Name: Madama Butterfly
Start: 2016-08-02T00:00:00.000Z
End: 2016-08-05T00:00:00.000Z
Location: Primorsky Stage of the Mariinsky Theatre

Organization

Conductor

Min Chung

Valery Gergiev

Stage director

Mariusz Treliński

Set designer

Boris Kudlička

Costume designer

Paweł Grabarczyk

Magdalena Tesławska

Lighting designer

Stanisław Zięba

Assistant Lighting Designer

Andrei Ponizovsky

Yegor Kartashov

Chorus master

Konstantin Rylov

Pianist

Alla Brosterman

Choreographer

Emil Wesołowski

Singer

Soprano

Ana María Martínez

Cio-Cio-San

Tenor

Yevgeny Akimov

B.F. Pinkerton

Baritone

Alexander Gergalov

Sharpless

Andrei Popov

Goro

Mezzo-soprano

Anna Kiknadze

Suzuki

Bass

Vyacheslav Vasilyev

Uncle Bonze

Laura Bustamante

Kate Pinkerton

Dmitry Nelasov

Prince Yamadori

Vadim Soloviev

The imperial commissioner

Gennady Akhmedov

The official registrar

Orchestra

Orchester des Mariinski-Theaters

Primorsky Stage of the Mariinsky Theatre

italština

Madama Butterfly -  (Madame Butterfly)

Vladivostok

Russia

Madama Butterfly

Public

Madame Butterfly

ruština

angličtina

Approved

Мадам Баттерфляйяпонская трагедия в 3-х действияхМузыка Джакомо ПуччиниЛибретто Луиджи Иллики и Джузеппе Джакозыпо драме Давида Беласко, написанной по мотива...

The great verist composer Giacomo Puccini’s opera Madama Butterfly owes its plot to the semi-autobiographical novel by the French naval officer and voyager Pierre Loti. Obvious fables with their abundance of descriptions of imaginary and actual real life in exotic lands had a suitable effect on the transformation of Loti’s texts into an opera libretto (apropos, this was also the case with Léo Delibes’ Lakmé). Loti’s Madame Chrysanthème underwent several stages of transformation: having originated with the memoirs of Japan of the sister of the American author John Luther Long, it became David Belasco’s play Madame Butterfly and, under this title, was performed in Italian theatres before subsequently transferring to the opera house. the love story of an American officer and a Japanese girl was to prove tragic for both, frivolity and trust playing out a cruel joke set against a background of two clashing cultures. But for Puccini, too, the focus lies on the strength and power of emotions, the plot acting as a premise for their existence, while the Japanese entourage produces a certain oriental flavour in the music. the Mariinsky Theatre performs a production by Polish stage director Mariusz Treliński, brought from Warsaw’s Opera Narodowa. Here the sets underlie the principle of unity of the natural and the artificial, so revered in Japan even nowadays. the costumes were produced by including references to clothing of the Meiji era, while the stage lighting encompasses strong and pure colours without semi-shade or transitions, and this creates the sensation of a mystery, a mystery which travellers in the past and readers of their novels tried to fathom. Denis Velikzhanin

English

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