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Originally written in French and published in 1887, Madame Chrysanthème was very successful in its day, running to 25 editions in the first five years of its publication with translations into several languages including English. [3] It has been considered a key text in shaping western attitudes toward Japan at the turn of the 20th century. [4]
Madame Chrysanthème (Madam Chrysanthemum) is an opera, described as a comédie lyrique, with music by André Messager to a libretto by Georges Hartmann and Alexandre André, after the semi-autobiographical novel Madame Chrysanthème (1887) by Pierre Loti. It consists of four acts with a prologue and an epilogue and is set in Nagasaki, Japan. [1]
Madame Chrysanthème, a novel of Japanese manners that is a precursor to Madama Butterfly and Miss Saigon, was published the same year. [5] Loti (right) with "Chrysanthème" and Pierre le Cor in Japan, 1885.
Despite these opinions, Madama Butterfly has been successfully performed in Japan in various adaptions from 1914. [24] Today Madama Butterfly is the sixth most performed opera in the world [25] and considered a masterpiece, with Puccini's orchestration praised as limpid, fluent and refined. [26] [27]
Madame Chrysanthème may refer to: Madame Chrysanthème (novel) , 1887 story by Pierre Loti Madame Chrysanthème (opera) , 1893 opera by André Messager, based on the novel
Among these, Madame Chrysanthème (1893) played for 16 performances in Paris, [1] Mirette (1894), written for London, had a disappointing run, and Le chevalier d'Harmental (1896) ran for only six performances at the Opéra-Comique. [2]
Thomas Glover has been linked with Giacomo Puccini's opera Madama Butterfly. The opera was based on a short story by John Luther Long, and it has many parallels with Pierre Loti's Madame Chrysanthème as well as Félix Régamey's parody The Pink Notebook of Madame Chrysanthème. All three stories are set on the eastern slope of Nagasaki Harbour.
With Madame Chrysanthème (1893), a four-act "lyric comedy" with no spoken dialogue, Messager reached a turning point in his development. The crux of the plot was the same as that later used by Puccini for Madama Butterfly (1904): a young Japanese geisha wooed and then abandoned by a foreign sailor. [44]