Organization

Regia

Regia (+3)

Damiano Michieletto

Costumi

Costumi (+2)

Carla Teti

Luci

Luci (+1)

Marco Filibeck

Direzione del coro

Direzione del coro (+1)

José Luis Basso

Mezzosoprano (+2)

Marta Fontanals-Simmons

Kate Pinkerton

Teatro Real de Madrid

Teatro Regio di Torino

Scenografia

Scenografia (+1)

Paolo Fantin

Assistente Lighting Designer

Jenny Cappelloni

Chorus

Coro Intermezzo

Orchestra

Orquesta Sinfónica de Madrid

Baritono (+2)

Andrés Mundo

Lo zio Yakusidé

Basso-baritono (+2)

Xavier Casademont

Il commissario imperiale

Mezzosoprano

Elena Castresana

La madre di Cio-Cio-San

Soprano

Debora Abramowicz

La zia

Soprano (+1)

Legipsy Álvarez

La cugina

Teatro Real

Direttore d'orchestra

Direttore d'orchestra (+2)

Nicola Luisotti

Basso

Nacho Ojeda

L'ufficiale del registro

Tenore

Mikeldi Atxalandabaso

Goro

Fernando Radó

Lo zio Bonzo

Baritono (+3)

Tomeu Bibiloni

Il Principe Yamadori

Gerardo Bullón

Sharpless

Tenore (+1)

Moisés Marín

Toni Marsol

Basso (+3)

George Andguladze

Tenore (+2)

Matthew Polenzani

B. F. Pinkerton

Mezzosoprano (+3)

Silvia Beltrami

Suzuki

Gemma Coma-Alabert

Lucas Meachem

Soprano (+3)

Ailyn Pérez

Cio-Cio-San

Saioa Hernández

Tenore (+3)

Charles Castronovo

Mezzosoprano (+4)

Nino Surguladze

Lianna Haroutounian

Michael Fabiano

Baritono (+7)

Luis Cansino

Basso-baritono (+1)

Iñigo Martin

Direttore d'orchestra (+1)

Luis Miguel Méndez

Leonardo Capalbo

Barno Ismatullaeva

Aleksandra Kurzak

The poignant story of love, loss, betrayal and sacrifice from one of the public's favourite operas continues to captivate audiences, although with a contemporary eye it can be seen as a very raw story about the young geisha. Damiano Michieletto moves Madama Butterfly to a slum in an oriental

The Japanese civil code of 1898 – the Horei– established a legal framework which governed diverse aspects of public life as part of the libretto of Madama Butterfly. These include marriage, family rejection, divorce, or adoption. Imperialism, mixed race, and xenophobia are also elements of a narrative harness which navigates the well-mannered and acquiescent Oriental clichés of the preceding century while integrating the story of Cio-Cio San in a few coordinates of realism.

The finesse of Puccini’s score   - in whose music authentic Japanese melodies resonate: «Izuki Uta», «Echigo-Jishi», «Sakurá», «Miyasan, Miyasan» or the Japanese national anthem «Kimi ga yo»– softens the edges of the drama without dismissing its tragic and sordid base, to construct what is probably the composer’s most well-done and profound feminine portrait. Along this line, Damiano Michieletto moves the action to a modern marginal neighbourhood of a big Asian city as a denunciation of a reality - sexual tourism - which lies at the heart of this iconic opera.

Production from Teatro Regio Torino

A tribute to Victoria de los Ángeles (1923-2005) in commemoration of the centenary of her birth (1 November 1923)

Madama Butterfly

Madrid

Spagna

Sala Principal

Madama Butterfly Puccini

Scenica

Opera

Damiano Michieletto traslada a Madama Butterfly a un barrio marginal de una ciudad oriental. Como Cio-Cio San, se alternarán las voces de Saioa Hernández, Al...

Approvato

Video