Name: Madama Butterfly
Start: 2023-04-22T00:00:00.000Z
End: 2023-06-16T00:00:00.000Z
Location: Aalto Theatre

Organization

Cantante

Mezzosoprano

Karin Strobos

Suzuki

Marie-Helen Joël

Kate Pinkerton

Baritono

Heiko Trinsinger

Sharpless

Tenore

Rainer Maria Röhr

Goro

René Aguilar

Il Principe Yamadori

Basso

Arman Manukyan

Lo zio Yakusidé

Mateusz Kabala

Il commissario imperiale

Ulrich Wohlleb

L'ufficiale del registro

Soprano

Kyung-Nan Kong

La cugina

Uta Schwarzkopf

La zia

Direzione d'orchestra

Giuseppe Finzi

Regia

Tilman Knabe

Scenografia

Alfred Peter

Costumi

Gabriele Rupprecht

Direzione del coro

Klaas-Jan de Groot

Drammaturgia

Nils Szczepanski

Francesca Tiburzi

Cio-Cio-San

Raffaele Abete

B. F. Pinkerton

Almas Svilpa

Lo zio Bonzo

Mario Tardivo

Anna Harvey

Marion Steingötter

La madre di Cio-Cio-San

Aalto-Musiktheater Essen

Orchestra

Essener Philharmoniker

Others

Opernchor des Aalto-Theaters

italiano

Madama Butterfly

Essen

Germania

Aalto Theatre

Madama Butterfly Puccini

Public

tedesco

Approvato

Accordionist

Strumento

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianista

Recorder Player

Saxophonist

Suonatore di flauto

Tenor Violinist

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinista

Violino Piccolo Player

Violista

Altro

Ballerino/a

Chorus Director

Composizione

Coreografia

Coro

Docente di canto

Emittente radiotelevisiva

Extra

Fotografia

Illustrator

Insegnante

Libretto

Luci

Maestro accompagnatore

Orchestra Operations

Parrucco

Poeta

Produzione esecutiva

Recitazione

Scrittura

Scrittura ed esecuzione

Sound designer

Stage Manager

Traduzione

Trucco

Video

Wig & Makeup Designer

Basso-baritono

Controtenore

Contralto

Alto

Continuo

Mimi

Narrazione

Voce bianca

Even before he had finished his "Tosca" in 1899, Giacomo Puccini was looking for a libretto for the following opera - without any useful result, as so often in his life. But when he was in London in 1900, he was sent straight to the Duke of York's Theater, where a play by the American author David Belasco was given: "Madame Butterfly". Although the composer didn't understand a word of English, it was immediately clear to him: This "Tragedy of a Japanese Woman" would be his next opera. When "Madama Butterfly" came out at La Scala in Milan in 1904, the disappointment was huge, both for the audience and the composer. But it only needed a few retouches for the work to begin its triumphal procession in the same year, which it has continued to this day - which it swindled for decades through a kind of dissimulation:

In fact, neither Belasco had written such a piece, nor had Puccini composed it. It is true that exoticism was very much in vogue at the turn of the century, although there was already a role model for little Cio-Cio-San in the novel "Madame Chrysanthème" by Pierre Loti, whose operatic suitability André Messager had proven, but all this had to do with that verismo, which Puccini ultimately felt obliged to do little: the relentless presentation of truth on stage. The extent to which Puccini felt committed to this ideal is demonstrated by his visits to the wife of the Japanese consul in Rome, from whom he received first-hand information not only about Japanese music but also about the customs of the Empire of Nippon. And the constant gripping of the whiskey glass by the drinking Americans on stage while at the same time intoning the US national anthem should be understood as nothing other than a sarcastic commentary on the New World's claim to hegemony in the Pacific region. In this way, the "tragedy of a Japanese woman" in the opera also becomes a tragedy of America.

English

Schon bevor er seine "Tosca" 1899 vollendet hatte, suchte Giacomo Puccini nach einem Libretto für die folgende Oper – ohne brauchbares Resultat, wie so oft in seinem Leben. Als er aber 1900 in London weilte, schickte man ihn schnurstracks ins Duke of York’s Theatre, wo ein Schauspiel des amerikanischen Autors David Belasco gegeben wurde: "Madame Butterfly". Obwohl der Komponist kein Wort Englisch verstand, war ihm schlagartig klar: Diese "Tragödie einer Japanerin" würde seine nächste Oper. Als "Madama Butterfly" 1904 an der Mailänder Scala herauskam, war die Enttäuschung riesig, für das Publikum wie den Komponisten. Doch es brauchte nur ein paar Retuschen, damit das Werk noch im selben Jahr seinen bis heute andauernden Siegeszug antrat – den es sich jahrzehntelang durch eine Art Verstellung erschwindelte: Es tat, als spiele es in einem exotischen Reich von mandeläugigen Porzellanpuppen.

Ein solches Stück hatte nämlich weder Belasco geschrieben, noch Puccini komponiert. Zwar waren Exotismen um die Jahrhundertwende sehr in Mode, zwar gab es für die kleine Cio-Cio-San in dem Roman "Madame Chrysanthème" von Pierre Loti schon ein Vorbild, dessen Operntauglichkeit André Messager bewiesen hatte, aber all das hatte mit jenem Verismo, dem sich Puccini letztlich verpflichtet fühlte, wenig zu tun: der schonungslosen Darstellung der Wahrheit auf der Bühne. Wie sehr sich Puccini diesem Ideal verpflichtet fühlte, belegen seine Besuche bei der Gattin des japanischen Konsuls in Rom, von der er sich nicht nur über japanische Musik, sondern auch über Gebräuche des Reiches Nippon aus erster Hand informieren ließ. Und der ständige Griff zum Whiskyglas der trinkfreudigen Amerikaner auf der Bühne bei gleichzeitiger Intonation der US-Nationalhymne ist nicht anders denn als sarkastischer Kommentar auf den Hegemonialanspruch der Neuen Welt im pazifischen Raum zu verstehen. So wird aus der "Tragödie einer Japanerin" in der Oper auch eine Tragödie Amerikas.

Deutsch

Madama Butterfly by Puccini, Da (2023/2023), Diretto da Tilman Knabe,, Direttore d'orchestra Giuseppe Finzi, Aalto Theatre, Essen, Germania

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