Admin

Teatr Wielki Łódź

Regia

Regia (+3)

Janina Niesobska

Scenografia

Scenografia (+4)

Waldemar Zawodzińki

Costumi

Scenografia (+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

Direzione del coro

Waldemar Sutryk

Direzione del coro (+2)

Rafal Wiecha

Soprano (+2)

Aleksandra Borkiewicz

Kate Pinkerton

Tenore (+2)

Dawid Kwieciński

Goro

Baritono (+3)

Przemysław Rezner

Il Principe Yamadori

Basso (+2)

Rafał Pikała

Lo zio Bonzo

Basso (+4)

Robert Ulatowski

Il commissario imperiale

Tenore (+4)

Krzysztof Dyttus

L'ufficiale del registro

Baritono (+4)

Arkadiusz Anyszka

Sharpless

Andrzej Staniewski

Lo zio Yakusidé

Soprano (+1)

Irena Pietrzak

La zia

Mezzosoprano (+4)

Monika Ledzion-Porczyńska

Suzuki

Contralto (+3)

Olga Maroszek

Ilona Krzywicka

Cio-Cio-San

Tenore (+1)

Dominik Sutowicz

B. F. Pinkerton

Baritono (+2)

Łukasz Motkowicz

Basso (+1)

Wiesław Rudnicki

Mezzosoprano (+1)

Izabela WesoŁowska

La madre di Cio-Cio-San

Maria Stuczyńska

Karolina Jagoda

La cugina

Soprano

Dorota Woźniak

Direttore d'orchestra

Direttore d'orchestra (+1)

Maria Fuller

Paweł Skałuba

Sarah Tisba

Mezzosoprano

Jadwiga Wiktorska-Zajac

Direttore d'orchestra (+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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