Who Composed and Wrote Madame Butterfly Who Composed and Wrote Madame Butterfly 12 Oct, 2012 who composed 0 Madame Butterfly is a famous opera that tells the tale of Pinkerton (a U.S. Naval officer) and his wife Cio-Cio-San (Madame Butterfly). Pinkerton marries for convenience and soon leaves Cio-Cio-San to marry an American girl, but later discovers he has a son with Cio-Cio-San. He returns to Japan with his new wife, but admits to being a coward and refuses to face his former wife. Cio-Cio-San realizes what has happened and agrees to give the child to Pinkerton and his new wife if he will agree to see her. She prepares her son to leave with his father and commits suicide. Madame Butterfly is one of the most widely acclaimed operas of all time and is ranked 8th in most performed operas in the world. Many adaptations have been made since it was released, including four films. Let’s find out who composed and wrote this opera. Composer Madame Butterfly was composed by the famous Italian composer Giacomo Puccini.

The first version of the opera was performed in 1904, but it had a poor premiere. Puccini decided to re-write the opera and split one of the acts to make it a three act opera. The second premiere later that year was much more successful. However, Puccini re-wrote the opera a further three times. The fifth version, also known as the “standard version” is most commonly performed today. Writers The Italian libretto (the story or text used in opera to tie the music together) was written by Luigi Illica and Giuseppe Giacosa. The libretto is based on the short story “Madame Butterfly” which was written in 1898 by John Luther Long and later (1900) turned into a play by David Belasco with the help of John Luther Long. It was the play that brought the story to the attention of Puccini.

Related Articles Madama Butterfly Synopsis - Puccini's Famous Opera Madama Butterfly Synopsis Madama Butterfly Synopsis The Sad Story of a Devoted Wife in 3 Acts Bonsi, played by Jan Opalach, takes center stage to express his disapproval of the impending marriage of Cio-Cio-San and Pinkerton in the New York City Opera's production of 'Madama Butterfly,' May 21, 2005 in Tokyo, Japan. Joe McNally / Contributor / Getty Teatro alla Scala in Milan on February 17, 1904 Plot Setting: Puccini's Madama Butterfly is set in Nagasaki, Japan in the early 1900s. ACT 1 Atop a large hill in Nagasaki, Lieutenant Pinkerton of the United States Navy, inspects a house he recently rented from real-estate agent, Goro. Goro is also a marriage broker and has supplied Pinkerton with three servants and a geisha wife named Cio-Cio San, who is also known as Madama Butterfly. US Consul Sharpless enters the house breathless after climbing the large hill.

Pinkerton explains to his friend that as a sailor, he lives life in the moment and seeks one pleasure after the next. He divulges his current infatuation and feelings about Madama Butterfly, but reveals his ultimate dream of marrying an American woman. Despite receiving a 999 year marriage contract with Madama Butterfly when he purchased the house, it renews from month to month and allows divorce at any time. continue reading below our video 5 Classic Novels Everyone Should Read Sharpless warms him that his Japanese fiancé may feel more passionate about their upcoming marriage than he does. Pinkerton dismisses Sharpless's advice. Outside, Madama Butterfly is happily singing about her marriage as she and her friends make their way back to the house. Upon arrival, she tells Pinkerton that her family was once wealthy but fell on hard times, so she became a geisha to earn money for her family. She shows Pinkerton some of her most treasured things and tells him she has renounced her faith and taken up Christianity, despite her family's strong protests. As Madama Butterfly's family and marriage officials arrive, Pinkerton whispers to Sharpless that this is all a farce and that these new relatives will only be around for one month's time.

After the wedding and amidst the toasts and celebrations, Madama Butterfly's uncle, a Buddhist priest, enters the house cursing her for abandoning her faith. Before finishing his diatribe, he is interrupted by Pinkerton. Her uncle leaves the house after persuading her entire family to renounce her just as she renounced her faith. Her family leaves and servers all ties with her. Pinkerton takes hold of Madama Butterfly and consoles her. She is sad she has lost her family, but is happy in Pinkerton's arms. Unfortunately unbeknownst to Madama Butterfly, Pinkerton is more in love with the fact that he essentially owns her for the next 999 years than he is with Madama Butterfly herself. ACT 2 Three years have passed and Pinkerton has not returned. While the servant, Suzuki, prays to Buddha that Madama Butterfly's tears will stop soon, Madama Butterfly is listening to her. When Suzuki finishes Butterfly tells her that the Japanese gods are worthless - only the Christian god will bring Pinkerton home. Suzuki explains to Madama Butterfly that the little money they have left will not last much longer.

(In one of the opera's most famous arias " Un bel di, vedremo ") Madama Butterfly tells her to have faith - Pinkerton will return, because he had arranged the American Consul to provide rent money, mosquito netting, and locks to keep out family and intruders. Pinkerton told her that he will one day return with roses in hand when robins build their nests. Upon hearing this, Suzuki weeps. Sharpless arrives moments later with a letter for Madama Butterfly. It is from Pinkerton. Before he can read the letter, she asks questions as to his health and when he might return. Madama Butterfly is overjoyed when Sharpless explains that Pinkerton is in good health. She tells him that Pinkerton once told her he would return when the robins build their nests. She asks if the robins have built their nests in America yet, because they have built their nests three times in Japan since he left. She also tells him that Goro has brought many suitors to her for marriage, but she has refused each one including the most recent - a wealthy prince. As Sharpless mentions the idea that Pinkerton may not return, she brings out her son, Dolore.

She tells him that once Pinkerton learns of his son, he will surely return. If he does not, she would rather die. Saddened and moved by her devotion, Sharpless is unable to reveal the contents of Pinkerton's letter to her. In it, Pinkerton states he is not returning to Japan. After Sharpless leaves, a cannon report is heard in the distance. Madama Butterfly rushes to the window with her binoculars and sees Pinkerton's ship enter the harbor. Full of excitement, she instructs Suzuki and her son to fill the house with flowers. ACT 3 The following morning, Suzuki, having slept all night, enters the room with Dolore to find that Madama Butterfly has been awaiting Pinkerton's return and hasn't slept at all. She persuades Madama Butterfly to get some sleep. Reluctantly, Madama Butterfly agrees and takes her son into the bedroom while humming along the way. Not long after, Sharpless and Pinkerton knock on the front door. Pinkerton tells Suzuki not to wake Madama Butterfly.

He asks her how Madama Butterfly knew he has returned, and she explains to him how for the last three years Madama Butterfly studied every single ship that came into the harbor and recognized his ship when it appeared the previous evening. Sharpless reminds Pinkerton that he once warned him of this impending disaster. A minute later, Suzuki sees another woman waiting outside in the garden. Her name is Kate, Pinkerton's American wife. Suzuki falls to the floor in despair. Full of shame and remorse, Pinkerton cowardly leaves the house. Sharpless tells Suzuki that though they can do nothing for Madama Butterfly, Kate wants to adopt Dolore as her own son and take care of him in America. Suzuki and Sharpless go outside to talk with Kate. Kate asks her to encourage Madama Butterfly to give up her son. When Madama Butterfly awakes, she calls out to Suzuki. Suzuki rushes into the house crying, and Madama Butterfly asks her what is wrong. When Madama Butterfly sees Kate and Sharpless standing outside in the garden, she softly asks Suzuki if Pinkerton is alive. Suzuki answers yes. Madama Butterfly knows immediately what is going on.

She knows that Pinkerton has returned with his American wife and she must give up her son. Kate and Sharpless enter the house and Kate asks for Madama Butterfly's forgiveness. Madama Butterfly tells her the only way she will give up her son is if Pinkerton comes to the house and asks for him in person. She sends them away and tells them to return in half-an-hour. She tells Suzuki to draw all the curtains as there is too much light in the house and orders her into the other room. Madama Butterfly bows before the buddha statue and takes the dagger her father used to commit suicide and reads its inscription. "Who cannot live with honor must die with honor." As she raises the dagger, her son enters the room. She tells him how much she loves him before sending him outside to play. Once he leaves, she plunges the dagger into her heart. As she lies lifelessly on the floor, Pinkerton arrives calling out her name.

Puccini: Madama Butterfly Three selections for NYCO visit The Original Story: John Luther Long and David Belasco The story upon which the libretto of Puccini's Madama Butterfly is based is an amalgam of a narrative by John Luther Long, a Philadelphia lawyer, and the play derived from that narrative by playwright and theatrical producer, David Belasco. Long claimed to have based his story on incidents related to him by his sister, the wife of a missionary stationed in Nagasaki. However, it is difficult to believe that the author would not have known Pierre Loti's popular novel, Madame Chrysanthème, published first in French in 1887 and soon after in English translation. Indeed, much of the plot is contained in the French novel with some notable exceptions. Madame Chrysanthème is the first-person narrative of a young naval officer, Pierre, who enters into a temporary marriage with a geisha while stationed in Japan. The loosely autobiographical novel (Loti himself had a temporary Japanese wife) details the "little adventure" from his arrival in Nagasaki -- including his engagement of a marriage broker, his relationship with Chrysanthème, and his eventual departure.

The central character here is clearly Pierre; he is every bit as callous as the Pinkerton of Puccini's first Act. Chrysanthème is practical, unemotional and secondary. They part amicably; the final scenes portray the geisha testing the silver dollars she received in fulfillment of the marriage contract and a rather tepid leave-taking: Come my little mousmee [the term used by the French for their Japanese wives], let us part good friends. Let us even embrace, if you wish. I took you for my own amusement and, although you may not have been a total success, you gave me what you could: your little body, your respect, and your quaint music. All in all, you have been sweet enough in your Nipponese way. And, who knows, perhaps I shall think of you from time to time, in a roundabout way, when I recall this glorious summer, the pretty gardens, and the music of the cicadas. Long's story, "Madam Butterfly," used the French novel as a structural model but his attention is firmly held by the eponymous geisha.

His 18-page story (misleadingly referred to as a "novel" in Puccini's correspondence) first appeared in the January 1898 issue of Century Illustrated Monthly Magazine. Lieutenant Benjamin Franklin Pinkerton (the name itself is an ironic accentuation of his role as the American intruder) of the United States Navy marries the young Cho-Cho-San, nicknamed "Madam Butterfly," and forces her to relinquish all ties to her friends and family. Unlike her counterpart in Madame Chrysanthème, the naïve Butterfly believes that her marriage is real, and she allows herself to fall in love. Pinkerton departs with his ship, promising to return. During his absence, Butterfly gives birth to his child. She names the boy Trouble, a name she plans to change to Joy when she reunites with her husband. When Pinkerton's ship finally does return, Butterfly learns that he has married an American woman who wishes to take Butterfly's child back to the United States. Butterfly attempts suicide but survives and is bandaged in the amateurish but moving final scene of the story. Long's story was wildly popular with a public fascinated by the exotic.

Many famed actresses approached him for the dramatic rights, but it was David Belasco, himself at the peak of his fame, who adapted Butterfly for the stage. Contrary to numerous reports, Belasco wrote the stage version without Long's assistance. However, the playwright borrowed liberally from the magazine story and therefore much of the dialogue is indeed Long's. The play had only one act and was produced as part of a double bill with a farce entitled Naughty Anthony, also by Belasco. The entire action of the play takes place two years after Pinkerton's departure. Thus the focus is almost entirely on Butterfly and her maid. Pinkerton makes an ignominious entrance toward the conclusion of the play, inspiring and witnessing Butterfly's (this time successful) suicide. Belasco's tragic ending was coupled with another innovation that impressed Puccini: the 14-minute vigil wherein Butterfly silently awaits Pinkerton's arrival. Belasco vividly depicted the night's shadows through creative lighting effects. Once again, the exotic setting played a major role in the success of Butterfly. The lack of familiarity with Japanese culture served not only as a point of interest but also as a form of insulation from the play's tragic conclusion.

The London Times reported, "in any other than an exotic setting, the dramatic episode would be intolerably painful." It was this London production that Puccini witnessed in the summer of 1900. The libretto of Madama Butterfly is one of those rare instances in operatic history where the text is actually an improvement over its sources. The dimensions of the opera, the finely etched depictions of its characters, its inexorable progress to its dénouement, and the beautiful verses and dialogue constructed by Giuseppe Giacosa all stand in marked contrast to the writings discussed above. Coupled with Puccini's emotionally charged musical score, Madama Butterfly produces an effect at once intimate and overwhelming, a haunting portrayal of the dangers of misguided love. Chadwick Jenkins Madame Butterfly (Puccini) - Synopsis Madame Butterfly - (Original Italian title: Madama Butterfly) An Opera by Giacomo Puccini Opera in two acts, by Giacomo Puccini, words after the story of John Luther Long and the drama of David Belasco by L. Illica and G. Giacosa. English version by Mrs. R.H. Elkin.

Produced unsuccessfully, La Scala, Milan, February 17, 1904, with Storchio, Zenatello, and De Luca, conductor Cleofante Campanini. Slightly revised, but with Act II divided into two distinct parts, at Brescia, May 28, 1904, with Krusceniski, Zenatello, and Bellati; when it scored a success. Covent Garden, London, July 10, 1905, with Destinn, Caruso, and Scotti, conductor Campanini. Washington, D.C., October, 1906, in English, by the Savage Opera Company, and by the same company, Garden Theatre, New York, November 12, 1906, with Elsa Szamozy, Harriet Behne, Joseph F. Sheehan, and Winifred Goff; Metropolitan Opera House, New York, February 11, 1907, with Farrar (Butterfly), Homer (Suzuki), Caruso (Pinkerton), Scotti (Sharpless), and Reiss (Goro). CHARACTERS B. F.

PINKERTON, Lieutenant, U.S.N Tenor SHARPLESS (U. S. Consul at Nagasaki) Baritone GORO ( a marriage broker) Tenor PRINCE YAMADORI Baritone THE BONZE (Cio-Cios uncle) . Bass YAKUSIDE . Baritone THE OFFICIAL REGISTRAR, member of the Chorus Baritone CIO-CIO-SANS MOTHER, member of the Chorus .Mezzo-Soprano THE AUNT, member of the Chorus .. .. Mezzo-Soprano THE COUSIN, member of the Chorus .. .. Soprano TROUBLE (Cio-Cio-Sans Child) Cio-Cio Sans relations and friends. Servants. Time: Nineteenth century. Place: Nagasaki. Madame Butterfly, Act I, with Francis Maclennan, Renée Vivienne, and Thomas Richards. Although "Madama Butterfly" is in two acts, the division of the second act into two parts by the fall of the curtain, there also being an instrumental introduction to part second, practically gives the opera three acts. Act I.

There is a prelude, based on a Japanese theme. This theme runs through the greater part of the act. It is employed as a background and as a connecting link, with the result that it imparts much exotic tone colour to the scenes. The prelude passes over into the first act without a break. Lieutenant B. F. Pinkerton, U.S.N., is on the point of contracting a "Japanese marriage" with Cio-Cio-San, whom her friends call Butterfly. At the rise of the curtain Pinkerton is looking over a little house on a hill facing the harbour. This house he has leased and is about to occupy with his Japanese wife. Goro, the nakodo or marriage broker, who has arranged the match, also has found the house for him and is showing him over it, enjoying the Americans surprise at the clever contrivances found in Japanese house construction. Three Japanese servants are in the house, one of whom is Suzuki, Butterflys faithful maid. Sharpless, the American Consul at Nagasaki, arrives. In the chat which follows between the two men it becomes apparent that Sharpless looks upon the step Pinkerton is about to take with disfavour.

He argues that what may be a mere matter of pastime to the American Naval lieutenant, may have been taken seriously by the Japanese girl and, if so, may prove a matter of life or death with her. Pinkerton on the other hand laughs off his friends fears and, having poured out drinks for both, recklessly pledges his real American wife of the future. Further discussion is interrupted by the arrival of the bride with her relatives and friends. After greetings have been exchanged, the Consul on conversing with Butterfly becomes thoroughly convinced that he was correct in cautioning Pinkerton. For he discovers that she is not contemplating the usual Japanese marriage of arrangement, but, actually being in love with Pinkerton, is taking it with complete seriousness. She has even gone to the extent, as she confides to Pinkerton, of secretly renouncing her religious faith, the faith of her forefathers, and embracing his, before entering on her new life with him. This step, when discovered by her relatives, means that she has cut herself loose from all her old associations and belongings, and entrusts herself and her future entirely to her husband.

Minor officials whose duty it is to see that the marriage contract, even though it be a "Japanese marriage," is signed with proper ceremony, arrive. In the midst of drinking and merry-making on the part of all who have come to the wedding, they are started by fierce imprecations from a distance and gradually drawing nearer. A weird figure, shouting and cursing wildly, appears upon the scene. It is Butterflys uncle, the Bonze (Japanese priest). He has discovered her renunciation of faith, now calls down curses upon her head for it, and insists that all her relatives, even her immediate family, renounce her. Pinkerton enraged at the disturbance turns them out of the house. The air shakes with their imprecations as they depart. Butterfly is weeping bitterly, but Pinkerton soon is enabled to comfort her. The act closes with a passionate love scene. The Japanese theme, which I have spoken of as forming the introduction to the act, besides, the background to the greater part of it, in fact up to the scene with the Bonze, never becomes monotonous because it is interrupted by several other musical episodes.

Such are the short theme to which Pinkerton sings "Tutto e Pronto" (All is ready), and the skippy little theme when Goro tells Pinkerton about those who will be present at the ceremony. When Pinkerton sings, "The whole world over, on business or pleasure the Yankee travels," a motif based on the "Star Spangled Banner," is heard for the first time. In the duet between Pinkerton and Sharpless, which Pinkerton begins with the words, "Amore o grillo" (Love or fancy), Sharplesss serious argument and its suggestion of the possibility of Butterflys genuine love for Pinkerton are well brought out in the music. When Butterfly and her party arrive, her voice soars above those of the others to the strains of the same theme which occurs as a climax to the love duet at the end of the act and which, in the course of the opera, is heard on other occasions so intimately associated with herself and her emotions that it may be regarded as a motif, expressing the love she has conceived for Pinkerton.

Full of feeling is the music of her confession to Pinkerton that she has renounced the faith of her forefathers, in order to be a fit wife for the man she loves:-- "Ieri son salita" (Hear what I would tell you). An episode, brief but of great charm, is the chorus "Kami! O Kami! Lets drink to the newly married couple." Then comes the interruption of the cheerful scene by the appearance of the Bonze, which forms a dramatic contrast. It is customary with Puccini to create "atmosphere" of time and place through the medium of the early scenes of his operas. It is only necessary to recall the opening episodes in the first acts of "La Bohème" and "Tosca." He has done the same thing in "Madam Butterfly," by the employment of the Japanese theme already referred to, and by the crowded episodes attending the arrival of Butterfly and the performance of the ceremony. These episodes are full of action and colour, and distinctly Japanese in the impression they make. Moreover, they afford the only opportunity throughout the entire opera to employ the chorus upon the open stage.

It is heard again in the second act, but only behind the scenes and humming in order to give the effect of distance. The love scene between Pinkerton and Butterfly is extended. From its beginning, "Viene la sera" (Evening is falling), to the end, its interest never flags. It is full of beautiful melody charged with sentiment and passion, yet varied with lighter passages, like Butterflys "I am like the moons little goddess"; "I used to think if anyone should want me"; and the exquisite, "Vogliatemi bene" (Ah, love me a little). There is a beautiful melody for Pinkerton, "Love, what fear holds you trembling." The climax of the love duet is reached in two impassioned phrases:-- "Dolce notte! Quante stelle" (Night of rapture, stars unnumbered), and "Oh! Quanti occhi fisi, attenti" (Oh, kindly heavens). Act II. Part I. Three years have elapsed.

It is a long time since Pinkerton has left Butterfly with the promise to return to her "when the robins nest." When the curtain rises, after an introduction, in which another Japanese theme is employed, Suzuki, although convinced that Pinkerton has deserted her mistress, is praying for his return. Butterfly is full of faith and trust. In chiding her devoted maid for doubting that Pinkerton will return, she draws in language and song a vivid picture of his home-coming and of their mutual joy therein: - "Un bel di vedremo" (Some day hell come). In point of fact, Pinkerton really is returning to Nagasaki, but with no idea of resuming relations with his Japanese wife. Indeed, before leaving America he has written to Sharpless asking him to let Butterfly know that he is married to an American wife, who will join him in Nagasaki. Sharpless calls upon Butterfly, and attempts to deliver his message, but is unable to do so because of the emotions aroused in Butterfly by the very sight of a letter from Pinkerton. It throws her into a transport of joy because, unable immediately to grasp its contents, she believes that in writing he has remembered her, and must be returning to her.

Sharpless endeavours to make the true situation clear to her, but is interrupted by a visit from Yamadori, a wealthy Japanese suitor, whom Goro urges Butterfly to marry. For the money left by Pinkerton with his little Japanese wife has dwindled almost to nothing, and poverty stares her in the face. But she will not hear of an alliance with Yamadori. She protests that she is already married to Pinkerton, and will await his return. When Yamadori has gone, Sharpless makes one more effort to open her eyes to the truth. They have a duet, "Ora a noi" (Now at last), in which he again produces the letter, and attempts to persuade her that Pinkerton has been faithless to her and has forgotten her. Her only reply is to fetch in her baby boy, born since Pinkertons departure. Her argument is that when the boys father hears what a fine son is waiting for him in Japan, he will hasten back. She sings to trouble, as the little boy is called:-"Sai cos ebbe cuore" (Do you hear, my sweet one, what that bad man is saying).

Sharpless makes a final effort to disillusion her, but in vain. If Pinkerton does not come back, there are two things, she says, she can do -- return to her old life and sing for people, or die. She sings a touching little lullaby to her baby boy, Suzuki twice interrupting her with the pathetically voiced exclamation, "Poor Madam Butterfly!" A salute of cannon from the harbour announces the arrival of a man-of-war. Looking through the telescope, Butterfly and Suzuki discover that it is Pinkertons ship, the "Abraham Lincoln." Now Butterfly is convinced that Sharpless is wrong. Her faith is about to be rewarded. The man she loves is returning to her. The home must be decorated and made cheerful and attractive to greet him. She and Suzuki distribute cherry blossoms wherever their effect will be most charming. The music accompanying this is the enchanting duet of the flowers, "Scuotti quella fronda diciliegio" (Shake that cherry tree till every flower). Most effective is the phrase, "Gettiamo a mani piene mammole e tuberose" (In handfuls let us scatter violets and white roses.) Butterfly adorns herself and the baby boy.

Then with her fingers she pierces three holes in the paper wall of the dwelling. She, Suzuki, and the baby peer through these, watching for Pinkertons arrival. Night falls. Suzuki and the boy drop off to sleep. Butterfly rigid, motionless, waits and watches, her faith still unshaken, for the return of the man who has forsaken her. The pathos of the scene is profound; the music, with the hum of voices, borne upon the night from the distant harbour, exquisite. Act II. Part II. When the curtain rises, night has passed, dawn is breaking. Suzuki and the baby are fast asleep, but Butterfly still is watching. Again Puccini employs a Japanese melody (the "vigil" theme). When Suzuki awakes, she persuades the poor little "wife" to go upstairs to rest, which Butterfly does only upon Suzukis promise to awaken her as soon as Pinkerton arrives. Pinkerton and Sharpless appear. Suzuki at first is full of joyful surprise, which, however, soon gives way to consternation, when she learns the truth.

Pinkerton himself, seeing about him the proofs of Butterflys complete loyalty to him, realizes the heartlessness of his own conduct. There is a dramatic trio for Pinkerton, Sharpless, and Suzuki. Pinkerton who cannot bear to face the situation, rushes away, leaving it to Sharpless to settle matters as best he can. Butterfly has become aware that people are below. Suzuki tries to prevent her coming down, but she appears radiantly happy, for she expects to find her husband. The pathos of the scene in which she learns the truth is difficult to describe. But she does not burst into lamentations. With a gentleness which has been characteristic of her throughout, she bears the blow. She even expresses the wish to Kate, Pinkertons real wife, that she may experience all happiness, and sends word to Pinkerton that, if he will come for his son in half an hour, he can have him. Sharpless and Mrs. Pinkerton withdraw.

In a scene of tragic power, Butterfly mortally wounds herself with her fathers sword, the blade of which bears the inscription, "To die with honour when one can no longer live with honour," drags herself across the floor to where the boy is playing with his toys and waving a little American flag, and expires just as Pinkerton enters to take away the son whom thus she gives up to him. For examples that already have been given of modern Italian opera, it is clear that "atmosphere," local colour, and character delineation are typical features of the art of Italys lyric stage as it flourishes today. In "Madama Butterfly" we have exotic tone colour to a degree that has been approached but not equaled by Verdi in "Aida." Certain brief scenes in Verdis opera are Egyptian in tone colour. In "Madama Butterfly" Japanese themes are used in extenso, and although the thrilling climaxes in the work are distinctively Italian, the Japanese under-current, dramatic and musical, always is felt.

In that respect compare "Madama Butterfly" with a typical old Italian opera like "Lucia di Lammermoor" the scene of which is laid in Scotland, but in which there is nothing Scotch save the costumes -- no "atmosphere," no local colour. These things are taken seriously by modern Italian composers, who do not ignore melody, yet also appreciate the value of an eloquent instrumental support to the voice score; whereas the older Italian opera composers were content to distribute melody with a lavish hand and took little else into account. In character delineation in the opera Butterfly dominates. She is a sweet, trusting, pathetic little creature -- traits expressed in the music as clearly as in the drama. The sturdy devotion of Suzuki is, if possible, brought out in an even stronger light in the opera than in the drama, and Sharpless is admirably drawn. Pinkerton, of course, cannot be made sympathetic. All that can be expected of him is that he be a tenor, and sing the beautiful music allotted to him in the first act with tender and passionate expression. (...) I "did" the first night of David Belascos play "Madam Butterfly" for the New York Herald.

The production occurred at the Herald Square Theatre, Broadway and Thirty-fifth Street, New York, March 5, 1900, with Blanche Bates as Butterfly. It was given with "Naughty Anthony," a farce-comedy also by Belasco, which had been a failure. The tragedy had been constructed with great rapidity from John Luther Longs story, but its success was even swifter. At the Duke of Yorks Theatre, London, it was seen by Francis Nielsen, stage-manager of Covent Garden, who immediately sent word to Puccini urging him to come from Milan to London to see a play which, in his hands, might well become a successful opera. Puccini came at once, with the result that he created a work which has done its full share toward making the modern Italian lyric stage as flourishing as all unprejudiced critics concede it to be. The Milan production pf "Madama Butterfly" was an utter failure. The audience hooted, the prima donna was in tears. The only person behind the scenes not disconcerted was the composer, whose faith in his work was so soon to be justified.

Recommended Resources Madame Butterfly Poster The beautiful cover of an early Italian edition of the music and words for Puccini's opera Madama Butterfly (Madame Butterfly). Artist: Leopoldo Metlicovitz. Date: 1904. Madame Butterfly - Maria Callas - YouTube Madame Butterfly - Maria Callas Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Feb 19, 2010 Puccini's Opera ''madame butterfly'' by Maria Callas Maria Callas (Greek: Μαρία Κάλλας) (December 2, 1923 September 16, 1977) was an American-born Greek soprano and one of the most renowned opera singers of the twentieth century. She combined an impressive bel canto technique with great dramatic gifts.

An extremely versatile singer, her repertoire ranged from classical opera seria to the bel canto operas of Donizetti, Bellini, and Rossini; further, to the works of Verdi and Puccini; and, in her early career, the music dramas of Wagner. Her remarkable musical and dramatic talents led to her being hailed as La Divina. Born in New York City and raised by an overbearing mother, she received her musical education in Greece and established her career in Italy. Forced to deal with the exigencies of wartime poverty and with myopia that left her nearly blind on stage, she endured struggles and scandal over the course of her career. She turned herself from a heavy woman into a svelte and glamorous one after a mid-career weight loss, which might have contributed to her vocal decline and the premature end of her career. The press exulted in publicizing Callas's allegedly temperamental behavior, her supposed rivalry with Renata Tebaldi, and her love affair with Aristotle Onassis. Her dramatic life and personal tragedy have often overshadowed Callas the artist in the popular press.

Her artistic achievements, however, were such that Leonard Bernstein called her "The Bible of opera", and her influence so enduring that, in 2006, Opera News wrote of her, "Nearly thirty years after her death, she's still the definition of the diva as artist—and still one of classical music's best-selling vocalists." Category Madama Butterfly | The Opera 101 The Opera 101 Fill out the fields below to contact us! Your name * Recordings About Madama Butterfly is Puccini at his most restrained. A single setting, a relatively simple plot, and a strongly drawn lead pair around whom the narrative spins. There are a fair number of smaller roles, but don’t worry about keeping track of them, especially all of Butterfly’s relatives - even Puccini unnamed some of them while revising the story. There is also very limited chorus action, so if you are familiar with other Puccini operas, such as Turandot , don’t go in expecting such spectacle, you may be disappointed.

Madama Butterfly at the Royal Opera House That said, it’s a highly accessible and listenable opera, much more so than Turandot on the first go, and there are plenty of top draw tunes to be heard. Pick of the bunch, at least in fame terms, is “Un Bel Di Vedremo,” which means “One good day, we will see.” This gets wheeled out by many a soprano for recital purposes but in context, right at the start of Act II, it’s as sad as it is beautiful. The tenor’s music is somewhat less subtle and in fact rather potently blunt. The first big number of the evening is the absolutely thriling tune “Dovunque al mondo,” or “Throughout the world.” It is built on top of “The Star Spangled Banner”, which you should be able to pick out fairly easily in the clip below. The opening passage of Dovunque al mondo Other highlights include the endings of all three acts which comprise an extended love duet, a beautiful chorus, and an operatic staple, the suicide aria. Characters Cio-Cio San’s maid. Fiercely loyal to Butterfly and vastly more aware of the tragedy unfolding.

The Bonze Bass Cio-Cio San’s Uncle. A small role only, he only briefly appears to chastise Cio-Cio San for abandoning her religion in converting to Pinkerton’s Christianity. Synopsis Act I - Running Time: 55 mins The curtain rises on Lieutenant Pinkerton and Goro inspecting the house that Pinkerton has leased in Nagasaki while he is stationed in Japan. Goro shows him around, there’s much fuss made over the sliding walls, and introduces him to the household staff including Suzuki, Butterfly’s maid. Sharpless, the US Consul, arrives, all out of breath from climbing the hill to the house. They discuss Pinkerton’s situation and the topic of Butterfly soon arises. Sharpless warns Pinkerton that Butterfly is taking the marriage very seriously but Pinkerton dismisses these concerns with a good whack of American bravura and whiskey (in the roistering good tune “Dovunque al mondo”). Despite his Butterfly infatuation, he is already thinking of his future American bride. The scene is set for our tragedy! Lando Bartolini sings "Dovunque al mondo" We hear Madam Butterfly for the first time. She is coming up the hill full of joy for her impending wedding.

She arrives with her friends and approaches Pinkerton. In the ensuing dialogue we learn that Butterfly comes from a wealthy family but now makes a living working as a Geisha, which it should be pointed out doesn’t mean prostitute. Butterfly arrives, San Antonio Opera The relatives all arrive and amongst much wittering it becomes clear there is some serious friction. Pinkerton delivers yet more crass lines about how brief he is expecting the marriage to be, whilst Butterfly professes to her family how deeply she is in love. Just before the wedding Butterfly tells Pinkerton that she has converted to Christianity for him and shows him some of her most important possessions including a box whose contents she will not reveal. Goro tells him it contains the dagger that was sent to her father from the Mikado to commit seppuku (a rather nasty form of suicide that’s meant to maintain one’s honour). The wedding begins and ends rather efficiently and Sharpless, offering one final warning to Pinkerton about Butterfly’s love, leaves the party. The celebrations don’t last long before Butterfly’s uncle, the Bonze, storms in and starts hurling insults. He has learned of her conversion and curses her for it.

Pinkerton tries to protect her and in the process all the rest of the relatives turn on her, leaving with few good words said. We now move into epic love duet mode with “Bimba, Bimba, non piangere” which takes us all the way to the interval. Pinkerton consoles Butterfly and the two get entirely mushy for several minutes. He describes her as a butterfly and she worries because she has heard they pin butterfly’s wings to tables in the West. He dispels her fears and the Act closes as they leave to consummate their marriage... Catherine Malfitano & Richard Leech sing the love duet Act II - Running Time: 50 mins 3 Years have passed and Pinkerton is long gone. Butterfly is running desperately short of money and believing Pinkerton will return, as he said he would, refuses to marry again. She sings the very famous “Un Bel Di Vedremo”, her dream of how Pinkerton will return. Renata Tebaldi as Butterfly Sharpless and Goro arrive.

Sharpless wishes to read Butterfly a letter from Pinkerton but has no luck, as Goro is in the process of urging her to marry Prince Yamadori, a very wealthy man with multiple wives. Butterfly quickly rejects him. She is still married she says, under American law if not Japanese. Offended, Yamadori and Goro leave. Sharpless returns to the letter, in which Pinkerton tries to prepare Butterfly for his return including the fact that he has remarried. Butterfly gets overexcited at the idea of his return and Sharpless tries to convince her of the reality of the situation in as gentle a manner as possible. She gets upset and brings out her blond-haired, blue-eyed son. Ana María Martínez as Butterfly, Houston Grand Opera This comes as a bit of a shock to Sharpless, and he asks if Pinkerton knows of his son. He doesn’t, Butterfly says, and she want to send him a letter. Sharpless, dejected, promises to do so, and leaves. Susuki appears dragging Goro, who has been hiding. Goro shouts abuse at Butterfly, calling her son a bastard (in the old-fashioned sense of the word).

She almost stabs Goro with her dagger but he flees. A cannon shot is heard. A ship has entered the harbour. Butterfly looks down and sees it is the Abraham Lincoln, Pinkerton’s ship. Cue a lot of flower throwing and general preparation for his arrival. Suzuki, Butterfly and her son settle down for a long night waiting, accompanied by the beautiful Coro a bocca chiusa, or “Humming Chorus”. The Humming Chorus, Orchestra and Chorus of La Scala, 1955, conducted by Herbert von Karajan Act III - Running Time: 35 mins The night has passed and Suzuki and the child are asleep. Butterfly remains awake, waiting in silence. In the background sailors are heard and the sun finally rises. Butterfly puts her son to bed and falls asleep herself. Kate Pinkerton arrives, Cincinnati Opera Pinkerton and Sharpless arrive with Kate, Pinkerton’s American wife. Suzuki meets them and upon seeing Pinkerton’s new wife in the garden, she collapses in shock. Pinkerton is his usual insensitive self, but Sharpless tells Suzuki that whilst they can do nothing for Butterfly, Kate would like to adopt the child.

Suzuki goes to speak with Kate and Pinkerton selfishly sings of his own distress, admitting he is too much of a coward to face Butterfly. He flees, but Kate stays to reassure Suzuki that she will care for the child as her own. Butterfly awakens and calls for Suzuki. She sees her maid crying and asks why, but then notices Sharpless and the mystery woman in the garden. She realises Pinkerton is not coming back. She agrees to hand over the child if and only if Pinkerton returns in half an hour to pick him up himself. Butterfly sends Suzuki away, prays and prepares to take her own life with her father’s blade. Her son enters and Butterfly now more composed hugs him close and tells him not to be sad at his mother abandoning him. She blindfolds him and gives him a little American flag to wave as his father returns. She takes the knife and stabs herself. As she falls dead the cries of Pinkerton are heard offstage... Butterfly! Butterfly!

Giacomo Puccini: Madama Butterfly - Classic FM Classic FM Become a VIP Giacomo Puccini: Madama Butterfly Hundreds of operas have tragedy at their core, but you would be hard pushed to find a more perfect example of this theme expressed in music than Puccini ’s masterful opera Madama Butterfly. It was a personal favourite of the composer, too; he once described it as ‘the most felt and most expressive opera that I have conceived’. Madama Butterfly was both written at, and set during, the start of the twentieth century. But while Puccini wrote the opera in Italy, the location for the action is Japan. The opera tells the tale of the teenage geisha Cio-Cio San and her doomed marriage to Pinkerton, an American naval lieutenant. Puccini skillfully imbues the score with a mix of east and West. Highlights include the glorious love duet that falls at the end of Act I and the ravishing and pathos-filled soprano solo ‘Un Bel Di’ (‘One Fine day’), in which Butterfly steadfastly sings of her belief that Pinkerton will return to her. Pinkerton does indeed return – but not to Butterfly.

Instead, he is cruelly found to be in the company of his new, American wife. From this point on, Puccini focuses ever deeper on heartache, culminating in Butterfly committing suicide. Madama Butterfly: a tragic, troubling and pain-filled opera – but a glorious one at that. Recommended Recording Angela Gheorghiu (soprano) as Cio-Cio San; Jonas Kaufmann ( tenor ) as Pinkerton; Orchestra and Chorus of the National Academy of St Cecilia; Antonio Pappano (conductor). EMI Classics: 26418728. The History of Madame Butterfly The History of 'Madame Butterfly' (Italian title: Madama Butterfly) An Opera by Giacomo Puccini During a visit to London, Puccini witnessed a performance of the little play, "Madam Butterfly," an adaptation by David Belasco of the magazine story so entitled by John Luther Long. That gifted artist, Miss Evelyn Millard, enacted the part of the heroine with rare feeling, and the composer was charmed and touched by her performance, though he knew no English. Returning to Italy, he commissioned Messrs.

Illica and Giacosa to write a libretto on the subject. In order to provide fuller scope for Puccini, the librettists placed a new Act in front of the English drama. Besides affording, by its prevailing brightness, a fine contrast to the pathos of the second part, this addition enabled the listener to obtain a better knowledge of the circumstances leading up to the tragedy of the last scene. The cover of the book version of the short story, Madame Butterfly by John Luther Long (Grosset and Dunlap, 1903). This short story was first published in the Century Magazine in 1898. It was transformed into a play by David Belasco. Puccini was saw this play in London, England, and was inspired to write the opera. The work was produced at La Scala in 1904, but for some unknown reason, perhaps because of its unfamiliar Japanese character, it failed to please, and was withdrawn after one performance. It was then condensed, divided into two Acts (having been originally played in one), and the tenor air added in the last scene.

A few months later it was given at Brescia in its revised form, when it was received with tumultuous applause. In July 1905 the opera made a most successful debut at Covent Garden, Destinn, Caruso, and Scotti playing the principal roles, and ever since it has been a great favourite with all classes of the musical public. The fine English version of the libretto, made by Mrs. R. H. Elkin, and admirably fitting the accentuation of the music, was sung for the first time at Washington, in October 1906, by Henry Savages Opera Company; and shortly after, it was presented at the Garden Theatre, New York, where it ran for three months to crowded and enthusiastic houses. In the summer of 1907 the Moody-Manners Company gave the first performance in English in Great Britain at the Lyric Theatre, London, Mdme. Fanny Moody impersonating the heroine, with Joseph OMara as Pinkerton, and Llewys James as the Consul. It has been played in all the principal cities of the Provinces by this Company, and everywhere the verdict of London has been confirmed.

Recommended Resources Madame Butterfly Poster The beautiful cover of an early Italian edition of the music and words for Puccini's opera Madama Butterfly (Madame Butterfly). Artist: Leopoldo Metlicovitz. Date: 1904.

Question: Who composed the opera ‘Madame Butterfly’?
Answer: Giacomo Puccini