Name: Madama Butterfly
Start: 2022-01-19T00:00:00.000Z
End: 2022-05-28T00:00:00.000Z
Location: Samara Academic Theatre of Opera and Ballet

Organization

Conductor

Alexander Anisimov

Stage director

Dieter Martin Kaegi

Set designer

Elena Solovyova

Costume designer

Natalia Zemalindinova

Lighting designer

Roman Krikunov

Chorus master

Valerya Navrotskaya

Olga Safronova

Libretto

Luigi Illica

Giuseppe Giacosa

Soprano

Tatiana Gaivoronskaya

Cio-Cio-San

Tenor

Крыжский Дмитрий

B.F. Pinkerton

Mezzo-soprano

Natalia Frize

Suzuki

Baritone

Georgy Tsvetkov

Sharpless

Alexei Perov

Goro

Bass

Шагалов Георгий

Uncle Bonze

Samara Academic Theatre of Opera and Ballet

ítalska

Madama Butterfly -  (Madame Butterfly)

Samara

Russia

Madama Butterfly Puccini

Public

Madame Butterfly

rússneska

Approved

T. Gaivoronskaya, I. Govzich. Duet of Butterfly and Pinkerton from the opera "Madame Butterfly" by G. Puccini

Puccini was already a popular composer, whose operas were staged at the best theater in Italy - La Scala - when in 1900 in London he got to the performance of David Belasco's play "Madama Butterfly". A few years later, the story of a young geisha betrayed by an American sailor received a musical embodiment. The first production of Madama Butterfly failed. The stubborn Puccini refined the opera again and again and brought it to perfection. There is nothing random or ill-conceived in Butterfly.
The action of the opera takes place in Japan, and in order to create a real oriental flavor, Puccini communicated with the Japanese and studied the notes of Japanese songs. In "Madama Butterfly" there are no less than a dozen authentic melodies from the homeland of Cio-Cio-san. And in the orchestra, a whole palette of percussion instruments is responsible for Asian colors: Japanese bells, European glockenspiel keyboard bells, tubular bells and a gong.

Puccini masterfully builds up tension. In the first act, everything seems gentle, light and carefree - even the cynicism with which the marriage of Butterfly and Pinkerton is arranged. The second act is a painful contrast between Butterfly's unwavering hope and common sense. In the third act, the heroine's self-deception dissipates, and the denouement comes slowly and inevitably. Butterfly's monologue before she commits suicide is one of the most powerful operatic endings in history.

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