Madama Butterfly [SEP] based on
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Madama Butterfly


Madama Butterfly (; "Madam Butterfly") is an opera in three acts (originally two) by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa. It is based on the short story "Madame Butterfly" (1898) by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll and on the semi-autobiographical 1887 French novel "Madame Chrysanthème" by Pierre Loti. Long's version was dramatized by David Belasco as the one-act play "Madame
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Madama Butterfly International Concours in Nagasaki


"Madama Butterfly International Concours in Nagasaki" is a singing competition for Soprano, Mezzo-soprano, Tenor, and Baritone held in Nagasaki-city, Japan. The Hosts: Nagasaki City Government: Nagasaki International Tourism & Convention Association: The Working Committee Office of "Madama Butterfly International Concours in Nagasaki" Celebrating 100 years since the first performance in Milan, Italy, "Madama Butterfly International Concours in Nagasaki" (Biennale) started where the original story of "Madama Butterfly" was written as its background. Soprano is required
21041755
Amarilli Nizza


in Mallorca (Tosca, 2005), in Oviedo "Un ballo in maschera" at Teatro Campoamor in 2009, and at Oviedo Opera "Madama Butterfly" in 2014, in Siviglia ("Madama Butterfly" in 2012), in Pamplona ("Madama Butterfly", 2012 ) and at Gran Teatre del Liceu in Barcelona ("Madama Butterfly" in 2013 and "Il Tabarro" in a concert version, 2014). In Germany she made her debut in 2003 as "Aida" at Deutsche Oper in Berlin,
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Natalia Rom


de Montréal ("Aïda"), Dallas Opera ("Pagliacci"), Savonlinna Opera Festival ("Aïda"), Deutsche Oper Berlin ("Aïda"), Arena di Verona ("Aïda"), Teatro Filarmonico in Verona ("Madama Butterfly"), Athens International Festival ("Aïda"), Municipal Theater of Santiago ("Eugene Onegin"), Opéra de Nice ("Pagliacci"), Teatro di San Carlo ("Madama Butterfly"), Ludwigshafen Festival ("Madama Butterfly
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Natalia Rom


at the house. She returned to New Orleans in 1989 for "Aïda", then Tatiana (with Yuri Mazurok) in 1995. In New York, she studied under Dick Marzollo. She also appeared with Opera North (her European debut, in Andrei Șerban's "Il trovatore", then "La traviata", and "Madama Butterfly"), Scottish Opera ("Madama Butterfly"), Lyric Opera of Chicago ("Madama Butterfly"), Teatro Massimo in Palermo ("Tosca"), Opéra
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Madama Butterfly


" ("Quiet everyone"). Everything is ready, and Goro tells everyone to be quiet. The Commissioner conducts the brief ceremony and witnesses Pinkerton and Butterfly sign the official papers. 11. "Madama Butterfly" ("Madam Butterfly"). The wedding celebration begins, and everyone wishes happiness to the new couple. After a short while, Sharpless pleads with Pinkerton not to be cruel, and he leaves with the Commissioner and the Registrar. Pinkerton, Butterfly and their guests continue the celebration with many toasts.
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Elaine Malbin


also her first appearance at the Scottish Opera where she sang Madama Butterfly. From 1963-1964 Malbin toured the United States with the San Carlo Opera Company portraying the roles of Madama Butterfly and Mimi. She also made her first appearance at the Houston Grand Opera in 1967 singing Madama Butterfly. That same year she portrayed her first opera role with the San Francisco Opera, Leila in Bizet's "Les Pêcheurs de Perles". In 1967 Malbin met and married her husband, George Emanuel, and a year later they had their
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M. Butterfly


M. Butterfly is a play by David Henry Hwang. The story, while entwined with that of the opera Madama Butterfly, is based most directly on the relationship between French diplomat Bernard Boursicot and Shi Pei Pu, a Peking opera singer. The play premiered on Broadway in 1988 and won the 1988 Tony Award for Best Play. "M. Butterfly" premiered at the National Theatre, Washington, DC, on February 10, 1988. The play opened on Broadway at the Eugene O'Neill Theatre on March 20, 1988, and closed
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Le ménage moderne de Madame Butterfly


for a mainstream feature film of the day. It includes location shots of an Asian street full of rickshaws and a sailing ship on the Pacific Ocean. The costumes and sets are almost lavish. The film has a lengthy and complex plot, and includes intertitles. The film is based on the opera "Madama Butterfly" by Giacomo Puccini. Lt. Pinkerton is a strapping American sailor in Japan. He marries Madame Butterfly and ravishes her while Butterfly's maid, Soosooky (or Soussaki) watches and masturbates. Pinkerton leaves.
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Madame Butterfly (1915 film)


Madame Butterfly is a 1915 silent film directed by Sidney Olcott. The film is based upon a John Luther Long short story and the opera "Madama Butterfly". Reportedly, leading actress Mary Pickford fought constantly with Sidney Olcott about the character. Olcott wanted Pickford to be more reserved and thought she was "too Americanized to play a Japanese". The film takes place in Japan in 1904. Lieutenant Pinkerton (Marshall Neilan) marries Cho-Cho-San 'Butterfly' (Mary Pickford), a 15-year-old Japanese
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Tamaki Miura


Missouri, in October that year. Positive reviews led to further performances in both Madama Butterfly and Mascagni's "Iris" in New York City, San Francisco and Chicago, before returning to London to work with the Beecham company. In 1918 she returned to the United States where for two seasons she performed both "Madama Butterfly" and André Messager's "Madame Chrysanthème". The latter was not well-received, being viewed as a warmed-over "Butterfly". In 1920 she was a guest performer at opera
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Madame Butterfly (1932 film)


Madame Butterfly is a 1932 American pre-Code drama film directed by Marion Gering, based on David Belasco's play and the story by John Luther Long. It was adapted by Josephine Lovett and Joseph Moncure March. It stars Cary Grant and Sylvia Sidney. Music is credited to W. Franke Harling (although much of it is an adaptation of Giacomo Puccini's opera "Madama Butterfly"), cinematography by David Abel, art direction by Ward Ihnen. It premiered on December 30, 1932. At Goro's Tea House,
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Madame Butterfly (short story)


Theatre, where it played to full houses. In 1988, David Henry Hwang wrote a play entitled "M. Butterfly" which is a commentary on the racist stereotypes in the Puccini opera. Despite the tragic tone of the play, Hwang obviously satirizes Western ignorance about Asia and the fantasy of the passive Asian woman. David Cronenberg adapted the play into a film in 1993. The production of the play caught the attention of Giacomo Puccini, who would compose the Orientalist opera "Madama Butterfly" to a libretto based on Belasco's
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Gilda dalla Rizza


, "Louise", "Francesca da Rimini" (with Aureliano Pertile as Paolo), "La fanciulla del West", "L'amore dei tre re" (conducted by Victor de Sabata), "Madama Butterfly", "La vida breve" (Italian premiere, 1934), etc. Dalla Rizza appeared, in 1920, at Covent Garden, in "Manon Lescaut", "Madama Butterfly", "La bohème", "Suor Angelica", "Gianni Schicchi", and "Tosca".
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Juan Pons


the baton of Muti. In 2002 he appeared in "Sly" and "Rigoletto" at the Metropolitan Opera House, in "Madama Butterfly" in Tokyo under the baton of Myung-whun Chung and in Simon Boccanegra at the Opéra Bastille of Paris. His commitments for 2003 included: "Madama Butterfly" at the Teatro Comunale in Florence, "Andrea Chénier" and "Simon Boccanegra" at the Teatro Regio di Torino, "La Gioconda" and "Don Carlos" at the Zurich Opera, "Otello" at
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Amarilli Nizza


" (opera), in 2008 "Madama Butterfly" at Terme di Caracalla and "Amica", and in 2010 Margherita / Elena in "Mefistofele". At Teatro Verdi (Trieste) in 2003 she was Nedda in "Pagliacci" conducted by Massimo de Bernart, in 2004 Anna in "I cavalieri di Ekebù", in 2005 Anna Glavari in "The merry widow" with Vittorio Grigolo, in 2007 "Suor Angelica" and "Manon Lescaut" conducted by Daniel Oren. In 2014 again "Madama Butterfly"
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Audrey Schuh


with the Houston Grand Opera ("Madama Butterfly"), the New England Opera Theatre ("La traviata" and "La rondine"), the Jackson Opera Guild ("Pagliacci", then "Die Fledermaus" with Virginia MacWatters) and the San Antonio Opera Guild ("Markheim"). In 1967, she appeared at the New York City Opera for a memorable season at its new theatre at Lincoln Center: "La bohème" (as Mimì), "Madama Butterfly" (directed by Frank Corsaro
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Brian Macdonald (choreographer)


Music Man" in 1996, ending 17 seasons with the Stratford Festival. Macdonald's debut as an opera director was "Cosi fan tutte" by Wolfgang Mozart in 1972. This was followed by Massenet's "Cendrillon" in 1979 and "Madama Butterfly" in 1990. His final work was a revival his 1990 staging of "Madama Butterfly" with the Canadian Opera Company in 2014. The show was praised for the talent of the cast in their vocal abilities. The show was criticised for a lack of emotional connection between
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Antoinette Halloran


in Mozart's "Così fan tutte", Gianetta in Gilbert and Sullivan's "The Gondoliers" and Josephine in "H.M.S. Pinafore", Ellen in Delibes' "Lakmé". On 14 January 2009, she stepped in as understudy for Cheryl Barker to sing Cio-Cio San in "Madama Butterfly". For Melbourne Opera she has sung Cio-Cio San in "Madama Butterfly", Donna Elvira in Mozart's "Don Giovanni", Pamina in "The Magic Flute" and Fiordiligi in "Così fan tutte
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Corinne Malvern


Savage New English Grand Opera Company in the American premiere of Puccini's opera Madama Butterfly in the role of the child "Dolore" ("Sorrow," or "Trouble" in English), Butterfly's son, in front of an audience that included the Viscount Aoki, Japanese Ambassador to the United States, and John Luther Long, author of the novella on which the opera was based, on October 15, 1907, and subsequently toured with the production across the United States and Canada. By 1910 the two sisters
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Irene Salemka


the Montreal Festivals as Juliette in Gounod's "Roméo et Juliette"; her debut at the Canadian Opera Company was in the title role in "Madama Butterfly" in 1953. She further studied singing with Hans Löwlein in Germany. From 1956 to 1964 she was a leading soprano with Frankfurt State Opera, where she appeared in operas including "Madama Butterfly", "Pelléas et Mélisande" (as Mélisande), "Gianni Schicchi" (Lauretta), "Der Rosenkavalier" (Sophie) and "The Magic Flute"
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Adriana Guerrini


at the Teatro dell'Opera di Roma in "Andrea Chenier, Ballo in Maschera, Madama Butterfly," and "Forza del Destino". By now she was an established and highly esteemed performer. Her greatest triumphs occurred in 1945-1948 at the Teatro San Carlo in Naples, where she sang in "Ballo in maschera", "Forza del destino", "Cavalleria rusticana", "Tosca", "Madama Butterfly, Traviata, Manon, Manon Lescaut, Faust, Mefistofele, Miseria e Nobilta`, La Boheme
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Festival Puccini


extraordinary careers. In 2000, 70th anniversary of Forzano and Mascagni's initiative, the 46th Puccini Festival presented two major new productions, "Madama Butterfly" and "Tosca". In addition, the program included Puccini's first opera, "Le Villi", presented in concert, with performances by Katia Ricciarelli and Josè Cura. In 2004 the Puccini Festival celebrated its 50th anniversary by a season featuring two great events: one was a new production of "Madama Butterfly" celebrating the centenary of its première in Brescia on 28
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Zheng Zhou


Zhou made his debut at the Metropolitan Opera on 5 October 1993 as Yamadori in "Madama Butterfly". He returned in the 1995–96 season as Ping in "Turandot" and again as Yamadori in "Madama Butterfly". During the 1990s Zhou also began his association with the works of Philip Glass. He sang Ludovic in the American premiere of "La Belle et la Bête" in 1994 and also appears on the premiere recording of the work. In 1995 he sang the role of Abraham Lincoln in the revival of "the
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Kallen Esperian


both singing Manrico. She also sang Cio Cio San in "Madama Butterfly" in 2004, a role she first performed for the Nederlandse Opera in Amsterdam in 2002 as well as for New Orleans Opera, Opera Carolina in Charlotte, and the Nashville Opera as well as concerts in Johnstown, Memphis, and Mexico City. In 2004 and 2005 Esperian sang Cio Cio San with the Metropolitan Opera of New York in the fall and winter season's performances of "Madama Butterfly". In 2007, Kallen recorded a CD of rock
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Opera Lyra Ottawa


Bohème" 1988, Turandot 2010), Louis Quilico ("Rigoletto" 1994), Liping Zhang ("Madama Butterfly" 2004), Russell Braun (Faust 1996, "Eugene Onegin" 2008), James Westman ("Le Nozze Di Figaro" 2009 and 2015, "Madama Butterfly" 2014) and Michael Schade ("Manon" 2010). Opera Lyra Ottawa is a registered charity, governed by a volunteer Board of Directors with an Advisory Council and an Executive Committee. Its Patron is Beverley McLachlin, Chief
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Amarilli Nizza


Festival Puccini in Torre del Lago in 2010 she debuted "Madama Butterfly" and came back to this festival in 2014 to perform "Suor Angelica" and Giorgetta in "Il Tabarro". For the first time she sang in Naples in 2006, thus performing Desdemona in "Otello" at Teatro San Carlo; again in 2006 she performed "Madama Butterfly" at Arena Flegrea, where she returned in 2009 for the same role. At Teatro Regio in Turin in 2008 she performed Fidelia in "Edgar", aired by RAI
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Amarilli Nizza


Italian television, and in 2014 sang Cio-Cio-San in "Madama Butterfly", which was aired live HD at cinemas around the world, in specific over eighty cinemas in Italy and on Rai Radio 3. This opera was aired afterwards on Rai 5 TV with an audience of 97.000 people. In January 2015 she returned in Turin at Teatro Regio to perform the main character in "Suor Angelica". In 2011 she debuted at Royal Opera House in London as Cio-Cio-San in "Madama Butterfly"
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Madama Butterfly


for rehearsals. Puccini revised the opera, splitting the second act in two, with the Humming Chorus as a bridge to what became Act III, and making other changes. Success ensued, starting with the first performance on 28 May 1904 in Brescia. "Madama Butterfly" has become a staple of the operatic repertoire around the world, ranked 6th by Operabase; Puccini's "La bohème" and "Tosca" rank 3rd and 5th. Puccini wrote five versions of the opera. The original two-act version, which
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James Melton


off in 1938 when he appeared with the Cincinnati Zoo Opera Company as Pinkerton in Puccini's "Madama Butterfly" and also with the St. Louis Opera Company as Alfredo in Verdi's "La Traviata". In 1939, he sang Pinkerton for his debut with the Philadelphia La Scala Opera Company with Annunciata Garrotto as Cio-cio-san. He worked with the Chicago Civic Opera from 1940 to 1942, appearing with Helen Jepson in "Madama Butterfly", with Lily Pons in Donizetti's "Lucia di Lammermoor", with
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Elaine Malbin


Opera singing the soprano solos in Carl Orff's "Carmina Burana". In 1955, for "NBC Opera Theatre", she performed the title role in Puccini's "Madama Butterfly". In 1961 Malbin made her debut with the Opera Company of Boston and sang for the first time with the Philadelphia Grand Opera Company as Madama Butterfly. In 1962 she made her debut with the Pittsburgh Opera and sang the title role in Massenet's "Manon" for the first time with the New York City Opera. That year was
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Daniel Oren


fall of 1996 he opened with Madama Butterfly at the Teatro Comunale in Florence and then to San Carlo in Naples with Tosca, with Luciano Pavarotti. He also conducted Tosca at the Metropolitan in New York, Adriana Lecouvreur in Rome, Naples; Manon, Werther and Nabucco in Trieste, Il Trovatore in Palermo, Aida and Nabucco at the Arena di Verona, Manon Lescaut, Madama Butterfly and the Sleepwalker in Florence. He conducted Carmen at the Royal Opera House in Covent Garden’s opera, Andrea Chenier at the Carlo Felice in
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Licia Albanese


the world, especially for her performances in "Carmen", "L'amico Fritz" and "Madama Butterfly" in Italy, France and England. Albanese made her Metropolitan Opera debut on February 9, 1940, in the first of 72 performances as "Madama Butterfly" at the old Metropolitan Opera House in spite of the fact that after the December 7, 1941 Pearl Harbor attack, performances of that opera were banned in the U.S. until the end of World War II. Her success was instantaneous, and Albanese remained at the
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Oliviero De Fabritiis


until 1980. He conducted many operas with Beniamino Gigli, with whom he also made famous recordings; "Andrea Chénier", "Tosca", "Madama Butterfly". In 1951 De Fabritiis conducted a series of performances in Mexico City with Maria Callas. In 1956, he conducted the television production of "Madama Butterfly", which launched Anna Moffo's career. That same year he conducted the soundtrack of a filmed "Tosca" with Maria Caniglia (voicing the on-screen Franca Duval), and Franco Corelli.
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Kristine Opolais


the title role of another opera, Puccini's "Madama Butterfly", and had sung it there for the first time the previous evening. She hadn't fallen asleep until about 5am, but was woken by a 7:30am phone call asking her to sing again at the 1pm matinee, which was being broadcast around the world as part of the Met's Live in HD series. Opolais performed the part again at the Metropolitan Opera's 2014/15 season production. Opolais' singing in "Madama Butterfly" at the Met has
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Adam Spreadbury-Maher


adapted by Tommy Murphy and based on the novel by Timothy Conigrave. Further 2010 directing work included the UK premiere of Hannie Rayson's landmark Australian play "Hotel Sorrento", the rarely revived first play of Peter Gill's "The Sleepers Den," the world premiere of Edward Bond's "There Will Be More", and ended 2010 with his operatic directing debut in a new version of "Madama Butterfly" retitled "Bangkok Butterfly", which he adapted into English for OperaUpClose. The production ran for four months at
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Giacomo Puccini


crash, together with another person who came to investigate, saved Puccini from the wreckage. The injury did not heal well, and Puccini remained under treatment for months. During the medical examinations that he underwent it was also found that he was suffering from a form of diabetes. The accident and its consequences slowed Puccini's completion of his next work, "Madama Butterfly". The original version of "Madama Butterfly", premiered at La Scala on 17 February 1904 with Rosina Storchio in the title role. It was initially
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Cristina Gallardo-Domâs


Cristina Gallardo-Domâs is a soprano, born in Santiago, Chile, who frequently performs in operas by Puccini. Gallardo-Domâs made her debut as Madama Butterfly in 1990 at the Municipal Theatre of Santiago and, three years later, began performing in opera houses in Europe, making her La Scala debut in 1993 in "La Rondine". Gallardo-Domâs' many Puccini performances include: "Turandot" and "Madama Butterfly" at the Metropolitan Opera, Vienna State Opera, and Royal Opera House; "La bohème
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John Barbirolli


"Aida" and "Madama Butterfly". He conducted the BNOC frequently over the next two years, and made his debut at the Royal Opera House, Covent Garden, with "Madama Butterfly" in 1928. The following year he was invited to conduct the opening work in Covent Garden's international season, "Don Giovanni", with a cast that included Mariano Stabile, Elisabeth Schumann and Heddle Nash. In 1929, after financial problems had forced the BNOC to disband, the Covent Garden management set up a touring company
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Mariusz Treliński


Boris Vian at the Warsaw Autumn Festival hosted by the Grand Theatre in Warsaw. In 1999, he directed Puccini's "Madama Butterfly" with the stage design by Boris Kudlička with whom he started his artistic cooperation. Since then, he has been regarded as one of the most original as well as controversial opera directors in Poland. In 2001, his production of "Madama Butterfly" was staged at the Washington Opera at the special request by Placido Domingo. Treliński was awarded the 2006 Witkacy Prize - Critics' Circle Award.
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He Hui


Dorabella. Her first operatic acclaim in Europe came when performing the role of Cio Cio San in Puccini's Madama Butterfly. She was also chosen to sing Cio Cio San in the Italian production of Madama Butterfly which celebrated the centenary of the opera's first performance and which was seen throughout Italy. She was the first Chinese soprano to assume the Verdian role of Aida, she debuted this role in Vienna (2008), New York (2010), and Chicago (2012). She has remained associated with this role and
21340177
Emilio Venturini


in Puccini's "Madama Butterfly" at La Scala. In 1905, Venturini joined the roster of the Opéra National de Paris. In 1907 he moved to London to sing with Royal Opera at Covent Garden. In 1910, Venturini became a member of the Chicago Opera Association where he performed roles until the summer of 1917. While in Chicago he sang mostly character parts but did sing some major roles like Turiddu in "Cavalleria rusticana", Edgardo in "Lucia di Lammermoor" and the Pinkerton in "Madama Butterfly".
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Antonietta Stella


Cio-Cio-San in "Madama Butterfly", etc. In 1955, she made her debuts at the Vienna State Opera, the Royal Opera House in London, the Palais Garnier in Paris, La Monnaie in Brussels, the Lyric Opera of Chicago, and the following year, at the Metropolitan Opera in New York, where she successfully sang until 1960. In 1958 she had a particular success in a new Metropolitan production of Madama Butterfly designed in the manner of Japanese woodblock prints. Her assimilation of Japanese physicality and
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Bella Alten


to 1909, Alten went to Braunchweig, Germany where she created Madama Butterfly for that city. She also appeared in Bayreuth. Her only recordings date from this period; three selections from "Madama Butterfly" and the Ballatella from "Pagliacci" recorded for the Gramophone Company and all sung in German. Alten also appeared on Broadway as Maid Marian in Reginald De Koven's "Robin Hood" with Wallace Hyde and Florence Wickham. This opened May 6, 1912 at the New Amsterdam Theatre and ran for 64 performances. The popular
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Evelyn Millard


's play "Madame Butterfly", which opened on 28 April 1900 at the Duke of York's Theatre and which ran for sixty-eight performances. The cast included Allan Aynesworth, Claude Gillingwater and J. C. Buckstone. This production was seen by the composer Giacomo Puccini, who is said to have based his opera "Madama Butterfly" on it. On 19 July 1900 Millard married Robert Porter Coulter (1862–1915) at St. George's church in Hanover Square in London. A partner in the clothing firm of Scotch House,
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Cesar Corrales


the age of 4 he appeared in the Royal Winnipeg's production of Madama Butterfly, At age 4 he performed with the Royal Winnipeg Ballet in "Madama Butterfly". Soon afterwards he appeared in the Jennifer Lopez movie, Shall We Dance. In 2008 he won first place in Coupe Quebec gymnastics competition. That same year he joined National Ballet of Canada's school and trained there until he was cast in the starring role of the Chicago premiere of Billy Elliot the musical. He performed alongside the Tony-award nominated actress Emily
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Madama Butterfly


how much she loves Pinkerton. One of her cousins says that Goro first offered Pinkerton to her, but she refused. Butterfly's relatives say that he is like a king, so rich and so handsome, and then, at a sign from Butterfly, all her friends and relatives bow to Pinkerton and walk out to the garden. Pinkerton takes Butterfly's hand and leads her into the house. 8. "Vieni, amor mio!" ("Come, my love!"). From her sleeve, Butterfly
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Madama Butterfly


." Pinkerton claps his hands, and the three servants enter and close up the house. Then Suzuki helps Butterfly dress for her wedding night. Pinkerton watches Butterfly, as she watches him, but her happiness is tempered, as "still the angry voice curses me. Butterfly is renounced – renounced but happy". 14. "Bimba dagli occhi" ("Sweetheart, with eyes..."). (The long duet continues.) Pinkerton admires the beautiful Butterfly and tells her, "you have not yet told
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Madama Butterfly


quietly discuss Butterfly's blindness. Goro whispers that Pinkerton's ship is expected to arrive soon, and Sharpless explains that Pinkerton is too embarrassed to meet Butterfly and has asked Sharpless to handle it. Yamadori, offended, departs with his grand entourage and Goro. Sharpless remains, sits next to Butterfly, and takes the letter out of his pocket once more. 20. "Ora a noi." ("Now for us."). Sharpless begins to read Pinkerton's letter to Butterfly: "My friend, will
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Madama Butterfly


you find that lovely flower of a girl…" Butterfly cannot control her happiness, as he continues, "since that happy times, three years have passed, and Butterfly perhaps does not remember me anymore." Butterfly looks at Suzuki and says, "I do not remember him? Suzuki, you tell him!" Sharpless continues, "If she still loves me, if she awaits me, I place myself in your hands so that you may carefully and considerately prepare her …" Butterfly exclaims, "He
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La fanciulla del West


La fanciulla del West ("The Girl of the West") is an opera in three acts by Giacomo Puccini to an Italian libretto by and , based on the play "The Girl of the Golden West" by the American author David Belasco. "Fanciulla" followed "Madama Butterfly", which was also based on a Belasco play. The opera has fewer of the show-stopping highlights that characterize Puccini's other works, but is admired for its impressive orchestration and for a score that is more melodically integrated than
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Madama Butterfly


me that you love me." Butterfly replies that she does not want to say the words, "for fear of dying at hearing them!" She tells him that now she is happy. 15. "Vogliatemi bene" ("Love me, please."). (The long duet concludes.) Butterfly pleads with Pinkerton to "Love me, please." She asks whether it is true that, in foreign lands, a man will catch a butterfly and pin its wings to a table. Pinkerton
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Madama Butterfly


fun and partly not to die from the excitement of the first meeting. Then he will speak the names he used to call her: "Little one. Dear wife. Orange blossom." Butterfly promises Suzuki that this will happen. Suzuki departs, as Sharpless and Goro arrive in the garden. 18. "C'e. Entrate." ("She is there. Go in."). Sharpless greets her, "Excuse me, Madam Butterfly." Without looking to see who is speaking, Butterfly corrects him
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Madama Butterfly


). Suzuki and the baby are asleep, but Butterfly remains standing and waiting. Distant voices are heard from the bay. Sailors are singing, "Heave-ho! Heave-ho!" The sun rises and fills Butterfly's house with light. 29. "Già il sole!" ("The Sun's come up!"). Suzuki awakes and is very sad. Butterfly tells her that "He will come." Then she carries her sleeping child into the other room and tells him to sleep
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Wednesday Theatre


24 July 1968)br 31. Lysistrata (aired 31 July 1968)br 32. "The Shifting Heart" (aired 7 Aug. 1968). Based on the play by Richard Beynonbr [Five-week hiatus]br 33. Dublin One (aired 18 Sep. 1968)br 34. Eugene Onegin (opera) (aired 25 Sep. 1968)br 35. Pagliacci (opera) (aired 2 Oct. 1968)br 36. Madame Butterfly (opera) (aired 9 Oct. 1968)br 37. Peter Grimes (opera) (aired 16 Oct. 1968)br 38. Shot Gun (aired 23
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Madama Butterfly


the marriage each month". Sharpless is critical of Pinkerton's beliefs, but they stand and agree, "America forever". Pinkerton tells Goro to bring Butterfly to him. When Goro leaves, Sharpless asks Pinkerton if he is really in love. 4. "Amore o grillo" ("Love or fancy"). Pinkerton admits to Sharpless that he does not know whether he is really in love or just infatuated, but he is bewitched with Butterfly's innocence, charm and beauty; she is like a butterfly
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Madama Butterfly


all the guests to leave with him, saying to Butterfly, "You have renounced us, and we renounce you." All the guests shout their renunciation as they rush away. The night is falling. Butterfly is weeping. Pinkerton consoles her. 13. "Bimba, Bimba, non piangere" ("Sweetheart, sweetheart, do not weep"). (This begins the famous long love duet, which ends act 1.) Pinkerton tells Butterfly that "All your relatives and all the priests in Japan are
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Madama Butterfly


to the day when I will have a real wedding and marry a real American bride." Goro re-enters to tell Pinkerton and Sharpless that Butterfly's friends are coming. 5. "Ancora un passo" ("One step more"). Butterfly can be heard guiding her friends to the top of the hill, jubilantly telling them that "Over land and sea, there floats the joyful breath of spring. I am the happiest girl in Japan, or rather in the world." Butterfly and her friends
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Madama Butterfly


12. "Cio-Cio San!" ("Cio-Cio San"). The toasts are interrupted by an angry voice offstage, saying "Cio-Cio San! Cio-Cio San! You are damned." Butterfly's uncle, the Bonze, has discovered that Butterfly has renounced her ancestral religion, and he has arrived to deliver his curse. He stands over Butterfly, shouting his curses at her, when Pinkerton intervenes to stop him. The Bonze is shocked at the American, and he orders
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Madama Butterfly


not worth the tears from your loving, beautiful eyes." Butterfly smiles through her tears, "You mean that? I will not cry any more. And I do not worry about their curses, because your words sound so sweet." They hear Suzuki offstage, saying her evening prayers. 13A. "Viene la sera" ("Night is falling"). (The long duet continues.) Pinkerton tells Butterfly that the "Night is falling", and Butterfly answers that "with it comes darkness and peace
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Madama Butterfly


gods are fat and lazy, and that the American God will answer quickly, if only He knows where they are living. Suzuki tells Butterfly that their money has almost run out and, if Pinkerton does not return quickly, they will suffer in a bad way. Butterfly assures Suzuki that Pinkerton will return, because he took care to arrange for the consul to pay the rent and to fit the house with locks to keep out the mosquitoes, relatives and troubles. Suzuki tells Butterfly that foreign husbands never return to their Japanese
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Madama Butterfly


is coming! When? Soon! Soon!" Sharpless cannot bear to continue. He puts the letter away, muttering to himself, "that devil Pinkerton!" Sharpless asks her gently, "Butterfly, what would you do if he never returned?" Butterfly is shocked. 21. "Due cose potrei far" ("Two things I could do"). Butterfly cries that, if Pinkerton never returned, she would go back to entertaining people with her songs, or, better, die. Sharpless
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Madama Butterfly


and then she sees Sharpless and the woman in the garden. She tells Suzuki, "Suzuki, you are so kind. Do not cry. You love me so much. Tell me softly, just 'yes' or 'no' … Is he alive?" When Suzuki answers, "yes", Butterfly understands that Pinkerton is not coming for her and that Kate is his new wife. Butterfly realizes that she must give up her son, and Kate asks her forgiveness. Finally, Butterfly tells Kate, "
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Madama Butterfly


I will give my child to her only if he comes himself. In half an hour, come up the hill again." Suzuki escorts Kate and Sharpless out, and Butterfly falls weeping. 33. "Come una mosca" ("Like a little fly"). Butterfly stands, sees Suzuki and tells her to close up the house, because it is too light and spring-like. Then she orders her to go to the other room where the child is playing. Butterfly then kneels before the statue of
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Madame Butterfly (play)


Madame Butterfly: A Tragedy of Japan is a play in one act by David Belasco adapted from John Luther Long's 1898 short story "Madame Butterfly". It premiered on March 5, 1900, at the Herald Square Theatre in New York City and became one of Belasco's most famous works. The play and Long's short story served as the basis for the libretto of Puccini's 1904 opera, "Madama Butterfly". The title role was originally played in New York and London by Blanche Bates; in 1900–01 in
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Madama Butterfly


he had left and asks Sharpless to tell him. From the hill house, Butterfly sees Pinkerton's ship arriving in the harbour. She and Suzuki prepare for his arrival, and then they wait. Suzuki and the child fall asleep, but Butterfly stays up all night waiting for him to arrive. Suzuki wakes up in the morning and Butterfly finally falls asleep. Sharpless and Pinkerton arrive at the house, along with Pinkerton's new American wife, Kate. They have come because Kate has agreed to raise the child. But
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Madama Butterfly


He has forgotten me?"). Butterfly shows Sharpless her child, and Sharpless asks if Pinkerton knows. Butterfly replies, "No. The child was born when he was away in his big country." She asks Sharpless to write and tell him that his son waits for him. "And then we shall see if he does not hurry over land and sea!" Butterfly kneels in front of her son and asks him, "Do you know that that gentleman had dared to think that your mother would take
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Madama Butterfly


, Butterfly says that, "one fine day", they will see a puff of smoke on the far horizon. Then a ship will appear and enter the harbor. She will not go down to meet him but will wait on the hill for him to come. After a long time, she will see in the far distance a man beginning the walk out of the city and up the hill. When he arrives, he will call "Butterfly" from a distance, but she will not answer, partly for
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Madama Butterfly


out about her conversion, comes to the house, curses her and orders all the guests to leave, which they do while renouncing her. Pinkerton and Butterfly sing a love duet and prepare to spend their first night together. Three years later, Butterfly is still waiting for Pinkerton to return, as he had left shortly after their wedding. Her maid Suzuki keeps trying to convince her that he is not coming back, but Butterfly will not listen to her. Goro, the marriage broker who arranged her marriage, keeps trying
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Madama Butterfly


to marry her off again, but she does not listen to him either. The American consul, Sharpless, comes to the house with a letter which he has received from Pinkerton which asks him to break some news to Butterfly: that Pinkerton is coming back to Japan, but Sharpless cannot bring himself to finish it because Butterfly becomes very excited to hear that Pinkerton is coming back. Sharpless asks Butterfly what she would do if Pinkerton were not to return. She then reveals that she gave birth to Pinkerton's son after
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Madama Butterfly


fluttering around and then landing with silent grace, so beautiful "that I must have her, even though I injure her butterfly wings". Sharpless tells Pinkerton that he heard Butterfly speak, when she visited the consulate, and he asks Pinkerton not to pluck off her delicate wings. However, Pinkerton tells Sharpless that he will do "no great harm, even if Butterfly falls in love." Sharpless takes his glass of whisky and offers a toast to Pinkerton's family at home, to which Pinkerton adds, "and
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Madama Butterfly


enter the garden. She recognizes Pinkerton and points him out to her friends, and all bow down before him. 6. "Gran ventura" ("May good fortune attend you"). Butterfly greets Pinkerton, who asks about her difficult climb up the hill. Butterfly says that, for a happy bride, the wait is even more difficult. Pinkerton thanks her for the compliment but cuts her off as she continues to compliment him further. Butterfly tells Pinkerton and Sharpless that her family is from Nagasaki and was once
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Madama Butterfly


sees Yamadori and asks him if he is not going to give up pursuing her, because "You have already had many different wives." Yamadori admits that he married all of them, but says that he divorced them too. In the meantime, Sharpless gives up trying to read Pinkerton's letter to Butterfly, and he puts the letter back in his pocket. Goro tells Sharpless that Butterfly thinks that she is still married. Butterfly hears this and says, "I do not I am; I am." When
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Madama Butterfly


, while she too falls asleep. Suzuki waits in the front room and hears a knock at the door. Pinkerton and Sharpless have arrived, but Pinkerton tells Suzuki not to wake Butterfly and asks how Butterfly knew that he had arrived. Suzuki tells him that, for the last three years, Butterfly has studied every ship that entered the port. Sharpless tells Pinkerton, "Did I not tell you so?" Suzuki sees a strange woman in the garden, learns from Sharpless that she is Pinkerton's American wife and collapses
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Madama Butterfly


Butterfly tells her child not to feel sorrow for his mother's desertion but to keep a faint memory of his mother's face. She bids him farewell, seats him on the floor and blindfolds him gently. She gives him a miniature American flag to wave in greeting to his father, which he does, blindfolded, throughout the following action. Butterfly takes the knife and walks behind the screen. The knife clatters to the floor as Butterfly staggers from behind the screen with a scarf around her neck. She kisses her child
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Madama Butterfly


admits that it is true but explains, "Do you know why? So that she will not fly away." He embraces her and says, "I have caught you. You are mine." She replies, "Yes, for life." 16. "E Izaghi ed Izanami" ("And Izanagi and Izanami"). As the curtain opens, three years have passed. Suzuki kneels in front of a Buddha, praying that Butterfly will stop crying. Butterfly hears and tells her that the Japanese
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Madama Butterfly


! He has returned, and he loves me!" She tells Suzuki to prepare a fragrant bath and asks how long she will have to wait for him. "An hour? Two hours, perhaps? The house must be filled with flowers. Everywhere. As the night is full of stars!" Butterfly tells Suzuki to gather all the flowers. 25. "Tutti i fior?" ("All the flowers?"). Suzuki asks, "All the flowers?" Butterfly says yes, all the
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Madama Butterfly


Buddha and prays to her ancestral gods. She rises, takes down her father's knife, kisses the blade, and reads the inscription. 34. "Con onor muore" ("To die with honor"). Butterfly reads the inscription on her father's knife: "Who cannot live with honor must die with honor." 35. "Tu? Tu? Piccolo iddio!" ("You? You? My little god!"). Butterfly's child enters, but Suzuki does not.
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Madama Butterfly


rejected by everyone. In a rage, Butterfly runs to the shrine, seizes the dagger and threatens to stab him, "You are lying! You are lying! Say that again, and I will kill you!" Goro flees. Suzuki takes the child to the other room. Butterfly replaces the dagger, goes to her son and says, "You will see, my darling, my Sorrow. You will see, your savior will take us far, far away to his land." 24. "Il
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Madama Butterfly


cannone del porto!" ("The cannon at the harbor!", often known as The Flower Duet). Just then a cannon shot is heard. Suzuki and Butterfly watch from the hill as the ship enters the harbor and drops anchor. Then Butterfly sees that the ship is the "Abraham Lincoln", and she tells Suzuki, "They were all lying! All of them! I alone knew. Only I, who love him." She continues, "My love, my faith, triumphs completely
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Madama Butterfly


Humming Chorus"). As the off-stage chorus hums a wordless, melancholy tune, Butterfly, her child and Suzuki begin the long wait for Pinkerton to come. Night falls. Suzuki and the baby are soon asleep, but Butterfly keeps her vigil. "There is no intermission between acts 2 and 3. The action continues without interruption as the "Humming Chorus" ends and morning light appears." 28. "Oh eh! Oh eh!" ("Heave-ho! Heave-ho!"
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Brian Michaels


he co-founded in 1981, was based on a re-invigoration of the traditions of the Commedia dell’arte. In 1984, the State Theatre in Stuttgart invited him to prepare his own version of Homer's "Odyssey" with young immigrants from the city. The success of this production lead to a number of opera productions for the Staatsoper Stuttgart – including Puccini's "Madama Butterfly" and Kagel's "Trahison Oral". In 1987, he directed Verdi's "Ernani" for the Bregenz Festival. His production of
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Madama Butterfly


very wealthy. 7. "L'Imperial Commissario" ("The Imperial Commissioner"). Goro announces the arrival of both the Grand Commissioner and the Registrar of marriages. Butterfly greets her relatives, who have arrived for the wedding. Pinkerton laughs at the sight and whispers to Sharpless, "This is a farce: all these will be my new relatives for only a month." Sharpless tells him that, even though he considers the marriage contract a farce, she considers it very real. Meanwhile, Butterfly tells her relatives
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Madama Butterfly


wives, but Butterfly replies furiously that Pinkerton had assured her, on the very last morning they were together, "Oh, Butterfly, my little wife, I shall return with the roses, when the earth is full of joy, when the robin makes his nest." Suzuki begins quietly to weep. 17. "Un bel dì vedremo" ("One fine day we shall see"). In this, the opera's most famous aria (and one of the most popular works in the soprano repertoire)
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Madama Butterfly


Sharpless and says that she will never do that, "that trade which leads to dishonor. Death! Death! Never more to dance! Rather would I cut short my life! Ah! Death!" 23. "Io scendo al piano." ("I will go now.") Sharpless finally says, "I will go now." Butterfly gives him her hand and this her child's. Sharpless asks the child his name, and Butterfly answers for him, "Today my name is Sorrow.
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Madama Butterfly


her hair, asks her, "What will they say? My uncle, the priest? All so happy at my misery! And Yamadori, with his pursuit? Ridiculed, disgraced, made foolish, the hateful things!" Butterfly dons the same dress that she wore as a bride, while Suzuki dresses her child. Butterfly tells Suzuki that she wants Pinkerton to see her dressed as she was on the first day "and a red poppy in my hair." 27. "Coro a bocca chiusa" ("
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Madama Butterfly


He admits that he is a coward and cannot face her, and quickly leaves as Suzuki and Kate enter from the garden. Kate is telling Suzuki to assure Butterfly that Kate will look after her child like her own son. 32. "Suzuki! Suzuki!" ("Suzuki! Suzuki!"). From offstage, Butterfly calls for Suzuki and then enters the room. As she enters, Kate retreats to the garden, so that she will not be seen. She asks Suzuki why she is crying,
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Fiora Contino


conducted frequently at the Temple University Music Festival in Ambler, Pennsylvania. A review of her performance of Puccini's "Madama Butterfly" in 1973, with Dorothy Kirsten, stated "[Contino] held everything together with a baton that was sharp and in clear control of a magnificently coordinated performance". Peter G. Davis wrote in 2001 of her performance of Alfano's "Risurrezione", based on Leo Tolstoy's last novel, that she "may be the last conductor on earth with the music of Alfano and his generation in
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John Bell (Australian actor)


a musical play based on the life of King O'Malley by Bob Ellis and Michael Boddy ) in 1970. The production featured Robyn Nevin and Kate Fitzpatrick. In 2009 Bell directed the opera "Madama Butterfly" for Oz Opera; this production toured throughout Australia. In 1990, Bell founded the theatre company Bell Shakespeare and has produced, among others, "Hamlet", "Romeo and Juliet", "The Taming of the Shrew", "Richard III", "Pericles", "Henry IV", "Henry
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Chad Shelton


), Chautauqua Opera (2002), and New York City Opera (2003). Shelton's career has continued to be largely based at the HGO, although he often performs with other companies throughout the United States and Europe. Other notable roles with the company include Pinkerton in Giacomo Puccini's "Madama Butterfly" (1999), both Nereo and Wagner in Boito's "Mefistofele" (1999), Nemorino in Gaetano Donizetti's "L'elisir d'amore" (2000), Ferrando in Mozart's "Così fan tutte"
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Madama Butterfly


Goro tries to tell her about the Japanese law of marriage, Butterfly interrupts and tells him that the Japanese law is not the law of her country, the United States. She tells Goro that she understands how easy divorce is under Japanese law, "but in America, you cannot do that." She turns sharply and asks Sharpless, "Am I correct?" Sharpless is embarrassed and must admit that she is correct. Butterfly turns triumphantly to Suzuki and asks that she serve tea. Yamadori, Sharpless and Goro
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Madama Butterfly


pleads with her to accept the rich offer from Yamadori. Butterfly is upset with Sharpless and instructs Suzuki to show him out. As he begins to leave, Butterfly stops him, apologizes for her anger, and explains that his questions have hurt her "so very, very much!" Then she goes into another room and returns, bringing with her the blonde-haired two-year-old boy who is her constant reminder of her American husband. 22. "Ah! M'ha scordata?" ("Ah!
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Thomas Blake Glover


linked with Giacomo Puccini's opera "Madama Butterfly", which was partly sourced from Pierre Loti's "Madame Chrysanthème" via Félix Régamey and "Madame Butterfly"; all set on the eastern slope of Nagasaki Harbour. There is no historical evidence to support this claim, except Glover's adoption of half-British Tomisaburō, the photographs of Glover's wife Tsuru wearing a kimono with a butterfly design on the sleeve, and Loti's Summer 1885 affair a few blocks north of Glover Garden with Kiku (Chrysanthemum) née Kane
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Margreta Elkins


her stage name. Also that year she competed in the Mobil Quest against Joan Sutherland. In 1950, she toured Queensland and appeared in "Faust" as Siébel; "Il trovatore" as Azucena; and "Madama Butterfly" as Suzuki. In 1952 she joined and toured with the National Opera Company of Australia, making her first appearances in Brisbane as Carmen in 1953 and as Azucena, in 1954. She entered the Mobil Quest again in 1956, winning second prize. Moving to Europe in 1956, she was based
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Giacomo Puccini


a great success and established Puccini's reputation as the most promising rising composer of his generation, and the most likely "successor" to Verdi as the leading exponent of the Italian operatic tradition. Illica and Giacosa returned as librettists for Puccini for his next three operas, probably his greatest successes: "La bohème", "Tosca" and "Madama Butterfly". Puccini's next work after "Manon Lescaut" was "La bohème", a four-act opera based on the 1851 book by Henri Murger, "
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Salt Marsh Opera


Salt Marsh Opera is a U.S. non-profit opera company that performs across southern Connecticut and Rhode Island. Founded in 2000 and based in Stonington, Connecticut, Salt Marsh Opera has offered productions of "Madama Butterfly", "Tosca", "Cosi fan tutte", "The Mikado", "La bohème", "La traviata", "Il barbiere di Siviglia", and "Lucia di Lammermoor". It also stages full-dress rehearsals and hosts lectures and soirees to expand public appreciation of opera.
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Christian du Plessis


Christian du Plessis (born 2 July 1944) is a South African baritone, largely based in England, and particularly associated with the bel canto repertory. Born in Vryheid, South Africa, he studied in Johannesburg with Teasdale Griffiths and Esme Webb, and made his stage debut there, with the Transvaal Opera, as Yamadori in "Madama Butterfly", in 1967. Further studies followed in London with Otokar Kraus, making his debut there in 1970, as Mathieu in "Andrea Chénier". He became a member of the
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Jeannette Aster


private opera producer based in Amsterdam, the Netherlands, which developed new opera productions in collaboration with the State Operas and National theatres in Bulgaria, Czech Republic, Moldova and Russia for touring throughout Western Europe. Her productions of "Madama Butterfly", "Don Giovanni", "Rigoletto", "Lucia de Lammermoor", and "La Traviata" have been presented in theatres in the Netherlands, France, Germany, Switzerland and England. Aster works internationally as an opera consultant and free-lance stage director. She has
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Musical theatre


The most important writers of mega-musicals include the French team of Claude-Michel Schönberg and Alain Boublil, responsible for "Les Misérables", whose London production became the longest-running musical in West End and Broadway history. The team, in collaboration with Richard Maltby Jr., produced another hit with "Miss Saigon", which was inspired by the Puccini opera "Madama Butterfly". The British composer Andrew Lloyd Webber saw similar success with "Evita", based on the life of Argentina's Eva Perón; "
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Anna May Wong


, in the early Metro two-color Technicolor movie "The Toll of the Sea". Written by Frances Marion, the story was based loosely on "Madama Butterfly". "Variety" magazine singled Wong out for praise, noting her "extraordinarily fine" acting. "The New York Times" commented, "Miss Wong stirs in the spectator all the sympathy her part calls for and she never repels one by an excess of theatrical 'feeling'. She has a difficult role, a role that is botched nine
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