Madama
Butterfly

Japanese tragedy in three acts
Libretto: Giuseppe Giacosa and Luigi Illica
World premiere: 17 February 1904, Regio Teatro alla Scala, Milan
Polish premiere: 3 December 1908, Teatr Wielki, Warsaw
Premiere of this production: 29 May 1999

In the original Italian with Polish surtitles 

The port in Nagasaki was the only Japanese port to let in foreign ships. Colourful stories of love affairs between local geishas and foreigners were so moving that literature took an interest. Pierre Loti wrote a novel called Madame Chrysanthème. John Luther Long drew on it when he wrote Madame Butterfly, which in turn inspired David Belasco to write a play of the same title. When Puccini’s opera conquered the opera world, people even found Butterfly’s prototype in Nagasaki. She was supposedly called Tsuru Yamamura, embroidered a butterfly on her coat (hence the nickname), married a British merchant and, when he left her, committed hari-kari (fortunately unsuccessfully). The composer saw Belasco’s play in London in 1900. He didn’t sail to America until 1907. He could have met officers similar to Pinkerton on the ship, but by then the premiere had long taken place (1904). The music in Butterfly is pure Puccini: the saturated sound of strings, psychological truth in the singing, deep emotions. All the things that audiences loved him for. Just once in a while, a melodic element in Far Eastern style is heard. On stage, cherry blossoms and parasols have reigned supreme. Mariusz Treliński defies this stereotype. He shows the magic and mystery of Japan with light, colours and actor gestures akin to the Noh theatre convention. The beautiful Warsaw Butterfly (from 1999), staged in the same form in Washington, St. Petersburg, Valencia and Tel Aviv, brought Treliński fame, and with him also the Teatr Wielki. Today this artist’s opera debut is a cult must-see production. Definitely.

Chorus and Orchestra of the Teatr Wielki – Polish National Opera
Mimes