There is never such a thing as “Ho-hum, just another ‘Madama Butterfly.’” It’s probably safe to say that the average operagoer experiences 10 to 20 “Butterflys” in a lifetime, and in the case of the avid operagoer, who follows divas and directors worldwide, it could be scores more. At San Diego Opera (SDO) alone there have been eight such opportunities since 1971. “Madama Butterfly” is a 1904 dramatic and musical masterpiece written by prime-time composer Giacomo Puccini and his frequent collaborators, librettists Giuseppe Giacosa and Luigi Illica (“Tosca” and “La Boheme”). The story is based on the 1900 play by American writer David Belasco. Who does not know the tragic story of Cio-Cio-San (Butterfly), the 15-year-old geisha who marries American naval officer Lt. B.F. Pinkerton. He leaves her with a promise to return and a child in utero. When Pinkerton returns three years later, he has his barren American wife in tow. They propose to take the boy from his destitute mother “to give him a better life,” thus calling upon Cio-Cio-San to make the ultimate sacrifice. Rather than endure the loss, she does the only honorable thing by committing suicide. This story, fleshed out by Puccini’s librettists, is tragic to the nth. As set to music by master melodist Puccini, it never fails to evoke tears no matter the quality of the acting. Both singing and acting in SDO’s current production, which continues through May 20, are so sublime that the experience is elevated a thousandfold over the norm. Whether one is a veteran or a novice, it is not to be missed. The three leading characters are attractive, consummate actors and marvelous singers. Local audiences who enjoyed soprano Patricia Racette in the title role of “Katya Kabanova” and as Love Simpson in “Cold Sassy Tree” have long anticipated her Butterfly. The reward is great indeed. There is such dynamic range in both vocal and dramatic facets of Racette’s interpretation that one is constantly amazed and stunned at what has been there all along but was heretofore merely hinted at or ploughed through. Her “Un bel di (One fine day)” received a prolonged ovation. Uruguayan tenor Carlo Ventre, who portrayed Radames in last season’s “Aida,” is even more effective an actor than was formerly realized. As before, his voice is absolutely gorgeous, reliable and resplendent with luscious top notes. His Pinkerton is ardent, playful and passionate and is perhaps more easily understood and sympathetic than most, especially in his remorseful Act III aria, when he realizes how much his callous use of her has hurt Butterfly. This Pinkerton has a heart, and obviously he did love her, if only with the “little love” that she requested. Vocal opulence and quality are the calling cards of baritone Malcolm MacKenzie, known here for Escamillo in “Carmen,” Marullo in “La Traviata” and Zurga in 2008’s production of “The Pearl Fishers.” Now chalk one up for MacKenzie’s acting acumen. His portrayal of American Consul Sharpless is rife with subtlety, humor and humanity. Indeed, the same could be said for the entire production, originally directed by Franchesca Zambello and remounted here by Garnett Bruce, whose brilliant directorial touches can be seen throughout the piece. The production also features mezzo-soprano Suzanna Guzmán as Suzuki and tenor Joseph Hu as Goro. Joseph Pechota, Tom Oberjat, Scott Sikon, Jason Detwiler and Crystal Jarrell portray additional characters in the drama. Special mention must be made of the fine opening-night portrayal of Cio-Cio-San’s son, Trouble, by adorable, well-coached Billy Temple. The “Humming Chorus” that forms a bridge between Acts II and III is beautifully executed by San Diego Opera Chorus, and the orchestra, under the direction of Edoardo Müller, is exquisite in its exploration of the music’s full dynamic range. Visually arresting, the production was created by scenic designer Michael Yeargan with costumes by Anita Yavich, lighting by Alan Burrett and wig and makeup (astonishing, truly) by Steven W. Bryant. I wished for a bit more light on faces throughout and in one instance a more on-target offstage high note; but seldom has a production so nearly nailed perfection. Remaining performances are scheduled at 8 p.m. Friday, May 15; 2 p.m. Sunday, May 17; and 7 p.m. Wednesday, May 20. Some tickets ranging from $75 to $190 were available at press time. Visit www.sdopera.com or call (619) 533-7000 to explore and reserve. Subject to availability, $20 rush seats may be available two hours prior to curtain, one ticket per person, cash only.