Organization

Direttore d'orchestra

Direttore d'orchestra (+1)

Antonello Manacorda

Regia

Anthony Minghella

Scenografia

Regia (+2)

Carolyn Choa

Coreografia

Scenografia (+3)

Michael Levine

Costumi

Han Feng Shui

Luci

Luci (+4)

Peter Mumford

Soprano (+3)

Sonya Yoncheva

Cio-Cio-San

Mezzosoprano (+2)

Alma Neuhaus

Kate Pinkerton

Tenore (+3)

Charles Castronovo

B. F. Pinkerton

Baritono (+1)

Boris Pinkhasovich

Sharpless

Tenore (+2)

Andrea Giovannini

Goro

Tenore (+4)

Hiroshi Amako

Il Principe Yamadori

Basso (+2)

Evgeny Solodovnikov

Lo zio Yakusidé

Mezzosoprano (+4)

Szilvia Vörös

Suzuki

Lo zio Bonzo

Wiener Staatsoper

Basso-baritono (+3)

Nikita Ivasechko

Il commissario imperiale

Lithuanian National Opera and Ballet Theatre

English National Opera

The Metropolitan Opera

Vienna State Opera

The term of the lease for the wedding nest in Nagasaki, which the American naval lieutenant Pinkerton has rented including the geisha, is 999 years, but can be terminated on a monthly basis. Pinkerton is pleased with this flexibility. The American Consul Sharpless, invited as best man, has a finer ear than he does. The voice of the young geisha Cio-Cio-San, called Butterfly, who visited the American consulate the day before, made him sit up and take notice: Real love sounds from her. He warns his compatriot against carelessly "eliciting tones of pain from this voice." Because what is irresponsible play for Pinkerton is existential seriousness for Cio-Cio-San. She broke all ties to her family and culture to dream the American dream as »Madama FB Pinkerton«. After Pinkerton left her, For three years she defends this dream against reality, trusting American marriage law and the child she gave birth to after Pinkerton's departure: a blond, blue-eyed boy whom she calls Dolore ("pain"). Sharpless thinks he is relieving the socially isolated and penniless Cio-Cio-San by persuading Pinkerton, who has since entered into "a real marriage to a real American," to adopt the child. Butterfly agrees to give up the last thing she has left if Pinkerton himself picks it up from her. Then she confronts him with her ritual Japanese suicide, which she performs in the presence of her son. Before that, he was blindfolded. trusting in American marriage law and the child they gave birth to after Pinkerton's departure: a blond, blue-eyed boy whom she calls Dolore ("pain"). Sharpless thinks he is relieving the socially isolated and penniless Cio-Cio-San by persuading Pinkerton, who has since entered into "a real marriage to a real American," to adopt the child. Butterfly agrees to give up the last thing she has left if Pinkerton himself picks it up from her. Then she confronts him with her ritual Japanese suicide, which she performs in the presence of her son. Before that, he was blindfolded. trusting in American marriage law and the child they gave birth to after Pinkerton's departure: a blond, blue-eyed boy whom she calls Dolore ("pain"). Sharpless thinks he is relieving the socially isolated and penniless Cio-Cio-San by persuading Pinkerton, who has since entered into "a real marriage to a real American," to adopt the child. Butterfly agrees to give up the last thing she has left if Pinkerton himself picks it up from her. Then she confronts him with her ritual Japanese suicide, which she performs in the presence of her son. Before that, he was blindfolded. Sharpless thinks he is relieving the socially isolated and penniless Cio-Cio-San by persuading Pinkerton, who has since entered into "a real marriage to a real American," to adopt the child. Butterfly agrees to give up the last thing she has left if Pinkerton himself picks it up from her. Then she confronts him with her ritual Japanese suicide, which she performs in the presence of her son. Before that, he was blindfolded. Sharpless thinks he is relieving the socially isolated and penniless Cio-Cio-San by persuading Pinkerton, who has since entered into "a real marriage to a real American," to adopt the child. Butterfly agrees to give up the last thing she has left if Pinkerton himself picks it up from her. Then she confronts him with her ritual Japanese suicide, which she performs in the presence of her son. Before that, he was blindfolded. when Pinkerton himself picks it up from her. Then she confronts him with her ritual Japanese suicide, which she performs in the presence of her son. Before that, he was blindfolded. when Pinkerton himself picks it up from her. Then she confronts him with her ritual Japanese suicide, which she performs in the presence of her son. Before that, he was blindfolded.
For the musical representation of Japan in conflict with its forced opening and westernization by the American Navy in 1853, Puccini alienated his musical language by enriching it with material from original or mediated Far Eastern sources: In addition to borrowing from transcriptions of Japanese music by the Bruckner student Rudolf Dittrich, he used melodies from an in music box made in Switzerland for export to China, used a percussion system expanded to include Japanese instruments and was also inspired by a Kabuki theater performance. The latter points to an important aspect of the main character. Because as a geisha, Cio-Cio-San is trained to entertain a man through their conversation no less than through artistic performances such as singing, dancing and pantomime. Again and again it seems questionable whether her self-portrayal can be assessed as authentic or whether she rather presents her partners – and the audience – with elaborate masquerades. For example, when she – with the most famous aria of the piece “Un bel dì vedremo”, “One day we see” – plays for her confidante Suzuki, using her body and her voice, the longed-for return of her American husband, when she writes a humorous one for the consul improvised dialogue before an American divorce court or brought to mind the degrading fate of a street dancer for her son. The supposed naivety of the title character thus proves to be an abysmal and often broken one. The exoticism in Puccini's »Butterfly« score is more and different than a folkloristic decoration. He staged a critique of colonialism
After the two-act work failed at the premiere in 1904 at the Milan Scala, it conquered the stages of the world in a revised three-act form from Brescia and is still one of Puccini's most-performed operas. In the poetic production, which works with Japanese stylistic elements, by Hollywood director Anthony Minghella, who died in 2008 and became known worldwide for his films »The English Patient« and »The Talented Mr. Ripley«, the soprano Asmik Grigorian makes her state opera debut: not as the voice owner, but as a singer as a singing actress who sets standards with the dramatic penetration of each of her roles. The Viennese audience will be able to experience her in what is perhaps the most challenging and dazzling female role of Puccini, both vocally and scenically. Under the baton of Philippe Jordan, who is conducting this work in Vienna for the first time, Freddie De Tommaso also makes his house debut as Pinkerton. Virginie Verrez returns to the Staatsoper ensemble with the role of Butterfly's confidante Suzuki. Boris Pinkhasovich, known to Viennese audiences as Onegin and "Barbers" - Figaro, sings Consul Sharpless. For the third series of performances, Philippe Jordan will pass the baton to Joana Mallwitz, current Music Director of the Staatstheater Nürnberg, who was voted Conductor of the Year in the 2019 critics' survey of the magazine »Opernwelt«. After almost 100 Viennese appearances in 15 operas, Roberto Alagna made another important State Opera role debut under her direction: Pinkerton. also makes his house debut as Freddie De Tommaso as Pinkerton. Virginie Verrez returns to the Staatsoper ensemble with the role of Butterfly's confidante Suzuki. Boris Pinkhasovich, known to Viennese audiences as Onegin and "Barbers" - Figaro, sings Consul Sharpless. For the third series of performances, Philippe Jordan will pass the baton to Joana Mallwitz, current Music Director of the Staatstheater Nürnberg, who was voted Conductor of the Year in the 2019 critics' survey of the magazine »Opernwelt«. After almost 100 Viennese appearances in 15 operas, Roberto Alagna made another important State Opera role debut under her direction: Pinkerton. also makes his house debut as Freddie De Tommaso as Pinkerton. Virginie Verrez returns to the Staatsoper ensemble with the role of Butterfly's confidante Suzuki. Boris Pinkhasovich, known to Viennese audiences as Onegin and "Barbers" - Figaro, sings Consul Sharpless. For the third series of performances, Philippe Jordan will pass the baton to Joana Mallwitz, current Music Director of the Staatstheater Nürnberg, who was voted Conductor of the Year in the 2019 critics' survey of the magazine »Opernwelt«. After almost 100 Viennese appearances in 15 operas, Roberto Alagna made another important State Opera role debut under her direction: Pinkerton. known to Viennese audiences as Onegin and "Barbers" - Figaro, sings Consul Sharpless. For the third series of performances, Philippe Jordan will pass the baton to Joana Mallwitz, current Music Director of the Staatstheater Nürnberg, who was voted Conductor of the Year in the 2019 critics' survey of the magazine »Opernwelt«. After almost 100 Viennese appearances in 15 operas, Roberto Alagna made another important State Opera role debut under her direction: Pinkerton. known to Viennese audiences as Onegin and "Barbers" - Figaro, sings Consul Sharpless. For the third series of performances, Philippe Jordan will pass the baton to Joana Mallwitz, current Music Director of the Staatstheater Nürnberg, who was voted Conductor of the Year in the 2019 critics' survey of the magazine »Opernwelt«. After almost 100 Viennese appearances in 15 operas, Roberto Alagna made another important State Opera role debut under her direction: Pinkerton.

Madama Butterfly

Vienna

Austria

Scenica

Opera

Musikalische Leitung: Antonello ManacordaInszenierung: Anthony MinghellaMit: Sonya Yoncheva, Charles Castronovo, Boris Pinkhasovich, Szilvia VörösNächste Ter...

Madama Butterfly Puccini

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