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! Madama Butterfly | opera by Puccini | Britannica.com opera by Puccini Giacomo Puccini Madama Butterfly, opera in three acts (originally two acts) by Italian composer Giacomo Puccini (Italian libretto by Luigi Illica and Giuseppe Giacosa ) that premiered at La Scala opera house in Milan on February 17, 1904. The work is one of the most frequently performed of all operas.

Background and context Listen: Puccini, Giacomo: Madama Butterfly Excerpt from the aria “ Un bel dì ” from Act II of Giacomo Puccini’s … While in London in 1900, Puccini attended a performance of American theatrical producer and playwright David Belasco ’s one-act play Madame Butterfly, which recounted the tale (derived from a short story of the same name by American author John Luther Long) of a Japanese girl’s ill-fated love for an American sailor. Although he knew no English, Puccini responded to the play’s poignancy and asked his publisher, Giulio Ricordi, to obtain the story’s operatic rights. Early in 1901 the composer and his favourite librettists, Illica and Giacosa, with whom he had previously worked with success on Manon Lescaut , La Bohème , and Tosca , set about creating Madama Butterfly. Giacomo Puccini, 1908. Library of Congress, Washington, D.C.; A. Dupont, NY (dig. id.

cph 3a40628) Puccini and his librettists took steps to introduce an element of realism into the new opera. Illica even traveled to Nagasaki to investigate local colour, while Puccini set about researching Japanese music . He visited with the wife of the Japanese ambassador to Italy , who sang Japanese folk songs to him. She also acquired for him sheet music for further study. Puccini’s music for the opera reflects what he had learned and even makes a few direct references to the Japanese songs he had been exposed to. To delineate the American characters, Puccini often used a bluff forthright manner of expression, and he occasionally worked in bits of “ Poster for Giacomo Puccini’s production of the opera Madama Butterfly, … Buyenlarge—Time Life Pictures/Getty Images Similar Topics The Nutcracker, Op. 71 For all his care in composing the opera, Puccini was stunned at its reception. The opening-night audience openly jeered, booing and hissing throughout the performance. Madama Butterfly’s Japanese theme was mocked, and its tragic heroine was derided as a secondhand copy of Mimì from La Bohème.

Puccini withdrew the opera from performance after opening night, but he was not discouraged. Perhaps he was aware that jealous rivals had filled the house with their own noisy supporters. Nevertheless, he and his librettists began extensive revisions, most notably dividing the opera’s overly long second act. The new Madama Butterfly, which reached the stage in Brescia , Italy, on May 28, 1904, was a great success. Two more revisions would follow, in 1905 and 1906, before the opera reached its definitive form. All versions included “ Un bel dì, ” which remains one of the best-known arias in the soprano repertoire . American soprano Catherine Malfitano singing the title role in Giacomo Puccini’s opera … Beatriz Schiller—Time Life Pictures/Getty Images Madame Butterfly (Cio-Cio-San), a geisha ( soprano ) Suzuki, her servant ( mezzo-soprano ) B.F. Pinkerton, a lieutenant in the U.S.

Navy ( tenor ) Kate Pinkerton, Pinkerton’s American wife (mezzo-soprano) Sharpless, the American consul ( baritone ) Goro, a marriage broker (tenor) Prince Yamadori, a wealthy suitor (tenor) The Bonze (a Buddhist monk), Butterfly’s uncle (baritone) Yakuside, another uncle (baritone) Trouble, Butterfly’s child (soprano) Assorted other relatives, friends, and servants Setting and story summary Madama Butterfly is set in and around a house on a hill overlooking the harbour at Nagasaki , Japan , in 1904. Act I Music: Fact or Fiction? On the flower-filled terrace of a Japanese house overlooking the harbour. Goro, a marriage broker, is showing Benjamin Franklin Pinkerton, an American naval officer, the house that Pinkerton has just bought for his honeymoon with his new Japanese bride, Cio-Cio-San (Madame Butterfly). After introducing the servants, including Suzuki, Goro describes the upcoming wedding—as well as the long list of relatives who will attend. Sharpless, the American consul, arrives, out of breath from his walk up the hill.

The two Americans relax with drinks as Sharpless admires the view and the flimsy little house. Pinkerton has leased it for 999 years, with the option to cancel each month; contracts are flexible in Japan, he says. Pinkerton sings the praises of the “vagabond Yankee” who travels the world, taking his pleasure at every shore (“ Dovunque al mondo ”). He ignores Sharpless’s warning that such a shallow way of life can lead to sadness, and he boasts that his marriage contract, like the house, is for a term of 999 years but can be canceled any month. The two men toast “America forever” (to a few bars of “ The Star-Spangled Banner ” ). When Sharpless asks Pinkerton if the bride is pretty, Goro interrupts and says she is not only beautiful but also cheap: only 100 yen , less than 50 dollars . Pinkerton orders Goro to bring his bride to him. Sharpless remarks on Pinkerton’s restlessness and asks if he is really in love.

Pinkerton replies that he is not sure whether he acts on love or a whim (“ Amore o grillo ”) but that he knows his bride is as delicate as a figure on a Japanese screen, a little butterfly that he must chase and capture, even if it means breaking her wings. Sharpless recalls Butterfly’s visit to the consulate a few days earlier. Although he never saw her, he was captivated by her voice and felt that she was really in love. He points out that it would be a shame to break her heart. But Pinkerton does not see the harm in his brand of “love.” Sharpless proposes a toast to Pinkerton’s family, and Pinkerton toasts the day on which he will marry, in a “real” wedding, an American bride. Britannica Stories Ringling Bros. Folds Its Tent Goro rushes in, announcing the arrival of Butterfly and her attendants. She is the happiest girl in Japan, she tells her friends, for she is answering the call of love. They all bow to Pinkerton, who is enchanted with Butterfly. She tells him about her family, which had once been prosperous; reversals had forced her and her friends to become geishas to support themselves.

Her mother, though noble, is also very poor. When Sharpless asks about her father, she replies curtly, “Dead.” To break the tension, Sharpless asks how old she is. She engages in a little guessing game with the men, but finally she says that she is 15: “I am already old!” Sharpless is shocked, but Pinkerton thinks that she is at just the right age for marriage. Connect with Britannica Facebook Twitter YouTube Instagram Pinterest A parade of officials and relatives begins to arrive for the wedding: the Commissioner, the Registrar, Butterfly’s mother, her drunken uncle Yakuside, and her jealous and nitpicking cousins. As Goro vainly tries to quiet them, Sharpless remarks on how lucky Pinkerton is to have such a beautiful bride, and Pinkerton expresses his passion for her. Sharpless warns him that the marriage is no joke, for Butterfly believes in it. Pinkerton takes her aside for some private conversation. She shows him all of her possessions—a few trinkets, including a mysterious narrow box that she will not show him.

When she brings it into the house, Goro whispers to Pinkerton that the box contains a knife ; the emperor had given it to her father with the invitation to kill himself, and he had obeyed, committing ritual suicide . Butterfly returns to show Pinkerton figures that he thinks are dolls , but to Butterfly they represent hotoke—the souls of her ancestors. She tells him that she had secretly gone to the Christian mission the day before to convert to her new husband’s religion , for she wants to pray to the same god as he. For him, indeed, she would give up her family ; she passionately throws herself into his arms. Upon prompting by Goro, the brief marriage ceremony proceeds. As the relatives gather around Butterfly to congratulate her, Sharpless, as he is leaving, advises Pinkerton to be careful. After the guests have drunk a toast to the couple, the frightening voice of Butterfly’s uncle, the Bonze, is heard, accusing Butterfly of committing an abomination. Ignoring Pinkerton, the Bonze rushes in and announces to the shocked family that Butterfly has renounced their ancient religion. Pinkerton throws him out, and the Bonze leads the guests off, shouting imprecations at the weeping bride.

The couple is finally alone, and Pinkerton comforts Butterfly. She goes into the house to undress for her wedding night, assisted by Suzuki. Pinkerton cannot believe that this “toy,” this child-bride, is his wife, and he is consumed with desire. When she returns, she urges him to love her, just a little. He kisses her hands and says that her name is right for her. She replies that she has heard that in other countries butterflies are caught and pinned to a board. He reassures her and urges her to come into the house as she gazes with ecstasy at the night sky. They sing a passionate duet and go into the house. Act II Editor Picks: Exploring 10 Types of Basketball Movies Three years later, in Butterfly’s house. Suzuki is sitting before a figure of Buddha , praying to the Japanese gods. Butterfly remarks that those gods are lazy, for she is convinced that her husband’s god will answer prayers much more quickly. They have not seen Pinkerton in three years. They are nearly out of money . Suzuki warns that if Butterfly’s husband does not return soon, they will be ruined.

Butterfly is adamant that he will return, in spite of Suzuki’s belief that foreign husbands never do. She recalls that on their last morning together, he told her that he would return when the robins make their nest. When Suzuki begins to weep, Butterfly comforts her and says that one lovely day they will see his ship in the harbour, and he will come to her (“ Un bel dì ”). Sharpless arrives, and Butterfly welcomes him to her “American” house. He tries to show her a letter, but she is so delighted over the consul’s visit that she continually interrupts him to offer a tobacco pipe or American cigarettes . He tells Butterfly that Pinkerton has written a letter announcing his marriage to an American woman, but she prattles on and asks him when the robins will build their nests. Goro is heard laughing outside. She tells Sharpless that Goro is a bad man, for as soon as Pinkerton left, he besieged her with marriage offers from other men, including one from the rich Prince Yamadori. But Butterfly has rejected them all, despite her extreme poverty and isolation from her family.

Trending Topics Eyjafjallajökull volcano Yamadori arrives (accompanied by strains of the Japanese national anthem ) to repeat his proposal, but Butterfly firmly states that she is already married. When Goro points out that Pinkerton’s abandonment is equivalent to a divorce under Japanese law, she firmly states that her law is that of the United States , where, she believes, a judge would throw an erring husband into prison . She then goes to help Suzuki with the tea . Sharpless tells Goro and Yamadori that Pinkerton, who will soon arrive in Japan, does not want to see Butterfly. Sharpless has come to make sure she understands. Yamadori leaves with a heavy heart when Butterfly repeats her refusal. Sharpless begins to read the letter, with joyful interruptions from Butterfly (“ Letter Duet ”). Pinkerton writes that perhaps Butterfly has forgotten him—she is astounded that he might think that—and that he is relying on Sharpless “to prepare her.” At this, Butterfly jumps up and cries out with excitement that finally he is returning to her. Sharpless gives up, cursing Pinkerton, and asks Butterfly what she would do if Pinkerton never came back.

Shocked, she replies that she could do one of two things: either go back to being a geisha or, better, die. Embarrassed for her, Sharpless begs her to accept Yamadori’s proposal, but Butterfly is stunned and hurt and asks him to leave. Then, crying, “Has he forgotten me?” she runs out of the room and returns with her child, a blond, blue-eyed, curly-haired little boy. Pinkerton does not know about the child, for he left before her pregnancy was evident. She urges Sharpless to write to Pinkerton with the news. Then she imagines having to beg and sing in the streets to earn their living, and she swears that she would rather die. She tells Sharpless that today the child’s name is Trouble, but when his father returns, he will be called Joy. Sharpless takes his leave, promising to write to Pinkerton. Moments later, Suzuki rushes in, dragging Goro and cursing him, for he has been spreading the lie that no one knows the identity of Trouble’s father. Butterfly pulls out her father’s knife, shouts that Goro is a liar, and threatens to kill him; then she throws him out.

As she reassures the child that Pinkerton will take them far away, a cannon shot is heard. Butterfly and Suzuki rush to the door to look at the harbour; it is Pinkerton’s ship, the Abraham Lincoln. Butterfly’s love is vindicated . They fill the room with flowers (“ Flower Duet ”). Butterfly dresses in her wedding clothes and, with Suzuki and Trouble, sits by the door and waits, watching the harbour, throughout the night. (The “ Humming Chorus ” is heard in the distance.) Act III Dawn the next day, in Butterfly’s house. Butterfly is still keeping vigil, standing motionless. Suzuki and Trouble are asleep. Sailors’ voices carry from the harbour. Suzuki awakens and taps Butterfly on the shoulder. “He’ll come,” Butterfly says. Suzuki urges her to rest. Butterfly takes her sleeping child into his room. Answering a knock at the door, Suzuki is astonished to see Pinkerton and Sharpless. She wants to call Butterfly, but they stop her. Then Suzuki spies a woman in the garden and is devastated to learn that she is Kate, Pinkerton’s new American wife.

Sharpless urges her to help them persuade Butterfly to give up her child to Kate. Pinkerton, filled with remorse, rushes out (“ Addio, fiorito asil ”). Kate Pinkerton comes in from the garden with the heartbroken Suzuki, promising to take good care of the little boy. Butterfly is heard calling for Suzuki; Kate leaves the room. Suzuki tries in vain to keep Butterfly from coming in, but Butterfly is frantically looking for Pinkerton. She sees only Suzuki, Sharpless, and a strange woman in the garden. When she is told that Pinkerton has arrived but will never return to her, Butterfly realizes that the woman in the garden is his wife and that she has come to take Butterfly’s son. She suppresses her anguish, for she must obey her husband. Kate timidly approaches and asks her forgiveness. Butterfly tells her, “Don’t be sad for me,” and asks that Pinkerton himself come for the child in a half hour. When Kate and Sharpless leave, Butterfly is overcome by grief. She orders Suzuki to leave with the child.

Before a lit lamp in front of a statue of Buddha , she takes out her father’s knife and reads the inscription: “Die with honour, when it is impossible to live with honour.” She is about to stab herself when Suzuki sends in Trouble. Butterfly drops the knife and gathers the child in her arms, kissing him and urging him to remember his mother’s face (“ Tu? tu? tu? ”). Tearfully saying goodbye and telling him to go play, she sits him by the door, places in his hands an American flag and a toy , and blindfolds him. She then returns to the altar and stabs herself. Dying, she crawls toward the child, embraces him, and falls beside him as Pinkerton is heard shouting for her. He and Sharpless rush into the room; Butterfly points to her child and dies as Pinkerton falls, sobbing, to his knees. Sharpless takes the child into his arms and kisses him.

Madama Butterfly Musical Highlight: The Humming Chorus — News — Royal Opera House Kristine Opolais as Cio Cio San in Madama Butterfly © ROH/Mike Hoban, 2011 When Giacomo Puccini saw David Belasco ’s play Madame Butterfly in London in 1900, he fell in love with the production. Belasco was a true man of the theatre, known for his spectacular stage effects. Madame Butterfly featured the heroine’s magnificent ‘all-night’ vigil for her husband Pinkerton. Butterfly sat on stage in silence for 14 minutes, while subtle shifts of light illustrated the passage from dusk to dawn – the first time, Belasco claimed, that electricity had been used for a poetic purpose. Puccini knew he would need to come up with music that was equally poetic for his operatic vigil. He certainly succeeded. The ‘Humming Chorus’ has become one of the most famous of opera excerpts. It is often played over loudspeakers in Glover Garden, Nagasaki , where young lovers come (perhaps unwisely) to be photographed at a shrine dedicated to Butterfly.

It’s also had some surprising reincarnations in film: in Heavenly Creatures (1994) it’s heard as two adolescent girls plan the murder that they hope will free them to love each other; and in M. Butterfly , partly inspired by Puccini’s opera, a French diplomat listens to the ‘Humming Chorus’ as he yearns for his (male) Chinese lover. What makes this three-minute chorus so enchanting? There’s its musical beauty, but also its sense of calm, such a contrast to the passion of Act II. Cio-Cio-San (Butterfly) has been badly frightened by the US Consul Sharpless’s hints that Pinkerton has abandoned her: she would rather die than lose her husband’s love. So, when she spies Pinkerton’s ship in the harbour, she becomes manically excited and strews flowers round the house. She orders her maid Suzuki to dress her in her wedding gown, and declares that they and her child will make three small holes in their shoji (Japanese screen) and watch for Pinkerton.

The rich musical textures become increasingly delicate as Cio-Cio-San, to tender melodic fragments in the strings and woodwind, takes up her place at the screen. Three pizzicato (plucked) notes on the cellos open the ‘Humming Chorus’, loosely based on a fragment from Sharpless’s attempt to read Pinkerton’s letter to Cio-Cio-San in Act II. The unusual scoring of the chorus creates a striking contrast with its surroundings. Staccato flutes and muted, pianissimo pizzicato strings accompany the chorus of sopranos and tenors as they hum a long, arching melody in octaves. This melody, a rare example of an operatic vocalise (wordless song), is doubled by solo viola d’amore – an archaic instrument with a distinct sound, used only this once in the opera. Puccini creates a sense of repose by ensuring the vocal lines never move at the same time as the accompanying instrumentalists. The melody and its repetitive, lulling accompaniment are as simple as a lullaby. Precise stage directions state when moonlight illuminates the room, and when the baby and Suzuki fall asleep.

Later on, the textures briefly grow richer; the melody becomes wider ranging and the harmonies more adventurous. But after only a few phrases the opening hushed mood returns. The singers return to their initial vocalise, but in a fragmented form, as if they are growing drowsy. Then, to shimmering chords in the clarinets, horns and viola, and gentle figures in the harp, the vocal parts slow, rising gently to a pianissimo high B flat (not easy to hum!). The chorus ends in an ethereal B flat major chord. The ‘Humming Chorus’ is a rare episode of calm in Cio-Cio-San’s tragic tale. The delicate, peaceful mood of these 50 bars makes the drama of Act III – when Cio-Cio-San’s illusions are destroyed forever – all the more poignant. The production is a co-production with Gran Teatre del Liceu, Barcelona. It is sponsored by Coutts, with generous philanthropic support from Mr and Mrs Christopher W.T. Johnston and The Royal Opera House Endowment Fund . Madama Butterfly runs 20 March–25 April 2017. Tickets will be available soon.

By Kate Hopkins (Content Producer (Opera and Music)) 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.

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. Giacomo Puccini's "Madama Butterfly" ~ A History of Notes Giacomo Puccini's "Madama Butterfly" Giacomo Puccini Giacomo Puccini's "Madama Butterfly" is a tragic tale which is told in the popular opera style called verismo. The Italian word for realism, verismo was very popular in Italy during the 1890s and early 1900s.

Puccini was a master of this style, telling true and gritty stories which often culminated in a violent ending. The Italian composer's heroines are instantly recognizable with their strength and fragility, and in his opera "Madama Butterfly", his heroine is Cio-Cio-San, a young geisha. As a young composer Puccini was overshadowed by his compatriot Giuseppe Verdi. Yet Verdi was also the man who inspired Puccini into the genre of opera. As a teenager Puccini saw Verdi's Aida, and at the age of 35 came Puccini's first major success, Manon Lescaut. Puccini was a wonderful melodist, and has crafted many memorable arias which have melodies which bend and move with grace. His arias often begin in the upper register and work their way downward, with flexibility and suppleness. Yet Puccini did more than just brilliant arias, his orchestral work created atmospheres with a variety of colors. He often employed the violinata technique, which was an orchestral doubling of the vocal line. Puccini's love for exoticism is notable in the choice of settings and subject matter of his operas.

Turandot, Madama Butterfly, and Girl of the Golden West all show his fascination with exotic lands and foreign cultures. In total, Giacomo Puccini wrote 12 operas including Madama Butterfly, La Bohème, and Tosca. The plot of Puccini's Madama Butterfly is based off a play by David Belasco. The tragic story follows a Japanese geisha named Cio-Cio-San (also called Butterfly) who marries an American naval officer named Pinkerton, only to be abandoned by him. She waits for him faithfully and Pinkerton returns three years later, yet he has an American wife. When Pinkerton arrives, he wants to take his boy he had with Butterfly back to America. Butterfly's humiliation is too much to bear, and as she attempts to commit suicide her boy is pushed into the room to distract and stop her. Butterfly bids a farewell to her son and sends him off to play. As she stabs herself, Pinkerton's voice is heard far off in the distance calling Butterfly's name.

Aria: "Un bel dì vedremo Probably the most famous part of Madama Butterfly is Cio-Cio-San's aria, "Un bel dì vedremo". It is sung by Butterfly in response to Suzuki's (her housekeeper and friend) doubts that Pinkerton will never return to Japan. The formal structure of the aria is ABAC, starting with a calm A section which is in G flat major. The homophonic texture (single melodic line accompanied by harmony) starts in a languid and beautiful fashion. It begins high and slowly works its way down, employing the violinata technique. The A section has a very rubato feel because of the continual changes of tempo. Section B changes the time signature to 2/4 from A's 3/4, and it's marked with the Italian words, con semplicità, which means, "with simplicity". A recitativo parlando style is achieved by fast-repeating notes which are sustained by orchestral chords. The A section returns and is marked this time with con forza, which translates to "with strength".

This time there's the same melodic contour heard at the beginning of the aria, but now delivered with an almost parlando effect of the B section. In the C section the broad recitative style is maintained as the melody rises and builds in pitch and volume. It builds all the way to a climactic high B flat on the words, "await him". Then we hear the principal theme by the orchestra one last time. Maria Callas's rendition of "Un bel dì vedremo" is my favorite on Youtube, and many consider her the best performer of many arias. Her performance carries all of the emotion and beauty which Puccini surely wanted to depict with his brilliant opera, Madama Butterfly. Hello my name is Ashot and I’m the owner of the blog I have a request – Can we exchange links our sites by addiding in the links’ section. All the best

Question: What is the name of the maid of Cio-Cio San in Puccini’s Madama Butterfly?
Answer: Suzuki