The appeal of this evening - the 393rd showing of Josef Gielen’s 1957 production - lay in its boilerplate expectations, with its rather run-of-the mill line-up as an example of a standard subscription showing. The scheduled role-debut in the house of Fabio Sartori (thwarted at short notice by indisposition, and subsequent replacement by Stefano La Colla in his first Vienna Pinkerton) - was arguably the show’s only curiosity.

And indeed several rows of expensive stalls seats filled with teenage students - together with gaping spaces in upper standing room areas - hinted that regular sales were evidently a touch under par on this particular night.

Therefore all the more satisfying and remarkable to see an ultimate reception which was as enthusiastic and welcoming as on some more glittering evenings which infuse the traditional ten month per annum season.

Sae Kyung Rim gave her house debut in the role in 2015 and has subsequently appeared as here as Tosca. The South Korean soprano brings the ideal physique and essence for Cio-Cio-San, boasting a petit grace which belies the weight of a lyric-spinto instrument with roles like Verdi’s Aida (Verona), Abigaille and Forza’s Leonora in its folds. Her entrance was tenuous, lacking the required lightness and expanse of line ideally required - and it was but slowly that the instrument appeared to find form - with a chest-heavy register mix which (on the one hand) allowed for richly-rounded phrases and dramatically-effective outbursts stretching well to a high A or B-flat, but which tailed-off beyond, and risked being a hair under pitch at times. However, in all, this was a most winning and moving performance - and one which found a more-than-satisfied house at the curtain.

In keeping with his showing here as Calaf, Stefano La Colla guaranteed for a tireless Italianate-ringing top, while astutely reining-in his rather brittle timbre to achieve a decent portion of romantic lyricism and give the role light and shade during the course of the evening. Dramatically convincing, this Pinkerton made a good foil in matching the intensity and ardour of his Butterfly.

Of the remaining cast, it was left to Michael Laurenz’ Goro to really impact on a level with the two romantic leads. Full of fussy grandeur, subtle detail and biting vocal presence, here was a lesson in character definition and the projection thereof across the footlights - reminding of the vital significance of each and every part.

Gabriel Bermúdez boasts an even-scaled, pleasing lyric baritone and gave a nicely-cultivated reading as Sharpless - but, in keeping with Bongiwe Nakani’s Suzuki (whose real vocal and dramatic attributes appeared but briefly in the work’s final trio with Pinkerton and Sharpless), both readings remained unfortunately modest in scale and sheer energy.

Apart from Peter Jelosits’ nicely-rounded cameo as Yamadori, the remaining soloists fail to merit individual mention. 

Graeme Jenkins is familiar to the house for his broad spectrum of successes and was undertaking his first Butterfly in the house on this evening. As one would anticipate, his reading was grounded in style, showed consideration for his cast and fine co-ordination (apart from an obvious early entry in the pit at Pinkerton’s-Sharpless’ final entrance) - as well as being well-charged with a rich dose of the required passion to make this Puccini warhorse a winner.