Organization

Singer

Soprano

Sae Kyung Rim

Cio-Cio-San

Bing Bing Wang

Tenor

Mykhailo Malafii

B.F. Pinkerton

Khachatur Badalyan

Mezzo-soprano

Yayoi Toriki

Suzuki

Baritone

Marcin Bronikowski

Sharpless

Christian Federici

Chen Yong

Goro

Henry Ngan

Bass

Apollo Wong

Uncle Bonze

Sammy Chien

Prince Yamadori

Michelle Lange

Kate Pinkerton

Lam Kwok Ho

Uncle Yakusidé

Gladys Ho

The aunt

Candice Chung

The cousin

Frankie Fung

The imperial commissioner

Charles Tsang

The official registrar

Rachel Kwok

Cio-Cio San's mother

Stage director

Pier Francesco Maestrini

Conductor

Yves Abel

Lighting designer

Bruno Ciulli

Costume designer

Luca Dall'Alpi

Set designer

Nicolás Boni

Chorus master

Alex Tam

Opera Hong Kong

Opera and Ballet of Slovene National Theatre Maribor

Others

Hong Kong Philharmonic

Opera Hong Kong Chorus

itaalia

Madama Butterfly -  (Madame Butterfly)

Hong Kong

Hong Kong SAR China

Hong Kong Cultural Center

Grand Theatre

Madama Butterfly Puccini

Public

Madame Butterfly

inglise

hiina

Approved

【Sneak Peek 搶先聽 🎧│𝐏𝐮𝐜𝐜𝐢𝐧𝐢’𝐬 𝑴𝒂𝒅𝒂𝒎𝒂 𝑩𝒖𝒕𝒕𝒆𝒓𝒇𝒍𝒚 浦契尼《蝴蝶夫人》👘】𝑴𝒂𝒅𝒂𝒎𝒂 𝑩𝒖𝒕𝒕𝒆𝒓𝒇𝒍𝒚👘 is regarded as Puccini’s most melodious op...

Our Artistic Director and Producer Warren Mok has a great delight to introduce our grand production 𝑴𝒂𝒅𝒂𝒎𝒂 𝑩𝒖𝒕𝒕𝒆𝒓𝒇𝒍𝒚 🦋 to you.  The famous Italian Stage Director Pier Francesco Maestrini is working in great rapport with the phenomenal Canadian Conductor Yves Abel to bring you a refreshed interpretation of the love tragedy.  The two leading Asian Soprano Sae-Kyung Rim and Bing Bing Wang have been well praised for performing the title role Cio-Cio-san (Butterfly) in recent years. They will enthrall the audience with their exceptional singing and acting. Together with other fabulous artists from all over the world, how can you miss this wonderful production!

我們的藝術總監暨監製莫華倫先生為你介紹我們年度大製作《蝴蝶夫人》🦋。享負盛名的意籍舞台導演馬埃斯特里尼與蜚聲國際的加拿大指揮家阿貝爾將在這齣愛情悲劇中傾力合作，為觀眾帶來一個耳目一新的演繹；秋秋桑(蝴蝶)一角則邀得著名韓籍女高音林世庚及中國女高音王冰冰領銜主演。她們近年演釋這角的精湛演出，均獲國際讚譽。這齣大製作還邀得其他歌劇界優秀的演唱家坐陣，你又怎能錯過﹖

Tickets are NOW available at URBTIX
門票現於城市售票網發售
🎫 https://bit.ly/butterfly-urbtix-en
Early bird discount: 20%off (on or before 7 September)
早購優惠: 八折 (9月7日或以前)
==================
𝐏𝐮𝐜𝐜𝐢𝐧𝐢’𝐬 𝑴𝒂𝒅𝒂𝒎𝒂 𝑩𝒖𝒕𝒕𝒆𝒓𝒇𝒍𝒚 浦契尼《蝴蝶夫人》
Performed in Italian with Chinese and English Subtitles 
意大利文演唱，中英文字幕
🗓Date 日期: 6-10/10/2021
🕒Time 時間: (Wed-Sat) 7:45 pm, (Sun) 3:00pm
🏛️Venue 場地: Grand Theatre, Hong Kong Cultural Centre 香港文化中心大劇院
➡️Details節目詳情: https://bit.ly/ohk-Madama-Butterfly

Producer Warren Mok on Madama Butterfly | 監製莫華倫介紹《蝴蝶夫人》

Even before Tosca had its premiere at the Roman Opera in January 1900, Puccini was already intensively searching for a new theme or template for his next opera. Maeterlinck's drama Pelléas et Mélisande, Hugo's epochal novel Les Misérables and Daudet's novel Tartarin de Tarascon were among the shortlist of suitable works. But it was only after a summer visit to the London production of Tosca that he found his true inspiration in the tragic one-act play Madame Butterfly: A Tragedy of Japan by David Belasco, which was created as a dramatization of the short story Madame Butterfly by John Luther Long and was currently being performed at London's Duke of York's Theatre. Puccini was enthusiastic about the performance, so he immediately engaged his librettists, Illico and Giacosa, to begin preparing the text. As usual, Illica's task was to

The first version of the opera Madama Butterfly, conceived in only two acts, was performed for the first time in Milan's Scala on February 17, 1904, and was poorly received by the audience, despite the fact that they were in the roles of two main protagonists - a couple in love – Choča san and Benjamin Franklin Pinkerton engaged renowned soprano Rosina Storchio and tenor Giovanni Zenatello. The main reason for the fiasco of the opera premiere was not some compositional deficiency, but above all the lack of time to properly prepare the demanding musical score, which Puccini submitted after the scheduled deadline, because of his thorough acquaintance with Japanese culture - it is known that when composing often consulted with a Japanese actress who was staying in Milan at the time - took too much time.

Puccini, however, did not give up on the opera after the failed first performance and merely broke it down somewhat dramaturgically - in fact, he "broke" the original second act into two parts - and also made some minor harmonic and melodic corrections in individual arias and instrumental transitions. This was followed by the great success of the first performance of the new version of the opera on May 28 of the same year (1904) in Brescia. Madama Butterfly, which after a hiatus of more than ten years (it was last staged in the 2008/2009 season) will come to life again on the big Maribor stage, is one of those rare examples

English

Še preden je svojo praizvedbo v rimski Operi doživela Tosca januarja 1900, je Puccini že intenzivno iskal novo temo oziroma predlogo za svojo naslednjo opero. Med ožjim izborom primernih del so bile tudi Maeterlinckova drama Pelléas et Mélisande, Hugojev epohalni roman Les Misérables in Daudetov roman Tartarin de Tarascon. Toda šele po poletnem obisku londonske produkcije Tosce je našel svoj pravi navdih v tragični enodejanki Madame Butterfly: A Tragedy of Japan Davida Belasca, ki je nastala kot dramatizacija kratke zgodbe Madame Butterfly Johna Lutherja Longa in je bila ravno tedaj na programu v londonskem gledališču Duke of York’s Theatre. Puccini je bil na predstavo navdušen, zato je takoj angažiral svoja libretista, Illico in Giacoso, da bi začela s pripravo besedila. Kot po navadi je bila naloga Illice, da pripravi ustrezno dramsko strukturo in osnutek dialogov, ki bi jih nato Giacosa prepesnil v verze.

Prva različica opere Madama Butterfly, ki je bila zasnovana v zgolj dveh dejanjih, je bila prvič izvedena v milanski Scali 17. februarja 1904 in je doživela slab sprejem pri publiki, in to kljub dejstvu, da sta bila v vlogah glavnih dveh protagonistov – ljubezenskega para – Čočo san in Benjamina Franklina Pinkertona angažirana priznana sopranistka Rosina Storchio in tenorist Giovanni Zenatello. Glavni razlog za fiasko operne praizvedbe pa ni bila kakšna kompozicijska pomanjkljivost, ampak predvsem pomanjkanje časa za ustrezno pripravo zahtevne glasbene partiture, ki jo je Puccini oddal po predvidenem roku, saj je njegovo temeljito spoznavanje z japonsko kulturo – znano je, da se je pri komponiranju pogosto posvetoval z neko japonsko igralko, ki je takrat bivala v Milanu – terjalo preveč časa.

Puccini pa po propadli praizvedbi ni obupal nad opero in jo je zgolj nekoliko dramaturško razčlenil – pravzaprav je izvorno drugo dejanje “razbil” na dva dela –, prav tako pa je naredil še nekaj minornih harmonsko-melodičnih popravkov v posameznih arijah in inštrumentalnih prehodih. Sledil je velik uspeh prve izvedbe nove različice opere 28. maja še istega leta (1904) v Brescii. Madama Butterfly, ki bo po več kot desetletnem premoru (nazadnje je bila uprizorjena v sezoni 2008/2009) ponovno zaživela na velikem mariborskem odru, je ena tistih redkih primerov, ko se operni libreto in ne nazadnje tudi čustveno nabita glasba z emfatičnim vrhuncem v ljubezenskem duetu Vogliatemi bene med pravkar poročeno japonsko gejšo Čočo san z ameriškim mornariškim častnikom Pinkertonom kaže kot pomenljiva umetniška nadgradnja lastnega izvirnika – Longove kratke zgodbe in Belascove dramatizacije –, kar potrjuje tudi trajna priljubljenost te opere na preštevilnih opernih odrih po vsem svetu.

български

Madame Butterfly by Puccini, Alates (2021/2021), Juhatatud Pier Francesco Maestrini,, Dirigent Yves Abel, Hong Kong Cultural Center, Hong Kong, Hong Kong SAR China

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