There may still be snow on Lincoln Center Plaza, but the cherry blossoms are in bloom on the stage of New York City Opera, which began its run of “Madama Butterfly” yesterday afternoon. In a sense, the work originated not at La Scala, but in New York. The David Belasco play on which it is based first appeared at the Herald Square Theater on March 5, 1900. Soon thereafter, Puccini saw the staged version in London and immediately recognized it as translatable to his own delicate mode of composition.

I have mixed feelings about this Mark Lamos production. Many of the devices, such as the blood-red American ships and hundreds of petals falling from the rafters, are extremely heavy-handed. But the essentially bare stage conveys the simplicity of the story rather well. There is no paper house, and therefore there are no holes through which Butterfly can watch for her husband. But the movable walls of Michael Yeargan establish an interesting perspective for the audience, which is both inside and outside the action at various key moments.

Conductor Steven Mosteller led a colorful performance. The orchestra was especially eloquent in the louder, dramatic sections, and in a heartrending “vigil theme.” Secondary characters were mostly serviceable, but two stood out significantly as more than that. Jennifer Dawn Hines was excellent as Suzuki, employing her deep and clear mezzo for lump-in-the-throat poignancy. Kyungmook Yum was extremely lyrical in the small but vital role of Yamadori.

Gerard Powers, who did such a good job earlier this season in “Rondine,” was a sweet-voiced Pinkerton. He sometimes seemed unable to project sufficiently, but his higher register and his highest notes were always delivered with confidence and musicality, his fluidity of line impeccable. City Opera has come a long way: There have been seasons in which a love duet like this “Viene la sera” would have been an impossible dream.

His partner in this gorgeous scene was the superb Lori Phillips. She has an exceptionally powerful voice and uses it expertly. It is the type of dramatic soprano that can wander into the darker regions; the perfect instrument for the introspective passages in this difficult role. Ms. Phillips has already sung Wagnerian parts as well as the Kostelnicka in Janacek’s “Jenufa,” so she has the credentials to delve deeply into the vocal elements of Cio-Cio-San. Perhaps her acting is not sublime as of yet, but that will come with time.

The second act is the make or break section of “Madama Butterfly.” It is pretty much all her. Ms. Phillips carried the day wonderfully, her “Un bel di” stunningly beautiful. It has been a while since I have been able to use the expression “brought the house down.” This performance as a whole was the best purely vocal effort of the entire City Opera season.

This was not the first “Butterfly” of the year on the Plaza. That other company mounted it during their opening week. I was at that event and there is no comparison between the two female protagonists. Maybe opera shouldn’t be a competition, but of course it is, and Lori Phillips is by far the superior of Kallen Esperian. Next season she will reprise her “Turandot” at City Opera; just try to keep me away.

Perhaps before I write these last sentences I should emphasize that Mr. Powers sang very well in this performance. But to really judge the dramatic effectiveness of these two fine young principals, think about this. When Pinkerton came out for his curtain call, he was roundly and heartily booed. Judging by his reaction, Mr. Powers realized that he had received a compliment.

“Madama Butterfly” will be performed again March 17 & 22 at 7:30 p.m.; March 25 and April 9, 15 & 23 at 8 p.m.; and March 27 and April 2 at 1:30 p.m. (Lincoln Center, 212-870-5630).