Organization

Singer

Baritone

Pavol Kubán

Sharpless

Tenor

Csaba Kotlár

Prince Yamadori

Bass

Michael Skalický

Uncle Yakusidé

Soprano

Petra Břicháčová

The cousin

Libor Novák

The official registrar

Silent

Jan Adam

Sorrow

Video designer

Larva Bartoš

Lucie Svačinková

The aunt

Peter Berger

B.F. Pinkerton

Mezzo-soprano

Lenka Pavlovič

Kate Pinkerton

Václav Sibera

Goro

Roman Vocel

The imperial commissioner

Tomáš Foltýnek

Soňa Koczianová

Cio-Cio San's mother

Marketa Panska

Gabriela Pešinová

Eliška Sedláčková

Eliška Mourečková

Tereza Růžičková

Stage director

Jiří Heřman

Set designer

Jan Lukášek

Costume designer

Alexandra Grusková

Lighting designer

Daniel Tesař

Chorus master

Adolf Melichar

Dramaturge

Ondřej Hučín

Patricie Částková

Csilla Boross

Cio-Cio-San

Jana Sýkorová

Suzuki

Zdeněk Plech

Uncle Bonze

Svetlana Aksenova

Jiří Rajniš

Lunchmeat

Choreographer

Lucie Hayashi

Conductor

Jiří Štrunc

Olga Busuioc

Michaela Zajmi

Valentyn Dytiuk

Svatopluk Sem

Igor Loškár

Erika Vocelová Jarkovská

Oleg Korotkov

Markéta Frýdová

Andriy Yurkevych

Others

State Opera Chorus

Orchestra

State Opera Orchestra

Ballet

State Opera Ballet

National Theatre Prague

italiera

Madama Butterfly -  (Madame Butterfly)

Prague

Czech Republic

Státní Opera Praha (The State Opera)

Madama Butterfly

Public

Madame Butterfly

Saurav Kumar

State Opera

txekiera

ingelesa

Approved

„Butterfly“ je bezesporu jednou z divácky nejúspěšnějších a zároveň umělecky nejcennějších oper všech dob. Z Pucciniho děl má přitom snad tu nejjednodušší, v...

Madama Butterfly Puccini

The opera is named after the renowned short story Madame Butterfly by the American lawyer and author John Luther Long, which served as the basis for a drama by the New York impresario and playwright David Belasco, which in turn directly inspired Puccini to compose his celebrated opera.

In Madama Butterfly, Puccini eschewed intricate action and boisterous dramatic events, opting instead for an intimate story and highlighting the psychology of the characters, fleshing out by his music the tiniest details, oscillations and extreme emotional surges. The contrast between the Japanese and “Western” mentality is also aptly rendered by means of many a time surprisingly modified quotations of the US national anthem, as well as a forcible depiction of the local colour of Japan. This facet is captured in Jiří Heřman’s production, which authentically represents the Japanese culture and its traditional customs. The stage director tells the well-known story in a non-traditional way – through the eyes of Cio-Cio San’s grown-up son, who traces his past in Nagasaki.

English

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