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Grand Theatre, Łódź

Stage director

Stage director (+3)

Janina Niesobska

Set designer

Set designer (+4)

Waldemar Zawodzińki

Costume designer

Set designer (+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

Chorusmaster

Waldemar Sutryk

Chorusmaster (+2)

Rafal Wiecha

Soprano (+2)

Aleksandra Borkiewicz

Kate Pinkerton

Tenor (+2)

Dawid Kwieciński

Goro

Baritone (+3)

Przemysław Rezner

Prince Yamadori

Bass (+2)

Rafał Pikała

Uncle Bonze

Bass (+4)

Robert Ulatowski

The imperial commissioner

Teatr Wielki Łódź

Tenor (+4)

Krzysztof Dyttus

The official registrar

Baritone (+4)

Arkadiusz Anyszka

Sharpless

Andrzej Staniewski

Uncle Yakusidé

Soprano (+1)

Irena Pietrzak

The aunt

Mezzo-soprano (+4)

Monika Ledzion-Porczyńska

Suzuki

Contralto (+3)

Olga Maroszek

Ilona Krzywicka

Cio-Cio-San

Tenor (+1)

Dominik Sutowicz

B.F. Pinkerton

Baritone (+2)

Łukasz Motkowicz

Bass (+1)

Wiesław Rudnicki

Mezzo-soprano (+1)

Izabela WesoŁowska

Cio-Cio San's mother

Maria Stuczyńska

Karolina Jagoda

The cousin

Soprano

Dorota Woźniak

Conductor

Conductor (+1)

Maria Fuller

Paweł Skałuba

Sarah Tisba

Mezzo-soprano

Jadwiga Wiktorska-Zajac

Conductor (+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.

Italian