Organization

Soprano

Tatiana Kalchenko

Cio-Cio-San

Tenor

Sergey Aleshchenko

B.F. Pinkerton

Mezzosoprano

Victoria Martemyanova

Suzuki

Barítono

Vladimir Kazakov

Sharpless

Victor Aleshkov

Goro

Alexander Koryakov

Yamadori

Bajo

Gevorg Grigoryan

Tío Bonzo

Kristina Metelitsa

Kate Pinkerton

Dmitry Udi

Tío Yakusidé

Andrey Zemskov

Comisionado Imperial

Director(a) de escena

Tatyana Karpacheva

Natalya Chernikova

Darya Modzalevskaya

Director(a) orquestal

Robert Luter

Alexander Goikhman

Diseñador(a) de iluminación

Elena Grigoryevskaya

Diseñador(a) de vestuario/Figurinista

Zinovy Margolin

Escenógrafo(a)

Director(a) coral

Igor Pototskiy

Diseñador(a) de sonido

Nina Zhukovskaya

St Petersburg Chamber Opera

italiano

Madama Butterfly

San Petersburgo

Rusia

Baron Fon Derviz Mansion (St Petersburg Chamber Opera)

Madama Butterfly Puccini

Public

Válido

The performance is a laureate of the highest theatrical prize of St. Petersburg "Golden Soffit" in the 2005-2006 season. in the nomination "Best Performance in a Musical Theater"

For more than a hundred years, "Madame Butterfly" has not left the stages of the world's opera houses. Among the outstanding performances of the opera, the performance of the Chamber Musical Theater became one of the most original readings of Puccini's brilliant score. The performance is masterfully constructed and thought out in detail. Deprived of external beauty and oriental exoticism, it strikes with intense passion, penetration and psychological depth.

“I would never have taken up Chio-Chio-san today if this story hadn’t tormented me so much, painfully tore me apart. This mental abscess constantly whines, burns, gives in every cell. Human pain has no time or historical boundaries; it does not depend on nationality or social environment. The English version of the tragic love of Lucretia, the French story of La Traviata, the Japanese version of the Butterfly are united for me by the suffering and despair of the Woman.
In our play, events develop in Japan in the post-war years, after the monstrous explosions in Hiroshima and Nagasaki. I put the heroes in a more violent time, tried to remove the decorative element from the opera - a minimum of scenery, a minimum of props. The scene turned out to be naked, naked, like people who lived in a poverty-stricken, hungry time. Nothing superfluous, nothing distracting. Only Man in his fatal loneliness and all-consuming Pain.
I perceive Pinkerton's love for Butterfly as something akin to humanitarian aid from America. The nature of this relationship is monstrous. And, ultimately, the moral explosion turns out to be stronger and more terrible than the nuclear explosion in Hiroshima and Nagasaki. " Yuri Alexandrov

English

Créditos de presentación (Elenco & Equipo )

Elenco

Equipo