Admin

Teatr Wielki Łódź

Dirección de escena

Dirección de escena (+3)

Janina Niesobska

Escenografía

Escenografía (+4)

Waldemar Zawodzińki

Diseño de vestuario

Escenografía (+1)

Maria Balcerek

Orchestra

Orchestra of the Grand Theater in Łódź

Chorus

Choir of the Grand Theater in Łódź

Ballet

Ballet of the Grand Theater in Łódź

Dirección coral

Waldemar Sutryk

Dirección coral (+2)

Rafal Wiecha

Soprano (+2)

Aleksandra Borkiewicz

Kate Pinkerton

Tenor (+2)

Dawid Kwieciński

Goro

Barítono (+3)

Przemysław Rezner

Yamadori

Bajo (+2)

Rafał Pikała

Tío Bonzo

Bajo (+4)

Robert Ulatowski

Comisionado Imperial

Tenor (+4)

Krzysztof Dyttus

Oficial del registro

Barítono (+4)

Arkadiusz Anyszka

Sharpless

Andrzej Staniewski

Tío Yakusidé

Soprano (+1)

Irena Pietrzak

Tia de Cio-Cio-San

Mezzosoprano (+4)

Monika Ledzion-Porczyńska

Suzuki

Contralto (+3)

Olga Maroszek

Ilona Krzywicka

Cio-Cio-San

Tenor (+1)

Dominik Sutowicz

B.F. Pinkerton

Barítono (+2)

Łukasz Motkowicz

Bajo (+1)

Wiesław Rudnicki

Mezzosoprano (+1)

Izabela WesoŁowska

Madre de Cio-Cio-San

Maria Stuczyńska

Karolina Jagoda

Prima de Cio-Cio-San

Soprano

Dorota Woźniak

Dirección orquestal

Dirección orquestal (+1)

Maria Fuller

Paweł Skałuba

Sarah Tisba

Mezzosoprano

Jadwiga Wiktorska-Zajac

Dirección orquestal (+3)

Tomasz Tokarczyk

Although today MADAMA BUTTERFLY stands among Giacomo Puccini's greatest operatic hits, alongside masterpieces like TOSCA or LA BOHÈME, its premiere at La Scala ended in disaster. The love duet from Act I was met with booing, and when Cio-cio-san began singing about the nesting robins, the audience burst into such laughter that the performance was nearly halted. Yet, today it is perhaps one of the greatest melodramatic operas, a true tearjerker. The story of the lovestruck geisha, deceived and abandoned, who cannot live without honor and thus dies with honor, is accompanied by Puccini's dramatic music with poignant arias for the main character. Although in this story, everything may seem somewhat superficial, from Japanese parasols to the characters themselves, the first bars of the aria "Un bel di vedremo" are enough for audiences to forgive everything and be captivated by Puccini's intuition that the atmosphere of the Far East would be perfect for the stage, enchanting viewers with its exoticism and uniqueness.

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