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The Story
In Nagasaki, a young girl becomes a geisha to support herself after her disgraced father takes his life. But Cio-Cio-San, known as “Madama Butterfly”, falls in love, marries U.S. Navy Lieutenant B. F. Pinkerton and, taking her vows seriously, renounces her religion. But Pinkerton sees the “marriage” as a brief port-of-call in his traveling life and soon sails away. Butterfly gives birth to his son, turns away suitors and sinks into poverty – always believing he’ll return one fine day. Finally, three years later, Pinkerton does return, but brings a shocking surprise…his American wife. Shamed and disgraced, will Butterfly choose to live or, like her father, die with honor?
The Music
Madama Butterfly simply overflows with some of opera’s greatest music. The passionate Act I duet as Butterfly and Pinkerton consummate their marriage; her poignant aria "Un bel di", and the haunting "Humming Chorus" as Butterfly awaits his return are just a few of the gorgeous melodies that will stay with you long after you leave the theatre.
The Look
When this San Diego Opera production debuted, the critics raved about its breathtaking effects and fresh approach. Huge, dramatic, with stunning shots of color, it takes a look at Japan from a very American viewpoint while staying solidly within Puccini’s early 20th century setting.
Cast Highlights
Renowned American soprano Patricia Racette brings her vocal grandeur and theatrical intensity to her signature role of Cio-Cio-San – a role she’s sung to acclaim in San Francisco, Los Angeles, Chicago and at the Metropolitan Opera. She’s joined by the powerful tenor of Carlo Ventre – the wonderful Radames of our 2008 Aida – as her Pinkerton.
The running time is approximately 2 hours, 45 minutes.
ACT I
In the American Consulate in Nagasaki, Goro, a marriage broker, explains the features of a local home to the U.S. Navy Lieutenant B.F. Pinkerton, who recently leased the place for 999 years, with the option to cancel the contract with a month’s notice. As part of the deal, Pinkerton receives three servants and takes a geisha wife known as Madama Butterfly (Cio-Cio-San). The American Consul, Sharpless, arrives and Pinkerton explains his philosophy of life—a navy man’s life of pleasure, roaming the seas in search of adventure with a girl in every port. Sharpless cautions the officer that Cio-Cio-San may not take their wedding vows as lightly as he. Pinkerton dismisses the Consul’s warnings and toasts the day he takes a “real” American wife. Cio-Cio-San arrives and explains to Sharpless and Pinkerton that her family was once wealthy, but lost their status. Goro tells them that her father committed suicide on the instructions of the Mikado. Naively but with no shame, she informs the men she became a geisha to stay alive. Cio-Cio-San shows her future husband her meager belongings and humbly declares that, as the ultimate sign of her love, she has converted to the Christian faith. The wedding is brief, more like a business deal. The post-wedding celebration is interrupted by the arrival of the Bonze, Cio-Cio-San’s uncle, a Buddhist priest who berates the young girl for betraying her people and her religion. Pinkerton angrily orders the Bonze and the other guests away and turns to his new wife to console her, drying her tears as night falls.
ACT II
Three years have passed since Pinkerton left Nagasaki, and Cio-Cio-San pines for his return. Realizing they have little money left, Suzuki prays to the gods for aid and warns Cio-Cio-San that unless her husband returns, there’ll be nothing but trouble. Cio-Cio-San scolds Suzuki for her lack of faith and confidently predicts that one fine day his ship will appear on the horizon. Sharpless arrives with the intention of reading to her a recent letter from Pinkerton. Starved for company and brimming with questions, Cio-Cio-San doesn’t allow Sharpless to read the letter. His task is further frustrated by Goro, who hovers outside with the Prince Yamadori, the latest in a long line of suitors hoping for the young woman’s hand. Cio-Cio-San scoffs at Yamadori’s offer and dismisses him and Goro. Once they are gone, Sharpless finally resumes reading the letter to Cio-Cio-San, who excitedly interrupts at the end of every hopeful sentence. Unable to cope with her reactions, Sharpless puts the letter away and bluntly asks her what she would do if Pinkerton never returned. Slowly realizing what Sharpless means, Cio-Cio-San rushes out of the room, returning with Pinkerton’s child. She insists Sharpless tell Pinkerton about the boy, optimistic he will return once he knows about his baby. Sharpless, distraught over Cio-Cio-San’s condition, leaves with a promise to pass along her message. A cannon shot is heard from the harbor. Cio-Cio-San sees Pinkerton’s ship. Excitedly, she and Suzuki strew flowers everywhere. Cio-Cio-San changes into her wedding gown and obi so that Pinkerton will see her the way she was on that memorable day. The family waits.
ACT III
As dawn breaks, Suzuki awakens. Pinkerton has not come to the house. Suzuki insists that Cio-Cio-San get some rest, promising to stir her if Pinkerton arrives. Suzuki is startled by the arrival of Sharpless with Pinkerton. An unknown woman waits outside. Suzuki insists on knowing who she is. Pinkerton cannot bring himself to answer. Finally Sharpless responds: she is Pinkerton’s wife, Kate. Sharpless begs the distraught Suzuki to ask Cio-Cio-San to give up the child so that he might be taken to America. Overcome by guilt, Pinkerton cannot face his Japanese wife and flees the home. Cio-Cio-San breathlessly enters, sensing her husband has arrived. Searching every corner, she cannot find Pinkerton but sees Kate. Instinctively, she knows this woman is Pinkerton’s wife. Cio-Cio-San agrees to surrender her child, but only if Pinkerton himself comes to pick him up. Ordering Suzuki away, Cio-Cio-San picks up the dagger her father used to commit suicide and reads the inscription on the blade: “Let him die with honor who can no longer live with honor.”
ACTO I
En el Consulado Americano en Nagasaki, el casamentero Goro describe al teniente naval norteamericano B.F. Pinkerton las características de la casa que éste acaba de alquilar por 99 años con la opción de rescindir el contrato con un mes de previo aviso. Como parte del acuerdo, Pinkerton recibe a tres sirvientes y toma a una esposa geisha conocida como Madama Butterfly (Cio-Cio-San). Llega Sharpless, el cónsul norteamericano, y Pinkerton explica su filosofía de vida: la vida de placeres de un hombre naval, de recorrer el alta mar en busca de aventuras con una muchacha en cada puerto. Sharpless advierte al oficial que Cio-Cio-San quizás no tome sus votos matrimoniales con la misma levedad que él. Pinkerton desecha las advertencias del cónsul y brinda por el día en que se casará con una “verdadera” esposa americana. Llega Cio-Cio-San y explica a Sharpless y Pinkerton que su familia alguna vez fue adinerada pero que llegaron a perder su posición social. Goro les cuenta que el padre de Cio-Cio-San se suicidó bajo órdenes del Mikado. Con ingenuidad pero sin vergüenza, Cio-Cio-San cuenta a los hombres que ella llegó a ser geisha para poder sobrevivir. Cio-Cio-San muestra a su futuro esposo sus pocas pertenencias y declara con humildad que, para demostrar la profundidad de su amor, ella se ha convertido a la fe cristiana. La boda es breve, más parecida a un trato comercial. La celebración que sigue a la boda se ve interrumpida por la llegada del Bonzo, sacerdote budista y tío de Cio-Cio-San quien reprende a la muchacha por traicionar a su gente y a su religión. Pinkerton reacciona y obliga a marcharse al Bonzo, al igual que a los otros invitados, y se acerca a consolar a su nueva esposa, secando sus lágrimas mientras cae la noche.
ACTO II
Han pasado tres años desde que Pinkerton zarpó de Nagasaki, y Cio-Cio-San anhela su retorno. Notando que les queda poco dinero, Suzuki ora y pide ayuda a los dioses. Advierte a Cio-Cio-San que de no regresar su esposo, no habrá más que problemas. Cio-Cio-San reprende a Suzuki por su falta de fe y predice con confianza que un buen día el barco de Pinkerton aparecerá en el horizonte. Llega Sharpless con la intención de leer a Cio-Cio-San una carta reciente de Pinkerton. Desesperada por la falta de afecto y llena de preguntas, Cio-Cio-San impide la lectura de la carta. La tarea de Sharpless se ve frustrada aun más por Goro, quien merodea afuera con el Príncipe Yamadori, el último en una larga fila de pretendientes que esperan casarse con la muchacha. Cio-Cio-San se burla de la oferta de Yamadori y lo despide a él y a Goro. Cuando se retiran, Sharpless finalmente retoma la lectura de la carta a Cio-Cio-San, quien interrumpe animada y esperanzadamente el final de cada oración. Incapaz de soportar sus reacciones, Sharpless guarda la carta y le pregunta abruptamente qué haría si Pinkerton no regresara nunca. Dándose cuenta de lo que Sharpless intenta comunicar, Cio-Cio-San se retira apresuradamente del cuarto y regresa con el hijo de Pinkerton. Insiste en que Sharpless informe a Pinkerton acerca del niño, convencida de que Pinkerton regresará cuando se entere de la existencia de su hijo. Sharpless no puede soportar el sufrimiento de Cio-Cio-San y se despide con la promesa de transmitir a Pinkerton su mensaje. Se escucha un disparo de cañón desde el puerto. Cio-Cio-San ve el barco de Pinkerton. Cio-Cio-San y Suzuki, emocionadas, desparraman flores por la habitación. Cio-Cio-San se viste con su vestido de boda y la faja tradicional para que Pinkerton la vea de la misma forma en que estaba en aquel día memorable. La familia espera.
ACTO III
Al amanecer, Suzuki despierta. Pinkerton no ha venido a casa. Tras la insistencia de Suzuki y la promesa de ésta de despertarla si llega Pinkerton, Cio-Cio-San se ha acostado agotada. Suzuki se sobresalta por la llegada de Sharpless con Pinkerton. Una mujer desconocida espera afuera. Suzuki insiste en saber quién es. Pinkerton no encuentra forma de responder. Finalmente, Sharpless contesta: es Kate, la esposa de Pinkerton. Sharpless ruega a la desconsolada Suzuki que le pida a Cio-Cio-San entregar al niño para que su padre pueda llevarlo a los Estados Unidos. Estremecido por un profundo sentimiento de culpa, Pinkerton no encuentra el valor para encarar a su esposa japonesa y huye de la casa. Entra Cio-Cio-San, sin aliento; percibe la llegada de su esposo. Lo busca en cada rincón; no encuentra a Pinkerton pero ve a Kate. Instintivamente, sabe que es la esposa de Pinkerton. Cio-Cio-San acepta entregar a su hijo, con la condición de que el mismo Pinkerton venga a buscarlo. Ordena marcharse a Suzuki. Cio-Cio-San levanta el puñal que su padre utilizó para suicidarse, en el cual está grabado: “Deja morir dignamente a quien ya no puede vivir dignamente”.
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THE CAST
Please click an artist’s name to read more.
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Cio-Cio-San
Patricia Racette
Cio-Cio-San
Patricia Racette
American soprano Patricia Racette made her San Diego Opera debut in 1995 as Mimi in La bohème, returned in 2001 as Love Simpson in Cold Sassy Tree (a role she created for the World Premiere at Houston Grand Opera), and again in 2004 for the title role of Katya Kabanova. Racette has developed strong relationships with the Metropolitan Opera, the San Francisco Opera, the Lyric Opera of Chicago, the Houston Grand Opera, and the Santa Fe Opera. Seen regularly at these houses, her many roles include Violetta in La traviata, Blanche de la Force in Dialogues des Carmelites, Mimi and Musetta in La bohème, the title role in Jenufa, Cio-Cio-San in Madama Butterfly, Alice Ford in Falstaff, Liu in Turandot, Desdemona in Otello, the title role of Kátya Kabanová, Marguerite in Faust, Tatyana in Eugene Onegin, Ellen Orford in Peter Grimes, Micaela in Carmen, the title role in Luisa Miller, Leonora in Il Trovatore, Amelia in Simon Boccanegra, Antonia in The Tales of Hoffmann, Elisabetta in Don Carlo, Mathilde in Guillaume Tell, Margherita in Boito’s Mefistofele, and Fosca in Passion. Racette has also appeared at the Royal Opera House, Covent Garden, and the Vienna State Opera; the Teatro alla Scala, the Welsh National Opera, Opera National de Paris, the Saito Kinen Festival, and the Grand Théâtre de Genève. A supporter of new works by today’s leading composers, she created the title role in Tobias Picker’s Emmeline and appeared in the Metropolitan Opera's World Premiere of An American Tragedy.
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Pinkerton
Carlo Ventre
Pinkerton
Carlo Ventre
Uruguayan tenor Carlo Ventre made his San Diego Opera debut as Gabriele in Simon Boccanegra and returned last season as Radames in Aida. For his La Scala debut, he sang the Duke in Rigoletto and also appeared as Ismaele in Nabucco. Appearances include his Deutsche Oper Berlin debut and Arena di Verona debut as Radames in Aida, Cavalleria rusticana for Lyric Opera of Chicago, Andrea Chénier for Liceu Barcelona, Luigi in Il Tabarro for Oper Frankfurt, the role of Cavaradossi in Tosca for New York City Opera and The Dallas Opera and roles for Welsh National Opera including Rodolfo in La bohéme and Don José in Carmen. Other roles include Alfredo in La traviata, Pinkerton in Madama Butterfly and Pollione in Norma in opera houses in Rome, San Francisco, Vienna, St. Petersburg, Verona, Chicago, Amsterdam and Théâtre Royal de la Monnaie.
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Suzuki
Zheng Cao
Suzuki
Zheng Cao
Zheng Cao made her San Diego Opera debut in 2001 as Siebel in Faust. For San Francisco Opera, she has performed Ruth in The Bonesetter’s Daughter, Idamante in Idomeneo, Cherubino in Le Nozze di Figaro, Dorabella in Cosi fan tutte, Nicklausse in Les Contes d’Hoffmann, Siebel in Faust and Suzuki in Madama Butterfly, a role she has sung for Los Angeles Opera and Théâtre de Geneve. For Washington National Opera, Michigan Opera and Kentucky Opera, she has sung Rosina in Il Barbiere di Siviglia. Other roles and houses include Zerlina in Don Giovanni and Penelope in Il Ritorno di Ulisse in Patria for Los Angeles Opera, Nicklausse in Les Contes d’ Hoffmann for Opera Pacific, Sesto in Giulio Cesare for Pittsburgh Opera, Varvara in Katya Kabanova and Magali in the world premiere production of Salsipuedes for Houston Grand Opera. The 2008-09 season includes appearances with the San Francisco Opera in Bonesetter and Opera Pacific as Rosina. An active concert soloist, she has performed with Honolulu Symphony, San Francisco Ballet, National Symphony Orchestra, Warsaw Philharmonic, Boston Symphony and J.F.K. Center for the Performing Arts in Washington, D.C.
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Goro
JOSEPH HU
Goro
JOSEPH HU
Taiwanese tenor Joseph Hu made his San Diego Opera debut as Arturo in Lucia di Lammermoor in 1995. His many performances here include Goro in Madama Butterfly, Spoletta in Tosca, the Steersman in The Flying Dutchman, Roderigo in Otello, Pong in Turandot, Benvolio in Romeo and Juliet, Count Lerma in Don Carlo, the Messenger in Samson and Delilah, Ruiz and the Messenger in Il trovatore and most recently Don Curzio in The Marriage of Figaro. Among other companies with which he has sung are The Dallas Opera, Cincinnati Opera, Kentucky Opera, Nashville Opera, Fort Worth Opera and Dayton Opera.
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The Bonze
SCOTT SIKON
The Bonze
SCOTT SIKON
Since his San Diego Opera debut in 1991 as Superintendent Budd in Albert Herring, American bass-baritone Scott Sikon has sung more than twenty roles here including Schaunard in La bohème, Monterone in Rigoletto, Dikoi in Katya Kabanova, Steve Hubble in A Streetcar Named Desire, Curio in Julius Caesar in Egypt and most recently, Reinmar von Zweter in last season’s Tannhäuser. Appearances in the United States have been with Houston Grand Opera, San Francisco Opera, New York City Opera, Hawaii Opera Theatre and many other companies. His European debut was at the Vienna Volksoper in the premiere of The Number 11 Bus.
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Sharpless
MALCOLM MACKENZIE
Sharpless
MALCOLM MACKENZIE
American baritone Malcolm MacKenzie first performed with San Diego Opera as Marullo in Rigoletto in 2002, a role he reprised earlier this season. MacKenzie returned in 2005 as Escamillo in Carmen and last season as Zurga in The Pearl Fishers. He was a finalist in Plácido Domingo’s Operalia competition, and a winner of the Metropolitan Opera Western Regional Auditions. MacKenzie began his professional career in 1994 as Harlequin in Ariadne auf Naxos at Glimmerglass Opera and has since performed with Washington National Opera, Madison Opera, l’Opéra National de Paris, Los Angeles Opera, Michigan Opera Theatre, Opera Santa Barbara, Sacramento Opera, Opera Pacific, and New York City Opera. His roles include Renato in A Masked Ball, Germont in La traviata, Figaro in The Barber of Seville, Guglielmo in Così fan tutte, Marcello in La bohème, Jack Rance in La fanciulla del West, and Sharpless in Madama Butterfly. He has also appeared with the San Diego Symphony, Los Angeles Master Chorale, Los Angeles Mozart Orchestra, Pacific Chorale and Savannah Symphony.
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CONDUCTOR
EDOARDO MÜLLER
CONDUCTOR
EDOARDO MÜLLER
Italian conductor Edoardo Müller is San Diego Opera’s Principal Guest Conductor. He has led more than 30 productions in San Diego since his debut in 1980 with Giovanna d’Arco.Last season he conducted Mary, Queen of Scots and Cavalleria rusticana / Pagliacci. Known worldwide for his mastery of the Italian operatic repertoire, he has enjoyed a long association with the Teatro alla Scala in Milan where he conducted Aida, I due Foscari, Il trovatore, I masnadieri, La forza del destino, Ernani, The Barber of Seville and Anna Bolena, among others. His career has taken him to the Metropolitan Opera, Teatro Municipal in Santiago, Teatro Colón in Buenos Aires, Seattle Opera, Lyric Opera of Chicago, The Dallas Opera, Cincinnati Opera as well as companies in Paris, Rome and Tokyo.
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Director
Garnett Bruce
Director
Garnett Bruce
American director Garnett Bruce directed this production of Madama Butterfly in his 1998 Company debut, reviving the production in 2003. His other San Diego Opera engagements have been for Cold Sassy Tree in 2001, Vanessa in 2005 and Aida in 2008. He directed Street Scene and La Clemenza di Tito with Wolf Trapp Opera, La bohème for Lyric Opera Kansas City and The Dallas Opera, Tosca and Madama Butterfly at Houston Grand Opera, Carmen for Palm Beach Opera and Jenufa for The Dallas Opera. Garnett Bruce has served on the staffs of San Francisco Opera, Santa Fe Opera, Houston Grand Opera, Dallas Opera and Washington National Opera over the past years.
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