BaL 23.03.24 - Puccini: Madame Butterfly

[Ein Heldenleben]

Both on the roster at the Licieu, I guess.

It's relatively easy to suspend yet another dimension when simply listening not watching, but I fear that for me Cio-Cio-San needs to be a more youthful voice than many of the listed great (and not only in size) soloists who sing the role in recordings might reveal; she's only a 15-year-old geisha at the start.
I looked to see who premiered the role, and discovered that the first performance was a disaster, and led to several revisions, which I'm sure Nigel will touch on.
In both the world premiere at La Scala on 17 February 1904 (two-act version) and the subsequent three-act revision performed on 28 May 1904 in Brescia, the (different) Butterflies were born in 1872, so perhaps Puccini was not so bothered about verismo in that sense!

One of the paradoxes is that it’s not really a role for a youthful voice . It’s one of the most demanding roles in all opera and you have to build up to it. 32 years old is about right. That’s one of the problems with spinto singing you need very careful preparation. I remember a film sequence where a young Korean soprano told Karajan said her next role was Cio-Cio San - he strongly advised against it,

[makropulos]

Happy to do a summary of clips played this Sat, Apart from anything else managed to pick up Covid at the Madama Butterfly rehearsal last week and I’ve got nothing else to do. I can’t cut a paste and insert details into the list of recordings above as they are in a grid so this is my guess at the recordings that would make a long list.

So sorry to hear you've been stricken and hope you're on the mend. That's a pretty clairvoyant list as seven of them are on my shortlist. You'll have to wait till Saturday to find out which... but I hope you enjoy it.

[Ein Heldenleben]

So sorry to hear you've been stricken and hope you're on the mend. That's a pretty clairvoyant list as seven of them are on my shortlist. You'll have to wait till Saturday to find out which... but I hope you enjoy it.

Thanks for the good wishes. So many recorded riches to choose from . A difficult final decision .
I see Hugh Canning has described Asmik Grigorians Cio-Cio San as amongst the best he’s seen in 70 performances. I’ve seen 20 and I agree . Not going to say it was worth getting Covid for (could have been something else ) but certainly compensation !

[Pulcinella]

Happy to do a summary of clips played this Sat, Apart from anything else managed to pick up Covid at the Madama Butterfly rehearsal last week and I’ve got nothing else to do. I can’t cut an paste and insert details into the list of recordings above as they are in a grid so this is my guess at the recordings that would make a long list.

Pappano / Georghi
Sinopoli / Freni
Maazel / Scotto
Gatto / Caballé
Karajan / Freni
Karajan/ Callas
Barbirolli / Scotto
Leinsdorf / Price
Santini / De Los Angeles
Serafin / Tebaldi
Kempe / De Los Angeles

(Scotto to win )

Indeed; it was an awkward cut/copy and paste from the Wiki article.
Thanks for this: hope you don't mind that I took lots of space out!

[Barbirollians]

My seven out of that list are - Pappano, Karajan Freni , Karajan Callas, barbirolli , Leinsdorf ,Serafin , Kempe .

I hope Toti d Monte, Gigli and de Fabriitis get a mention too.

[Master Jacques]

Demanding a particular combination of plausible youthfulness and dramatic involvement from my Butterflies, I would of course place Barbirolli / Scotto first. But my second choice (not much mentioned thus far) would be equally clear - the 1957 Leinsdorf / Moffo.

It is one of Anna Moffo's most moving (and disturbingly sensual) portrayals on disc, beautifully and consistently sung. She has a sunny, youthful foil in Valletti, a Pinkerton all the more chilling for his operetta innocence; and the grossly under-recorded Renato Cesari is a Sharpless with great "face" as well as beauty of tone. The orchestra is a little recessed, but Leinsdorf conjures an almost oppressive sense of claustrophobia in the score which is very haunting, and strong.

For this much-misunderstood (and maligned) opera is all about strength, rather than surface prettiness.

[Ein Heldenleben]

I couldn’t resist posting this from the wiki entry .Madama Butterfly had one of the worst opening nights in operatic history

“Called "one of the most terrible flops in Italian opera history", the premiere was beset by several bad staging decisions, including the lack of an intermission during the second act. Worst of all was the idea to give audience plants nightingalewhistles to deepen the sense of sunrise in the final scene. The audience took the noise as a cue to make their own animal noises.”

it’s now of course one of the most performed operas In the repertoire. So far from being prettified exotic orientalism I read it as a profound critique of Yankee braggadocio and cultural imperialism. It’s a fell clash of incompatible cultures that was to have such profound consequences for the Pacific (hitherto one of the most relatively untroubled areas on earth ) in the 20th century . Untroubled until the West came along to ruin it.

[AlanE]

Demanding a particular combination of plausible youthfulness and dramatic involvement from my Butterflies, I would of course place Barbirolli / Scotto first. But my second choice (not much mentioned thus far) would be equally clear - the 1957 Leinsdorf / Moffo.

It is one of Anna Moffo's most moving (and disturbingly sensual) portrayals on disc, beautifully and consistently sung. She has a sunny, youthful foil in Valletti, a Pinkerton all the more chilling for his operetta innocence; and the grossly under-recorded Renato Cesari is a Sharpless with great "face" as well as beauty of tone. The orchestra is a little recessed, but Leinsdorf conjures an almost oppressive sense of claustrophobia in the score which is very haunting, and strong.

For this much-misunderstood (and maligned) opera is all about strength, rather than surface prettiness.

The Anna Moffo/Leinsdorf recording, in a budget lp release in the 1960s, was my introduction to the opera as a teenager and it was a thrilling experience - the early stereo was used effectively, sounding more like the opera house than a recording studio (and you heard Butterfly's dagger drop to the ground at the end, most affectingly). It never appeared to have been transferred to cd and is only available as a highlights download - except that I now find a complete re-release on cd is promised in May on Urania records. (I wonder if RCA's 3-microphone technique was used iin the original 1957 recording; it would be nice to have a 3-channel sacd refurbishment, as with Leinsdorf's later version with Leontyne Price?)

[Master Jacques]

it’s now of course one of the most performed operas In the repertoire. So far from being prettified exotic orientalism I read it as a profound critique of Yankee braggadocio and cultural imperialism. It’s a fell clash of incompatible cultures that was to have such profound consequences for the Pacific (hitherto one of the most relatively untroubled areas on earth ) in the 20th century . Untroubled until the West came along to ruin it.

Quite so! It's worth noting, that the original (failed) version of the opera was far more vicious in its attack on American cultural / economic imperialism. The revision tones that aspect down considerably, not least by providing Pinkerton with his brief, regretful last act aria - completely missing from the original score.

The Naxos recording of that original score under Gunther Neuhold is a "must hear" for anyone interested in Puccini the dramatist. It's not great, but gets the strength of the original across OK.

https://www.amazon.co.uk/Puccini-Madame-Butterfly-Armin-Kolarczyz/dp/B0000631B3

It is quite wrong, similarly, to view Butterfly as a helpless, little, underage victim. In Japanese terms she is none of those things, but brave, strong (the only strong character in the opera) and assured, determinedly loyal despite her inner certainly - plain to see and hear under the words she utters - that Pinkerton will not remain faithful.

None of these things can be found in Belasco's horrible play, which was mightily improved in countless ways by Puccini's librettists. They took note of Loti, and Messager's operatic version in his Madame Chrysanthème, a superb work in its own right, sadly unlikely to be revived given our present moral climate.

[Ein Heldenleben]

Quite so! It's worth noting, that the original (failed) version of the opera was far more vicious in its attack on American cultural / economic imperialism. The revision tones that aspect down considerably, not least by providing Pinkerton with his brief, regretful last act aria - completely missing from the original score.

The Naxos recording of that original score under Gunther Neuhold is a "must hear" for anyone interested in Puccini the dramatist. It's not great, but gets the strength of the original across OK.

https://www.amazon.co.uk/Puccini-Madame-Butterfly-Armin-Kolarczyz/dp/B0000631B3

It is quite wrong, similarly, to view Butterfly as a helpless, little, underage victim. In Japanese terms she is none of those things, but brave, strong (the only strong character in the opera) and assured, determinedly loyal despite her inner certainly - plain to see and hear under the words she utters - that Pinkerton will not remain faithful.

None of these things can be found in Belasco's horrible play, which was mightily improved in countless ways by Puccini's librettists. They took note of Loti, and Messager's operatic version in his Madame Chrysanthème, a superb work in its own right, sadly unlikely to be revived given our present moral climate.

The cultural critics who seem to think the opera needs yellow face trigger warnings just haven’t absorbed the weight of the drama. Just that little touch in Act One -

Pinkerton (looking at tiny wooden figures that Cio-Cio San is holding) “are those puppets ? “
Cio-Cio San “no they’re my ancestors.”

Mutual incomprehension in one deft comic touch.

The one thing I’m not sure about is whether a Japanese woman of the 19th century would have felt western style passionate romantic love. Or whether love was more about duty and property, Trouble is without that we don’t get the love duet which is surely worth having !

[LHC]

Quite so! It's worth noting, that the original (failed) version of the opera was far more vicious in its attack on American cultural / economic imperialism. The revision tones that aspect down considerably, not least by providing Pinkerton with his brief, regretful last act aria - completely missing from the original score.

The Naxos recording of that original score under Gunther Neuhold is a "must hear" for anyone interested in Puccini the dramatist. It's not great, but gets the strength of the original across OK.

https://www.amazon.co.uk/Puccini-Madame-Butterfly-Armin-Kolarczyz/dp/B0000631B3

It is quite wrong, similarly, to view Butterfly as a helpless, little, underage victim. In Japanese terms she is none of those things, but brave, strong (the only strong character in the opera) and assured, determinedly loyal despite her inner certainly - plain to see and hear under the words she utters - that Pinkerton will not remain faithful.

None of these things can be found in Belasco's horrible play, which was mightily improved in countless ways by Puccini's librettists. They took note of Loti, and Messager's operatic version in his Madame Chrysanthème, a superb work in its own right, sadly unlikely to be revived given our present moral climate.

As I recall, Graham Vick's production for ENO in 1984 used Puccini's original 2 Act version rather than the more familiar 3 Acts. It was a very fine production and was very clear in its condemnation of Pinkerton.

[french frank]

It's worth noting, that the original (failed) version of the opera was far more vicious in its attack on American cultural / economic imperialism.

Makes sense. Just checked my WNO programmes and it looks as if the 1998 production was the original version (when we were invited to boo). It was first performed by WNO in 1978.

[Master Jacques]

The cultural critics who seem to think the opera needs yellow face trigger warnings just haven’t absorbed the weight of the drama. Just that little touch in Act One -

Pinkerton (looking at tiny wooden figures that Cio-Cio San is holding) “are those puppets ? “
Cio-Cio San “no they’re my ancestors.”

Mutual incomprehension in one deft comic touch.

The one thing I’m not sure about is whether a Japanese woman of the 19th century would have felt western style passionate romantic love. Or whether love was more about duty and property, Trouble is without that we don’t get the love duet which is surely worth having !

To look at your (very interesting) last question, of course Japanese women and men felt it, and recognised it for what it was. And Japanese society condemned it - just as firmly as 'The West' had done - until about two generations before the time of the opera's setting. By nurturing the romantic feelings which appeal to her new husband, Cio-Cio San is guilty of giving way to cultural colonisation - as the Bonze brutally tells us - which can only end in destruction. A masterly Chickamatsu play (wonderfully filmed as The Crucified Lovers by Mizoguchi in 1954) is the classic statement of what happens when men and women give way to romantic love.

The Yellow face trigger brigade aren't interested in the drama or its anti-Western implications, of course. They think that all opera - whether this, The Mikado or Turandot - has to be treated according to 21st-century American rules of TV realism. They are, in a sense, modern Pinkertons - and every bit as insidiously bad.

[Ein Heldenleben]

To look at your (very interesting) last question, of course Japanese women and men felt it, and recognised it for what it was. And Japanese society condemned it - just as firmly as 'The West' had done - until about two generations before the time of the opera's setting. By nurturing the romantic feelings which appeal to her new husband, Cio-Cio San is guilty of giving way to cultural colonisation - as the Bonze brutally tells us - which can only end in destruction. A masterly Chickamatsu play (wonderfully filmed as The Crucified Lovers by Mizoguchi in 1954) is the classic statement of what happens when men and women give way to romantic love.

The Yellow face trigger brigade aren't interested in the drama or its anti-Western implications, of course. They think that all opera - whether this, The Mikado or Turandot - has to be treated according to 21st-century American rules of TV realism. They are, in a sense, modern Pinkertons - and every bit as insidiously bad.

Very interesting reply .
Yes love is a form of colonisation.
I see the Met have been running trigger warnings for Turandot . Thing is ancient and indeed modern China was a bit cruel wasn’t it? Ping , Pang and Pong despite the slightly offensive comic names are a rare example of a universal type overlooked in Opera - the jaded civil servant who wants redundancy.

[Master Jacques]

I see the Met have been running trigger warnings for Turandot . Thing is ancient and indeed modern China was a bit cruel wasn’t it? Ping , Pang and Pong despite the slightly offensive comic names are a rare example of a universal type overlooked in Opera - the jaded civil servant who wants redundancy.

Ha! My favourite scene these days in Turandot is the first in Act 2, where the 'Three Pees' take off their masks and reveal their human, civil servant-style dreams and family aspirations. It is a beautiful, moving and unexpected twist. Then they go back to being cruel and jaded. Trigger Warnings are, of course, a sign of a colonial empire in decline, and I'm only sorry that such ludicrous pieces of middle-class prudism are gaining ground over here too.