Admin

Teatr Wielki Łódź

Regissör

Regissör (+3)

Janina Niesobska

Scenograf

Scenograf (+4)

Waldemar Zawodzińki

Kostym designer

Scenograf (+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

Körledare

Waldemar Sutryk

Körledare (+2)

Rafal Wiecha

Sopran (+2)

Aleksandra Borkiewicz

Kate Pinkerton

Tenor (+2)

Dawid Kwieciński

Goro

Baryton (+3)

Przemysław Rezner

Prins Yamadori

Bas (+2)

Rafał Pikała

Bonze

Bas (+4)

Robert Ulatowski

Den kejserlige kommissarien

Tenor (+4)

Krzysztof Dyttus

Registreringstjänsteman

Baryton (+4)

Arkadiusz Anyszka

Sharpless

Andrzej Staniewski

Yakusidé

Sopran (+1)

Irena Pietrzak

Cio-Cio-Sans Moster

Mezzosopran (+4)

Monika Ledzion-Porczyńska

Suzuki

Kontraalt (+3)

Olga Maroszek

Ilona Krzywicka

Cio-Cio-San

Tenor (+1)

Dominik Sutowicz

B.F. Pinkerton

Baryton (+2)

Łukasz Motkowicz

Bas (+1)

Wiesław Rudnicki

Mezzosopran (+1)

Izabela WesoŁowska

Cio-Cio-Sans mamma

Maria Stuczyńska

Karolina Jagoda

Cio-Cio-Sans Kusiner

Sopran

Dorota Woźniak

Dirigent

Dirigent (+1)

Maria Fuller

Paweł Skałuba

Sarah Tisba

Mezzosopran

Jadwiga Wiktorska-Zajac

Dirigent (+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.

italienska