Name: Madama Butterfly
Start: 2022-08-10T00:00:00.000Z
End: 2022-10-23T00:00:00.000Z
Location: Primorsky Stage of the Mariinsky Theatre

Organization

Певец

Баритон

Marat Mukhametzyanov

Шарпелес

Тенор

Vsevolod Marilov

Горо

Musical Director

Valery Gergiev

Режиссер-постановщик

Mariusz Treliński

Художник-постановщик

Boris Kudlička

Художник по костюмам

Magdalena Tesławska

Paweł Grabarczyk

Художник по свету

Stanisław Zięba

Пианист

Andrey Annenkov

Хореограф

Emil Wesołowski

Дирижер

Shizuo Z Kuwahara

Сопрано

Alena Diyanova

Чио-Чио-Сан

Yevgeny Akimov

Пинкертон

Меццо-сопрано

Tatiana Makarchuk

Сузуки

Anton Torbeev

Elena Razguļajeva

Mergen Sandanov

César Méndez Silvagnoli

Anastasia Kikot

Mingiyan Ojaev

Laura Bustamante

Ilya Astafurov

Primorsky Stage of the Mariinsky Theatre

итальянский

Madama Butterfly -  (Мадам Баттерфляй)

Владивосток

Россия

Madama Butterfly

Public

Мадам Баттерфляй

русский

английский

Одобрено

The great verist composer Giacomo Puccini’s opera Madama Butterfly owes its plot to the semi-autobiographical novel by the French naval officer and voyager Pierre Loti. Obvious fables with their abundance of descriptions of imaginary and actual real life in exotic lands had a suitable effect on the transformation of Loti’s texts into an opera libretto (apropos, this was also the case with Léo Delibes’ Lakmé). Loti’s Madame Chrysanthème underwent several stages of transformation: having originated with the memoirs of Japan of the sister of the American author John Luther Long, it became David Belasco’s play Madame Butterfly and, under this title, was performed in Italian theatres before subsequently transferring to the opera house. the love story of an American officer and a Japanese girl was to prove tragic for both, frivolity and trust playing out a cruel joke set against a background of two clashing cultures. But for Puccini, too, the focus lies on the strength and power of emotions, the plot acting as a premise for their existence, while the Japanese entourage produces a certain oriental flavour in the music. the Mariinsky Theatre performs a production by Polish stage director Mariusz Treliński, brought from Warsaw’s Opera Narodowa. Here the sets underlie the principle of unity of the natural and the artificial, so revered in Japan even nowadays. the costumes were produced by including references to clothing of the Meiji era, while the stage lighting encompasses strong and pure colours without semi-shade or transitions, and this creates the sensation of a mystery, a mystery which travellers in the past and readers of their novels tried to fathom.
Denis Velikzhanin

English

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