Stanislavsky Theatre
Performed in Italian Premiere of this production: 04 May 2002 The performance has 1 intermission Running time: 2 hours 50 minutes The Stanislavsky Theatre, located in XIX century historical building just 750 metres (9-minute walk) from the Bolshoi, offers audiences the unique opportunity to enjoy an unforgettable evening of music, drama, and passion awaits — Puccini’s “Madama Butterfly” in Moscow. This performance brings the timeless tragedy of Cio-Cio-San to life through the artistry of singers who have performed on the stage of the Bolshoi Theatre and were trained in the same world-renowned Russian academies as its leading soloists. Their voices and dramatic mastery embody the full intensity of Puccini’s music, offering audiences a profound emotional experience. Opera at the Stanislavsky Theatre is the great and affordable alternative to the Bolshoi. Giacomo Puccini’s “Madama Butterfly” was created in the early 20th century under the strong influence of the global fascination with Oriental art. Inspired by David Belasco’s drama of the same name, Puccini and his librettists, Luigi Illica and Giuseppe Giacosa, composed an opera filled with exotic color and unforgettable lyricism. The world premiere took place at La Scala in Milan on February 17, 1904 — and was initially a failure. Yet only three and a half months later, the revised version triumphed in Brescia and quickly spread across Italy. In the years that followed, “Madama Butterfly” conquered the world: London (1905), Paris (1906), New York (1907), and St. Petersburg (1908). The deeply moving story of passionate love, betrayal, and a mother’s ultimate sacrifice soon became one of the most beloved works in the international operatic repertoire. Stage director Lyudmila Naletova notes: “Puccini was a true master of the female soul. Most of his operas present portraits of women, and his favorite theme is love — the eternal dialogue between Man and Woman.The feminine principle is constancy, devotion, sacrifice. The masculine principle is changeability, the drive to conquer. The clash of these principles, along with the meeting of Eastern and Western mentalities, forms the core conflict of Madama Butterfly.Puccini’s music reveals the emotions of the characters with extraordinary subtlety and passion, following every turn of their inner world. It breathes poetry, romance, and the very fragrance of the East.” SynopsisAct One Pinkerton’s Monologue Good Lord, what a bizarre procession of ridiculous people! My new relatives – like a troupe of clumsy clowns. And my Butterfly is a swan among crows. Yet Sharpless is right: she takes everything too seriously. To accept my faith, to pray to one God… Well, if she desires it, let it be so. Japan is a wonderful country. Their marriage contracts are delightful – they can be dissolved at any time. And the ceremony is so short – that’s the beauty of it. If only they would all leave quickly. But what are these shouts? Who is this monster, screaming of renunciation? They disown Cio-Cio-San? All the better. – Away with you, all of you! At last we are alone. It is a pity the girl is so shaken. But I will console her. She is so tender, so sweet. I adore her! How I long for her to be mine at once. My little Butterfly, you are in my hands! Act Two Scene One – Suzuki’s Monologue – I pray for Butterfly. Three years she has waited for her husband. And still he does not come. Nor does his money. How shall we live? Yet she believes, still obstinately believes – Pinkerton will return, he promised… Dear, naïve Butterfly – do American husbands ever come back? The consul Sharpless has arrived. What news does he bring? A letter from Pinkerton. And what does he write? Ah, Butterfly is so impatient, she won’t let him finish. Could it be her husband truly is returning? That tiresome Goro has brought a prince – Yamadori. He woos Butterfly. But he has had dozens of wives already. Though… he is rich, noble, Japanese. Perhaps it would be for the best. Yet Butterfly will not hear of another husband. What a performance she gives! She mocks this pompous prince. At last they have all left. Now the consul can read the letter through. But again Butterfly does not listen. She is certain – Pinkerton will return! Yet why does Sharpless ask so strange a question: “What will you do if he does not?” Poor Butterfly! In despair, she runs for her child. The consul sees him for the first time. Even Pinkerton does not know he has a son. But when he learns it – he will hurry back with all sails unfurled. Butterfly is sure of it. Sharpless promises to tell him. But who is laughing? Goro – he has overheard everything. He mocks Butterfly, her fidelity, her hopes. She seizes a dagger! God, will she kill him? No – she only frightens him. That vile man! A cannon shot in the harbor. So it happens when a ship arrives. Butterfly rushes to see. Yes! It is a ship – Pinkerton’s ship! Then he has returned. The tears, the waiting – not in vain! What happiness! The house must be adorned with flowers, covered in blossoms. Dress Butterfly and the child in their finest. When will he come? In an hour? Two? At dawn? What a glorious night! Scene Two – Cio-Cio-San’s Monologue – Morning. Already morning. What a short, and what a long night… He has not come. But he will. I know it. He must! I will rest a little. My little boy is weary. I’ll lay him down. But what is this? Voices… He has come! He has! They are gone… All is finished. The light cuts my eyes. Here is the dagger. “Who cannot live with honor, dies with honor.” The patter of little feet… You, my son! My little god, my beloved! You will never know that for you, for your pure eyes, your mother dies. So that you may sail away, and never be tormented, when you grow, that you abandoned me. Look well, look closely at your mother’s face. Remember it. Farewell, my beloved! Go, go play! And I depart… far away. | ||||||||||
