MADAME BUTTERFLY By Giacomo Puccini

Sung in Italian with English supertitles. Run time approximately 2 hrs 45 mins.

The clash of cultures explored in Moby-Dick found earlier expression in this masterpiece about love and loyalty on the far side of the world. MADAME BUTTERFLY is the heartbreaking story of a naïve Japanese girl given in "marriage" to a U.S. naval officer at the turn of the last century.

A soprano with a powerful stage presence, Adina Nitescu (Elizabeth I in Mary Queen of Scots) will undergo the transformation in this Francesca Zambello production from delicate newlywed to fiercely loyal wife. Tenor Brandon Jovanovich, proclaimed an "excellent Pinkerton" by The New York Times, will return to The Dallas Opera stage with this signature role after moving audiences to tears as Macduff (Macbeth 2007). Canadian baritone James Westman, who captivated us with his intelligent and sympathetic portrayal of Germont in our 2004 production of La traviata, returns in the role of Sharpless.

Conducted by Music Director Graeme Jenkins, originally directed by Francesca Zambello—now staged by Garnett Bruce, with chorus preparation by Chorus Master Alexander Rom; company debuts include mezzo-soprano Maria Zifchhak as the faithful and pragmatic Suzuki, bass Young-Bok Kim as The Bonze, and baritone Yungbae Yang as Prince Yamadori.

Scenery designed by Michael Yeargan and costumes designed by Anita Yavich. Lighting by Alan Burrett.

If you’re looking for an extraordinary musical experience filled with passion, pageantry, pathos and romance—your search ends here, in the hills above Nagasaki Harbor.

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Although we are always happy to support the careers of local artists, The Dallas Opera attracts international casts from as far away as Russia and China in order to bring North Texas audiences the very best the world has to offer. This is the place where opera legend Plácido Domingo made his U.S. debut. Opera’s greatest stars are always shining at The Dallas Opera!

			Cio-Cio San: Adina Nitescu
			B. F. Pinkerton: Brandon Jovanovich
			Sharpless: James Westman
			Suzuki: Maria Zifchak*
Conductor: Music Director Graeme Jenkins
	Goro: David Cangelosi		The Bonze: Young-Bok Kim*
	Prince Yamadori: Yungbae Yang*		Imperial Commissioner: Thomas Cannon*
	Kate Pinkerton: Jessica Green		Stage Director: Garnett Bruce
	Production: Francesa Zambello		Costume Designer: Anita Yavich
	Chorus Master: Alexander Rom

*Dallas Opera Debut
**American Debut

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MADAME BUTTERFLY by Giacomo Puccini

ACT I. Japan, early twentieth century. On a flowering terrace above Nagasaki harbor, U.S. Navy Lieutenant B. F. Pinkerton inspects the house he has leased from a marriage broker, Goro, who has just procured him three servants and a geisha wife, Cio-Cio-San, known as Madama Butterfly. To the American consul, Sharpless, who arrives breathless from climbing the hill, Pinkerton describes the carefree philosophy of a sailor roaming the world in search of pleasure. At the moment, he is enchanted with the fragile Cio-Cio-San, but his 999-year marriage contract contains a monthly renewal option. When Sharpless warns that the girl may not take her vows so lightly, Pinkerton brushes aside such scruples, saying he will one day marry a "real" American wife. Cio-Cio-San is heard in the distance joyously singing of her wedding. Entering surrounded by friends, she tells Pinkerton how, when her family fell on hard times, she had to earn her living as a geisha. Her relatives bustle in, noisily expressing their opinions on the marriage. In a quiet moment, Cio-Cio-San shows her bridegroom her few earthly treasures and tells him of her intention to embrace his Christian faith. The Imperial Commissioner performs the wedding ceremony, and the guests toast the couple. The celebration is interrupted by Cio-Cio-San's uncle, a Buddhist priest, who bursts in, cursing the girl for having renounced her ancestors' religion. Pinkerton angrily sends the guests away. Alone with Cio-Cio-San in the moonlit garden, he dries her tears, and she joins him in singing of their love.

ACT II. Three years later, Cio-Cio-San waits for her husband's return. As Suzuki prays to her gods for aid, her mistress stands by the doorway with her eyes fixed on the harbor. When the maid shows her how little money is left, Cio-Cio-San urges her to have faith: one fine day Pinkerton's ship will appear on the horizon. Sharpless brings a letter from the lieutenant, but before he can read it to Cio-Cio-San, Goro comes with a suitor, the wealthy Prince Yamadori. The girl dismisses both marriage broker and prince, insisting her American husband has not deserted her. When they are alone, Sharpless again starts to read the letter and suggests Pinkerton may not return. Cio-Cio-San proudly carries forth her child, Dolore (Trouble), saying that as soon as Pinkerton knows he has a son he surely will come back; if he does not, she would rather die than return to her former life. Moved by her devotion, Sharpless leaves, without having revealed the full contents of the letter. Cio-Cio-San, on the point of despair, hears a cannon report; seizing a spyglass, she discovers Pinkerton's ship entering the harbor. Now delirious with joy, she orders Suzuki to help her fill the house with flowers. As night falls, Cio-Cio-San, Suzuki and the child begin their vigil.

ACT III. As dawn breaks, Suzuki insists that Cio-Cio-San rest. Humming a lullaby to her child, she carries him to another room. Before long, Sharpless enters with Pinkerton, followed by Kate, his new wife. When Suzuki realizes who the American woman is, she collapses in despair but agrees to aid in breaking the news to her mistress. Pinkerton, seized with remorse, bids an anguished farewell to the scene of his former happiness, then rushes away. When Cio-Cio-San comes forth expecting to find him, she finds Kate instead. Guessing the truth, the shattered Cio-Cio-San agrees to give up her child if his father will return for him. Then, sending even Suzuki away, she takes out the dagger with which her father committed suicide and bows before a statue of Buddha, choosing to die with honor rather than live in disgrace. As she raises the blade, Suzuki pushes the child into the room. Sobbing farewell, Cio-Cio-San sends him into the garden to play, then stabs herself. As she dies, Pinkerton is heard calling her name.

--Courtesy of Opera News

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Insider's Guide Facts

WHERE HAVE I HEARD THAT BEFORE?
Puccini’s Madame Butterfly has been lending atmosphere and drama to movies at least since it was heard in “One Night of Love” in 1934. Other notable uses occurred in the films “Fatal Attraction” (1987), “Under the Tuscan Sun” (2003), “Death to Smoochy” (2002), “Babe: Pig in the City” (1998), “One Fine Day” (1996), “Natural Born Killers” (1994) and “Peter’s Friends” (1992).

CONVERSATION STARTER
The first American performance of Madame Butterfly at New York’s Garden Theater in 1906—was in English. The work was well received, although The New York Times critic wrote: “It may be that all this does not reach very far nor go very deep. Madame Butterfly may not be destined for so long as life as others of Puccini’s works.”

DID YOU KNOW?
That following the attack on Pearl Harbor, there was an unofficial ban on performances of Madame Butterfly at the Metropolitan Opera and other opera companies throughout the U.S. Cio-Cio-San resurfaced to break hearts after the war’s conclusion in 1945.

RECOMMENDED LISTENING:
Artistic Director Jonathan Pell: “There are so many recordings of BUTTERFLY, and while many of them are quite good, for me there is one that stands apart among the crowded field, and that is the EMI recording, #67720, which stars the young Renata Scotto, Carlo Bergonzi and Rolando Panerai, conducted by Sir John Barbirolli. Scotto recorded the role again later in her career opposite Placido Domingo, in a performance conducted by Lorin Maazel, and while that recording is also quite good, the earlier one is really unsurpassable.

RECOMMENDED READING:
We can’t honestly recommend the short story on which the opera and play are based, and so, for something completely different: “Memoirs of a Geisha,” a novel by Arthur Golden; “Midori by Moonlight,” a novel by Wendy Tokunaga; and “Intercultural Marriage: Promises and Pitfalls” by Dugan Romano.

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