Admin

Opernhaus Zürich

Dirección orquestal

Marco Armiliato

Dirección de escena

Dirección de escena (+4)

Ted Huffman

Escenografía

Escenografía (+3)

Michael Levine

Diseño de vestuario

Escenografía (+1)

Annemarie Woods

Iluminación

Iluminación (+3)

Franck Evin

Dirección coral

Dirección coral (+3)

Ernst Raffelsberger

Coreógrafo asistente

Coreografía (+2)

Sonoko Kamimura-Ostern

Dramaturgo

Fabio Dietsche

Soprano (+1)

Marina Rebeka

Cio-Cio-San

Mezzosoprano (+2)

Judith Schmid

Suzuki

Tenor

Tomislav Mužek

B.F. Pinkerton

Barítono (+1)

Massimo Cavalletti

Sharpless

Tenor (+3)

Nathan Haller

Goro

Bajo (+4)

Stanislav Vorobyov

Tío Bonzo

Bajo (+2)

Lobel Barun

Comisionado Imperial

Flavia Stricker

Kate Pinkerton

Orchestra

The Orchester der Oper Zürich

Extras

Statistenverein am Opernhaus Zürich

Opernhaus

Chorus

Chor der Oper Zürich

Barítono (+2)

Steffan Lloyd Owen

Yamadori

Oficial del registro

She most recently impressed Zurich audiences as Leonora in Verdi’s Il trovatore. Now the internationally celebrated soprano Marina Rebeka returns in the title role of Puccini’s Madama Butterfly. Giacomo Puccini followed up on the successes of La bohème and Tosca by leaving European soil for this opera, which juxtaposes Western and Eastern mentalities. In what would be his most ambitious score to date, he pulled inspiration from his recent introduction to Japanese culture, juxtaposing them with a raw, Western musical style.
The real conflict in this «Japanese tragedy» lies less in the culture clash, and more in the irreconciled principles of a woman bound by faithful love and an unfaithful, instinct-driven man. Before marrying the 15-year-old geisha Cio-Cio-San, naval officer Pinkerton raises a glass of whisky to the day when he is «properly» married to an American woman. The tryst with the attractive Japanese «doll» is no more than an affair during his time abroad. After Pinkerton returns to the United States, Cio-Cio-San waits for his return, in vain. When she learns that he has remarried in his home country and is coming back to take their child to live with him, she sees only one path forward...
American stage director Ted Huffman’s directorial debut at the Opernhaus Zürich was a hit with its overwhelmingly beautiful, serenely abstract images and palpable narrative tension.

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