BalletMet Columbus opened its 1996-97 season last night with a stunning world premiere - a ballet version of the famous Puccini opera Madama Butterfly called, simply, Butterfly.

In the first of four Ohio Theatre performances, crowds were so transfixed by the exquisite dancing and the work’s emotional content that not a cough could be heard during the tender close of Act I, and many were already in tears well before the work’s tragic finale. If romance and sentimentality are what have been missing from the BalletMet repertoire - if not ballet in general - this work restores them by the bucketful.

BalletMet Artistic Director David Nixon choreographed Butterfly, in some measure as a vehicle for the talents of his wife, ballerina Yoko Ichino, who grandparents were born in Japan. She was the obvious choice to portray the title role, both for her ethnic heritage and her considerable experience as a dancer.

Nixon’s carefully thought-out choreography also give her plenty to work with, and she uses every gesture to inform the character and her feelings. Ichino’s perfection as the tragic heroine only heightens the impact of this sad story.

It is often enlightening to see a choreographer dance his own choreography, and that is certainly the case with Nixon’s portrayal of Lt. Pinkerton, the infatuated American sailor who steals Butterfly’s heart and, ultimately, much more. Nixon, who came out of retirement to dance opposite his wife, did the right thing. His Pinkerton not only is more complex than one is accustomed to experiencing; he also moves well.

Pinkerton’s Act I pas de deux with Butterfly is not only breathtakingly beautiful: It illustrates the true character of both the lovers. In fact, Butterfly is what one always hopes for in a story ballet: a work in which the movement truly serves the drama.

Certainly a true partner in the creation of this ballet was Gary Sheldon, who rearranged and reorchestrated Puccini’s music. Through Sheldon and Nixon, one can appreciate the composer’s genius anew - and in new ways. Sheldon retained the great, familiar sections of the score, although altered and in some cases reordered; more importantly, he retained its soul.

My one quibble with the ballet score is in the final scene. The logic of returning to Japanese music at this point in the story is impeccable. But, it interrupts what, in the original version, is an almost overwhelming, crescendoing power. Although Ichino’s performance is forceful, the music lets her - and the climax of the drama - down.

Members of BalletMet were put to fine dramatic and balletic use, though primarily in Act I. Catherine Yoshimura has the largest secondary role and she is wonderful as Suzuki, Butterfly’s maid. A dance for two Japanese men in Act I is especially entertaining.

The sets and costumes are lovely. The symbolic use of red in Butterfly’s costumes creates a vivid image.

Last night’s good-sized crowd was on its feet as soon as the last note was heard.