s new (to Seattle) production of Madame Butterfly." - Seattle P.I.

Lianna Haroutounian (Cio-Cio-San). Philip Newton photo

"The brilliant Lianna Haroutounian, who commanded the stage all evening with an all-out, full-voiced, big-hearted performance that brought out the bravos (and the handkerchiefs).” – The Seattle Times

“The sets are gorgeous—Kabuki meets Miyazaki. The music is deservedly beloved—soaring melodies, rich and complex orchestrations, and gongs!” – The Stranger

Jonathan Silvia (Imperial Commissioner). Philip Newton photo

"The changes it has inspired, audiences may experience this Madame Butterfly in ways never envisioned by its creators.” – The Seattle Times

"So much more than an aural and visual delight." - UW Daily 

Photos above and below: Yasko Sato (Cio-Cio-San) and Dominick Chenes (Pinkerton). Philip Newton photos

"Weston Hurt was an empathetic and noble Sharpless; Renée Rapier a dignified, compelling Suzuki; and Rodell Rosel a wily and adept Goro. In a bit of “luxury casting,” Daniel Sumegi proved an unusually powerful Bonze; Ryan Bede was the hapless Yamadori, and Sarah Mattox gave unexpected and lovely depth to the small but pivotal role of Kate Pinkerton."

"Sato is a lyrical singer and an affecting actress; she can convey vivid emotion in a single gesture or expression, and watching her hopes slowly decline in Cio-Cio-San’s long vigil was heartbreaking.” – The Seattle Times

“Puccini's opera itself gets something of a dusting-off in this production.” - Bachtrack

Philip Newton photo

"The production was one of the most attractive this reviewer has seen, and this was due in large part to the inventiveness of an Australian triumvirate” – "LA Opus

“The design is both simple and beautiful. Set designer Christina Smith created a house cleverly defined by movable screens, imaginatively lighted by Matt Scott with glowing lanterns that illuminated the Act I love duet.” – The Seattle Times

Renée Rapier (Suzuki), Lianna Haroutounian (Cio-Cio-San) and Scarlett Del Rosario (Trouble). Philip Newton photo

"Prepare to weep for Madame Butterfly.” – Equality 365

"This production is rich with unforgettable moments. I am haunted by the heart-rending vision of Cio-Cio San standing outside her home like a statue, waiting hopefully all night for Pinkerton until all of the lanterns are extinguished and darkness is supplanted by day — and still no Pinkerton is in sight." - Queen Anne News 

Philip Newton photo

Madame Butterfly plays now until Aug. 19 at McCaw Hall.
Tickets & info: seattleopera.org/butterfly

'Embrace what makes you unique' - Weston Hurt lives by example

Baritone Weston Hurt is a frequent singer at Seattle Opera, including in roles such as Nabucco, Germont, Talbot and most recently, Sharpless. 

By Lauren Brigolin 

Behind the blue door of Practice Room #1 at Seattle Opera, it might have been easy to miss the soft plunk of piano keys without listening carefully. But what the soundproof walls couldn’t contain after the modest hum of the piano were the rich tones of an accomplished baritone—Weston Hurt. 

​In addition to appearing as Sharpless in Madame Butterfly this August with Seattle Opera, Hurt just finished teaching a master class at the newly-created Seattle Opera Academy—a three-week voice and performance training program for young adults in Bellingham, Wash. This combination of teaching and performing is his dream. Being a role model to young singers, encouraging them to embrace who they are, is a job he takes seriously.

“What I wish I would have known as a young person is, you are your own product and that your uniqueness is everything,” he says.

As a singer born without a right hand, Hurt’s road to singing in great opera houses across the United States was no walk in the park. And the challenges he faced often had nothing to do with his skill as an artist. ​ 

Weston Hurt, center, as Sharpless with Lianna Haroutounian (Cio-Cio-San) and Renée Rapier (Suzuki). Philip Newton photo

When Hurt was only 6-months old, his parents put him into a program so that he could learn to live with a prosthesis. At age 4, he decided he didn’t want to use the artificial body part anymore. He tried to wear one again at 11 and came to the same conclusion—it simply wasn’t comfortable. In the years that followed, the myoelectric prosthesis arrived. The battery-operated limb allowed the hand to open and close through electrical tension generated every time a person’s muscle contracts. Hurt decided to try one. Of course, this was 1991 and the battery lasted all of about eight minutes.

"And then I was like, 'Forget this.' I’m not going down this path. I am who I am,” says the baritone, who fell in love with opera during his freshman year of college after landing the title role in The Marriage of Figaro at Southwestern University.

Hazel Del Rosario (Sorrow) and Weston Hurt (Sharpless) in Madame Butterfly. Philip Newton photo

After completing his music education and successfully making his way through a number of prestigious young artist training programs, Hurt embarked on a myriad of house auditions. Each time he sang for a company, he’d wear a suit and pin or sew the sleeve of the right arm up. While consistently told he sounded fantastic, he was frequently overlooked.

It wasn’t until he sang at the New York International Opera Auditions that he was finally offered a season-long contract with a company who made their conditions clear. In order to perform, Hurt had to have a prosthesis. ​This company wasn’t the only one who felt this way.

Soon after acquiring a cosmetic prosthesis, he began auditioning and “Boom! I started getting gigs and gigs and gigs."

Weston Hurt teaching a master class at the Seattle Opera Academy. Photos by Rachel Bayne 

During a production of Madame Butterfly earlier in his career, the stage director suggested he perform Sharpless without the artificial limb. This presented the opportunity for Hurt to dive into a character study: His Sharpless became truly human—a man who carries deep emotional wounds after surviving a war; someone who understands loss. After his performance, a confusing review came out in a national opera publication. It said that his voice was amazing even though he only had one hand.

The review had a ripple effect.

​"I had to wear my prosthesis for everything. I felt like I had to fit some mold that administrative people, artistic people, or the audience wanted me to be. I got trapped."

Weston Hurt and his daughter. 

In the last few years, Hurt has done away with his prosthesis unless the character or the director’s vision truly calls for it. He began asking himself, if it makes sense for the character to have one hand, why wouldn’t he portray that? Hurt has created backstories for opera characters who have lost their hand in wars, battles, and developed stories for them in a way only he can. When he wore a prosthesis in the beginning it wasn’t for the character, it was so he could fit that mold. 

“I had lost my own uniqueness and my own individuality,” Hurt says.

Being a singer with one hand has led to spectacular theatrical possibilities. He’ll never forget the audible gasps he received each night during one production where he actually got to remove his prosthesis onstage.

Hurt backstage during Madame Butterfly at Seattle Opera. Genevieve Hathaway photo 

Director of Artistic Administration and Planning Aren Der Hacopian says Hurt having one hand is a non-issue as far as casting is concerned. Echoing the artist’s feeling, Der Hacopian says, “Who’s to say these characters have two hands in the first place?” Instead, Der Hacopian says that Seattle Opera embraces Hurt as a person with one hand because it’s part of the incredible package of personality, experience, artistry, and human being that makes Hurt who he is. 

Seattle audiences can now enjoy Hurt in the role of Sharpless, the American consul and friend to the lead tenor, for Madame Butterfly performances on Aug. 9, 12, 13, 16, 18, & 19, 2017. Tickets & info: seattleopera.org/butterfly

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