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Madama Butterfly (Italian pronunciation: [maˈdaːma ˈbatterflai]; Madame Butterfly) is an opera in three acts (originally two) by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa.
Madama Butterfly’s Japanese theme was mocked, and its tragic heroine was derided as a secondhand copy of Mimì from La Bohème. Puccini withdrew the opera from performance after opening night, but he was not discouraged.
A guide to Giacomo Puccini's endlessly moving Madama Butterfly, including Synopsis, Music & Arias, Fun Facts, Running Time and much more!
"Madame Butterfly" is one of the most popular operas of all time. But the ending has a twist—the final chord is unusual. So why did Puccini choose to end his own favourite opera this way?
A naïve young geisha on the verge of womanhood, the clearly smitten and fiercely loyal “Butterfly” dismisses warnings of the lieutenant’s ulterior motives. When betrayal inevitably strikes and Butterfly must endure both shame and sorrow, she decides to take destiny into her own hands—leading to one of the most devastating and legendary ...
Madame Butterfly is a transposition into opera of that floral art nouveau style which had triumphed at the Paris Universal Exhibition in 1900 (and in Italy at the Turin Exhibition of 1902) and represents a blend of Verismo and exotism.
Despite a starry cast, the performance is a disaster, with critics accusing Puccini of plagiarism. He immediately withdraws the score. After a series of revisions, Madama Butterfly finds great success elsewhere in Italy and abroad, although it is never again seen at La Scala during Puccini’s lifetime.
The great love duet of “Madama Butterfly” Synopsis: The wedding ceremony is taking place in the house. The following celebration is interrupted abruptly, as the Bonze, Butterflies uncle, appears. He accuses Cio-cio-San of religious change and expels her from the family. All relatives leave the house. Now they are alone for the first time.
The main difference between the opera and Long’s story is the ending. Before Long’s Butterfly can inflict the fatal blow with her sword, she is stopped by her maid, Suzuki. In true operatic fashion, however, Puccini ended his version of the story in tragedy.
This guide approaches Madama Butterfly through the dilemmas and ambiguities of cross-cultural encounter—a phenomenon depicted in the opera and enacted in Puccini’s musical representation of both East Asian