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CHANDOS O PERA IN ENGLISH

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Giacomo Puccini (1858–1924) Madam Butterfly in two acts (final, Paris version) Libretto by Giuseppe Giacosa and Luigi Illica after the book by John Luther Long and the play by David Belasco English version based on that of R.H. Elkin

Lebrecht Collection Lebrecht Cio-Cio-San (Madam Butterfly) ...... Suzuki, her maid ...... mezzo-soprano B.F. Pinkerton, Lieutenant in the United States Navy ...... Paul Charles Clarke Sharpless, United States consul at Nagasaki...... Gregory Yurisich Goro, a marriage broker ...... Stuart Kale tenor Prince Yamadori ...... D’Arcy Bleiker baritone The Bonze ...... Clive Bayley The Imperial Commissioner ...... Roland Wood bass Kate Pinkerton ...... Ann Taylor mezzo-soprano

Yakuside Simon Birchall bass • The Official Registrar Frances Brett bass Cio-Cio-San’s mother Anne Sheridan Jinks soprano • The Aunt Paula Bott soprano

Cio-Cio-San’s relations and friends and servants

Giacomo Puccini Geoffrey Mitchell Choir Christopher Moulds assistant conductor

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COMPACT DISC ONE Time Page Time Page

Act I 13 ‘Come, my beloved’ 3:25 [p. 79] 1 Introduction 1:05 [p. 70] Pinkerton, Butterfly, Goro 2 ‘So the walls and the ceiling…’ 2:06 [p. 70] 14 ‘My fate I have to follow’ 1:17 [p. 80] Pinkerton, Goro Butterfly 3 ‘I think Your Honour’s smiling’ 2:17 [p. 71] 15 ‘Silence! Silence!’ 1:52 [p. 80] Suzuki, Pinkerton, Goro Goro, Commissioner, Girl Friends, Butterfly 4 ‘It can’t be much further now!’ 1:20 [p. 71] 16 ‘Congratulations’ 4:33 [p. 81] Sharpless, Goro, Pinkerton Commissioner, Pinkerton, Sharpless, Registrar, Relatives, the Bonze, Goro 5 ‘The whole world over’ 2:22 [p. 72] 17 ‘Dearest, my dearest, weep no more’ 2:06 [p. 83] 6 ‘Fate can’t crush him’ 1:13 [p. 73] Pinkerton, Butterfly, Suzuki Pinkerton, Sharpless 18 ‘Evening is falling...’ 3:31 [p. 83] 7 ‘Is the bride very pretty?’ 1:06 [p. 73] Pinkerton, Butterfly, Suzuki Sharpless, Goro, Pinkerton 19 ‘Child, from whose eyes the witchery is shining’ 3:52 [p. 84] 8 ‘True love or fancy’ 3:23 [p. 73] Pinkerton, Butterfly Pinkerton, Sharpless 20 ‘Ah, love me a little’ 7:28 [p. 85] 9 ‘See them! They’re climbing the summit of the hill!’ 3:30 [p. 74] Butterfly, Pinkerton Goro, Butterfly’s Girl Friends, Butterfly, Sharpless 10 ‘We are honoured’ 3:34 [p. 75] Act II Butterfly, Girl Friends, Pinkerton, Sharpless, Goro Part 1 11 ‘The Imperial Commissioner’ 1:48 [p. 77] 21 ‘Izaghi Izanami’ 6:47 [p. 86] Goro, Pinkerton, Relations and Friends, Butterfly, Yakuside Suzuki, Butterfly 12 ‘Oh, indeed, my friend, you’re lucky!’ 1:16 [p. 78] 22 ‘One fine day’ 4:35 [p. 88] Sharpless, Butterfly Butterfly TT 64:37

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COMPACT DISC TWO Time Page Time Page

1 ‘Come, let’s enter’ 4:22 [p. 89] Act II Goro, Sharpless, Butterfly Part 2 2 ‘Yamadori, and has your unrequited love not yet 12 Prelude 4:29 [p. 101] released you?’ 4:53 [p. 91] 13 Daybreak over Nagasaki 2:52 [p. 101] Butterfly, Yamadori, Sharpless, Goro 14 ‘It’s morning’ 2:01 [p. 101] 3 ‘Now, at last!’ 3:01 [p. 93] Suzuki, Butterfly Sharpless, Butterfly 15 ‘Who is it?…’ 2:42 [p. 102] 4 ‘Just two things I could do’ 2:07 [p. 95] Suzuki, Pinkerton, Sharpless 5 ‘This child! This child, then!’ 1:49 [p. 96] 16 ‘I know for such misfortune there is no consolation’ 3:59 [p. 103] Butterfly, Sharpless Sharpless, Suzuki, Pinkerton 6 ‘Do you know, my darling’ 3:24 [p. 96] 17 ‘Farewell, oh happy home!’ 1:51 [p. 104] Butterfly Pinkerton, Sharpless 7 ‘I must be going’ 1:43 [p. 96] 18 ‘Then will you tell her?’ 1:19 [p. 104] Sharpless, Butterfly, Suzuki Kate, Suzuki 8 ‘Ah! Ah!’ 1:52 [p. 97] 19 ‘Suzuki, where are you?’ 1:47 [p. 105] Goro, Suzuki, Butterfly 20 ‘You, Suzuki, you’re always so faithful’ 1:14 [p. 105] 9 ‘Look, it’s a man-of-war!’ 2:33 [p. 98] Butterfly, Suzuki Suzuki, Butterfly 21 ‘Viper! I want you to answer’ 3:40 [p. 105] 10 Flower duet: ‘Shake the cherry tree’ 9:55 [p. 98] Butterfly, Suzuki, Sharpless, Kate Butterfly, Suzuki 21 ‘Your little fluttering heart is beating’ 2:55 [p. 106] 11 Humming chorus 2:55 [p. 101] Suzuki, Butterfly 23 ‘Death with honour is better than life with dishonour’ 5:04 [p. 107] Butterfly TT 72:33

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The concept of composer and librettists his interest in such things. In the First Act Giacomo Puccini: Madam Butterfly changed course several times during its lengthy hints of Japanese melodies and the evocation period of gestation, veering from the extremes of Japanese religion and tradition, such as the Puccini declared to be his a crudely realistic novella by an American of a one-acter to a three-act drama. The score quaint wedding ceremony, form a suitable favourite work, a verdict with which I heartily lawyer, John Luther Long, published in an was eventually completed towards the end of frame for the gradual development of the concur. In terms of construction, musical American magazine, The Century, dealing with 1903. The eventual decision was to play it in central character of the fifteen-year-old geisha continuity, emotional weight and subtle the accepted practice of naval officers of two acts of one hour and one hour and a half Cio-Cio-San. Once on stage, after her characterisation, in the case of the protagonist, foreign countries contracting ‘marriages’ with respectively, but after the failure of the arresting slow entry, she dominates the it has no peer among his opus. That makes it geishas that could be terminated on their recall premiere, Puccini and the librettists re-drafted remainder of the work. In no other Puccini all the more surprising that it was such a fiasco home. Belasco substantially adapted Long’s it, making numerous cuts (whose restoration opera, not even in the case of Mimì in at its premiere in February 1904 at La Scala, original. Butterfly doesn’t die at the end in in some stagings of late have only proved the Bohème, or or , is the heroine Milan until one realises that its original form Long; in Belasco she dies in Pinkerton’s arms good sense of the composer in making them). asked to bear the brunt of the action to such was faulty, as its composer immediately realised. (how sensible and moving is Puccini’s solution He shortened the scenes of local colour, an extent. Sharpless, the American consul, and By the time he had extensively revised it over to that denouement!). The play’s success was which can become tedious, in Act I, (there the erring, even callous Lieutenant Pinkerton the next months, it was acclaimed at Brescia on repeated when it was staged in London, where were further excisions for the Paris version – are not uninteresting, but their parts pale 28 May 1904, which might therefore be by chance Puccini, in the British capital to see the one used on this recording) and divided before the dominance of Butterfly herself. regarded as truly the first performance of a a production of Tosca, attended a performance. Act II into two scenes, adding a tenor aria to At the start of Act I, Puccini – in masterly work that thereafter conquered the operatic Although he couldn’t follow the dialogue, he the second, which became one of the piece’s fashion – defines the three principal male world and has held its place in the genre’s hall understood its gist and immediately realised its most popular numbers. At the Brescia ‘second characters: insouciant, macho Pinkerton; of fame for virtually a century now, a tribute to potential as an opera plot. premiere’, five numbers had to be encored, sympathetic, world-weary Sharpless; and its appeal to its public. After an abortive attempt to write an opera something that would definitely be frowned creepy, subservient Goro, the marriage-broker, Its genesis is simply told. When Japan on the subject of Marie Antoinette, Puccini on today – but that is good enough evidence who has procured Butterfly for Pinkerton’s opened its ports, in the 1860s, to Western sent his librettist Illica an Italian translation of of how Puccini had unerringly hit the spot in delectation. In his customary way, Puccini shipping the West became fascinated with the Long’s original story. Ricordi, Puccini’s transferring a very human and tragic story into mixes quasi-recitative with unforgettable and inaccessibly exotic of the Orient. Stage works publisher, was lukewarm at first, but was memorable music. pertinent melody to depict all three so that on the subject began to proliferate, among finally convinced by Illica of the story’s That music is imbued with Puccini’s they are established in our minds even before them in 1900 a one-act play by David Belasco viability, so Puccini received permission from fascination for things Japanese; records in his Butterfly arrives. After her unforgettable entry, called Madam Butterfly, first performed that the original play’s publisher and author to turn possession at the time, now at a museum in a golden though taxing opportunity for the year in New York. That, in turn was based on it into an opera. the family home at Celle in Tuscany, indicate leading soprano to introduce herself, Cio-Cio-

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San’s simple thoughts on marriage and fidelity, pair go off to consummate their love with such Puccini produces for his beloved heroine tragic as she considers either resuming as a and her brief telling of her life story, are devastating consequences, Puccini brings to throughout Act II. Suzuki’s doubts are finally geisha or dying. In ineffable words, Butterfly wonderfully presented in the following bear the full force of his large orchestra as the put to flight in the opera’s most famous solo, utters the hurt he has caused her. Then she moments. singers mount to their highest register. ‘One fine day’ (Un bel dì), describing in produces her child and, over him, she pours She is already at her most touching and Inevitably and rightly, in anything like a good highly emotive words and music how she out her heart and soul in the solo ‘Che tua vulnerable both when she gives her view on performance, this duet brings down the house. imagines her lover’s return in her mind. In it madre’ ‘That your mother should take you on being poor (‘Nessuno si confessa mai’ ‘For no Some suspension of disbelief is needed for us Butterfly discloses many the facets of her her shoulder’, declaiming to the boy that she one likes to own that he was born so very to imagine exactly what has happened to character and her love, as the details are laid couldn’t go begging: death would be much poor’) and as she describes, at ‘Ieri son salita Cio-Cio-San between her moment of supreme before us with increasing intensity. preferable. This is perhaps the most searing tutta sola’ ‘Now, I’d like to tell you that in happiness at the end of Act I and her When Sharpless arrives, his attempts to passage in the whole opera as it evinces the secret I visited the mission’, how she has appearance at the start of Act II. She has disabuse her of hope by reading her a letter depth of Cio-Cio-San’s feelings in adopted her new religion of Christianity as a obviously given birth to a little boy and from Pinkerton are doomed to failure. When inexpressibly direct and emotional music. result of her forthcoming marriage with presumably given him tender, loving care with he tells her of the letter, she immediately seizes The Consul departs, and Butterfly almost Pinkerton. Once the Bonze, a disagreeable the assistance of the ever-faithful and obedient on this sign of apparent hope by declaring in a murders Goro for suggesting nobody knows priestly relative of Cio-Cio-San, has done his Suzuki. With her belief in Pinkerton unshaken, graceful phrase, ‘Io son la donna più lieta del who is the child’s father (he is rescued by worst to condemn her and the lovers are left Butterfly continues to endure poverty, content Giappone’ ‘Then I’m the happiest lady in Suzuki’s intervention). Then, in an inspired alone, Puccini unleashes the most erotic music to remain in her little house and await Japan’. Then she ingenuously asks Sharpless change of mood, elicited by Puccini, we hear a he ever penned in the longest love duet he ever Pinkerton’s promised return. In some when the robins nest in America, a question cannon from the harbour, marking the wrote, evidence enough of how high was his productions, such is her conviction in all things he cannot answer. The arrival of Yamadori, a sighting of Pinkerton’s ship. Butterfly’s delight level of inspiration at the time and of his American, she seems as far as possible to have local suitor for Butterfly’s hand, is treated with is shown in such a magnificent outburst of joy, identification with his adored heroine. taken on Western characteristics in her home. humorous derision by her. Yamadori is given a in which she tells us she was always right, the Butterfly’s complete faith in Pinkerton is She inveighs against the doubts expressed by lovely, if intentionally weak, melody by which doubters wrong, that most audiences share in touchingly evoked as is his overwhelming Suzuki, even threatening to kill her, a sign of to make his case. her delusion and break out into spontaneous desire, but even at this moment of maximum the steel that is part of her psychological Sharpless resumes his reading of the letter, applause. You may think this is manipulation happiness there is a faint suggestion, in the makeup. Tenderly she quotes Pinkerton’s but Butterfly insists on putting a positive spin of a grand scale on Puccini’s part, but the harmonies and a palpable sense of longing, of parting words, starting ‘O Butterfly, piccina on what would be for her a devastating effect, in the theatre, is overwhelming. Then, foreboding and melancholy. Maybe Puccini mogliettina’ ‘O Butterfly, my dearest little message could she but comprehend it. At last to perhaps the happiest and simplest music in derived some of that feeling from study of the darling’, promising to return when the robins he asks her what she would do if Pinkerton the score, she and Suzuki bedeck the home in love duet in Act II of Tristan und Isolde. As the nest, the first of so many heart-rending phrases didn’t return. The music turns abrupt and flowers in expectation of the beloved’s return.

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The pair, with the child, start a vigil to In a vain effort to prevent the terrible deed, enter into the marriage so lightly. Pinkerton, America. Butterfly tells him that she considers hypnotic strains in the orchestra. As dawn Suzuki sends in the child who, however, cannot believe that Butterfly would herself bound by the laws of her husband’s comes at the start of the second scene (often uncomprehending, receives Butterfly’s dying take the ceremony seriously, and looks forward country. Sharpless produces a letter from Act III in the opera house), Puccini writes a words of love. She blindfolds the boy, does the to the day when he will marry a real, Pinkerton announcing that he is returning prelude in the most advanced vein to date in deed, and as she lies dying the desperate American, wife. with an American wife and asking Sharpless to his works. It was obviously influenced by the Pinkerton arrives crying out her name. Too late. Butterfly arrives and the marriage contract break the news to Butterfly. Butterfly is so Debussy of Pelléas et Mélisande, which Once more, as throughout, Puccini’s dramatic is signed. Suddenly her uncle the Bonze excited at the news of her husband’s return appeared two years earlier, in 1902. The timing is unerring. The audience, sharing a appears and denounces her: he has learnt that that Sharpless has no opportunity to read her harmonies are ruminative and equivocal in a moment of personal disaster, is totally shattered Butterfly has taken the irrevocable step of the whole letter. He tries to persuade her to Debussian mode, and the end in sight is just by Butterfly’s fatal predicament. renouncing her religion. Her family and accept Yamadori’s offer, but she shows him as tragic as that in Debussy’s opera. friends curse her and leave. Pinkerton consoles Pinkerton’s son as proof of his affection for In this denouement, Pinkerton expresses all © 2001 Alan Blyth his wife and Suzuki dresses her for her her. Sharpless leaves, unable to bring himself his remorse in ‘Addio fiorito asil’ ‘Farewell, oh wedding night. Butterfly declares her love for to deliver his message. happy home’, Sharpless is in ‘I-told-you-so’ Synopsis Pinkerton and he replies that she is his forever. The harbour cannon is heard. It is vein, and Suzuki is fearful of the tragedy to Pinkerton’s ship, the Abraham Lincoln. In a come, particularly when she espies Kate, COMPACT DISC ONE Act II fever of excitement Butterfly and Suzuki Pinkerton’s new wife. Puccini subtly keeps his Part 1 decorate the house with flowers in honour of heroine off the scene until the last possible Act I Three years later his arrival, and wait all night for him. moment. Her expected happiness and release is Pinkerton’s house, near Nagasaki Pinkerton has been recalled to America shortly shattered when she sees Kate and realises who Goro, a marriage broker, is showing after his marriage and Butterfly is living, Part 2 she must be. In broken phrases she shows her Pinkerton, a Lieutenant in the United States practically impoverished, with her faithful As dawn breaks the calls of the sailors are heard profound grief, she tells Kate – in possibly the Navy, over the house which Pinkerton has Suzuki. from the harbour. Butterfly is still waiting for score’s most eloquent passage – that nobody in rented for his bride-to-be, Cio-Cio-San, the Pinkerton. Suzuki persuades her to go and rest. in the world can be happier than her (Kate): geisha Madam Butterfly. He is about to marry COMPACT DISC TWO Sharpless arrives with Pinkerton and Kate, the ‘Under the great sky above us’ (‘Sotto il gran her in accordance with the Japanese law which American wife. Pinkerton, realising the ponte del cielo’). No Butterfly worth her salt holds that the husband’s absence, even for so In spite of Suzuki’s disbelief, Butterfly is sure strength of Butterfly’s devotion, can fail here: librettist and composer have given short a time as a month, constitutes a divorce. of Pinkerton’s return and refuses an offer of is filled with remorse, and rushes out, leaving her a phrase literally to die for. The first wedding guest to arrive is Sharpless, marriage from Prince Yamadori, a Japanese Kate and Sharpless to meet Butterfly. They tell All that is left her is to commit hari-kari. the American Consul, who begs him not to who has made a fortune in trade with Suzuki that Kate wishes to adopt her husband’s

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son. Butterfly learns the truth from Kate and In concert Cheryl Barker has appeared at tour with the Orchestra of the Age of St Paul, Les nuits d’été, and Verdi’s Requiem. asks that Pinkerton himself should come the Royal Albert Hall (War Requiem and Enlightenment and Sir Simon Rattle in Recordings for Chandos include The Rape himself to fetch the child. Left alone, she takes Verdi’s Requiem), at the Spoleto Festival in performances of Beethoven 9 (which he has also of Lucretia, Delius’s A Mass of Life, a last farewell of her son, and kills herself. Italy, at London’s Wigmore Hall, at the sung with the Scottish Chamber Orchestra), Mendelssohn’s St Paul, and Rigoletto (for Melbourne International Festival, and in and Mendelssohn’s Elijah in Rome. Chandos/Peter Moores Foundation). Belgium. Video recordings include La bohème Recordings include Tybalt (Roméo et Juliette), and Harry Enfield’s Guide to Opera. Arturo (Lucia), and for Chandos/Peter Moores Gregory Yurisich’s recent portrayals of the Cheryl Barker was born in Sydney, Australia, Foundation the title role in Gounod’s Faust. great Verdi repertory have earned him where she studied with the late Dame Joan Paul Charles Clarke was born in Liverpool, tremendous critical praise. Acclaimed Hammond. Since making her debut in 1984 as studied at the Royal College of Music with Neil Jean Rigby studied at the Royal Birmingham performances include Nabucco at the Bregenz Blondchen in Die Entführung aus dem Serail for Mackie, and was the winner of the 1989 School of Music and then at the Royal Festival, with and in the State Opera of South Australia she has Kathleen Ferrier Competition. Roles include Academy of Music with Patricia Clarke, with Geneva; the title role in Rigoletto in Israel, appeared with The Royal Opera as Jennifer the Duke (Rigoletto); Fenton (Falstaff ) in Japan whom she continues to work. With English Australia and Athens; the title role in Simon (); with English and at the Edinburgh Festival; for she has sung Helen (King Boccanegra, and Escamillo () for National Opera as Musetta (La bohème), National Opera High Priest of Neptune Priam), Rosina (), Penelope English National Opera; the title role Falstaff Butterfly, Donna Elvira, Giorgetta and Sister (Idomeneo), Rodolfo (La bohème), Alfredo (The Return of Ulysses) Jocasta, Carmen, in Australia; Germont Père (La traviata) for Angelica (Il trittico). Other roles include (La traviata); for Scottish Opera Alfredo, and Octavian and Lucretia. Other appearances , Australian Opera, in Tel- Violetta (Hamburg State Opera, Opera Nemorino (L’elisir d’amore); for Opera North include Nicklausse () Aviv and Geneva; Iago () with Placido Australia, Opera New Zealand); Butterfly Rodolfo and Dmitri (Boris Godunov); and for with The Royal Opera and for San Diego Domingo for the Los Angeles Opera and in (Hamburg State Opera, Deutsche Oper Berlin, The Royal Opera Froh (Das Rheingold), Cassio Opera; L’italiana in Algeri at the Buxton Brisbane; Amonasro (Aida), Stankar (Verdi’s , Opera New Zealand, (Otello), Tybalt (Roméo et Juliette) and Alfredo. Festival; the title role in La Cenerentola, and Stiffelio), Scarpia (Tosca), and the four villains Minnesota Opera); Tatyana (Scottish Opera, Internationally he has appeared with Seattle Idamante (Idomeneo) for Garsington Opera; (Les Contes d’Hoffmann), for The Royal Opera. Opera Queensland); and Adina (L’elisir Opera, the (Jenik in Genevieve (Pelléas et Mélisande), and Irene Gregory Yurisich’s international concert d’amore), the title role in Maria Stuarda, the The Bartered Bride, and Roméo), Houston (Theodora) (amongst many roles) at the appearances include Mahler’s Eighth Countess (Le nozze di Figaro), Nedda () Grand Opera and in Monte Carlo. He has sung Glyndebourne Festival; and Charlotte Symphony at the Edinburgh Festival; Alberich and the Governess (The Turn of the Screw). She the role of Pinkerton with Houston Grand (Werther) for Seattle Opera. (Siegfried ) in concert, Salieri (Rimsky- has undertaken many roles for Flanders Opera Opera, the Deutsche Oper Berlin, and at the Concert engagements include Mahler’s Korsakov’s Mozart and Salieri) and Beethoven’s including Mimì, Liù (Turandot), Butterfly, Met in the Parks Festival. Second and Eighth Symphonies at the London Ninth Symphony for the Australian ABC Desdemona and Sister Angelica. Concert appearances include a European Promenade concerts, Mendelssohn’s Elijah and Television network.

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Recordings include Leporello (Don Trained at the Royal Northern College of supported by the Peter Moores Foundation () for European Union Opera. Giovanni), a solo disc devoted to the songs of Music, Clive Bayley is already well established and the Countess of Munster Musical Trust. Having made the transition to baritone, more Peter Dawson, and, for Chandos/Peter Moores with the major opera companies throughout Roles at the RNCM included Collatinus recent roles include Josev Prasov in the world Foundation, Scarpia (Tosca). Great Britain and he regularly sings in concert. (The Rape of Lucretia), Superintendent Budd premiere of The Bridge, and the Count (The His repertory of principal and supporting roles (Albert Herring), Schaunard (La bohème) and Marriage of Figaro) at the RNCM and Opera Stuart Kale is internationally recognised as has steadily grown since he graduated, and Figaro (Le nozze di Figaro). He has also sung Holland Park. He has also covered a number of one of the most outstanding singing actors in now ranges from Monteverdi to Verdi, Puccini with Glyndebourne Festival Opera, and The roles for Glyndebourne Festival Opera and the operatic world and his roles cover a huge and Berg. For The Royal Opera he has Classical Opera Company at the Linbury English National Opera. Recordings include range of repertoire, from Monteverdi to appeared as Colline in La bohème, Hans Theatre, Covent Garden. He has been a Donizetti’s for . Messiaen. He began his career at Welsh Foltz in Die Meistersinger and Castro in member of the Glyndebourne Festival Chorus National Opera before joining English La fanciulla del West. In addition he has and has appeared in concert throughout the Geoffrey Mitchell’s singing career has National Opera, where he remained for eight had notable successes with Opera North in north of . With the Royal Liverpool encompassed a remarkably wide repertoire years, singing roles such as Don Ottavio (Don Verdi’s Jerusalem, with English National Philharmonic Orchestra he has sung Elijah, from early to contemporary music and has Giovanni), Michael (Martinuº’s Jiulietta), Alfred Opera in Billy Budd, Wozzeck, and Dr Faust, Puccini’s Messa di Gloria, roles in Candide, and taken him to Scandinavia, Germany, the (Die Fledermaus) and Nanki-Poo in Jonathan with Opera Factory in , and the King in a concert performance of Aida. former Czechoslovakia, Canada and Miller’s production of The Mikado. Colline in La bohème at the Royal Albert He has also sung the role of Polydorus in Australasia. Early conducting experience with Notable engagements include the High Priest Hall. Abroad he has appeared with L’enfance du Christ at the Bridgewater Hall, the BBC led to a wider involvement with his (Idomeneo) at Covent Garden, Hauptmann Netherlands Opera and Seattle Opera and in conducted by Kent Nagano. own singers and in turn to the establishment (Wozzeck) in Nancy, San Francisco and at the concert with Les Arts Florissants on tour in of the Geoffrey Mitchell Choir. Early Opera du Rhin in Strasburg, Shuisky (Boris Europe. Roland Wood was born in Berkshire and recordings resulted in the Choir’s long-term Godunov) in Strasburg, Bordeaux and Recordings for Chandos include Troilus and studied at the Royal Northern College of Music involvement with Opera Rara for which it has Montpellier, Peter Quint (The Turn of the Cressida, Billy Budd, and, for Chandos/Peter with Patrick McGuigan and Robert Alderson, made over thirty recordings. The Choir is Screw) for ENO’s 1990 Russian Tour, Moores Foundation Don Giovanni, Boris then at the with support enjoying a growing reputation with further Truffaldino (The Love for Three Oranges) for Godunov (highlights), and from the Peter Moores Foundation and English work from the BBC and international ENO, Zinoviev (Lady Macbeth) in Toulouse . National Opera. He began his operatic career as recording companies. For Chandos the and Marseille, the three tenor roles in Lulu at a bass-baritone and early roles included Silva Geoffrey Mitchell Choir has participated in the Châtelet. Recordings include Shuisky in D’Arcy Bleiker was born in Yorkshire and (Ernani) and Colline (La bohème); Luka numerous recordings in the acclaimed Opera Boris Godunov (highlights) and Roderigo studied with Robert Alderson at the Royal (The Bear) and Martino (L’occasione fa il ladro) in English series sponsored by the Peter (Otello) for Chandos/Peter Moores Foundation. Northern College of Music, where he was for the Walton Trust in Ischia; and Zaretsky Moores Foundation.

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From auspicious beginnings in 1945, when it orchestra with well over 1000 releases to its Glyndebourne Festival Opera for Le Comte Wexford Opera Festival and the Wolf Trap was established by Walter Legge primarily as a credit. Among these are, for Opera Rara, Ory; Lyric Opera of Chicago for L’elisir Opera recording orchestra, the Philharmonia several discs of operatic arias as well as eleven d’amore; the Opera de Monte Carlo for Yves Abel is equally at home in orchestral Orchestra went on to attract some of the complete (Donizetti’s Ugo, conte di Il turco in Italia; the Netherlands Opera for repertoire and recent engagements include twentieth century’s greatest conductors. Parigi, Ne m’oubliez pas, Emilia di Liverpool, Les Dialogues des Carmélites; the San Francisco concerts with the San Francisco Symphony, Associated most closely with the Orchestra L’assedio di Calais, Rosmonda d’Inghilterra and Opera conducting ; the Royal Danish Toronto Symphony, Royal Liverpool have been Otto Klemperer (first Principal , Meyerbeer’s Dinorah, Mayr’s Opera for L’elisir d’amore and Un ballo in Philharmonic Orchestra, Nova Scotia Conductor), Lorin Maazel, Riccardo Muti, Medea in Corinto, Mercadante’s Orazi e maschera; the Opera de Nice conducting Orchestra and Orquesta Cuidad de Granada. Giuseppe Sinopoli, Carlo Maria Giulini, Sir Curiazi, Pacini’s Maria, regina d’Inghilterra and Massenet’s Thais, for Spoleto He has won significant critical acclaim for his Andrew Davis, Vladimir Ashkenazy and Esa- Rossini’s Otello). The Orchestra has recorded Festival USA, and Zampa for l’Opera Français achievements as Music Director of L’Opéra Pekka Salonen. Under current Principal numerous discs for Chandos including, in the de New York. Other appearances include the Français de New York. Since the company’s Conductor Christoph von Dohnanyi and with Opera in English series sponsored by the Peter Festival dei due Mondi in Spoleto for inception in 1990, he has conducted such Leonard Slatkin as Principal Guest Conductor Moores Foundation, The Elixir of Love, Faust, performances and a film of Amahl and the rarities as Offenbach’s Barbe-Bleue; Bizet’s the Orchestra has consolidated its central La bohème, the award-winning Tosca and six Night Visitors to celebrate the 85th birthday La jolie fille de Perth; Cherubini’s Médée and position in British musical life, not only in solo recital albums of operatic arias (with of Gian Carlo Menotti, the Paris Opéra, Les Deux Journées; Milhaud’s Le Pauvre Matelot London where it is Resident Orchestra at the Bruce Ford, Diana Montague, Dennis O’Neill, New York City Opera, Seattle Opera, Opera and Esther de Carpentras; Gluck’s Iphigénie en Royal Festival Hall, but also in the wider Alastair Miles, Yvonne Kenny and John Theatre of St Louis, Florida Grand Opera, Aulide; Bizet’s Docteur Miracle; and Grétry’s community through regional residencies. Tomlinson.) Opera Theater of Connecticut, and at the Les Deux Avares. The Orchestra has received several major awards and won critical acclaim for its vitality Yves Abel was born in Canada and is quickly and unique warmth of sound. It has been becoming established as one of his generation’s praised as well for its innovative programming, most important conductors in both the at the heart of which is a commitment to operatic and symphonic repertoires. He performing and commissioning new music by studied at the Mannes College of Music and at the world’s leading living composers, among the Tanglewood Music Center where he was them its current Visiting Composer James guided by Leonard Bernstein, Seiji Ozawa, MacMillan. Gunther Herbig and Roger Norrington. The Orchestra tours frequently abroad and In opera, he has made critically acclaimed is the world’s most recorded symphony debuts with Opera North for Don Carlos;

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PETER MOORES, CBE, DL giving financial support to various young artists, several of whom – , Colin Davis and the late Geraint Evans amongst them – were to become world-famous. In 1964 he Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant set aside a substantial part of his inheritance to establish the Peter Moores Foundation, a charity Littlewoods mail order, chain store and football pools group. He was educated at Eton and designed to support those causes dear to his heart: to make music and the arts more accessible Christ Church, Oxford, where he read modern languages – he was already fluent in German to more people; to give encouragement to the young and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a production PETER MOORES FOUNDATION student at the , combining this with a three-year course at the Vienna In the field of music, the main areas supported by the Peter Moores Foundation are: Academy of Music and Dramatic Art. the recording of operas from the core repertory sung in English translation; the recording By the end of his third year at the Academy Moores had produced the Vienna premiere of or staging of rare from the bel canto era of the early nineteenth century Britten’s The Rape of Lucretia, had worked as Assistant Producer at the San Carlo Opera (repertoire which would otherwise only be accessible to scholars); the nurturing of House, Naples, the Geneva Festival and Rome Opera, and seemed set for a successful operatic promising young opera singers; new operatic work. career. At this point he received a letter from his father asking The Foundation awards scholarships annually to students and post-graduates for furthering him to come home as he was needed in the firm. Family loyalty their vocal studies at the Royal Northern College of Music. In addition, project awards may be being paramount, he returned to Liverpool. given to facilitate language tuition in the appropriate country, attendance at masterclasses or From 1981 to 1983 he was a Governor of the BBC, and a summer courses, specialised repertoire study with an acknowledged expert in the field, or Trustee of the Tate Gallery from 1978 until 1985; from 1988 post-graduate performance training. to 1992 he was a director of Scottish Opera. He received the The Foundation encourages new operatic work by contributing to recordings, the Christina Burton/PMF Gold Medal of the Italian Republic in 1974, an Honorary MA publication of scores and stage productions. from Christ Church, Oxford, in 1975, and was made an Since 1964 the Foundation has supported the recording of more than forty operas, many of Honorary Member of the Royal Northern College of Music in these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera 1985. In May 1992 he became Deputy Lieutenant of to the full, there must be no language barrier, particularly for newcomers and particularly in the Lancashire, and in the New Year’s Honours List for 1991, he popular repertoire – hence the Opera in English series launched with Chandos in 1995. This was made a CBE for his charitable services to the Arts. includes many of the English language recordings funded by the Foundation in the 1970s and Whilst still in his early twenties, Peter Moores had started Peter Moores, CBE, DL 1980s, and is now the largest recorded collection of operas sung in English.

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den Sinn und erkannte sofort das dramatische Puccini verkürzte die dem örtlichen Kolorit Giacomo Puccini: Madam Butterfly Potential der Handlung als Opernstoff. gewidmeten Szenen des ersten Akts, die Nach einem mißlungenen Versuch, eine gewisse Längen aufweisen können – für die Puccini bezeichnete Madama Butterfly als sein wuchs im Westen die Faszination für die Oper über Marie Antoinette zu schreiben, auf dieser CD eingespielte Pariser Fassung gab Lieblingswerk – ein Urteil, dem ich persönlich unerreichbare Exotik des Orients. schickte Puccini seinem Librettisten Illica eine es noch weitere Striche –, und unterteilte den von Herzen zustimme. Was den Aufbau, die Bühnenwerke zu diesem Thema begannen zu italienische Übersetzung von Longs Original. zweiten Akt in zwei Szenen, wobei der zweiten musikalische Kontinuität, das emotionale entstehen, unter anderem ein einaktiges Ricordi, Puccinis Verleger, reagierte zunächst eine Tenorarie hinzugefügt wurde, die zu einer Gewicht und die subtile Charakterisierung der Theaterstück namens Madam Butterfly von skeptisch, ließ sich aber schließlich doch durch der beliebtesten Nummern der ganzen Oper Hauptpartie anbelangt, steht diese Oper allein David Belasco, das 1900 in New York Illica von der Realisierbarkeit der literarischen werden sollte. Bei der “zweiten Uraufführung” im Gesamtwerk des Komponisten. Daher ist uraufgeführt wurde. Dies basierte wiederum Vorlage überzeugen, und Puccini erhielt in Brescia mußten fünf Nummern als Zugabe es umso überraschender, daß die Uraufführung auf einer grob-realistischen Novelle eines sowohl vom Verleger als auch vom Autor des wiederholt werden, was heutzutage mit an der Mailänder Scala im Februar 1904 ein amerikanischen Rechtsanwalts, John Luther Originalbühnenstücks die Genehmigung, es in Sicherheit verpönt wäre. Es zeigt aber, wie derartiges Fiasko war, bis man versteht, daß Long, die in der amerikanischen Zeitschrift eine Oper umzuwandeln. Puccini mit seiner Umsetzung einer äußerst die Form der Originalversion fehlerhaft war, The Century erschienen war; sie behandelte die Während der langen Entstehungszeit des menschlichen und tragischen Geschichte in was dem Komponisten sofort klar wurde. weitverbreitete Praxis, daß Marineoffiziere Werkes änderte sich das Konzept des unvergeßliche Musik genau ins Schwarze Nachdem Puccini das Werk im Laufe der fremder Länder “Ehen” mit Geishas Komponisten und der Librettisten mehrmals getroffen hatte. nächsten Monate umfassend überarbeitet abschlossen, die jedoch bei ihrem Rückruf und schwankte zwischen den Extremen Diese Musik ist von Puccinis Faszination für hatte, kam es am 28.5.1904 in Brescia mit nach Hause null und nichtig wurden. Belasco Einakter und dreiaktiges Drama. Die Partitur alles Japanische durchdrungen; auf sein großem Erfolg zur Aufführung – eigentlich die überarbeitete Longs Original weitgehend. In war schließlich gegen Ende des Jahres 1903 Interesse für diese Dinge verweisen wahre Uraufführung jenes Werkes, das der Longschen Fassung überlebt Butterfly am fertig. Die endgültige Entscheidung war zu beispielsweise Schallplatten, die sich zu jener anschließend die Opernwelt erobern und Schluß, während sie bei Belasco in Pinkertons Gunsten von zwei Akten, die jeweils eine bzw. Zeit in seinem Besitz befanden, und die nun einen Platz in der Ruhmeshalle dieses Genres Armen stirbt. (Puccinis Lösung ist dagegen eineinhalb Stunden dauerten, gefallen. Nach in einem Museum in dem Familienhaus im erhalten sollte, den es dank seiner sowohl sinnvoll als auch ergreifend.) Das dem Mißerfolg der Uraufführung arbeiteten toskanischen Celle zu sehen sind. Die Publikumswirkung nun seit beinahe einem Theaterstück war auch in London äußerst Puccini und die Librettisten das Stück um und allmähliche Entwicklung der Hauptperson, Jahrhundert innehat. erfolgreich, wo Puccini, der sich in der nahmen zahlreiche Striche vor (deren der fünfzehnjährigen Geisha Cio-Cio-San, Die Entstehungsgeschichte des Werks ist britischen Hauptstadt aufhielt, um eine Wiederaufnahmen in Inszenierungen der erhält im ersten Akt durch Anklänge schnell erzählt. Als Japan in den sechziger Produktion von Tosca zu sehen, zufälligerweise jüngsten Zeit nur bestätigt haben, wie japanischer Melodien und die Darstellungen Jahren des neunzehnten Jahrhunderts der einer Aufführung beiwohnte. Obwohl er dem vernünftig die Entscheidung des Komponisten japanischer Religion und Tradition, wie etwa westlichen Schiffahrt seine Häfen öffnete, Dialog nicht folgen konnte, verstand er doch war). der idyllischen Hochzeitszeremonie, einen

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passenden Rahmen. Ist sie, nach ihrem beschreiben die anschließenden Momente auf der Musik eine gewisse Vorahnung und Sie beschimpft Suzuki wegen der von ihr atemberaubend langsamen Auftritt dann wunderbare Art und Weise Cio-Cio-Sans Melancholie mitschwingen. Möglicherweise geäußerten Zweifel und droht sogar, sie zu einmal auf der Bühne, so dominiert sie den einfache Gedanken über Ehe und Treue und kam dieses Gefühl zum Teil durch Puccinis töten, was auf die eiserne Härte, die einen Teil Rest des Stückes. In keiner anderen Oper erzählen ihre kurze Lebensgeschichte. Studium des Liebesduetts aus dem 2. Aufzug von Butterflys Charakter ausmacht, hindeutet. Puccinis – nicht einmal im Falle der Mimì in Sie zeigt bereits ihre rührendste und von Tristan und Isolde zustande. Die beiden Voller Zärtlichkeit zitiert sie Pinkertons La bohème, oder bei Tosca oder Turandot – verletzbarste Seite, wenn sie ihre Meinung zum gehen ab, um sich ihrer Liebe hinzugeben – Abschiedsworte, beginnend mit “O Butterfly, muß die Heldin die Handlung dermaßen Thema Armut erklärt (“Nessuno si confessa mit katastrophalen Folgen –, und Puccini setzt piccina mogliettina” (“O Butterfly, my dearest mittragen. Zwar sind Sharpless, der mai” “For no one likes to own that he was die volle Kraft seines großen Orchesters ein, little darling”) und sein Versprechen, amerikanische Konsul, und der falsche, sogar born so very poor”), und ebenso wenn sie bei während die Sänger in ihre höchsten Lagen zurückzukehren, wenn die Rotkehlchen wieder herzlose, Leutnant Pinkerton keine “Ieri son salita tutta sola” (“Now, I’d like to tell hinaufsteigen. In jeder annährend guten nisten. Dies ist die erste von vielen uninteressanten Partien, sie verblassen jedoch you that in secret I visited the mission”) Vorstellung bringt dieses Duett zwangsläufig herzzerreißenden Phrasen, die Puccini im neben der Dominanz der Butterfly selbst. beschreibt, wie sie angesichts ihrer und zu Recht das Publikum zum Rasen. zweiten Akt für seine geliebte Heldin schreibt. Am Anfang des ersten Akts zeichnet Puccini bevorstehenden Heirat mit Pinkerton die Um sich vorzustellen, was Cio-Cio-San Suzukis Zweifel werden schließlich durch das auf meisterhafte Art und Weise die drei christliche Religion angenommen hat. zwischen ihrem vollkommenen Glück am berühmteste Solo der ganzen Oper “Un bel dì” männlichen Hauptpersonen: den Nachdem der Bonze, ein unangenehmer Ende des ersten Akts und ihrem Auftritt zu (“One fine day”) in die Flucht geschlagen, und unbekümmerten Macho Pinkerton; den priesterlicher Verwandter Cio-Cio-Sans, sie Anfang des zweiten widerfahren sein mag, Butterfly beschreibt in höchst emotionaler wohlwollenden, weltmüden Sharpless; und förmlich verdammt hat, und das Liebespaar bedarf es etwas Fantasie. Offensichtlich hat sie Musik und Worten, wie sie sich die Wiederkehr den unheimlichen, unterwürfigen Goro, den nun allein ist, entfesselt Puccini seine einen kleinen Jungen zur Welt gebracht und ihres Geliebten vorstellt. Sie enthüllt dabei in Heiratsvermittler, der Butterfly zur erotischste Musik in dem längsten Liebesduett, mit Hilfe der immer treuen und gehorsamen immer intensiver werdenden Einzelheiten viele Unterhaltung Pinkertons herbeigeschafft hat. das er je schrieb. Auch daran zeigt sich das Suzuki voll zärtlicher und liebender Facetten ihrer Persönlichkeit und ihrer Liebe. Auf die ihm eigene Art mischt Puccini in der hohe Maß seiner Inspiration, und wie sehr er Zuwendung für ihn gesorgt. Ihr Glaube an Sharpless tritt ein, doch seine Versuche, sie Schilderung der drei Charaktere Quasi- sich mit seiner angebeteten Heldin Pinkerton ist unerschüttert, und Butterfly von ihrer irrigen Hoffnung abzubringen, Rezitativ mit unnachahmlicher und treffender identifizierte. erträgt ihre Armut weiter, zufrieden, in ihrem indem er ihr einen Brief Pinkertons vorliest, Melodik, so daß das Publikum noch vor Puccini zeichnet auf anrührende Art und Häuschen zu bleiben und Pinkertons sind zum Scheitern verurteilt. Als er von dem Butterflys erstem Auftritt ein klares Bild von Weise Butterflys völliges Vertrauen zu versprochener Wiederkehr zu harren. In Brief erzählt, sieht sie darin sofort einen ihnen hat. Nach dem unvergeßlichen Auftritt Pinkerton sowie dessen überwältigendes manchen Inszenierungen ist sie dermaßen von Hoffnungsschimmer und erklärt in einer Butterflys, einer hervorragenden Gelegenheit Begehren, wobei auch schon in diesem allem Amerikanischen überzeugt, daß ihr anmutigen Phrase, “Io son la donna più lieta für die Sopranistin, in der jedoch auch ihr Augenblick des größten Glücks in den Zuhause mit möglichst vielen westlichen del Giappone” (“Then I’m the happiest lady in Können auf die Probe gestellt wird, Harmonien und in der spürbaren Sehnsucht Merkmalen ausgestattet ist. Japan”). Dann fragt sie Sharpless naiv, wann

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die Rotkehlchen in Amerika nisten, eine Frage Der Konsul geht, und Butterfly bringt Goro deutlich zu spüren. Die grübelnde und versucht Suzuki die schreckliche Tat zu die er nicht zu beantworten vermag. Die fast um, weil er andeutet, daß niemand genau zweideutige Harmonik ist ganz im Stil des verhindern, indem sie das Kind hineinschickt, Ankunft Yamadoris, eines einheimischen wisse, wer der Vater des Kindes sei. Nur französischen Komponisten, und das Ende, das ohne zu verstehen, was vorgeht, Butterflys Heiratskandidaten, nimmt Butterfly Suzukis Eingreifen rettet ihn. Dann nimmt das sich langsam abzeichnet, ist ebenso Abschiedsworte der Liebe empfängt. Sie humorvoll-spöttisch auf. Yamadori hält mit Puccini einen inspirierten Stimmungswechsel tragisch wie das in Debussys Oper. verbindet ihm die Augen, begeht die Tat, und einer sehr schönen, wenn auch absichtlich vor, und man hört eine Kanone vom Hafen – In “Addio fiorito asil” (“Farewell, oh happy als sie im Sterben liegt, tritt der verzweifelte schwachen, Melodie um ihre Hand an. das Zeichen, daß Pinkertons Schiff gesichtet home”) drückt Pinkerton seine ganze Reue Pinkerton, ihren Namen rufend, ein. Es ist zu Sharpless liest den Brief weiter vor, doch worden ist. Butterflys Freude äußert sich in aus, Sharpless nimmt für sich in Anspruch, spät. Wieder einmal – wie im gesamten Werk Butterfly verdreht alles ins Positive, was richtig einem solch herrlichen Ausbruch – sie hatte alles vorher gewußt zu haben, und Suzuki – ist Puccinis Sinn für dramatisches Timing verstanden für sie niederschmetternde immer recht und die Zweifler unrecht –, daß fürchtet die bevorstehende Tragödie, zumal sie perfekt. Das Publikum nimmt an dieser Neuigkeiten wären. Schließlich fragt er sie, die meisten Zuschauer ihre Fehleinschätzung Kate, die neue Frau Pinkertons, erspäht hat. persönlichen Katastrophe Anteil und ist durch was sie tun würde, wenn Pinkerton nicht teilen und in spontanen Applaus ausbrechen. Puccini hält auf subtile Art und Weise seine Butterflys fatales Schicksal vollkommen zurückkäme. Als Butterfly die Möglichkeit Vielleicht denkt man, Puccini handele hier in Heldin so lange wie möglich von der Bühne erschüttert. abwägt, entweder wieder Geisha zu werden hohem Maße manipulativ, die Wirkung im fern. Die von ihr erwartete Glückseligkeit und © 2001 Alan Blyth oder zu sterben, wird die Musik unruhig und Theater ist jedoch wirklich außerordentlich. Es Befreiung werden in dem Moment tragisch. Nach Worten ringend verleiht folgt die vielleicht glücklichste und einfachste zerschlagen, als sie Kate sieht und ihr klar Handlung Butterfly dem von ihm verursachten Schmerz Musik in der ganzen Partitur, wenn dann wird, wer sie sein muß. In gebrochenen Ausdruck. Dann holt sie ihr Kind und Butterfly und Suzuki in Erwartung der Phrasen bringt sie ihren unermeßlichen COMPACT DISC ONE schüttet über ihm in dem Solo “Che tua Rückkehr des Geliebten die Wohnung mit Schmerz zum Ausdruck und sagt zu Kate – in madre” (“That your mother should take you Blumen schmücken. der vielleicht beredtsten Stelle der ganzen 1. Akt on her shoulder”) ihr Herz und ihre Seele aus, Die beiden halten zusammen mit dem Kind Oper –, in der ganzen Welt könne niemand Das Haus Pinkertons, in der Nähe von Nagasaki indem sie vor dem Jungen deklamiert, sie Wache, begleitet von hypnotisierenden glücklicher sein als diese: “Sotto il gran ponte Goro, ein Heiratsvermittler, zeigt Pinkerton, könne nicht betteln gehen: der Tod wäre viel Orchesterklängen. Bei Tagesanbruch zu del cielo” (“Under the great sky above us”). einem Leutnant der US-Marine, das Haus, das wünschenswerter. Es handelt sich hier Anfang der zweiten Szene (im Opernhaus oft Keine Butterfly, die der Partie auch nur dieser für seine zukünftige Braut Cio-Cio-San, womöglich um die Passage aus der ganzen der dritte Akt) schreibt Puccini ein Prelude, einigermaßen gewachsen ist, kann hier etwas die Geisha Madam Butterfly, gemietet hat. Oper, die am meisten unter die Haut geht, da das stilistisch weiter fortgeschritten ist, als falsch machen: Librettist und Komponist Pinkerton will sie heiraten, und zwar nach in ihr die Tiefe von Cio-Cio-Sans Gefühlen seine gesamte bisherige Musik. Der Einfluß haben ihr eine Phrase geschenkt, für die man japanischem Gesetz, laut dem eine durch unaussprechlich direkte und emotionale von Debussys 1902, also zwei Jahre zuvor, buchstäblich sterben würde. Abwesenheit des Ehemanns, und dauert sie Musik an den Tag tritt. erschienener Oper Pelléas et Mélisande ist Es bleibt ihr nur das Harakiri. Umsonst auch nicht länger als einen Monat, einer

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Scheidung gleichkommt. Der erste COMPACT DISC TWO 2. Teil Giorgetta und (Il trittico) auf. Hochzeitsgast ist Sharpless, der amerikanische Bei Tagesanbruch hört man die Rufe der Weitere Partien umfassen u.a. Violetta Konsul, der Pinkerton drängt, den Ehestand Trotz Suzukis Zweifeln ist sich Butterfly der Matrosen vom Hafen. Butterfly wartet noch (Hamburger Staatsoper, Opera Australia, nicht so leicht zu nehmen. Doch Pinkerton Rückkehr Pinkertons sicher und lehnt einen immer auf Pinkerton. Suzuki überredet sie, sich Opera New Zealand); Butterfly (Hamburger kann einfach nicht glauben, daß Butterfly die Hochzeitsantrag des Fürsten Yamadori, eines etwas auszuruhen. Sharpless kommt mit Staatsoper, Deutsche Oper Berlin, Opera Zeremonie wirklich ernst nimmt, und er freut Japaners, der beim Handel mit Amerika ein Pinkerton und Kate, dessen amerikanischer Australia, Opera New Zealand, Minnesota sich auf den Tag, an dem er eine richtige – Vermögen gemacht hat, ab. Butterfly sagt ihm, Ehefrau. Pinkerton, der sich der Stärke von Opera); Tatjana (Scottish Opera, Opera amerikanische – Braut zur Frau nehmen sie sehe sich durch die Gesetze des Landes Butterflys Liebe bewußt wird, ist voller Reue Queensland) und Adina (L’elisir d’amore) sowie wird. ihres Ehemannes gebunden. Sharpless zeigt ihr und eilt fort, so daß Kate und Sharpless alleine die Titelrolle in Maria Stuarda, die Gräfin Butterfly tritt auf, und der Ehevertrag wird einen Brief Pinkertons, in dem dieser auf Butterfly treffen. Sie erzählen Suzuki von (Le nozze di Figaro), Nedda (Pagliacci) und die unterschrieben. Plötzlich erscheint ihr Onkel, ankündigt, daß er mit einer amerikanischen Kates Wunsch, den Sohn ihres Mannes zu Gouvernante (The Turn of the Screw). der Bonze, und macht ihr Vorhaltungen, denn Gattin wiederkehren werde und Sharpless adoptieren. Butterfly erfährt von Kate die Außerdem übernahm sie zahlreiche Partien für er hat erfahren, daß Butterfly den bittet, Butterfly diese Nachricht schonend Wahrheit und bittet darum, daß Pinkerton die Vlaamse Opera, wie etwa Mimì, Liù unwiderruflichen Schritt getan hat, ihre beizubringen. Butterfly freut sich aber so selbst das Kind holen kommen möge. Einmal (Turandot), Butterfly, Desdemona und Suor Religion aufzugeben. Ihre Familie und sehr über die baldige Rückkehr ihres allein verabschiedet sie sich noch ein letztes Mal Angelica. Freunde verfluchen sie und gehen ab. Mannes, daß Sharpless keine Gelegenheit von ihrem Sohn und nimmt sich das Leben. Zu Cheryl Barkers Konzerttätigkeit gehören Pinkerton tröstet seine Ehefrau, und Suzuki bekommt, den ganzen Brief vorzulesen. Auftritte in der Royal Albert Hall (War kleidet sie für die Hochzeitsnacht. Butterfly Er versucht sie dazu zu überreden, Yamadoris English National Opera Requiem und Verdi Requiem), bei den Spoleto erklärt ihre Liebe zu Pinkerton, und er Angebot anzunehmen, doch sie zeigt ihm Übersetzung: Bettina Reinke-Welsh Festspielen (Italien), in der Londoner antwortet, daß sie für immer die Seine bleiben Pinkertons Sohn als Beweis für dessen Wigmore Hall und beim Melbourne werde. Liebe zu ihr. Sharpless bringt es nicht über Cheryl Barker wurde in Sydney, Australien, International Festival, und in Belgien. Auf sich, seine Botschaft zu überbringen, geboren, wo sie bei der verstorbenen Dame Video ist sie in La bohème sowie in Harry 2. Akt und geht. studierte. Seit ihrem Debüt Enfield’s Guide to Opera zu erleben. 1. Teil Man hört die Hafenkanone. Sie kündigt als Blondchen in Die Entführung aus dem Drei Jahre später Pinkertons Schiff, die Abraham Lincoln, an. In Serail an der State Opera of South Australia im Paul Charles Clarke wurde in Liverpool Pinkerton ist kurz nach der Eheschließung fieberhafter Erregung schmücken Butterfly Jahre 1984 trat sie u.a. an der Royal Opera als geboren, studierte am Royal College of Music nach Amerika zurückgerufen worden, und und Suzuki das Haus zu Ehren von Pinkertons Jennifer (The Midsummer Marriage), und an bei Neil Mackie und gewann im Jahre 1989 Butterfly lebt nahezu mittellos mit der treuen Ankunft mit Blumen und warten die ganze der English National Opera als Musetta den ersten Preis des Kathleen-Ferrier- Suzuki. Nacht auf ihn. (La bohème), Butterfly, Donna Elvira, Wettbewerbs. Zu seinen Rollen gehören der

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Herzog von Mantua (Rigoletto); Fenton Foundation die Titelrolle in Gounods Faust The Rape of Lucretia, A Mass of Life von ABC-Fernsehnetz zu Gregory Yurisich (Falstaff ) in Japan und beim Edinburgh ein. Frederick Delius, Mendelssohns Paulus und internationalen Auftritten. Festival; der Hohepriester des Poseidon Rigoletto (für die Chandos/Peter Zu seinen Aufnahmen gehören Leporello (Idomeneo) an der Welsh National Opera; Jean Rigby studierte an der Royal Moores Foundation). (Don Giovanni), eine Solo-CD mit Liedern Rodolfo (La bohème), Alfredo (La traviata); Birmingham School of Music und von Peter Dawson, sowie Scarpia (Tosca) für sowie an der Scottish Opera Alfredo und anschließend an der Gregory Yurisich wurde für seine jüngsten die Chandos/Peter Moores Foundation. Nemorino (L’elisir d’amore); an der Opera bei Patricia Clarke, der sie auch weiterhin Darstellungen der großen Verdi-Partien von North Rodolfo und Dmitri (Boris Godunow); verbunden bleibt. An der English National der Kritik gefeiert. Zu seinen erfolgreichsten Stuart Kale ist international anerkannt als und an der Royal Opera Froh (Das Rheingold ), Opera sang sie die Partien der Helen (King Rollen gehören Nabucco bei den Bregenzer einer der herausragenden singenden Cassio (Otello), Tybald (Roméo et Juliette), und Priam), Rosina (Il barbiere di Siviglia), Festspielen, an der Royal Opera sowie in Genf; Schauspieler der Opernwelt, und seine Rollen Alfredo. Weitere Engagements an Penelope (The Return of Ulysses), Jocasta, die Titelrolle im Rigoletto in Israel, Australien decken ein riesengroßes Repertoire von internationalen Bühnen schließen Auftritte an Carmen, des Oktavian und der Lucretia. und in Athen; die Titelrolle in Simon Monteverdi bis Messiaen ab. Er begann seine der Seattle Opera, Metropolitan Opera (Jenik Weitere Engagements umfassen auch die Rolle Boccanegra sowie Escamillo (Carmen) an der Karriere an der Welsh National Opera und in Die verkaufte Braut, und Roméo), an der des Niklaus (Les Contes d’Hoffmann) an der English National Opera; die Titelrolle im wechselte dann zur English National Opera Houston Grand Opera und in Monte Carlo Royal Opera und der San Diego Opera; Falstaff in Australien; Germont (La traviata) (ENO) über, wo er acht Jahre blieb und ein. Die Partie des Pinkerton sang Paul L’italiana in Algeri beim Buxton Festival; sowie an der San Francisco Opera, der Australian Rollen wie Don Ottavio (Don Giovanni), Charles Clarke an der Houston Grand Opera, die Titelrolle in La Cenerentola und Idamante Opera, in Tel Aviv und in Genf; Iago (Otello) Michael (in Martinuºs Julietta), Alfred sowie an der Deutschen Oper Berlin und bei (Idomeneo) für Garsington Opera; Geneviève zusammen mit Placido Domingo an der Los (Die Fledermaus) und Nanki-Poo in Jonathan den Park-Festivals der Met. (Pelléas et Mélisande) und Irene (Theodora) Angeles Opera und in Brisbane; Amonasro Millers Inszenierung von The Mikado sang. Zu Auftritten im Konzertbereich gehören (neben vielen anderen Partien) beim (Aida), Stankar (Verdis Stiffelio), Scarpia Zu seinen denkwürdigen Engagements ein Europatournee mit dem Orchestra of the Glyndebourne Festival; und die Rolle der (Tosca) und die vier Verkörperungen des zählen der Oberpriester (Idomeneo) in Covent Age of Enlightenment unter Leitung von Charlotte (Werther) an der Seattle Opera. Bösen (Les Contes d’Hoffmann) an der Garden, der Hauptmann (Wozzeck) in Nancy, Sir Simon Rattle mit Beethovens 9. Sinfonie Im Konzertsaal war sie u.a. bei den Royal Opera. San Francisco und an der Opéra du Rhin in (welche er ebenfalls mit dem Scottish Londoner Promenaden-Konzerten in der Im Konzertsaal gehören die 8. Sinfonie von Straßburg, Schuiski (Boris Godunow) in Chamber Orchestra gesungen hat), sowie Zweiten und der Achten Sinfonie von Gustav Mahler beim Edinburgh Festival, Alberich, in Straßburg, Bordeaux und Montpellier, Peter Mendelssohns Elias in Rom. Mahler zu hören, ebenso im Elias und Paulus einer konzertantan Aufführung des Siegfried, Quint (The Turn of the Screw) anläßlich der Seine Aufnahmen schließen Tybald (Roméo von Mendelssohn, mit den Les Nuits d’été und Salieri (Mozart und Salieri von Rimsky- Russlandtournee der ENO im Jahr 1990, et Juliette), Arturo (), im Verdi Requiem. Korsakow) und die Baßpartie der Truffaldino (Die Liebe zu den drei Orangen) an und für die Chandos/Peter Moores Zu ihrer Aufnahmen für Chandos zählen 9. Sinfonie von Beethoven für das australische der ENO, Sinowi (Lady Macbeth von Mzensk)

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in Toulouse und Marseille und die drei die Chandos/Peter Moores Foundation Roland Wood wurde in der englischen die ehemalige Tschechoslowakei, nach Kanada Tenorrollen in Lulu am Théâtre du Châtelet. Don Giovanni, Ausschnitte aus Boris Godunow Grafschaft Berkshire geboren und studierte und Australasien geführt. Nachdem er bei der Auf Tonträger hat er unter anderem Schuiski sowie Don Pasquale und Il trovatore. zunächst am Royal Northern College of Music BBC erste Dirigiererfahrungen gesammelt in Boris Godunow (Auszüge) und Roderigo bei Patrick McGuigan und Robert Alderson; hatte, begann er mit eigenen Sängern zu (Otello) für Chandos und die Peter Moores D’Arcy Bleiker wurde in Yorkshire geboren später mit Unterstützung der Peter-Moores- arbeiten und gründete den Geoffrey Mitchell Foundation aufgenommen. und absolvierte sein Studium mit der Stiftung und der English National Opera am Choir. Aus ersten Aufnahmen entwickelte sich Unterstützung der Peter-Moores Foundation National Opera Studio. Er begann seine eine langfristige Zusammenarbeit des Chors Clive Bayley studierte am Royal Northern und des Countess of Munster Musical Trust Opernkarriere als Baß-Bariton, und zu seinen mit Opera Rara, für die er über dreißig College of Music und ist bereits an allen bei Robert Alderson am Royal Northern frühen Rollen gehörten Silva (Ernani) und Tonträger aufgenommen hat. Der Chor großen Opernhäusern Großbritanniens sowie College of Music. Zu seinen Rollen am Royal Colline (La bohème), Luka (The Bear) und genießt wachsendes Ansehen und ist bei der im Konzertsaal zu Hause. Seit Abschluß seines Northern College of Music gehörten Martino (L’Occasione fa il Ladro) für die BBC und internationalen Plattenfirmen Studiums hat sich sein Repertoire an Haupt- Collatinus (The Rape of Lucretia), Walton-Stiftung auf Ischia, außerdem Saretzki gefragt. Für Chandos hat der Geoffrey und Nebenrollen stetig vergrößert und reicht Superintendent Budd (Albert Herring), (Eugen Onegin) mit der Oper der Mitchell Choir an zahlreichen Aufnahmen der jetzt von Monteverdi bis Verdi, Puccini und Schaunard (La bohème) und Figaro (Le nozze Europäischen Union. Nach dem Wechsel ins hervorragend kritisierten Reihe Opera in Berg. An der Royal Opera war er als Colline in di Figaro). Außerdem wirkte er bei der Baritonfach schließen seine jüngsten Partien English unter der Schirmherrschaft der Peter La bohème, Hans Foltz in Die Meistersinger von Glyndebourne Festival Opera und The Josev Prasov in der Welturaufführung von Die Moores Foundation teilgenommen. Nürnberg und Castro in La fanciulla del West Classical Opera Company am Linbury Brücke, sowie den Grafen (Le Nozze di Figaro) zu hören. Außerdem konnte er an der Opera Theatre, Covent Garden mit. am Royal Northern College of Music und bei Seit seinen vielversprechenden Anfängen 1945, North mit Verdis Jerusalem, an der English Er war Mitglied des Glyndebourne der Opera Holland Park ein. Für die als es von Walter Legge hauptsächlich für National Opera mit Billy Budd, Wozzeck und Festival Chorus und ist in ganz Nordengland Glynebourne Festival Opera und die English Schallplattenaufnahmen gegründet wurde, hat Dr. Faust sowie als Don Giovanni mit Opera bei verschiedenen Konzerten aufgetreten. National Opera war er in etlichen das Philharmonia Orchestra einige der Factory und als Colline in La bohème in der Mit dem Royal Liverpool Philharmonic Produktionen als Zweitbesetzung vorgesehen. bedeutendsten Dirigenten des zwanzigsten Royal Albert Hall beachtliche Erfolge Orchestra führte er den Elias, Puccinis Aufnahmen liegen u.a. von Donizettis Belisario Jahrhunderts für sich gewonnen. Besonders verzeichnen. Außerhalb Großbritanniens trat Messa di Gloria, Rollen aus Candide und mit Opera Rara vor. enge Beziehungen zu dem Orchester haben er an der Nederlandse Opera und der Seattle den König in einer Konzertfassung von Otto Klemperer (der erste Chefdirigent), Opera auf und nahm mit Les Arts Florissants Aida auf. Außerdem sang er in der Geoffrey Mitchells Gesangskarriere hat ihm Lorin Maazel, Riccardo Muti, Giuseppe an einer Konzerttournee durch Europa teil. Bridgewater Hall, Manchester unter Leitung ein bemerkenswert breitgefächertes Repertoire Sinopoli, Carlo Maria Giulini, Sir Andrew Zu seinen Aufnahmen für Chandos gehören von Kent Nagano die Rolle des Polydorus in von der alten bis zur neuen Musik beschert Davis, Vladimir Ashkenazy und Esa-Pekka u.a. Troilus and Cressida, Billy Budd und für L’Enfance du Christ. und ihn nach Skandinavien, Deutschland, in Salonen unterhalten. Unter seinem derzeitigen

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Chefdirigenten Christoph von Dohnanyi und Medea in Corinto, Mercadantes Orazi e der Nederlandse Opera; Hamlet an der Orchesterrepertoire zu Hause, und zu seinen mit Leonard Slatkin als Erstem Gastdirigenten Curiazi, Pacinis Maria, regina d’Inghilterra und San Francisco Opera; L’elisir d’amore sowie jüngsten Engagements gehören Konzerte mit hat das Orchester seine zentrale Position im Rossinis Otello). Das Orchester hat für Un ballo in maschera an der Königlichen dem San Francisco Symphony Orchestra, dem britischen Musikleben gefestigt, und zwar Chandos zahlreiche Aufnahmen auf Tonträger Dänischen Oper; außerdem für sein Dirigat Toronto Symphony Orchestra, dem Royal nicht nur in London, wo es als Hausorchester vorgenommen, beispielsweise für die Reihe von Massenets Thaïs an der Opéra de Nice Liverpool Philharmonic Orchestra, dem Nova der Royal Festival Hall fungiert, sondern mit Opera in English unter der Schirmherrschaft sowie für Luisa Miller beim Spoleto Festival Scotia Orchestra und dem Orquesta Cuidad Hilfe regionaler Gastspiele auch für ein der Peter Moores Foundation L’elisir d’amore, USA, und Zampa an der Opéra Français de de Granada. Für seine Leistungen als breiteres Publikum. Faust, La bohème, die preisgekrönte Tosca und New York. Weitere Auftritte schließen musikalischer Leiter der Opéra Français de Das Orchester hat mehrere bedeutende sechs Soloalben mit Opernarien (mit Bruce Aufführungen und eine Verfilmung von New York hat er von Seiten der Kritik viel Preise gewonnen und mit seiner Vitalität und Ford, Diana Montague, Dennis O’Neill, Amahl and the Night Visitors anläßlich des Anerkennung erhalten. Seit Entstehung dieses seinem einzigartig warmen Klang den Beifall Alastair Miles, Yvonne Kenny und John 85. Geburtstags von Gian Carlo Menotti beim Ensembles im Jahre 1990 hat er solche der Kritik gefunden. Außerdem wurde es für Tomlinson). Festival dei due Mondi in Spoleto, sowie Seltenheiten wie Barbe-Bleue von Offenbach, seine innovative Programmgestaltung Dirigate an der Opéra de Paris, der New York La Jolie Fille de Perth von Bizet, Médée gepriesen, in deren Kern die Zielsetzung steht, Yves Abel wurde in Kanada geboren und ist City Opera, der Seattle Opera, beim Opera und Les Deux Journées von Cherubini, neue Stücke der weltweit führenden lebenden dabei, sich sowohl im sinfonischen Repertoire Theater of St. Louis, an der Florida Grand Le Pauvre Matelot und Esther de Carpentras Komponisten, zum Beispiel seines derzeitigen als auch auf dem Gebiet der Oper als einer der Opera, beim Opera Theater of Connecticut, von Milhaud, Iphigénie en Aulide von Gastkomponisten James MacMillan, zu spielen führenden Dirigenten seiner Generation zu beim Wexford Opera Festival und mit der Gluck, Docteur Miracle von Bizet, und und in Auftrag zu geben. etablieren. Er studierte am New Yorker Wolf Trap Opera ein. Les Deux Avares von Grétry zur Aufführung Das Orchester unternimmt oft Mannes College of Music sowie am Yves Abel ist jedoch ebenso im gebracht. Auslandstourneen und kann als das am Tanglewood Music Center, wo er von Leonard häufigsten aufgenommene Sinfonieorchester Bernstein, Seiji Ozawa, Günther Herbig und der Welt über tausend Einspielungen für sich Roger Norrington Anleitung erfuhr. verbuchen. Darunter befinden sich (für die Im Bereich der Oper erhielt er von Seiten Reihe Opera Rara) mehrere Aufnahmen mit der Kritik viel Anerkennung für seine Debüts Opernarien und elf vollständige etwa mit Don Carlos an der Opera North; Opernaufzeichnungen (Donizettis Ugo, conte Le Comte Ory mit der Glyndebourne Festival di Parigi, Ne m’oubliez pas, Emilia di Liverpool, Opera; L’elisir d’amore an der Lyric Opera of L’assedio di Calais, Rosmonda d’Inghilterra und Chicago; Il turco in Italia an der Opéra de Maria de Rudenz, Meyerbeers Dinorah, Mayrs Monte Carlo; Les Dialogues des Carmélites an 35 34 CHAN 3070 BOOK.qxd 16/7/07 11:01 am Page 36

d’enthousiasme initial, Ricordi, l’éditeur de être bissés, ce qui ferait indubitablement Giacomo Puccini: Madam Butterfly Puccini, finit par se laisser convaincre par Illica froncer les sourcils aujourd’hui mais témoigne de la viabilité de l’histoire, et le compositeur du flair avec lequel Puccini a su transformer Puccini donnait Madam Butterfly comme son naissance à une Madam Butterfly en un acte de est autorisé par l’éditeur de la pièce et par son cette histoire éminemment humaine et œuvre favorite, jugement auquel je m’associe David Belasco, montée pour la première fois auteur à en faire le sujet d’un opéra. tragique en une musique mémorable. de tout cœur. En termes d’organisation, de cette même année à New York. Elle a elle- Compositeur et librettistes changent Cette musique est imprégnée de la continuité musicale, de charge affective ou de même pour antécédent une longue nouvelle plusieurs fois d’avis sur la conception globable fascination de Puccini pour tout ce qui est subtilité de la caractérisation, s’agissant de la crûment réaliste d’un avocat américain, John de l’œuvre pendant sa longue gestation, japonais – fascination dont témoignent les protagoniste, elle n’a pas son égal dans tout le Luther Long, publiée dans la revue américaine hésitant entre les deux extrêmes d’un acte disques en sa possession à l’époque, désormais catalogue puccinien. Ce qui rend d’autant plus The Century, qui traite d’une pratique bien unique et d’un drame en trois actes. Achevée conservés au musée installé dans la propriété surprenant le fiasco de sa création à La Scala établie consistant, pour les officiers de marine vers la fin de l’année 1903, la partition adopte familiale de Celle, en Toscane. Dans le premier de Milan, en février 1904, à moins qu’on ne étrangers, à contracter avec une geisha un finalement une structure en deux actes, le acte, les échos de mélodies japonaises et réalise, comme le compositeur lui-même le “mariage” auquel ils peuvent mettre fin le jour premier représentant une heure de musique, le l’évocation de la religion et de traditions fera aussitôt, que la version originale est où ils rentrent chez eux. Belasco a second, une heure et demie; mais l’échec de la nationales comme la pittoresque cérémonie de imparfaite. Après de multiples révisions substantiellement modifié l’histoire de Long. création convainc Puccini et ses librettistes de mariage forment un cadre idéal pour le apportées au cours des mois suivants, l’œuvre Chez ce dernier, Butterfly ne meurt pas à la fin; remanier l’œuvre et de procéder à de développement progressif du personnage est acclamée à Brescia le 28 mai 1904. C’est chez Belasco, elle meurt dans les bras de nombreuses coupures (dont la réintégration, central, Cio-Cio-San, une geisha âgée de donc cette seconde date qui devrait être Pinkerton (quel dénouement sensé et lors de certaines productions récentes, n’a servi quinze ans. Une fois sur scène, passé sa lente et considérée comme la véritable création d’un émouvant que celui retenu par Puccini!). La qu’à montrer combien elles avaient été saisissante entrée, elle domine tout le reste de opéra qui a par la suite conquis le monde pièce de Belasco est reprise avec le même succès justifiées). l’œuvre. Aucune autre héroïne de Puccini, pas lyrique et qui figure au panthéon lyrique à Londres, où Puccini, venu voir une Les épisodes de couleur locale de l’acte I, même Mimì dans La bohème, ni Tosca, ni depuis près d’un siècle, témoignage de la production de Tosca, a l’occasion d’assister à susceptibles de traîner en longueur, sont Turandot, n’est amenée à porter à ce point tout séduction exercée sur le public. une représentation. Bien qu’incapable de suivre abrégés (avec quelques coupures le poids de l’action. Ni le consul, Sharpless, ni Sa genèse tient en quelques mots. Lorsque le les dialogues, il saisit l’essentiel de l’intrigue et supplémentaires dans la version parisienne le faillible, voire insensible lieutenant Pinkerton Japon, dans les années 1860, ouvre ses ports perçoit aussitôt son potentiel lyrique. entendue ici), et l’acte II est divisé en deux ne sont inintéressants, mais leur rôle pâlit aux navires occidentaux, l’Occident se prend de Ayant renoncé à écrire un opéra sur le thème tableaux, le second contenant un nouvel air de devant la prééminence de Butterfly elle-même. fascination pour l’exotisme inaccessible de de Marie-Antoinette, Puccini envoie à son ténor qui deviendra l’un des numéros les plus Au début de l’acte I, Puccini définit – l’Orient. Les pièces de théâtre sur ce thème se librettiste Illica une traduction italienne de la populaires de tout l’opéra. Lors de la “seconde de magistrale façon – les trois principaux mettent à proliférer, donnant notamment nouvelle originale de Long. Malgré son peu première”, à Brescia, cinq numéros doivent personnages masculins: Pinkerton, insouciant

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et macho; Sharpless, compatissant et las du de sa plume au cours du plus long duo de tout son amour avec l’aide de l’éternellement Lorsque Sharpless arrive et veut la monde; et Goro, l’obséquieux et repoussant d’amour qu’il ait jamais écrit, ce qui témoigne fidèle et obéissante Suzuki. Préservant une foi désillusionner en lui lisant une lettre de entremetteur qui a déniché Butterfly pour bien de son haut niveau d’inspiration à intacte en Pinkerton, Butterfly continue à Pinkerton, sa tentative est vouée à l’échec. Dès satisfaire la volupté de Pinkerton. Selon son l’époque et de son identification avec son endurer la pauvreté, satisfaite de rester dans sa qu’il lui parle de la lettre, elle se saisit de ce habitude, Puccini utilise pêle-mêle un quasi- héroïne adorée. petite maison à attendre le retour promis par signe d’espoir apparent en déclarant avec récitatif et d’inoubliables et pertinentes La foi totale de Butterfly en Pinkerton est Pinkerton. Dans certaines productions, sa grâce: “Io son la donna più lieta del mélodies pour décrire les trois hommes, si bien évoquée de manière touchante, comme l’est le confiance en tout ce qui est américain est telle Giappone” (“Then I’m the happiest lady in qu’ils sont clairement établis dans nos esprits désir qui envahit ce dernier; pourtant, même qu’elle semble avoir recréé l’Occident chez elle Japan”). Puis elle demande ingénument à avant même l’arrivée de Butterfly. Après cette en cet instant de bonheur suprême, l’harmonie dans la mesure du possible. Sharpless à quelle époque les rossignols font mémorable entrée en scène, idéale quoique et un sentiment palpable de nostalgie laissent Elle réagit vivement lorsque Suzuki exprime leur nid en Amérique, question à laquelle il ne éprouvante pour le premier soprano, Puccini percer une ombre de mélancolie, de ses doutes, menaçant même de la tuer, dévoilant peut répondre. L’arrivée de Yamadori, nous présente de merveilleuse façon, dans les prémonition. Peut-être Puccini a-t-il été ainsi la part d’inexorabilité constitutive de sa prétendant local qui souhaite épouser minutes qui suivent, les idées naïves de Cio- inspiré en ce sens par l’étude du duo d’amour personnalité. Avec tendresse, elle cite les Butterfly, est traitée par elle avec humour et Cio-San sur le mariage et la fidélité, et un bref à l’acte II de Tristan et Isolde. Alors que le dernières paroles de Pinkerton à son départ (“O dérision. La mélodie par laquelle il cherche à résumé de son existence passée. couple s’éloigne pour consommer son amour Butterfly, piccina mogliettina”, “O Butterfly, my défendre sa cause est certes plaisante, mais C’est déjà sous son aspect le plus touchant avec les conséquences tragiques que l’on sait, dearest little darling”), lorsqu’il lui a promis de intentionnellement faible. et le plus vulnérable qu’elle nous apparaît Puccini déploie toute la force de son immense revenir à la saison où le rouge-gorge fait son Sharpless reprend la lecture de sa lettre, lorsqu’elle parle de la pauvreté (“Nessuno si orchestre tandis que les chanteurs atteignent nid, première d’une longue suite de phrases mais Butterfly s’obstine à interpréter de confessa mai”, “For no one likes to own that les limites aiguës de leur tessiture. Pour peu déchirantes confiées par Puccini à son héroïne manière positive tout ce que ce message aurait he was born so very poor”), puis lorsqu’elle que la distribution soit à la hauteur, c’est un bien-aimée tout au long de l’acte II. Dans son pour elle de dévastateur si seulement elle décrit son adoption du christianisme comme duo qui ne manque jamais, à juste raison, de air le plus célèbre de tout l’opéra, “Un bel dì” acceptait de comprendre. Le consul finit par nouvelle religion, en conséquence de son transporter l’auditoire. (“One fine day”), elle chasse enfin bien loin lui demander ce qu’elle ferait si Pinkerton ne prochain mariage avec Pinkerton (“Ieri son Oublions un instant notre incrédulité afin tous les doutes de Suzuki, décrivant par des revenait pas. Alors qu’elle envisage les deux salita tutta sola”, “Now, I’d like to tell you that d’imaginer ce qui est précisément arrivé à Cio- paroles et une musique éminemment possibilités: redevenir une geisha ou mourir, la in secret I visited the mission”). Dès que Cio-San entre son moment d’intense bonheur à émouvantes le retour de son amant, tel qu’elle musique devient soudain abrupte et tragique. l’odieux Bonze, proche parent de Cio-Cio-San, la fin de l’acte I et son apparition au début de se l’imagine. Ainsi Butterfly nous dévoile-t-elle En termes ineffables, Butterfly dit à Sharpless a déversé tout son fiel en la maudissant, les l’acte II. De toute évidence, elle a donné de nombreuses facettes de sa personnalité et de combien il lui a fait de mal. Puis elle fait venir amants restent seuls, et Puccini donne libre naissance à un petit garçon qu’elle a son amour, au fil des détails évoqués avec une son enfant et, le tenant contre elle, exhale tout cours à la musique la plus érotique jamais née probablement entouré de toute sa tendresse et intensité croissante. ce qu’elle a dans le cœur et dans l’âme,

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affirmant à l’enfant, au cours de l’air “Che tua Les deux femmes et l’enfant s’installent pour great sky above us” (“Sotto il gran ponte del qu’il a louée pour sa future épouse, Cio-Cio- madre” (“That your mother should take you une longue veille aux accents hypnotiques de cielo”). Aucune Butterfly digne de ce nom ne San, la geisha Madam Butterfly. Il est sur le on her shoulder”), qu’elle ne pourrait se l’orchestre. Le prélude inspiré à Puccini par peut rater cette scène: librettiste et point de se marier selon la loi japonaise qui résoudre à mendier et que la mort serait mille l’aube qui point au début du second tableau compositeur lui ont donné une phrase qui prescrit que l’absence du mari, même pour fois préférable. C’est sans doute le passage le (ou de l’acte III, bien souvent, à l’Opéra) mérite littéralement que l’on meurt pour elle. une période aussi brève qu’un mois, constitue plus déchirant de tout l’opéra en ce qu’il révèle utilise l’écriture la plus avancée jusque-là dans Il ne lui reste plus qu’à se faire hara-kiri. un motif de divorce. Le premier invité aux la profondeur des sentiments de Cio-Cio-San son œuvre. On y décèle l’évidente influence du Dans une vaine tentative pour empêcher cette noces est Sharpless, le consul américain, en une musique d’une inexprimable émotion Pelléas et Mélisande de Debussy, publié deux horreur, Suzuki fait entrer l’enfant qui, sans qui l’exhorte de ne pas s’engager aussi et immédiateté. ans auparavant, en 1902. L’harmonie est comprendre, reçoit les dernières paroles légèrement dans le mariage. Pinkerton ne peut Le Consul s’en va, et Butterfly est à deux ruminative et équivoque à la manière d’amour de sa mère avant sa mort. Butterfly toutefois s’imaginer que Butterfly prendra la doigts de tuer Goro (sauvé par l’intervention debussyste, et la conclusion qui s’annonce tout noue un bandeau sur les yeux de son petit cérémonie au sérieux, et il attend le jour où il de Suzuki) lorsqu’il suggère que personne ne aussi tragique que dans l’opéra de Debussy. garçon et passe à l’acte; alors qu’elle gît à convolera avec une vraie épouse, de souche sait qui est le père de l’enfant. Puis, par un Au cours de ce dénouement, Pinkerton l’agonie, Pinkerton, desespéré, arrive en criant américaine. changement d’ambiance inspiré introduit par exprime tout son remords dans l’air “Addio son nom. Trop tard. Une fois de plus, comme Butterfly arrive et le contrat de mariage est Puccini, on entend sur le port tirer le canon: le fiorito asil” (“Farewell, oh happy home”); tout au long de cet opéra, Puccini montre une signé. Soudain, son oncle, le Bonze, apparaît bateau de Pinkerton est en vue. Le ravissement Sharpless ne cesse de penser “Je vous l’avais parfaite maîtrise du tempo dramatique. Plongé et l’accuse: il a appris que Butterfly avait pris de Butterfly se traduit par une si magnifique bien dit”; et Suzuki appréhende la tragédie à au cœur de cette tragédie intime, l’auditeur est l’irrévocable décision de renoncer à sa religion. explosion de joie l’amenant à souligner venir, surtout lorsqu’elle aperçoit Kate, la totalement dévasté par le sort fatal de Sa famille et ses amis la maudissent et partent. combien elle a toujours eu raison et combien nouvelle épouse de Pinkerton. Avec finesse, Butterfly. Pinkerton console son épouse et Suzuki ceux qui doutaient avaient tort, que la plupart Puccini tient son héroïne éloignée de la scène © 2001 Alan Blyth l’habille pour la soirée de noces. Butterfly du temps le public partage son illusion et se aussi longtemps que possible. Le bonheur, la déclare son amour à Pinkerton qui répond laisse spontanément aller à applaudir. libération auxquels elle s’attendait Synopsis qu’elle sera à lui pour toujours. Magistrale manipulation de la part de Puccini, s’évanouissent lorsqu’elle voit Kate et direz-vous peut-être, mais au théâtre l’effet est comprend de qui il s’agit. S’exprimant de COMPACT DISC ONE Acte II irrésistible. Suit une page qui est sans doute la manière hachée, elle montre son immense Partie 1 plus heureuse et la plus simple de toute la douleur et, en un passage qui est Acte I Trois ans plus tard partition, au cours de laquelle Butterfly et probablement le plus éloquent de toute la La demeure de Pinkerton, près de Nagasaki Pinkerton a été rappelé en Amérique peu après Suzuki jonchent la maison de fleurs en partition, dit à Kate qu’il ne peut y avoir de Goro, un entremetteur, fait visiter à Pinkerton, son mariage et Butterfly vit, presque dans prévision du retour du bien-aimé. femme plus heureuse qu’elle [Kate] “Under the lieutenant de la Marine américaine, la maison l’indigence, avec sa fidèle Suzuki.

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COMPACT DISC TWO toujours Pinkerton. Suzuki la persuade d’aller Zealand), Butterfly (Opéra d’Etat de Opera, Rodolfo et Dmitri (Boris Godunov) se reposer. Sharpless arrive avec Pinkerton et Hambourg, Deutsche Oper Berlin, Opera pour l’Opera North et, pour The Royal Opera, Malgré le scepticisme de Suzuki, Butterfly est Kate, son épouse américaine. Pinkerton, se Australia, Opera New Zealand, Minnesota Froh (Das Rheingold), Cassio (Otello), Tybalt certaine que Pinkerton reviendra et elle refuse la rendant compte de l’intensité de l’attachement Opera), Tatyana (Scottish Opera, Opera (Roméo et Juliette) et Alfredo. Il s’est produit à demande en mariage du prince Yamadori, un de Butterfly, est rongé par le remords et prend Queensland), Adina (L’elisir d’amore), le rôle l’échelon international avec le Seattle Opera, le japonais qui a fait fortune dans le commerce la fuite, laissant Kate et Sharpless aller à la titre dans Maria Stuarda, la Comtesse Metropolitan Opera (Jenik dans La Fiancée avec le nouveau continent. Butterfly lui dit rencontre de Butterfly. Ils annoncent à Suzuki (Le nozze di Figaro), Nedda (Pagliacci) et la vendue, et Roméo), le Houston Grand Opera qu’elle se considère liée par les lois de la patrie que Kate souhaite adopter le fils de son mari. Gouvernante (The Turn of the Screw). Au et à Monte-Carlo. Il a interprété le rôle de de son époux. Sharpless exhibe une lettre de Butterfly qui apprend la vérité de la bouche de nombre des rôles interprétés pour l’Opéra des Pinkerton avec le Houston Grand Opera, le Pinkerton dans laquelle il annonce qu’il va Kate, demande que Pinkerton lui-même Flandres, citons Mimì, Liù (Turandot), Deutsche Oper Berlin et au Parks Festival du revenir avec une épouse américaine et demande vienne chercher l’enfant. Puis, laissée seule, elle Butterfly, Desdemona et Sister Angelica. Met. à Sharpless d’en informer Butterfly. Butterfly est dit un dernier adieu à son fils et se suicide. Cheryl Barker s’est produite en concert au Il s’est produit en concert lors d’une tournée tellement excitée par la nouvelle du retour de Royal Albert Hall (War Requiem et Requiem de en Europe avec l’Orchestra of the Age of son époux que Sharpless ne trouve pas English National Opera Verdi), au Festival de Spoleto en Italie, au Enlightenment et sir Simon Rattle dans des l’occasion de lui lire la lettre en entier. Il tente Traduction: Josée Bégaud London’s Wigmore Hall, au Melbourne exécutions de la Neuvième Symphonie de de la persuader d’accepter la demande en International Festival et en Belgique. Au Beethoven (qu’il a aussi interprétée avec le mariage de Yamadori, mais elle lui présente le Cheryl Barker naquit à Sydney, en Australie, nombre de ses enregistrements vidéo figurent Scottish Chamber Orchestra) et d’Elias de fils de Pinkerton comme preuve de son où elle eut comme professeur la très regrettée La bohème et Harry Enfield’s Guide to Opera. Mendelssohn à Rome. affection pour elle. Sharpless s’en va, incapable Dame Joan Hammond. Depuis ses débuts, en Parmi ses enregistrements figurent ses de se résoudre à lui délivrer son message. 1984, dans le rôle de Blondchen (Die Paul Charles Clarke naquit à Liverpool. Il fit interprétations de Tybalt (Roméo et Juliette), Une sirène retentit dans le port. C’est le Entführung aus dem Serail) pour le State Opera ses études au Royal College of Music et y eut Arturo (Lucia), et, pour Chandos/Peter navire de Pinkerton, l’Abraham Lincoln. Dans of South Australia, elle s’est produite avec The comme professeur Neil Mackie. Il fut lauréat Moores Foundation, du rôle titre dans Faust la fièvre de l’excitation, Butterfly et Suzuki Royal Opera dans le rôle de Jennifer (The du Concours Kathleen Ferrier en 1989. Parmi de Gounod. décorent la maison de fleurs en honneur de Midsummer Marriage), avec l’English National ses rôles figurent le Duc (Rigoletto), Fenton son arrivée, et l’attendent toute la nuit. Opera dans les rôles de Musetta (La bohème), (Falstaff ) au Japon et au Festival d’Edimbourg, Jean Rigby a fait ses études au Royal Butterfly, Donna Elvira, Giorgetta et Sister le Grand Prêtre de Neptune (Idomeneo), Birmingham School of Music, puis à la Royal Partie 2 Angelica (Il trittico). Ses autres rôles sont Rodolfo (La bohème), Alfredo (La traviata) Academy of Music et y a eu comme professeur Au point du jour, les voix des marins notamment Violetta (Opéra d’Etat de pour le Welsh National Opera, Alfredo et Patricia Clarke, avec laquelle elle poursuit sa retentissent dans le port. Butterfly attend Hambourg, Opera Australia, Opera New Nemorino (L’elisir d’amore) pour le Scottish formation. Elle s’est produite avec l’English

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National Opera dans les rôles de Helen (King au Festival de Bregenz, avec The Royal Opera, Stuart Kale est reconnu dans le monde Clive Bayley, formé au Royal Northern Priam), Rosina (Le barbier de Séville), Pénélope et à Genève; du rôle titre dans Rigoletto en entier comme l’un des acteurs chanteurs College of Music, s’est déjà fait un nom auprès (Le retour d’Ulysse), Jocasta, Carmen, Octavian Israël, en Australie et à Athènes; du rôle titre les plus exceptionnels du monde de l’opéra, des grandes troupes d’opéra de Grande- et Lucretia. Citons parmi ses autres dans et du rôle d’Escamillo et ses rôles couvrent un très vaste répertoire Bretagne et il chante régulièrement en concert. productions: Nicklausse (Les Contes (Carmen) pour l’English National Opera; du allant de Monteverdi jusqu’à Messiaen. Son répertoire de rôles principaux et d’Hoffmann) avec The Royal Opera et pour le rôle titre dans Falstaff en Australie; des rôles de Il commença sa carrière au Welsh National secondaires s’est développé régulièrement San Diego Opera, L’italiana in Algeri au Buxton Germont Père (La traviata) pour le San Opera avant d’entrer à l’English National depuis la fin de ses études et s’étend Festival, le rôle titre dans La Cenerentola, Francisco Opera et l’Australian Opera ainsi Opera où il resta pendant huit ans, chantant maintenant de Monteverdi à Verdi, Puccini et Idamante (Idomeneo) pour le Garsington qu’à Tel Aviv et Genève; du rôle d’Iago (Otello) des rôles tels que Don Ottavio Berg. Il a interprété, pour The Royal Opera, Opera, Geneviève (Pelléas et Mélisande), Irene avec Placido Domingo pour le Los Angeles (Don Giovanni), Michael (Jiulietta de les rôles de Colline dans La bohème, Hans (Theodora) (parmi de nombreux autres rôles) au Opera et à Brisbane; des rôles d’Amonasro Martinuº), Alfred (Die Fledermaus) et Foltz dans Die Meistersinger et Castro dans Glyndebourne Festival, ainsi que Charlotte (Aida), Stankar (dans Stiffelio de Verdi), Nanki-Poo dans la production de Jonathan La fanciulla del West. Il a en outre été très (Werther) pour le Seattle Opera. Scarpia (Tosca) ainsi que des quatre mauvais Miller du Mikado. applaudi dans Jerusalem de Verdi avec l’Opera En concert, mentionnons ses engagements génies (Les Contes d’Hoffmann) pour The Parmi ses engagements importants, on North, dans Billy Budd, Wozzeck et Dr Faust pour les Deuxième et Huitième Symphonies Royal Opera. citera le Grand Prêtre (Idomeneo) au Royal avec l’English National Opera, dans Don de Mahler au London Promenade concerts, Gregory Yurisich s’est produit en concert Opera de Covent Garden, Hauptmann Giovanni avec l’Opera Factory, ainsi que pour pour Elias, Paulus et Le songe d’une nuit d’été sur diverses scènes internationales notamment (Wozzeck) à Nancy, à San Francisco et à son interprétation du rôle de Colline dans de Mendelssohn ainsi que pour le Requiem de dans la Huitième Symphonie de Mahler au l’Opéra du Rhin à Strasbourg, Shuisky La bohème au Royal Albert Hall. A l’étranger, Verdi. Festival d’Edimbourg, dans le rôle d’Alberich (Boris Godounov) à Strasbourg, Bordeaux il s’est produit avec l’Opéra des Pays-Bas et le Pour Chandos, Jean Rigby a enregistré (Siegfried) en concert, dans le rôle de Salieri et Montpellier, Peter Quint (The Turn of Seattle Opera, et, en concert, avec Les Arts The Rape of Lucretia, A Mass of Life de Delius, (Mozart et Salieri de Rimski-Korsakov) et dans the Screw) pour la tournée 1990 en Russie Florissants, lors d’une tournée en Europe. Paulus de Mendelssohn et Rigoletto (pour la Neuvième Symphonie de Beethoven pour la de l’English National Opera, Zinoviev Pour Chandos, il a enregistré Troilus and Chandos/Peter Moores Foundation). chaîne Australian ABC Television. (La Lady Macbeth de Mtsensk) à Toulouse Cressida et Billy Budd, et, pour Chandos/Peter Gregory Yurisich a réalisé divers et à Marseille, les rôles des trois ténors Moores Foundation, Don Giovanni, Don Les récents portraits du grand répertoire de enregistrements notamment dans les dans Lulu au Théâtre du Châtelet à Paris. Pasquale, Il trovatore ainsi que des extraits de Verdi de Gregory Yurisich ont été salués par rôles de Leporello (Don Giovanni) et de Parmi ses enregistrements figurent Shuisky Boris Godounov. les critiques et le public avec beaucoup Scarpia (Tosca) pour la Chandos/Peter Moores dans Boris Godounov (extraits) et Roderigo d’éloges. Au nombre de ces interprétations très Foundation. Il a aussi enregistré un disque en (Otello) pour Chandos et la Peter Moores D’Arcy Bleiker est né dans le Yorkshire. Il a applaudies figurent celles du rôle de Nabucco soliste consacré aux mélodies de Peter Dawson. Foundation. été formé par Robert Alderson au Royal

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Northern College of Music où il a bénéficié du Luka (The Bear) et Martino (L’occasione fa il Geoffrey Mitchell Choir a participé à plusieurs et commander des œuvres nouvelles par les soutien de la Peter Moores Foundation et du ladro) pour le Walton Trust à Ischia ainsi que enregistrements pour Opera in English, une plus grands compositeurs contemporains, Countess of Munster Musical Trust. Les rôles Zaretsky (Eugene Onegin) pour l’European série de disques très prisés financée par la Peter comme James MacMillan, son actuel qu’il a interprétés au RNCM sont Collatinus Union Opera. Devenu baryton, Roland Wood Moores Foundation. compositeur en résidence. (The Rape of Lucretia), Superintendent Budd interpréta plus récemment les rôles de Josev L’Orchestre fait souvent des tournées (Albert Herring), Schaunard (La bohème) et Prasov lors de la création mondiale de Depuis ses excellents débuts en 1945, lorsqu’il internationales; aucun autre orchestre Figaro (Le nozze di Figaro). Il a aussi chanté avec The Bridge et du Comte (Le nozze di Figaro) fut fondé par Walter Legge essentiellement symphonique dans le monde ne possède une le Glyndebourne Festival Opera et avec The au RNCM et au Opera Holland Park. Il a pour jouer dans des enregistrements, le discographie aussi importante, avec plus de Classical Opera Company au Linbury Theatre, aussi interprété un certain nombre de rôles Philharmonia Orchestra n’a cessé d’attirer mille disques à son actif. Notons entre autres Covent Garden. Il a fait partie du pour le Glyndebourne Festival Opera et certains des plus grands chefs d’orchestre du plusieurs disques d’airs d’opéra pour Opera Glyndebourne Festival Chorus et s’est produit l’English National Opera. Quant à ses XXe siècle. Certains furent associés de près à Rara ainsi que onze intégrales d’opéras (Ugo, en concert sur plusieurs scènes du nord de enregistrements, citons Belisario de Donizetti. l’Orchestre: Otto Klemperer (son tout premier conte di Parigi, Ne m’oubliez pas, Emilia di l’Angleterre. Avec le Royal Liverpool chef principal), Lorin Maazel, Riccardo Muti, Liverpool, L’assedio di Calais, Rosmonda Philharmonic Orchestra, il a interprété Elias, la Durant sa carrière de chanteur, Geoffrey Giuseppe Sinopoli, Carlo Maria Giulini, Sir d’Inghilterra et Maria de Rudenz de Donizetti, Messa di Gloria de Puccini, divers rôles dans Mitchell aborda un répertoire Andrew Davis, Vladimir Ashkenazy et Esa- Dinorah de Meyerbeer, Medea in Corinto de Candide et le Roi dans une version de concert remarquablement varié, depuis la musique Pekka Salonen. Sous la direction de leur chef Mayr, Orazi e Curiazi de Mercadante, Maria, de Aida. Il a aussi interprété le rôle de Polydorus ancienne jusqu’à la musique contemporaine, se principal actuel, Christoph von Dohnanyi, et regina d’Inghilterra de Pacini et Otello de dans L’enfance du Christ au Bridgewater Hall, produisant en Scandinavie, en Allemagne, celle de Leonard Slatkin, souvent invité à Rossini). L’Orchestre a fait de nombreux sous la direction de Kent Nagano. dans l’ancienne Tchécoslovaquie, au Canada et prendre sa relève, l’Orchestre s’est fermement disques pour Chandos, en particulier, dans en Australasie. Après avoir fait ses premières installé au cœur de la vie musicale britannique, la série Opera in English financée par la Peter Roland Wood est né dans le Berkshire et a fait armes de chef d’orchestre avec la BBC, il non seulement à Londres puisqu’il est orchestre Moores Foundation, L’elisir d’amore, Faust, ses études au Royal Northern College of Music décida de prendre une part active dans ce en résidence au Royal Festival Hall, mais aussi La bohème, une version primée de Tosca et six avec Patrick McGuigan et Robert Alderson. Il domaine avec ses propres chanteurs et fonda le en province où il se produit régulièrement. récitals solistes d’airs d’opéra (avec Bruce Ford, a poursuivi sa formation au National Opera Geoffrey Mitchell Choir. L’ensemble travaille Le Philharmonia Orchestra a remporté Diana Montague, Dennis O’Neill, Alastair Studio avec le soutien de la Peter Moores depuis longtemps avec Opera Rara pour qui il plusieurs prix importants et soulevé Miles, Yvonne Kenny et John Tomlinson.) Foundation et de l’English National Opera. a réalisé plus de trente enregistrements. Ce l’enthousiasme des critiques pour la vitalité et C’est comme baryton-basse qu’il a commencé Chœur ne cesse d’élargir sa réputation, la chaleur exceptionnelle de son jeu. On a Yves Abel est né au Canada. Il est entrain sa carrière dans l’opéra et ses premiers rôles travaillant avec la BBC et plusieurs maisons de aussi fait l’éloge de ses programmes novateurs d’accéder rapidement au rang des plus ont été Silva (Ernani) et Colline (la bohème), disques internationales. Pour Chandos, le dans lesquels l’ensemble s’engage à interpréter importants chefs d’orchestre de sa génération,

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tant dans le répertoire symphonique qu’à de Paris, le New York City Opera, le Seattle l’opéra. Il a fait ses études au Mannes College Opera, l’Opera Theatre of St Louis, le Florida of Music et au Tanglewood Music Center où il Grand Opera, l’Opera Theater of Connecticut, fut guidé par Leonard Bernstein, Seiji Ozawa, le Wolf Trap Opera et au Wexford Opera Gunther Herbig et Roger Norrington. Festival. A l’opéra, il a été salué par les critiques lors Yves Abel maîtrise avec autant de perfection de ses débuts dans l’interprétation des œuvres le répertoire orchestral et parmi ses suivantes: Don Carlos avec l’Opera North, engagements récents, citons des concerts avec Le Comte Ory avec le Glyndebourne Festival le San Francisco Symphony, le Toronto Opera, L’elisir d’amore avec le Lyric Opera of Symphony, le Royal Liverpool Philharmonic Chicago, Il turco in Italia avec l’Opéra de Orchestra, le Nova Scotia Orchestra et Monte-Carlo, Les Dialogues des Carmélites avec l’Orquesta Cuidad de Granada. Il a été l’Opéra des Pays-Bas, Hamlet avec le San particulièrement salué par la critique pour ses Francisco Opera, L’elisir d’amore et Un ballo in réalisations en tant que directeur musical de maschera avec le Royal Danish Opera, Thaïs de l’Opéra Français de New York. Depuis les Massenet avec l’Opéra de Nice, Luisa Miller débuts de la compagnie en 1990, il a dirigé pour le Spoleto Festival USA et Zampa pour des œuvres aussi rarement jouées que Barbe- l’Opéra Français de New York. Mentionnons Bleue d’Offenbach, La Jolie Fille de Perth de aussi diverses productions au Festival dei due Bizet, Médée et Les Deux Journées de Mondi à Spoleto et le film Amahl and the Cherubini, Le Pauvre Matelot et Esther de Night Visitors en honneur du 85e anniversaire Carpentras de Milhaud, Iphigénie en Aulide de de Gian Carlo Menotti ainsi que des Gluck, Docteur Miracle de Bizet et Les Deux productions avec différents opéras tels l’Opéra Avares de Grétry.

Cheryl Barker as Madam Butterfly in the 1997 Opera Australia production

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Dopo un tentativo fallito di comporre dei numeri più popolari dell’opera. Alla Giacomo Puccini: Madam Butterfly un’opera su Maria Antonietta, Puccini inviò a “seconda prima” di Brescia, il pubblico chiese Illica, suo librettista, una traduzione italiana il bis di cinque numeri; oggi questo non Puccini dichiarò che Madama Butterfly era la esotismo. Cominciarono a proliferare opere della storia originale di Long. Ricordi, l’editore sarebbe ammesso, ma rappresenta una sua opera preferita, e io mi trovo teatrali sull’argomento, e tra esse, nel 1900, di Puccini, inizialmente si dimostrò poco dimostrazione sufficiente del fiuto infallibile di completamente d’accordo. Per quanto riguarda un dramma di un atto di David Belasco, entusiasta, ma alla fine Illica riuscì a Puccini nel tradurre una storia molto umana e la costruzione, la continuità musicale, la forza intitolato Madam Butterfly, rappresentato per convincerlo del valore della storia e Puccini tragica in musica memorabile. dei sentimenti e la penetrante descrizione dei la prima volta a New York. La pièce, a sua ottenne l’autorizzazione dell’editore e Questa musica è intrisa della passione di personaggi, nel caso della protagonista, non ha volta, si basava sulla novella crudamente dell’autore della pièce originale per Puccini per tutte le cose giapponesi; l’interesse eguali nella sua produzione. Per questo risulta realistica di un legale americano, John Luther trasformarla in un’opera. del compositore per l’Oriente è dimostrato da ancora più sorprendente il fatto che la prima Long, pubblicata da una rivista americana, Durante il lungo periodo di gestazione, alcune prove in suo possesso all’epoca, che del febbraio 1904 alla Scala di Milano fosse un The Century; in essa veniva descritta la pratica il concetto del compositore e dei librettisti oggi si trovano in un museo nella casa di gran fiasco, finché non ci si rende conto che la accettata degli ufficiali di marina dei paesi cambiò direzione diverse volte, virando dagli famiglia di Celle, in Toscana. Nel primo atto forma originale era difettosa, cosa che il stranieri di contrarre con le geishe dei estremi di un dramma di un solo atto a quello accenni a melodie giapponesi e l’evocazione compositore comprese immediatamente. Dopo “matrimoni” che era possibile annullare al di un dramma di tre atti. La partitura venne della religione e della tradizione giapponesi, un approfondito lavoro di revisione nei mesi momento del loro richiamo in patria. Belasco completata verso la fine del 1903. Si decise come la pittoresca cerimonia nuziale, creano successivi, la nuova versione ebbe successo a sostanzialmente adattò l’originale di Long. Alla infine per due atti di un’ora e un’ora e mezza una cornice adatta per lo sviluppo graduale del Brescia il 28 maggio 1904, e questa può fine della novella di Long, la Butterfly non rispettivamente, ma dopo il fiasco della prima, personaggio protagonista, la quindicenne quindi essere considerata la vera prima di muore; nella versione di Belasco muore tra le Puccini e i librettisti la riscrissero, apportando geisha Cio-Cio-San. Una volta sulla scena, un’opera che da allora in poi ha conquistato il braccia di Pinkerton (com’è saggia e numerosi tagli (ripristinati in alcuni degli dopo un lento ingresso che inchioda mondo della lirica e occupa un posto di diritto commovente invece la soluzione scelta da ultimi allestimenti solo per dimostrare la l’attenzione, domina il resto dell’opera. nel pantheon del suo genere praticamente da Puccini per l’epilogo!). Il successo della pièce si saggezza della decisione del compositore Nessun’altra opera di Puccini, nemmeno la un secolo, in omaggio al favore di cui gode ripetè quando venne rappresentata a Londra; nell’effettuarli). Bohème per Mimì oppure Tosca o Turandot, presso il suo pubblico. Puccini, che si trovava nella capitale inglese per Puccini abbreviò le scene di colore locale, impone all’eroina il peso dell’azione fino a La storia della sua genesi è semplice. un allestimento della Tosca, assistè per caso a che possono rivelarsi noiose nell’Atto I (ci tal punto. Sharpless, il console americano, Quando il Giappone aprì i porti alle navi una rappresentazione. Sebbene non riuscisse a furono altri tagli per la versione di Parigi, e il vagabondo e insensibile tenente Pinkerton occidentali, nel decennio del 1860, seguire il dialogo, ne comprese la storia e si utilizzata in questa registrazione) e divise non sono figure prive di interesse, ma l’Occidente rimase vittima del fascino rese immediatamente conto del suo potenziale l’Atto II in due scene, aggiungendo alla impallidiscono davanti alla statura di dell’Oriente, con il suo impenetrabile come trama operistica. seconda un’aria per tenore, che divenne uno Butterfly.

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All’inizio dell’Atto I Puccini, ha fatto di tutto per condannarla e i due dell’Atto II. È evidente che ha dato alla luce leggendole una lettera di Pinkerton. magistralmente, definisce i tre principali innamorati rimangono soli, Puccini scatena la un bambino, che ama e alleva con l’aiuto della All’annuncio della lettera, lei immediatamente personaggi maschili: Pinkerton, spensierato e musica più erotica da lui mai composta nel più fedele e obbediente Suzuki. Con una fiducia si aggrappa a questo segno di apparente virile; Sharpless, solidale, stanco del mondo; lungo duetto d’amore di una sua opera, il che incrollabile nel marito, Butterfly continua a speranza dichiarando con una graziosa frase Goro, il sensale di matrimonio, che ha offerto basta a dimostrare quanto fosse elevato il suo sopportare la povertà, contenta di rimanere “Io son la donna più lieta del Giappone” Butterfly per soddisfare i piaceri Pinkerton, livello di ispirazione all’epoca e quanto si nella sua piccola casa ad aspettare il promesso (“Then I’m the happiest lady in Japan”). strisciante e servile. Nella consueta maniera, identificasse con l’adorata eroina. ritorno di Pinkerton. In alcune versioni Poi chiede ingenuamente a Sharpless quando Puccini accosta brani quasi recitati e melodie La fiducia incondizionata di Butterfly per dell’opera, tale è la sua fiducia per tutto ciò fanno la nidiata i pettirossi in America, una indimenticabili e riuscite per descriverli tutti e Pinkerton viene evocata in maniera che è americano che sembra aver adottato per domanda a cui l’uomo non sa rispondere. tre, in modo di farceli conoscere chiaramente commovente, come il desidero travolgente quanto possibile delle caratteristiche Arriva Yamadori, pretendente locale alla anche prima che arrivi Butterfly. Dopo il suo dell’uomo, ma anche in questo momento occidentali nella sua casa. mano di Butterfly, che viene da lei indimenticabile ingresso, un’opportunità di massima felicità rimane un debole La donna inveisce contro i dubbi espressi da trattato con umoristica derisione. Yamadori aurea, ma difficile, per il soprano protagonista accenno di presentimento e tristezza, nelle Suzuki, addirittura minacciando di ucciderla, tenta di perorare la propria causa con una di presentarsi, i semplici pensieri di Cio-Cio- armonie e nel palpabile senso di struggimento. un segno della forza della sua costituzione melodia deliziosa, ma intenzionalmente San sul matrimonio e la fedeltà e la sua breve Forse per questo Puccini si ispirò in parte psicologica. Teneramente, cita le parole debole. narrazione della storia della sua vita, sono al duetto d’amore dell’Atto II di Tristan d’addio di Pinkerton: “O piccina mogliettina”, Sharpless riprende a leggere la lettera, meravigliosamente presentati nei momenti und Isolde. Mentre la coppia si allontana per (“O Butterfly, my dearest little darling”) e la ma Butterfly insiste nel vedere il lato successivi. consumare le nozze che avranno tragiche promessa di ritornare quando i pettirossi fanno positivo di quello che sarebbe per lei un La fanciulla è già commovente e vulnerabile conseguenze, Puccini utilizza tutte le la nidiata, la prima di tante strazianti frasi che messaggio di rovina. Alla fine lui le chiede al massimo, sia quando esprime la sua risorse della sua vasta orchestra, mentre Puccini crea per la sua amata eroina nell’Atto cosa farebbe se Pinkerton non tornasse. opinione sulla povertà (“Nessuno si confessa i cantanti salgono fino al registro più II. I dubbi di Suzuki vengono finalmente La musica diventa brusca e tragica, mentre mai” “For no one likes to own that he was elevato. Inevitabilmente e giustamente, fugati dal più famoso brano dell’opera, “Un la donna riflette se riprendere la vita di geisha born so very poor”) sia quando descrive, in in ogni buona rappresentazione, a questo bel dì” (“One fine day”) vedremo, che descrive o morire. Con parole ineffabili, Butterfly “Ieri son salita tutta sola” “Now, I’d like to tell punto si scatena un applauso in parole e musica altamente emotive il ritorno rivela il dolore provocato dalla domanda. Poi you that in secret I visited the mission”, di aver ravolgente. dell’innamorato nella fantasia di Butterfly, esibisce il suo bambino e apre il suo cuore e la adottato il cristianesimo quale sua nuova Da parte nostra è necessaria una buona dose rivelando molte sfaccettature del suo carattere sua anima nel brano “Che tua madre” (“That religione in vista dell’imminente matrimonio di credulità per immaginare esattamente cosa e il suo amore, con crescente intensità. your mother should take you on her con Pinkerton. Quando il bonzo, uno sia accaduto a Cio-Cio-San dal momento di Sopraggiunge Sharpless, che tenta, shoulder”), dichiarando al bambino che lei sgradevole sacerdote parente di Cio-Cio-San, suprema felicità alla fine dell’Atto I all’inizio inutilmente, di toglierle ogni speranza non potrebbe chiedere la carità: la morte

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sarebbe molto preferibile. Questo è forse il Debussy del Pelléas et Mélisande, opera Mentre giace moribonda arriva Pinkerton, Arriva Butterfly e viene firmato il brano più caldo di tutta l’opera, in quanto comparsa due anni prima, nel 1902. Le disperato, gridando il suo nome, ma è troppo contratto di matrimonio. Improvvisamente rivela la profondità dei sentimenti di Cio-Cio- armonie sono meditative ed equivoche in tardi. Ancora una volta, come sempre, il compare il bonzo, suo zio, e la denuncia: ha San con una musica indicibilmente diretta e modalità debussiana e la conclusione che tempismo drammatico di Puccini è infallibile. saputo che Butterfly ha preso l’iniziativa sentita. s’intravede è altrettanto tragica. Il pubblico, coinvolto in questo momento di irrevocabile di rinnegare la propria religione. Il Console si allontana e Butterfly quasi In quest’epilogo, Pinkerton esprime tutto tragedia personale, è affranto. La famiglia e gli amici di lei la maledicono uccide Goro per aver insinuato che nessuno sa il proprio rimorso in “Addio fiorito asil” e se ne vanno. Pinkerton consola sua moglie chi sia il padre del bambino (a salvarlo è (“Farewell, oh happy home”), Sharpless è in © 2001 Alan Blyth e Suzuki la prepara per la notte delle nozze. l’intervento di Suzuki). Poi, in un ispirato vena di recriminazioni e Suzuki teme la tragedia Butterfly dichiara a Pinkerton il suo cambiamento di umore, suggerito da Puccini, prossima, particolarmente quando scorge Kate, COMPACT DISC ONE amore e l’uomo risponde che lei è sua per udiamo un cannone dal porto: è stata avvistata la nuova moglie di Pinkerton. Puccini sempre. la nave di Pinkerton. La felicità di Butterfly si delicatamente tiene lontana dalla scena la sua Atto I manifesta con una magnifica esplosione di eroina fino all’ultimo momento possibile. La La casa di Pinkerton, nei pressi di Nagasaki Atto II gioia: aveva sempre avuto ragione lei e torto gli felicità e sollievo a cui aspirava vengono Goro, un sensale di matrimonio, mostra a Parte 1 scettici. È talmente convincente che il distrutte quando vede Kate e capisce di chi si Pinkerton, tenente della marina statunitense, Tre anni dopo pubblico condivide la sua illusione e si lascia tratta. Con frasi spezzate, che dimostrano il suo la casa che quest’ultimo ha preso in affitto Pinkerton è stato richiamato in America poco andare a uno spontaneo applauso. Si potrebbe profondo dolore, dice a Kate, nel brano forse per Cio-Cio-San, sua futura sposa, la dopo il matrimonio e Butterfly, impoverita, pensare che questa sia una manipolazione su più eloquente della partitura, che nessuno al geisha Madam Butterfly. Il tenente sta per vive con la fedele Suzuki. larga scala da parte di Puccini, ma l’effetto, in mondo può essere più felice di lei: “Sotto il sposarla nel rispetto della legge giapponese, teatro, è trascinante. Poi, sulla musica forse più gran ponte del cielo non v’è donna di voi più secondo cui l’assenza del marito, anche per un COMPACT DISC TWO felice e semplice della partitura, Butterfly e felice” (“Under the great sky above us”). mese soltanto, è ragione sufficiente per il Suzuki ornano di fiori la casa, nell’attesa del Nessuna cantante valida può fallire qui: il divorzio. Arriva il primo ospite della Nonostante l’incredulità di Suzuki, Butterfly è ritorno dell’amato. librettista e il compositore le hanno dato una cerimonia, Sharpless, il console americano, che sicura del ritorno di Pinkerton e rifiuta Le due donne, con il bambino, iniziano una frase da togliere il fiato. lo supplica di non sposarsi con tanta un’offerta di matrimonio del principe veglia su melodie ipnotiche dell’orchestra. Con Ormai non resta che l’harakiri. In un vano leggerezza. Pinkerton, però non riesce a Yamadori, un giapponese che ha fatto fortuna l’arrivo dell’alba all’inizio della seconda scena tentativo di impedire il terribile gesto, Suzuki credere che la fanciulla giapponese possa attraverso il commercio con l’America. (spesso l’Atto III in teatro), Puccini compone manda nella stanza il bambino, ignaro, che prendere sul serio la cerimonia e pregusta Butterfly gli dice che si considera impegnata un preludio nella vena più avanzata fino a quel raccoglie le ultime parole d’amore di Butterfly. il giorno in cui avrà una vera moglie dalle leggi del paese di suo marito. Sharpless le punto delle sue opere. È evidente l’influenza di La madre gli benda gli occhi e si pugnala. americana. fa vedere una lettere di Pinkerton; in essa,

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l’uomo annuncia il proprio ritorno con una il bambino. Rimasta sola, dopo un ultimo In concerto Cheryl Barker è comparsa alla Le apparizioni in concerto comprendono una moglie americana e chiede a Sharpless di addio al figlioletto, si uccide. Royal Albert Hall (War Requiem e Requiem di tournée europea con l’Orchestra of the Age of comunicare la notizia a Butterfly. Butterfly è Verdi), al Festival di Spoleto, alla Wigmore Enlightenment e sir Simon Rattle, talmente eccitata alla notizia del ritorno del English National Opera Hall di Londra, al Festival Internazionale di nell’interpretazione della Nona sinfonia di marito che Sharpless non ha la possibilità di Traduzione: Emanuela Guastella Melbourne, e in Belgio. Le registrazioni su Beethoven (interpretata anche con la Scottish leggere la lettera per intero. Cerca di video comprendono La bohème e Harry Chamber Orchestra), ed Elijah di Mendelssohn convincerla ad accettare l’offerta di Yamadori, Cheryl Barker è nata a Sydney, in Australia, Enfield’s Guide to Opera. a Roma. ma la donna gli mostra il figlio avuto da dove ha studiato con la compianta dame Joan La discografia comprende Tebaldo (Roméo et Pinkerton come prova del suo affetto per lei. Hammond. Ha esordito nel 1984 per la State Paul Charles Clarke è nato a Liverpool, ha Juliette), Arturo (Lucia), e per Chandos/Peter Sharpless si allontana, incapace di trasmettere Opera of South Australia nel ruolo di studiato presso il Royal College of Music con Moores Foundation il ruolo di protagonista il messaggio. Blondchen in Die Entführung aus dem Serail; Neil Mackie e ha vinto il concorso dedicato a nel Faust di Gounod. Dal porto si sente un colpo di cannone. quindi è comparsa con la Royal Opera nelle Kathleen Ferrier nel 1989. I suoi ruoli È la nave di Pinkerton, l’Abraham Lincoln. vesti di Jennifer (The Midsummer Marriage); comprendono il duca (Rigoletto); Fenton Jean Rigby ha studiato presso la Royal Con febbrile eccitazione, Butterfly e Suzuki con l’English National Opera nei ruoli di (Falstaff ) in Giappone e al festival di Birmingham School of Music e poi alla ornano di fiori la casa in onore del suo arrivo e Musetta (La bohème), Butterfly, Donna Elvira, Edimburgo; l’Alto sacerdote di Nettuno Royal Academy of Music con Patricia Clarke, lo attendono tutta la notte. Giorgetta and Suor Angelica (Il trittico). Tra gli (Idomeneo), Rodolfo (La bohème), Alfredo (La con cui continua a lavorare. Per English altri ruoli si ricordano Violetta (Opera di traviata) per la Welsh National Opera; Alfredo National Opera ha interpretato Helen (King Parte 2 Amburgo, Opera Australia, Opera New e Nemorino (L’elisir d’amore) per la Scottish Priam), Rosina (Il barbiere di Siviglia), È l’alba e dal porto sale il richiamo dei marinai. Zealand); Butterfly (Opera di Amburgo, Opera; Rodolfo e Dmitri (Boris Godunov) per Penelope (Il ritorno di Ulisse) Jocasta, Carmen, Butterfly aspetta ancora Pinkerton. Suzuki la Deutsche Oper di Berlino, Opera Australia, Opera North; Froh (Das Rheingold ), Cassio Ottaviano e Lucretia. Altre apparizioni convince ad andare a riposarsi. Arriva Sharpless Opera New Zealand, Minnesota Opera); (Otello), Tebaldo (Roméo et Juliette) e Alfredo comprendono Nicklausse (Les Contes con Pinkerton e Kate, la moglie americana. Tatiana (Scottish Opera, Opera Queensland); per la Royal Opera. La sua carriera d’Hoffmann) con la Royal Opera e l’Opera di Rendendosi conto della forza dell’affetto di Adina (L’elisir d’amore), il ruolo di protagonista internazionale ha compreso apparizioni con San Diego; L’italiana in Algeri al festival di Butterfly, Pinkerton è pieno di rimorso e si in Maria Stuarda, la Contessa (Le nozze di l’Opera di Seattle, la Metropolitan Opera Buxton; il ruolo di protagonista ne precipita fuori, lasciando Kate e Sharpless ad Figaro), Nedda (Pagliacci) e la Governante (Jenik nella Sposa venduta e Roméo), la La Cenerentola, e Idamante (Idomeneo) per la affrontare Butterfly. I due dicono a Suzuki che (The Turn of the Screw). Ha interpretato Houston Grand Opera e l’opera di Monte Garsington Opera; Genevieve (Pelléas et Kate desidera adottare il figlio di suo marito. numerosi ruoli per l’Opera delle Fiandre, tra Carlo. Ha interpretato il ruolo di Pinkerton Mélisande) e Irene (Theodora) per Butterfly apprende la verità da Kate e chiede cui Mimì, Liù (Turandot), Butterfly, con la Houston Grand Opera, la Deutsche Glyndebourne Festival; Charlotte (Werther) che sia Pinkerton a venire di persona a prendere Desdemona e Suor Angelica. Oper di Berlino, e al festival Met in the Parks. per l’Opera di Seattle.

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In concerto ha interpretato la Seconda e Gregory Yurisich comprendono l’Ottava Shuisky (Boris Godunov) a Strasburgo, Bordeaux Le registrazioni per Chandos comprendono l’Ottava sinfonia di Mahler ai concerti sinfonia di Mahler al Festival di Edimburgo, e Montpellier, Peter Quint (The Turn of the Troilus and Cressida, Billy Budd, e, per londinesi della serie Promenade, Elijah e Alberich (Siegfried ) in concerto, Salieri Screw) per la tournée russa del 1990 dell’ENO, Chandos/Peter Moores Foundation Don St Paul di Mendelssohn, Les nuits d’été, e il (Mozart e Salieri di Rimskij-Korsakov) e la Truffaldino (L’amore delle tre melarance) per Giovanni, momenti salienti del Boris Godunov, Requiem di Verdi. Nona sinfonia di Beethoven per la rete l’ENO, Zinoviev (Lady Macbeth) a Tolosa e Don Pasquale e Il trovatore. La discografia per Chandos comprende televisiva australiana ABC. Marsiglia, i tre ruoli tenorili nella Lulu allo The Rape of Lucretia, A Mass of Life di Delius, La discografia comprende Leporello Châtelet. La discografia comprende Shuisky nel D’Arcy Bleiker è nato nello Yorkshire e St Paul di Mendelssohn e Rigoletto (Don Giovanni), un disco di brani solistici Boris Godunov (brani scelti) e Roderigo (Otello) ha studiato con Robert Alderson presso il (Chandos/Peter Moores Foundation). dedicato alle canzoni di Peter Dawson e, per per Chandos/Peter Moores Foundation. Royal Northern College of Music, con Chandos/Peter Moores Foundation, Scarpia l’appoggio della Peter Moores Foundation e Gregory Yurisich si è conquistato il favore (Tosca). Dopo gli studi presso il Royal Northern del Countess of Munster Musical Trust. I suoi della critica con le sue ultime interpretazioni College of Music, Clive Bayley si è affermato ruoli per il RNCM hanno compreso del grande repertorio verdiano. Le Stuart Kale si è conquistato una fama a livello presso importanti compagnie liriche della Collatinus (The Rape of Lucretia), il interpretazioni più apprezzate comprendono internazionale come uno dei più notevoli attori- Gran Bretagna e si esibisce regolarmente in sovrintendente Budd (Albert Herring), Nabucco al Festival di Bregenz, con la Royal cantanti del mondo della lirica. Vanta un concerto. Il suo repertorio di ruoli di Schaunard (La bohème) e Figaro (Le nozze di Opera e a Ginevra; il ruolo di protagonista del repertorio enorme che riunisce ruoli di protagonista e di sostegno si è ampliato Figaro). Ha cantato inoltre con la Rigoletto in Israele, Australia e ad Atene; il compositori che vanno da Monteverdi a costantemente e oggi va da Monteverdi a Glyndebourne Festival Opera e la Classical ruolo di protagonista nel Simon Boccanegra, ed Messiaen. Ha iniziato la sua carriera presso la Verdi, Puccini e Berg. Per la Royal Opera ha Opera Company al Linbury Theatre, Covent Escamillo (Carmen) per English National Welsh National Opera prima di entrare interpretato Colline nella Bohème, Hans Foltz Garden. Ha fatto parte del Glyndebourne Opera; il protagonista nel Falstaff in Australia; all’English National Opera, dove è rimasto per in Die Meistersinger e Castro ne La fanciulla Festival Chorus ed è apparso in concerto Germont padre (La traviata) per l’Opera di for otto anni, interpretando ruoli quali Don del West. Inoltre ha riscosso notevoli successi nell’Inghilterra del nord. Con la Royal San Francisco, la Australian Opera, a Tel-Aviv Ottavio (Don Giovanni), Michael (Jiulietta di con Opera North in Jérusalem di Verdi, con Liverpool Philharmonic Orchestra ha cantato e Ginevra; Iago (Otello) con Plácido Domingo Martinuº), Alfred (Die Fledermaus) e Nanki-Poo English National Opera in Billy Budd, Elijah, la Messa di Gloria di Puccini, ha per l’Opera di Los Angeles e a Brisbane; nell’allestimento di The Mikado per la regia di Wozzeck, e Dr Faust, con Opera Factory in interpretato alcuni ruoli nel Candide di Amonasro (Aida), Stankar (Verdi, Stiffelio), Jonathan Miller. Don Giovanni, ed è stato Colline nella Bohème Bernstein, e la parte del re in Scarpia (Tosca), e le quattro personificazioni Tra i suoi impegni importanti vanno alla Royal Albert Hall. All’estero è comparso un’interpretazione in concerto di Aida. Ha del cattivo genio (Les Contes d’Hoffmann), per ricordati l’Alto sacerdote (Idomeneo) al Covent con l’Opera dei Paesi Bassi e l’Opera di Seattle inoltre interpretato il ruolo di Polydorus in la Royal Opera. Garden, Hauptmann (Wozzeck) a Nancy, San e in concerto con Les Arts Florissants in L’enfance du Christ diretta da Kent Nagano al Le apparizioni internazionali in concerto di Francisco e all’Opéra du Rhin di Strasburgo, tournée in Europa. Bridgewater Hall.

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Roland Wood è nato nel Berkshire e ha con la BBC lo ha condotto ad un maggiore consolidato la sua posizione centrale nella la Chandos, tra cui, nelle serie di Opera in studiato presso il Royal Northern College of coinvolgimento con i suoi stessi cantanti e vita musicale britannica, non solo a Londra English con il patrocinio della Peter Moores Music con Patrick McGuigan e Robert inoltre alla creazione del Geoffrey Mitchell dove è Orchestra Residente al Royal Foundation, L’elisir d’amore, Faust, La bohème, Alderson, quindi presso il National Opera Choir. Le prime registrazioni sono sfociate nel Festival Hall, ma anche nella società in Tosca vincitrice di un premio e sei album con Studio con l’appoggio della Peter Moores coinvolgimento a lungo termine del Coro con senso più ampio attraverso soggiorni sul recital da solista di arie d’opera (con Bruce Foundation e dell’English National Opera. Opera Rara, per la quale ha inciso più di territorio. Ford, Diana Montague, Dennis O’Neill, Ha iniziato la sua carriera teatrale come trenta registrazioni. Il Coro gode di una fama L’Orchestra ha ricevuto diversi premi Alastair Miles, Yvonne Kenny e John baritono basso e i suoi primi ruoli hanno sempre maggiore con ulteriore lavoro dalla importanti ed ha conquistato il plauso della Tomlinson). compreso Silva (Ernani) e Colline BBC e da case discografiche internazionali. Per critica grazie alla sua vitalità e al calore unico (La bohème); Luka (The Bear) e Martino la Chandos il Geoffrey Mitchell Choir ha del suono. È stata lodata sia per la sua Yves Abel è nato in Canada e si sta (L’occasione fa il ladro) per il Walton Trust ad partecipato a numerose registrazioni nelle programmazione innovativa, al centro della rapidamente affermando tra i più importanti Ischia; Zaretsky (Eugenio Onieghin) per applaudite serie di Opera in English con il quale vi è un impegno ad interpretare e direttori d’orchestra nel repertorio operistico e l’Opera dell’Unione Europea. Dopo il patrocinio della Peter Moores Foundation. commissionare una musica nuova dei sinfonico. Ha studiato presso l’istituto passaggio a baritono, gli ultimi ruoli principali compositori viventi al mondo, tra i musicale di Mannes e il Music Center di comprendono Josev Prasov nella prima Dai buoni auspici degli inizi nel 1945, quando quali l’attuale Compositore in Visita James Tanglewood dove è stato seguito da Leonard mondiale di The Bridge, e il Conte fu creata da Walter Legge principalmente MacMillan. Bernstein, Seiji Ozawa, Gunther Herbig e (Le nozze di Figaro) con il Royal Northern come orchestra di registrazione, la L’Orchestra si reca frequentemente all’estero Roger Norrington. College of Music e Opera Holland Park. Philharmonia Orchestra ha continuato ad in tournée ed è l’orchestra sinfonica più L’esordio in teatro, tra l’apprezzamento della Ha inoltre interpretato diversi ruoli per la attirare alcuni fra i direttori più importanti del registrata al mondo con ben più di 1000 critica, è venuto con Don Carlos per Opera Glyndebourne Festival Opera e l’English ventesimo secolo. Hanno collaborato più incisioni all’attivo. Tra queste vi sono, per North; seguivano Le Comte Ory per la National Opera. La sua discografia comprende frequentemente con l’Orchestra Otto Opera Rara, parecchi dischi di arie d’opera Glyndebourne Festival Opera; L’elisir d’amore Belisario di Donizetti per Opera Rara. Klemperer (primo Direttore Principale), nonché undici opere complete (Ugo, conte di per la Lyric Opera di Chicago; Il turco in Italia Lorin Maazel, Riccardo Muti, Giuseppe Parigi, Ne m’oubliez pas, Emilia di Liverpool, per l’Opéra de Monte Carlo; Les Dialogues des La carriera di cantante di Geoffrey Mitchell Sinopoli, Carlo Maria Giulini, Sir Andrew L’assedio di Calais, Rosmonda d’Inghilterra e Carmélites per l’Opera dei Paesi Bassi; Hamlet racchiude un repertorio notevole che spazia Davis, Vladimir Ashkenazy e Esa-Pekka Maria de Rudenz di Donizetti, Dinorah di per l’Opera di San Francisco; L’elisir d’amore e dalla musica antica a quella contemporanea e Salonen. Attualmente diretta dal Direttore Meyerbeer, Medea in Corinto di Mayr, Orazi e Un ballo in maschera per l’Opera danese; Thais che l’ha portato in Scandinavia, Germania, Principale Christoph von Dohnanyi e con Curiazi di Mercadante, Maria, regina di Massenet per l’Opéra de Nice, Luisa Miller nella ex Cecoslovacchia, in Canada e Leonard Slatkin in qualità di Direttore d’Inghilterra di Pacini e l’Otello di Rossini). per Spoleto Festival USA, e Zampa per l’Opéra Australasia. L’esperienza di direzione degli inizi Ospite Principale, l’Orchestra ha L’Orchestra ha registrato numerosi dischi per Français de New York. Altre apparizioni

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comprendono il Festival dei due Mondi di Liverpool Philharmonic Orchestra, Nova Spoleto e un film di Amahl and the Night Scotia Orchestra e Orquesta Cuidad de Jean Rigby as Suzuki and Cheryl Barker as Visitors a ricordo dell’85o compleanno di Gian Granada. Ha riscosso significativi consensi da Madam Butterfly in the 2000 De Vlaamse Carlo Menotti, l’Opéra di Parigi, la New York parte della critica per la sua attività di Opera production of Madam Butterfly City Opera, l’Opera di Seattle, l’Opera Direttore musicale dell’Opéra Français de New Theatre of St Louis, Florida Grand Opera, York. Dall’inaugurazione della compagnia nel Opera Theater of Connecticut, Wexford 1990, ha diretto opere rare come Barbe-Bleue Opera Festival e Wolf Trap Opera. di Offenbach; La Jolie Fille de Perth di Bizet; Yves Abel si trova a proprio agio anche nel Médée e Les Deux Journées di Cherubini; repertorio orchestrale e i suoi ultimi impegni Le Pauvre Matelot ed Esther de Carpentras di comprendono concerti con la San Francisco Milhaud; Iphigénie en Aulide di Gluck; Docteur Symphony, Toronto Symphony, Royal Miracle di Bizet; e Les Deux Avares di Grétry.

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On session with Chandos On session with Chandos Bill Cooper Bill Cooper Bill

Stuart Kale and Jean Rigby Gregory Yurisich and Cheryl Barker

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On session with Chandos On session with Chandos Bill Cooper Bill Cooper Bill

Paul Charles Clarke

Roland Wood 66 67 CHAN 3070 BOOK.qxd 16/7/07 11:01 am Page 68

On session with Chandos On session with Chandos Bill Cooper Bill Cooper Bill

Clive Bayley

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COMPACT DISC ONE Pinkerton (amazed ) Goro (pointing to Suzuki) Goro In the open?… Miss Gentle Breeze of Morning. Every detail. Act I (pointing to one servant and then the other) Goro (making the partitions slide out) (He bows ingratiatingly.) 1 A Japanese house, terrace and garden. Below, in the Ray of the Golden Sunbeam. Sweet-scented The wall slides outward… background, is the bay, harbour and town of Pinetree. Pinkerton Nagasaki. From the room at the back of the little Pinkerton (while Goro is making the partitions A dealer worth a million. Suzuki (still on her knees, growing bolder, raises house, Goro, with much bowing, leads in slide out) her hand ) Goro Pinkerton; with much ostentation but still I see now!… And this one?… 3 I think Your Honour’s smiling. There will come: the official obsequiously he draws his attention to the details of Goro A smile is like a flower, registrar, the relations, and then your Consul, the structure. Goro makes a partition slide out at Slides along! said the wise Ocunama: your future wife. Then you’ll sign the contract the back, and explains its use to Pinkerton. They A smile conquers all, and and solemnise the marriage. come forward a little onto the terrace. Pinkerton defies every trouble. Pearls may be won by But is the whole thing strong enough? Pinkerton Pinkerton (surprised at all he sees) smiling; Are there many relations? 2 So the walls and the ceiling… Goro (protesting) smiles can even open Strong as an iv’ry tower, the gates of Heaven. Goro (enjoying Pinkerton’s surprise) Goro secure from floor to ceiling. The perfume of the Gods, Come and go at your pleasure Her mother, grandma, and the Bonze, her uncle, the fountain of Life… however you may fancy. (He invites Pinkerton to go down the garden.) (he’ll hardly honour us with his appearance) and her cousins, male and female, Every room, every doorway – Pinkerton (Goro perceives that Pinkerton begins to be bored in strict ascending order. as you see it is really most convenient. And it works just as smoothly. by Suzuki’s loquacity. He claps his hands three times. The three rise and quickly disappear into the house.) And other blood relations, a round two dozen. Pinkerton (looking around ) Goro (He claps his hands loudly three times. Two Now as to your descendants… And can you tell me, where’s men and a woman enter. They humbly and slowly Pinkerton (with obsequious presumption) the bedroom? go down on their knees before Pinkerton.) When women start to talk, that matter can be safely This is the trusty handmaid Goro (pointing in two directions) I find them all the same. left to you, sir, and lovely Butterfly. who waits upon your wife, (to Goro who has gone to the back to look out) Here or there!… depending… Pinkerton faithful and devoted. What is it? Pinkerton The houseboy… And this the cook. A dealer worth a million. A wonderful contrivance! They’re embarrassed Goro (Goro thanks him with a deep bow.) The hallway? at such great honour. I am watching for the bride. Sharpless (off-stage, quite distant) Goro (showing the terrace) Pinkerton (impatiently) Pinkerton 4 It can’t be much further now! Here, sir. Their names are? Are we ready? Stumbling! And spluttering!

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Goro (who has run to the background, announces:) Pinkerton Sharpless Pinkerton (very impatiently) Here comes the Consul. Yes, I have bought That’s an easy-going gospel Go and bring her, Goro. it for nine hundred and ninety-nine years, which brings life many pleasures Sharpless (he enters, quite out of breath. Goro (Goro runs to the back and disappears down the but with the option, of every but sorrow in the end. bows low before the Consul.) hill.) month, to cancel the contract! Ah! The climb up here Pinkerton (continuing) I must say, in this country, has left me breathless! 6 Fate can’t crush him, he tries again undaunted. Sharpless the houses and the contracts are elastic! No one and nothing Are you out of your senses, Pinkerton (he goes to meet the Consul: they shake Sharpless can break his spirit. or is this mere hands.) And western man has found it useful. And so I’m marrying in Japanese style infatuation? You’re very welcome. (Goro comes bustling out of the house, followed by for the next nine Pinkerton (rising impatiently; Sharpless rises also.) Sharpless two servants. They bring glasses and bottles and two hundred and ninety-nine Perhaps, perhaps. Depends what Ough! wicker chairs; placing the glasses and bottles on a years. Free, though, to annul the marriage monthly! you call infatuation! small table, they return to the house.) (standing up and raising his glass to Sharpless) Pinkerton ‘America for ever!’ 8 True love or fancy, Quickly, Goro, Pinkerton (inviting Sharpless to be seated ) I cannot tell you. All that I know is, fetch some refreshment. Surely. Sharpless she, with her innocent charm, has entranced me. (frankly) ‘America for ever!’ (Goro hurries into the house.) 5 The whole world over, (They sit down on the terrace again.) Almost transparently fragile and slender, Sharpless (panting and looking around ) wherever Yankees wander, 7 – Is the bride Dainty in stature, delicate figure, It’s high here. we gain our pleasure very pretty? she seems to have stepped straight out of a scorning all danger. picture. Goro (having overheard, approaches the terrace, Pinkerton (pointing to the view) Wherever Fate decrees, he casts his anchor… eagerly and officiously) But from her background of varnish and lacquer, But lovely! (He breaks off to offer Sharpless a drink.) Fair as a garland suddenly light as a feather she flutters, Milk punch or whisky? Sharpless (looking at the sea and the town below) of fragrant flowers. She’s the brightest a butterfly that is hovering and settling, (resuming) Nagasaki, the ocean, star in the heavens. silently charming and yet so seductive. …till with a change of wind the harbour… Very cheap too; one hundred I’m all afire for her… I must possess her… the ship swings round, then up go sails and Yen! Although her wings might, in the game, be Pinkerton (pointing to the house) rigging. (to the Consul ) broken. This house is so fragile And life is not worth living And if Your Honour would allow me, that it stands up by magic. If he can’t win the fairest Sharpless (seriously and kindly) I have a fine selection… Sharpless girl in every country… The other day, she came to Your house? And then fire her with love. (The Consul laughingly declines.) the Consulate all alone.

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I did not see her, but I heard her speak. Goro (reappears, running breathlessly up the hill ) The Girl Friends Pinkerton (smiling) And the mystery of her 9 See them! They’re climbing the summit of the hill! Joy to you, may joy attend you, Did you find it voice touched my very soul. (pointing towards the path) gentle maiden, but ere rather tiring? Surely, love that is pure A crowd of women rustling, you go beyond the threshold which invites you, Butterfly (in a measured way) and true speaks just like that. like the wind among the branches, turn and admire To a bride it’s Indeed it would be a pity here they come bustling! oh, the lovely sky, the lovely flowers and the sea! not as tiring to tear those delicate wings, Best of fortune attend on you, gentle maiden, (Pinkerton and Sharpless retire to the back of the as the weary and far too cruel to torment a trusting heart. but ere you cross o’er the threshold garden, and look out at the path on the hillside.) hours of waiting… It could be a disaster. pause and look behind you No cry of anguish Butterfly’s Girl-Friends (off-stage) and admire the things you hold the dearest. Pinkerton (kindly, but a little teasingly) Ah! Ah! Endless sea and endless sky! should ever be uttered Sharpless What a compliment by that gentle and trusting little voice. Butterfly (off-stage) Oh, the lively joyous chattering of youth! to pay me. There’s one more step to climb. Pinkerton Butterfly (to her friends) Butterfly (ingenuously) Dearly beloved Consul, The Girl Friends We’re there now. I know better you know I mean no harm! How long you tarry. (She sees the three men standing together and ones than that… At last the summit. Men of your age look on life with mournful recognises Pinkerton. She quickly closes her Pinkerton Look, oh look, the mass of flowers! eyes. sunshade and at once introduces him to her Yes, I’m certain. No harm I reckon Butterfly (still off-stage; serenely) friends.) to play this game He’s waiting. B.F. Pinkerton. Down Butterfly (anxious to show off her stock of and guide her to the tender flights of love! compliments) Across the earth and o’er the ocean, (She goes down on her knees.) (He offers him more to drink.) Balmy breeze and scent of spring are blowing – Would you care for Whisky? and soon I’ll be the happiest maiden in Japan, The Girl Friends (closing their sunshades and some this moment? in all the world, friends. going down on their knees) Sharpless Down. Pinkerton Alright, I’ll have one more. I have obeyed the summons, Thank you… no. (Pinkerton mixes Sharpless some whisky and also the sweet summons of love, (They all rise and ceremoniously approach fills up his own glass. Sharpless raises his glass.) upon the threshold standing – Pinkerton.) Sharpless (after scanning the group of maidens Ah, here the glory with curiosity, he approaches Butterfly who listens Here’s to your friends and relations at home. Butterfly That life or death can offer awaits me now. to him attentively) 10 We are honoured. Pinkerton (raises his glass) My dear friends, Miss ‘Butterfly’. How pretty, your name was well And here’s to my real wedding day when I will I hurried here at the call of love, The Girl Friends (bowing) chosen. marry a real wife from America. I have come at the call of love. We are honoured. Are you from Nagasaki?

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Butterfly (With her youthful innocence how she sets me Sharpless Pinkerton Sir, I am, and my people on fire.) Twenty. Truly comic this procession, of my worthy new relations were formerly wealthy. Sharpless (he, too, is interested in Butterfly’s prattle Butterfly held on terms of monthly contract! (to her friends) and continues to question her) Guess lower. That is so! Do you have any sisters? Fifteen exactly, fifteen. I feel sure that there, behind the (slyly) mighty fan of peacock’s feathers, The Girl Friends (assenting with alacrity) Butterfly I am old, am I not? my mother-in-law is hiding. That is so! No, Your Honour. Just my mother. Sharpless (pointing to Yakusidé) Butterfly (quite naturally) Goro (importantly) Only fifteen. And that shabby-looking fellow For no one likes to own that he was born so very A most dignified lady. Is the mad and boozy uncle. poor. Pinkerton Butterfly Relations and Friends (to Butterfly) Is not every beggar, when you listen to his tale, Only fifteen. But through no fault whatever, Where is he? Where is he? of ancient lineage? And yet Sharpless she is now very poor. Butterfly and other Friends (pointing to Pinkerton) indeed I have known riches. But the strongest The age Sharpless Look, there he is. oak must fall For dolls and… when the storm uproots the forest… and we had What of your father? First Cousin and some Friends Pinkerton to go as geishas Handsome he’s not! Butterfly (stops short in surprise then answers very …and getting married! to earn our living. briefly) No, in good truth! (to her friends) Goro (announcing with importance) Dead. Butterfly (offended ) Truly! 11 The Imperial Commissioner, the official Handsomer man (The friends hang their heads. Goro is embarrassed. Registrar, the relations. The Girl Friends (corroborating) They all fan themselves nervously.) you never saw, Truly! Pinkerton (to Goro) not in your dreams. Sharpless (returning to Butterfly) Quickly, Goro. Butterfly May I ask your age? The Mother (Goro runs into the house. In the background I don’t deny it, I think he’s fine! Butterfly (with almost childish coquetry) Butterfly’s relations are seen climbing the hill and or feel ashamed for it. Now try to guess it! passing along the path; Butterfly and her friends go Other Friends (noticing that Sharpless smiles) to meet them, bowing and kow-towing; the He’s worth a lot. You’re smiling? But why?… That’s Pinkerton relations stare curiously at the two Americans. First Cousin (to Butterfly) how the world is. Ten years. Pinkerton has taken Sharpless by the arm and, Why, Goro offered Pinkerton (he has listened with interest and turns Butterfly leading him to one side, laughingly makes him look him to me. to Sharpless) Guess higher. at the quaint group of relations.) But I said no.

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Butterfly (contemptuously) Pinkerton (Goro accompanies the Consul, the Commissioner Pinkerton (He sees a jar.) To you, indeed! Ah, she’s a gem, a flower. and the Registrar to the table with writing What is that you have? A likely tale! which in good faith I have gathered. materials. The Consul examines the papers and get Butterfly the contract ready. Pinkerton draws near to Some Friends Her fascinating presence A little jar of carmine. fans the flame of my passion. Butterfly and gently offers her some sweets.) Because on her Pinkerton his choice did fall, (He points to Butterfly.) Pinkerton Oh no! she would look down 13 Come, my beloved. Sharpless (to Pinkerton) Butterfly upon us all! (seeing that Butterfly appears embarrassed ) 12 Oh, indeed, my friend, you’re lucky! You don’t like it? Do you like our little home? Other Friends (looking pityingly at Butterfly) (She throws away the pot of rouge.) O very lucky Pinkerton, I think her beauty’s There! on the wane. since Fate has given to you Butterfly (rising) a flower hardly opened. Mister B.F. Pinkerton, allow me… (She draws forth a long narrow sheath.) Some Friends (She holds out her arms which are encumbered by He’ll never stay. I have never seen fairer, stuffed-out sleeves.) Pinkerton And that? Cousin and all Relations and Friends nor as beautiful a girl May I show you a young girl’s few I hope he won’t. as little Butterfly. possessions? Butterfly (very gravely) That I hold most sacred. Goro (annoyed at the idle chatter, he goes from one Don’t look on this contract Pinkerton to another, entreating them to lower their voices) and on her faith as folly, But where are they? Pinkerton (curiously) For goodness sake Be careful, for she believes you. And am I not to see it? be silent all. Butterfly (pointing to her sleeves) Butterfly (to her people) They are here… do you mind them? Butterfly (Beseeching and grave, she lays down the Uncle Yakuside (staring at the servants who are Attention, if you please. sheath very reverently.) bringing wines and liqueurs) (to her mother) Pinkerton (rather astonished, he smiles, then Too many people. Is there no wine? Mother, come here. quickly and gallantly reassures her) Please forgive me. (to the others) Why should I mind, The Mother and the Aunt (peering around, Goro (who has approached, whispers to Pinkerton) All of you look: my lovely Butterfly? trying to keep out of sight) It was sent by listen to me: Let’s look around. Butterfly (she empties her sleeves, placing their the Mikado to her father, with a message… one, two, three, contents one by one on a stool ) Some Friends (with satisfaction to Yakuside) all of you down! (He imitates the action of suicide.) I’ve just seen some Silken kerchiefs… A pipe… A coloured ribbon. The hue of tea (At a sign from Butterfly they all kow-tow to A little silver buckle… Pinkerton (softly to Goro) And crimson too! Pinkerton and Sharpless.) And a mirror… and a fan… And her father?

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Goro (She goes to pick up the statuettes.) Now the bride. Sharpless (shaking Pinkerton’s hand ) Was obedient. For you, my love! (Butterfly signs.) Be careful! And all is settled. We shall meet tomorrow. (He withdraws, mingling with the guests.) (She cuts short her cry, alarmed lest her relations should have heard her, and throws the Ottokè (The relations hasten to sign; the friends cluster Pinkerton Butterfly (She takes some tiny statuettes from her down. Meanwhile Goro has approached the Consul round Butterfly congratulating her.) (Pinkerton accompanies the three as far as the path sleeves, and shows them to Pinkerton.) and, having received his orders, thunders forth in which leads down to the town, and waves his hand The Ottokè. The Girl Friends stentorian tones.) Dear Madam Butterfly. to them as they vanish from sight. They had first to Pinkerton (He takes one and examines it with pass between two files of friends and relatives, who Goro Butterfly (correcting them) curiosity.) 15 saluted them with many ceremonious bows. Silence! Silence! No. Mrs B.F. Pinkerton. These small puppets? But what are they? Butterfly has withdrawn close to her mother. (The chattering ceases: they all stop eating and (The Registrar removes the contract and informs the Pinkerton returns and is naturally anxious to get Butterfly drinking and come forward in a circle, listening Commissioner that everything is completed.) rid of the wedding guests.) The spirits of my forefathers. with much interest. Pinkerton and Butterfly stand (This family party bores me. The Commissioner (congratulating Pinkerton) in the centre.) Now how can I get rid of them? Pinkerton 16 Congratulations. Ah! I bow before them. The Commissioner (reading out) How shall I do it?) Leave is given to the undersigned, Pinkerton Drink up! (He puts down the images, then rises.) Benjamin Franklin Pinkerton, I thank you most sincerely. All (toasting) Butterfly (She leads Pinkerton to one side and Lieutenant serving on the gunboat The Commissioner (to the Consul ) O Kami! O Kami! speaks to him confidentially.) Abra’m Lincoln, a ship of the United States Navy May I ask, are you going? Now, I’d like tell you of North America: Pinkerton that in secret I visited the Mission. And to the spinster known as Butterfly Sharpless Now drink to the newly married couple! Entering on my new life, I wish to adopt from the quarter of Omara Nagasaki I’ll come with you. my husband’s religion. To join bonds of wedlock; to wit (nodding to Pinkerton) All 14 My fate I have to follow, the former of his free accord and will. Shall we meet tomorrow? O Kami! O Kami! …the bride with consent of her relations, and full of humble faith, Pinkerton The Bonze witnesses of the contract. I bow before the God of Mister Pinkerton. Until tomorrow. Cio-Cio-San! Cio-Cio-San! The Fates have willed it. (He hands the contract for signature.) Abomination! In the same little chapel on my knees with you The Registrar (congratulating Pinkerton) I will pray to the same God. Goro (ceremoniously) A son and heir. (At this shout, all the relations and friends are And in order to please you The bridegroom. Pinkerton thunderstruck and huddle together in terror: I shall also forget my race and kindred. (Pinkerton signs.) I’ll do my best. Butterfly remains in a corner.)

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All All (At Pinkerton’s words, they all rush hastily towards Pinkerton (gently stopping her) It’s her uncle! Hou! Cio-Cio-San! the path which leads down to the town: Butterfly’s You kiss my hand? mother again tries to approach her but is dragged Goro (annoyed at the Bonze’s arrival ) (Butterfly hides her face in her hands.) away by the others. The Bonze disappears down the Butterfly A curse on this intruder! The Bonze (hurling curses at Butterfly) path to the temple, followed by his acolytes. The They tell me What on earth could have brought him here Kami sarundasico! shouts gradually grow fainter. Butterfly remains that abroad, where the people are more cultured, of all troublesome people?… And may the Gods condemn you silent and motionless, her face in her hands, while this is a token of the highest honour. to eternal damnation! (He signs to the servants to take away the tables, Pinkerton goes to the top of the path to make sure Suzuki stools and cushions; then prudently retires, (Butterfly’s mother comes forward to protect her but that all these troublesome guests have gone. Izaghi Izanami grumbling furiously.) the Bonze pushes her away roughly and approaches Butterfly bursts into childish tears. Pinkerton hears sarundasico The Bonze (to Butterfly, who stands isolated from Butterfly in a fury, shouting in her face.) her and anxiously hastens to her side, supporting Kami her as she is fainting, and tenderly takes her hands the rest) Pinkerton (He has lost his patience and intervenes Izaghi Izanami from her face.) What were between the Bonze and Butterfly.) sarundasico Kami. 17 Dearest, my dearest, weep no more. you doing at the Mission? That’s quite enough, d’you hear me? All their shouting means nothing. Pinkerton (wondering at the subdued murmurs) All (At the sound of Pinkerton’s voice the Bonze stops Who’s murmuring in there? Give answer Cio-Cio-San. short in amazement, then with a sudden resolve he Butterfly (She holds her ears so as not to hear the invites relations and friends to come away.) shouts.) Butterfly Pinkerton (angry at the scene made by the Bonze) Oh, how they curse! It’s Suzuki who offers up her prayer Who the hell is that madman? The Bonze for the night. You all must leave her. Come with me. Pinkerton (cheering her) The Bonze (to Butterfly) All your respected tribe Pinkerton (The night draws in more and more, I ask you, what were you doing? You have renounced us all… and all the Bonzes in Japan are not worth and Pinkerton leads Butterfly to the house.) How then, don’t you even falter? a tear from those sweet almond eyes 18 Evening is falling… All (They retire to the back with arms outstretched Are these the fruits of evil? I love so. (shouting) pointing at Butterfly.) Butterfly She has renounced us all! And we renounce you! Butterfly (smiling with childlike pleasure) With shadows and quiet. Hou! Cio-Cio-San! Indeed? I’ll weep no more. All (scandalised, shouting long and loud ) Kami sarundasico! (Evening begins to fall.) Pinkerton Hou! Cio-Cio-San! And now I do not care that I’m deserted. You’re here alone now – Pinkerton (authoritatively) For your words bring me comfort The Bonze Leave my house, I command you. Here Butterfly and they fall like gentle balm on my heart. She’s renounced, let me tell you, I’m the master. I’ll have no curses and no Alone and rejected. her true religion. disturbances. (She stoops to kiss Pinkerton’s hand.) I’m rejected, yet I’m happy!

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Pinkerton (He claps his hands three times – He’s peeping and smiling, Pinkerton her ears, as though she still hears her relatives the servants and Suzuki hurry in.) pretends not to see me. Bewitching all mortals… shouting; then she rallies and once more turns Suzuki, the shosi. He’ll see how I’m blushing confidingly to Pinkerton.) Butterfly I wish I could hide! You’re so (The servants silently slide several partitions along.) Then she takes them, I know his angry voice strong, so handsome! Your laugh is and she folds them in mantle of white, Butterfly (with deep feeling to Pinkerton) still shouting curses… so open and so carefree. away she bears them Yes, we are all alone… Butterfly… they’ve renounced me… You tell me things that I never could dream of. to realms high above. The world is yonder. They’ve renounced me, yet I’m happy. Oh, I am happy. Pinkerton Pinkerton (lounging in the wicker chair, watching Pinkerton (Night has closed in completely; the sky is Your uncle breathing thunder! Butterfly amorously) But darling, as yet you haven’t told me, unclouded and closely strewn with stars: Butterfly (He sits down and lights a cigarette.) Why, all her pretty movements you still have not told me you love me. slowly draws nearer to Pinkerton; and then D’you think that my Goddess knows tenderly, almost beseechingly) Butterfly (to Suzuki, who has come in with the are like a little squirrel’s. the sweet words I am longing to her? 20 Ah, love me a little, servants and is awaiting orders) To think that pretty creature is my wife! My wife! oh, just a very little, Suzuki, bring me my garments. Butterfly as you would love a baby. She knows, but perhaps will not tell you (Suzuki rummages in a chest and gives Butterfly But her charm is That’s all that I long for. For fear she may die of her love! her night attire and a small box of toilet requisites.) so alluring, my heart I come of a people is beating madly accustomed to little; Suzuki (bowing low to Pinkerton) Pinkerton with passionate longing! grateful for love that’s silent; Good night, Sir. Fear not, my darling, for love does not mean (He stands up and gradually approaches Butterfly dying, light as a blossom (Pinkerton claps his hands; the servants run away. with outstretched arms.) no, it’s living, and it smiles and yet everlasting 19 Butterfly retires to a corner at the back and, assisted Child, from whose eyes the witchery is shining, Like a joy born in Heaven. as the sky, as the fathomless ocean. by Suzuki, carefully performs her toilet for the now you are all my own. I see it shine, as in your eyes, darling, I’m gazing. night, exchanging her wedding-garment for one of You’re dressed all in white like a lily. Pinkerton pure white; then she sits down on a cushion and, Your ebony tresses are shining (He draws close to Butterfly and takes her face in Give me your hands that I may softly kiss them. looking in a small hand-mirror, arranges her hair. on ivory shoulders. his hands.) (He exclaims, tenderly.) My Butterfly! What a good name they gave you, Suzuki goes out.) Butterfly (She descends from the terrace, followed Butterfly fragile thing of beauty. Butterfly by Pinkerton.) But now, beloved, I’m glad to be rid of I come like the Moon’s little Goddess, you are the world, more than the world to me. Butterfly (At these words Butterfly’s face clouds this cumbersome obi,… the little Moon-Goddess who comes down by Indeed I loved you the very first moment over and she withdraws her hands.) A bride should be robed in night from that I saw you. They say that in your country a pure dress of silk. her bridge in a sky full of stars! (Butterfly has a sudden panic and puts her hands to if a butterfly is caught by man

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(with an expression of fear) Butterfly (looking at the sky, enraptured ) My head is throbbing! Suzuki (shaking her head) then with a needle he will pierce it Ah! Night of wonder! Stars unending! (She rings the bell to invoke the attention of the Gods.) Will he come? (with anguish) I have never seen such glory! And thou, Butterfly (vexed, approaching Suzuki) and then leave it to perish! Trembling, sparkling, each star in heaven, Ten-Sjoo-daj! Why did he order like a fiery eye is flashing. (in a tearful voice, looking at Butterfly) Pinkerton (taking her hands again gently and the Consul to provide this dwelling for us? Oh! How lovely are the heavens; Grant me that Butterfly smiling) Now answer that! Every star that shines afar shall weep no more, no more, no more! In that there is some truth (Suzuki is silent, Butterfly persists.) is gazing on us, and shall I tell you why? Butterfly (without moving) And why was he so careful lighting the future… So it cannot escape. Lazy and fat are your to have the house provided with safe locks See the stars! (with ardour, caressing her affectionately) Gods of Japan! if he did not intend to come again? Ah, lovely night, thy perfect calm is breathing See, I have caught you… The God my husband prays to will give an answer love near and far! Suzuki I hold you as you flutter. far more quickly to those who bow before him. I don’t know. You’re mine now. Pinkerton (with passionate longing) But I’m afraid he’s silent Butterfly (rather annoyed and surprised at such Butterfly (She throws herself into his arms.) Ah! Come, beloved. for we’re so far away here. ignorance) Yes, yours for ever. (She remains pensive. Suzuki rises and slides back (They go up from the garden into the house.) the partition at the back leading to the garden.) You don’t know? Pinkerton Suzuki, what money have we left? (calming down again and with proud confidence) Come then, come then… The curtain falls. Then I will tell you, so as to keep out (Butterfly draws back, as though ashamed of having Suzuki (She goes to a small cabinet and opens a those spiteful plagues, my relations, who might been too bold.) Act II casket to look for some money. She goes to Butterfly upset me; Love, what fear holds you trembling? and shows her a very few coins.) Part 1 And inside, just to give Have done with all misgivings. This is to me, his wife, protection, (He points to the starlit sky.) Inside Butterfly’s house all that is left us. his beloved little wife, Butterfly. The starlight is shining The curtain rises: the room is in semi-darkness Butterfly and the world lies a-sleeping! Suzuki (still far from convinced ) Suzuki, kneeling before the image of the Buddha, is No more? Oh, we’ve been careless. Cast all fears away, my love. I’ve never heard as yet praying. From time to time she rings the prayer- Ah! How your heart is beating. Suzuki (She puts the money back into the cabinet of a foreign husband bell. Butterfly is standing rigid and motionless near You’re mine now! which she closes, sighing.) returning back to his nest. a screen. Ah! Come then, see the whole world lies Unless he comes, and quickly, Butterfly (furious, seizing hold of Suzuki) a-sleeping! Suzuki (praying) we’ll have nothing to live on. Ah! Silence, or I’ll kill you. Into my loving arms, ah, come! 21 Izaghi Izanami… Butterfly (with decision) (still trying to convince her) Ah, come! Be mine. (stopping short) He’ll come soon. Why, on the very day he left

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I asked – you’ll come back to me again? soon the trim white vessel COMPACT DISC TWO Sharpless And with his heart so heavy, glides into the harbour, thunders forth her Thank you. to conceal all his sorrow, cannon. Goro and Sharpless appear in the garden: Goro looks sadly smiling he answered: See now he is coming! into the room, sees Butterfly through a window and Butterfly (She invites the Consul to sit near the (with much charm, trying to imitate Pinkerton) I do not go to meet him. Not I! I stay says to Sharpless, who is following him:) table: Sharpless drops awkwardly on to a cushion: ‘O Butterfly, upon the brow of the hillside and wait there… Butterfly sits down on the other side and smiles slyly Goro my dearest little darling, and wait behind her fan on seeing the Consul’s discomfort: 1 Come, let’s enter. I’ll return in the springtime, for a long time, but never weary then, with great charm, she asks him:) the warm and sunny season of the long waiting. (Goro and Sharpless cross the garden.) All your honourable ancestors, when the flowers are in blossom and robins And from the crowded city see him coming, are they well then? nesting.’ from far away approaching, Sharpless (He knocks cautiously at the door on Sharpless (thanking her with a smile) (Calm and convinced, she stretches out on the floor.) a man is climbing the hillside. the right.) I hope so. He’ll return. Can you guess who it is? Please excuse me And when he’s reached the summit, (He sees Butterfly, who hearing someone come in, Suzuki Butterfly (She signs to Suzuki to prepare the pipe.) can you guess what he’ll say? has risen.) We’ll hope. You smoke? He will call: ‘Butterfly’ there from the distance. Madam Butterfly. Butterfly (insisting) Sharpless I, without answering, keep myself Butterfly (She corrects him, without turning Say it with me: he’ll return. Thank you. quietly concealed, round.) (Anxious to explain the object of his visit, he Suzuki (to please her, she repeats mournfully) a bit to tease him and a bit so as not to die No, Mrs Pinkerton, produces a letter from his pocket.) He’ll return. at our first meeting; and then a little troubled if you please. I’ve here… he will call, he will call: (She turns and recognises the Consul.) (She bursts into tears.) ‘My dearest Butterfly – Why, here is the Consul! Butterfly (interrupting him) Butterfly (surprised) my little orange blossom!’ Your Honour, I see the sky Weeping? But why? The names he used to call me when he lived (Suzuki enters eagerly and prepares a small table is cloudless. Have you no faith, Suzuki? here. with smoking equipment, some cushions and a stool.) (She continues, full of faith, smiling. She acts the (to Suzuki) (After having taken a draw at the pipe which scene as though it were actually happening.) It will all come to pass, of that I’m certain. Sharpless (surprised ) Suzuki has prepared, she offers it to the Consul.) Hear me. Banish your idle fears, he will So you remember? 22 One fine day we’ll notice return I promise, I know. Sharpless (refusing) a thread of smoke arising from the sea (Butterfly and Suzuki embrace with emotion. Butterfly (doing the honours of the house) Thank you… on the far horizon, Butterfly dismisses her and she goes out of the door You are welcome, (again trying to rescue the thread of his talk) and then the ship appearing; on the left: Butterfly looks after her sadly. in this fine American household. I’ve here…

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Butterfly (She places the pipe on the table and says, Butterfly (sits down again) Goro (bowing obsequiously) with arguments and presents, very pressingly:) At what time I was… to remarry another of his suitors. You prefer of the year in America Now he offers me riches Butterfly (to Goro, who bows again and goes to most likely to smoke American… do robins nest? if I will wed an idiot… help Suzuki) (offering him one) Sharpless (amazed ) Silence. …cigarettes? Goro (He intervenes, turning to Sharpless and Are you serious? (to Sharpless) trying to justify himself.) Sharpless (rather annoyed, taking one) Why, he dared… The wealthy Yamadori. Butterfly Thank you. (changing her mind ) She’s as poor as can be now and all her relatives Yes, (He tries to resume his talk.) No, first I’d like to hear have cast her out entirely. sooner or later than here? I have to show you… the answer to my question. Sharpless (Beyond the terrace Prince Yamadori is seen, Butterfly (She hands Sharpless a lighted taper.) Sharpless (confused ) Tell me why. followed by two servants carrying flowers.) A light? I am sorry, I can’t help you, (Goro, who is sauntering round the garden, comes I’ve never studied ornithology. Butterfly (She sees Yamadori and points him out to Sharpless (He lights the cigarette but puts it down up on to the terrace and listens, unseen, to Sharpless, with a smile.) at once and, showing her the letter, sits on the stool.) Butterfly (trying to understand ) Butterfly.) Orni… Here he is. Now listen. I’ve a letter (Yamadori enters with great pomp from the door on from Benjamin Franklin Pinkerton… Butterfly Sharpless the right, followed by his two servants: Goro and Butterfly (very eagerly) My husband gave his promise …thology. Suzuki run up to him eagerly and go on their hands he would return in the joyous season What, really? Butterfly and knees before him. Then Suzuki takes the flowers When little robins rebuild their nests. Is he well? So then you cannot and places them in various vases. Yamadori greets Here they have nested three times already, the Consul, then bows most graciously to Butterfly. Sharpless tell me? but I thought that over there The two Japanese servants, having deposited the It seems so. maybe they do so less often. Sharpless flowers, retire to the back, bowing deeply. Goro, No. Butterfly ( jumping up joyfully) servile and officious, places a stool for Yamadori (Goro appears and bursts out laughing.) (trying to return to his point) Then I’m the happiest between Sharpless and Butterfly and is very much in We were saying… lady in Japan. Would you answer me Butterfly evidence during the conversation. Butterfly, Sharpless a question? Who’s laughing? Butterfly (interrupting him, following her thoughts) and Yamadori sit down.) (seeing Goro) Ah, yes, (Goro,) 2 Yamadori, and has your (Suzuki is busy getting tea ready.) Oh, it is Goro. as soon as Mister Pinkerton had left me, then unrequited love not yet released you? Sharpless (softly to Sharpless) Goro Do you still intend to die Gladly. That wretched fellow. tried to force me, if I should withhold my kisses?

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Yamadori (to Sharpless) Butterfly (interrupting) says to the husband: (She opens her fan and, behind it, points to the There is nothing quite so cruel What’s that to me? ‘You wish to free yourself? other two, laughing.) as the pangs of hopeless love. Let us hear why.’ Such troublesome people. Goro (continuing) ‘I’m sick and tired of Butterfly (with graceful raillery) …that the wife who is deserted (She offers tea to Yamadori who refuses and rises to marital boredom!’ You have had so many wives that has the right to seek divorce. go.) you should know the feeling well. Then the good judge says: Butterfly (comically) Yamadori (sighing) Yamadori That may be Japanese law… ‘Ah, wicked scoundrel, Farewell, then. With heavy heart sighing I leave Every one of them I married, But not in my country. send him to prison!’ you, and divorce has set me free. (To put an end to the subject she orders Suzuki:) but still I hope… Goro Suzuki, tea. Butterfly Which one? Butterfly Think you kindly! Yamadori (whispering to Sharpless) So be it. Butterfly You hear her? Yamadori (eagerly) The United States. Yamadori (He is going out but returns into the And yet to you Sharpless room, near Butterfly.) I would swear eternal faith. Sharpless (to himself ) She’s so blinded that she will never If you would only… (Poor little creature!) Sharpless (Sighing, he replaces the letter in his pocket.) understand. Butterfly (I am very much afraid my message Butterfly (very nervous, getting more and more Goro (whispering to Sharpless and Yamadori) The pity is: I will not… will not be delivered!) excited ) Pinkerton’s ship has already (Yamadori, after having bowed to Sharpless, leaves I know, of course, to open the door Goro (indicating Yamadori to Sharpless, with emphasis) been sighted. sighing, and gets into a litter. The two servants and to turn out your wife at any moment, Houses, servants, treasures, at Omara Yamadori (in despair) follow him. Butterfly laughs again behind her fan here, is called divorce. a palace for a princess. And when they meet again… and signs to Suzuki to remove the tea. Suzuki But in America that is not the case. obeys, then retires to the back of the room. Goro Butterfly (seriously) (to Sharpless) Sharpless (whispers to both) eagerly follows Yamadori.) But my hand’s already given. Consul? He does not want to see her. That is precisely why Goro and Yamadori (to Sharpless) I came to prepare her… Sharpless (He assumes a grave and serious look; Sharpless (embarrassed ) with great respect, however, and some emotion, he She still thinks that she is married. (Seeing that Butterfly, followed by Suzuki, is Why, yes… and yet… invites Butterfly to be seated and once more draws approaching him to offer him tea, Sharpless cuts Butterfly (rising from the cushion) the letter from his pocket.) Butterfly (She interrupts him, turning to short his sentence.) I don’t think it, for I know it… Yamadori and Goro in triumph.) 3 Now, at last! Sit here by me, Goro There a good magistrate, Butterfly (offering Sharpless tea) and if you like, I’ll read But the law says: solemn and wise, Will Your Honour allow me… read this letter through for you.

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(showing her the letter) Butterfly (surprised, turning to Suzuki) Butterfly (rises, jumping for joy and clapping her Butterfly (withdrawing her hands) hands) You, good sir, you tell me this?… Butterfly I not remember? Suzuki, tell him quickly. Tell me. Show me. Sharpless (embarrassed ) (She repeats, as though scandalised, the words of the Quickly, Quickly! (She takes the letter, kisses it and places it on her Oh, my God, what shall I do? letter.) heart.) Sharpless (Taking a deep breath, he puts the letter On my lips, on my heart: ‘Remembers him no more!’ Butterfly (She claps her hands and Suzuki hastens away again; to himself:) in.) (She gives the letter back to Sharpless and says (Suzuki goes out with the tea through the door on (How can I? prettily:) Here, Suzuki, quickly, quickly. the left.) How on earth can I tell her? Show His Honour to the door. you’re the best man that ever (angrily) Sharpless (to himself ) existed! Begin, I beg you. Oh, damn that fellow Pinkerton!) Sharpless (Have patience!) (He rises, then look straight into Butterfly’s eyes, You dismiss me? Sharpless (reading) (continuing to read ) very gravely.) ‘Dear Friend, I write to ask ‘If she cares for me (Butterfly, repenting, runs to Sharpless sobbing and Now tell me, you to find my Butterfly.” still and expects me…’ hold him back.) Madam Butterfly, what would you do Butterfly (unable to contain herself and if I should tell you he’ll return no more? Butterfly interrupting him joyfully) Butterfly (She takes the letter from him and exclaims very tenderly:) I beseech you, Does he really say that? Butterfly (Motionless, as though she had received a Oh, what wonderful tidings! let my words be quite forgotten. death-blow, she bows her head and replies with Sharpless (seriously) (kissing the letter) (She dismisses Suzuki who goes into the garden.) Yes, he really says it. childlike submissiveness, almost stammering.) You blessed letter! 4 But if you interrupt me… Just two things I could do: Sharpless (making excuses) Sharpless (He takes the letter back and boldy Go back… and entertain I was brutal, I am sorry. Butterfly (calming down again to listen) resumes reading though his voice is trembling with the people with my songs… I’ll be quiet and listen. Or else, better, to die. Butterfly (mournfully, laying her hand on her emotion.) heart) Sharpless ‘I place myself in your hands, Sharpless (Sharpless is deeply moved and walks up Oh, you’ve wounded me so deeply, ‘Since those happy days together so act discreetly, and with all due caution and down excitedly; then he turns to Butterfly, oh, so deeply, very deeply! three years have now gone by since.’ please prepare her…’ takes her hands in his and says to her with fatherly (Butterfly totters, Sharpless is about to support her, Butterfly (interrupting the reading) tenderness.) but she rallies quickly.) Then he, too, has been counting! Butterfly (anxious, but joyful ) He’s coming: Though I feel for you and hate Nothing, nothing! Sharpless (resumes) to see you suffer these illusions, I felt ready to die… but see, it passes, ‘And maybe Butterfly Sharpless I must urge you to accept swift as shadows that flit across the ocean. remembers me no more.’ ‘for the shock that…’ The hand of wealthy Yamadori. Ah, I am forgotten.

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(She runs into the room on the left and returns That your mother should take (Butterfly rises to her feet and with a charming Suzuki triumphantly carrying her baby on her left you on her shoulder, and through the city in rain gesture, gives Sharpless her hand; he shakes it He crawls around here, shoulder. She shows him to Sharpless, full of pride.) and tempest she should go, cordially with both of his.) evil reptile; from morn to evening 5 This child! This child, then! seeking to earn enough for food and clothing, Will you forgive me? and tells the scandal Surely a son can’t be forgotten? And beg before the kindly people all through the town Butterfly (to the child) with trembling hand reach out to them, that no one knows (She puts the child down on the ground but keeps Now you give him your hand. him close to her.) ‘Oh, hear me, oh, hear me! who is the baby’s father. Please listen to the song Sharpless (He takes the child in his arms.) (She releases Goro.) Sharpless (deeply touched ) of this unhappy mother. What pretty golden hair! Is he his? In pity help me and my starving son.’ (kissing him) Goro (protesting in frightened tones) I only told her Butterfly (pointing to each feature) Or shall it be that Butterfly Tell me, what do they call you? once more shall have to dance for you, that back in America No Japanese Butterfly as once in days gone by? (approaching the child and pointing to him) boy was ever born with eyes as blue as these are. Now, tell him: (holding up the child and fondling it) whenever a baby Such lips too? And can’t you see his Sir, my name now is Sorrow. But yet Must the geisha sing once more? is born in these conditions, hair is golden? write and say to my father: on the day The joyous song of my youth would be broken (Butterfly instinctively stands in front of the child of his return Sharpless (more and more moved ) with my tears and bitter sobs. as though to protect him.) Joy I shall be called. It’s so obvious. (She crouches down beside the child and continues he’ll be despised throughout his life Has Pinkerton been told? in caressing and tearful tones.) Sharpless and treated as an outcast! Butterfly (passionately) Ah, no, not that again… Your father shall be told of you, I promise. (Butterfly, with a wild cry, runs to the shrine and No. I bore him when he had That cursed doorway I shall never enter! (He puts down the child, bows to Butterfly and goes takes down the dagger which hangs there.) left me to go back to his country. Never! Never! I’d rather die! out quickly by door on the right.) Butterfly (caressing the child ) For death were better far than such dishonour. Ah! You’re lying, lying! But you will write and tell him there awaits him (laying her cheek against the baby’s cheek) Goro 8 (Butterfly seizes Goro, who falls down; she threatens a son who has no equal! Ah! Never! Ah! Ah! to kill him. Goro utters loud, desperate and And would you tell me, than, that he won’t hurry (She presses the child to her heart then, crouching Suzuki (from outside, shouting) prolonged howls.) over land, over sea? down on the ground, hugs him passionately.) Viper! Rascal! Wretched scoundrel! Say it again and I’ll kill you! (She puts the baby down on the cushion, kissing him tenderly.) Sharpless (unable to restrain his tears) (Suzuki enters, dragging in Goro roughly, who tries Suzuki (thrusting herself between them) 6 Do you know, my darling, (Poor Butterfly!) in vain to escape. He cries out loudly.) No! (pointing to Sharpless) (conquering his emotion) Butterfly (Horrified at such a scene, she takes the baby and what this gentleman suggested? 7 I must be going. What’s this? carries him into the room on the left.)

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Butterfly (Seized with disgust, she pushes Goro (She gives the telescope to Suzuki and comes down Butterfly (thoughtfully) Butterfly away with her foot.) from the terrace in the greatest state of excitement.) Two hours more likely. No more need to wait now, since the kind sea Get out! They all were liars! (walking up and down the room) has brought him. (Goro makes his escape. Butterfly remains Liars, liars! But I Flowers, flowers, yes, everywhere I’ve given tears to the earth and flowers are my motionless as though petrified. By degrees she rouses knew it always, yes, I who love him! as close as stars are in the heavens. reward. herself and goes to put the away the dagger, her (to Suzuki) (She motions to Suzuki to go into the garden.) Suzuki (She appears on the terrace, laden with thoughts flying to her child.) Now do you see the folly Bring some flowers. flowers.) You’ll see, love of my heart, of doubting? He’s coming! He’s coming! Suzuki (from the terrace) Not a flower left. my grief and yet my comfort, Just at the moment Every flower?… my own little love. you were all saying: weep and forget him. Butterfly (taking the flowers) Ah! You will see My love wins the day! Butterfly (gaily to Suzuki) Not a flower left? that your avenger soon, soon will be here, See, my love and my faith have won completely. Every flower. Peaches, violets, jessamine, Come and help me. every branch of cherry blossom, every flowering and far, far away from here he’ll take us. He’s here, he loves me! (They scatter the flowers everywhere.) He’ll take us both so far. (She picks him up and carries him out to the tree. Suzuki terrace under the branches of a cherry tree in Suzuki (a cannon-shot) Scatter roses on bloom; to Suzuki:) Desolate as in winter the garden will appear. the threshold. Suzuki (coming in breathlessly) 10 Shake the cherry tree till every blossom Butterfly The cannon from the harbour! white as snow, flutters down. Butterfly and Suzuki Let all the balmy breath of spring breathe her (They run towards the terrace.) Oh, how I long for the Balmy breath of spring shall 9 sweetness here. Look, it’s a man-of-war! sweet-scented flowers breathe her sweetness here. Butterfly (breathless with excitement) to touch my forehead. Suzuki (She appears on the terrace with a bunch of Let us sow fair April here. flowers which she holds out to Butterfly.) White… white… the American flag with its Suzuki Suzuki (soothing her) Come, take the flowers. stars and stripes! Now it’s putting Lilies, roses scatter. into port to anchor! Ah, Cio-Cio-San, be calm, I pray, this weeping… Butterfly (taking the flowers) Butterfly (She takes a telescope from the table and runs on to That’s not enough yet. the terrace to look out. Trembling with excitement, Come scatter flowers all over. Butterfly (Butterfly distributes the flowers about the room, Now round his chair she directs the telescope towards the harbour and No. Laughing, laughing! When will says to Suzuki:) while Suzuki goes down into the garden again.) make a garland, we expect him up here? This convolvulus entwining. Hold my hand steady How long, then? An hour? Suzuki (from the garden) so that I can see How often in the garden you’ve stood and wept Butterfly and Suzuki the name, the name. The name? There it is: Suzuki and waited, Lilies and roses let us scatter, ABRAHAM LINCOLN! Too soon. gazing and gazing at the deserted world beyond. let us sow fair April here.

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(scattering flowers while they sway their bodies Butterfly (obeying) so we can look out, motionless, is gazing out into the distance. At lightly to and fro to the rhythm in a dance measure) This will surprise them. and we’ll be still and quiet as length she rouses herself and touches Suzuki on the In handfuls let us scatter And the Bonze. little mice, while we watch and wait. shoulder. The latter wakes with a start and rises, Violets and mimosa All of them truly glad of my downfall. whilst Butterfly turns towards the baby and takes The night grows darker. Suzuki closes the shosi at and sprays of sweetest roses, And Yamadori him up with tender care. the back. Butterfly leads the baby to the shosi. She Petals of every flower! with his airs and graces! makes three holes in the shosi: one high up for Suzuki (awaking with a start) My scorn herself, one lower down for Suzuki and a third 14 It’s morning. (Suzuki places two lamps near the dressing-table and derision, lower still for the child whom she seats on a (She goes towards Butterfly and touches her gently over which Butterfly is bending.) my jeers and contempt cushion, signing to him to look through his hole. on the shoulder.) for the wretches! Butterfly (to Suzuki) Suzuki, having brought over the two lamps near Cio-Cio-San! Suzuki, come and help. Suzuki (She has finished Butterfly’s toilet.) the shosi, crouches down and also gazes out. Butterfly No, first bring me my baby. I’ve finished. Butterfly stands in front of the highest hole and He’ll come. I know, he’ll come. (Suzuki goes into the the rom on the left and brings gazes through it, remaining rigid and motionless as Butterfly out the baby whom she seats next to Butterfly, while a statue: the baby, who is between his mother and (Butterfly sees the child has fallen asleep and takes Bring me now my wedding garment. the latter looks at herself in a small hand-mirror Suzuki, peeps out curiously. him in her arms, turning to go up to the room and says sadly:) (Suzuki goes to a small chest and looks for the 11 above.) How changed he’ll find me!… white robe and the obi, while Butterfly pulls the Humming Chorus Drawn weary mouth from far too much sighing, child towards her.) It is night and the rays of the moon light up the Suzuki and eyes that are so tired Bring it to me quickly. shosi from behind. The baby falls asleep, sinking I beg you, go and rest, for you are weary, and so sad from the crying. (While Butterfly dons her garment, Suzuki dresses down on his cushion. Suzuki, still in her crouching and I will call you when he arrives. the baby in the other one, wrapping him up almost (to Suzuki) position, falls asleep too; Butterfly alone remains Butterfly (going up the staircase) entirely in the light and ample draperies.) Put on each cheek rigid and motionless. Sweet, you are sleeping, I want him to see me a little touch of carmine… Cradled on my heart; as on my wedding day. And also for my baby, Part 2 safe in God’s keeping, In my hair we will put a (She takes a paint-brush and puts a dab of rouge while I must weep apart. scarlet poppy… 12 Prelude on the baby’s cheek.) Around your head (Suzuki places the flower in Butterfly’s hair. So that the watching may not make your face 13 Daybreak over Nagasaki the moonbeams dart: The latter is pleased with the effect.) heavy and pallid with shadows. sleep, my beloved! Like this. A weary night of watching passes. The clanging of Suzuki (urging Butterfly to keep quiet) (With child-like grace she signs to Suzuki to close chains and anchors and the distant voices of sailors Suzuki (watching her go upstairs and saying with Yes, but keep still, till I’ve finished arranging the shosi. Night falls.) rise from the harbour at the foot of the hill. When great pity:) your hair. In the shosi we’ll make three little holes the curtain rises, it is already dawn; Butterfly, still Poor little Butterfly!

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Butterfly (stopping, to Suzuki:) Suzuki Suzuki (excitedly) Sharpless (to Suzuki) He’ll come – he’ll come – you’ll see. There hasn’t been a ship Who is it? Who is it? 16 I know for such misfortune which has put into this port whose flags and there is no consolation. (She enters the room above. Suzuki puts down the Sharpless (to Pinkerton) colours Get it over and tell her. But the child’s future welfare lamps which she has extinguished and kneels before Butterfly has not eagerly seen and examined. must always be protected. the image of the Buddha, as Butterfly’s voice Suzuki (in consternation) This gentle lady, becomes quieter and quieter. Then she rises and goes Sharpless (to Pinkerton) Who is it? Who is it? who dare not enter, to open the shosi. There is a soft knocking at the What did I tell you?… will give the child door.) Pinkerton (embarrassed ) Suzuki (going) She came with me. a mother’s care. Suzuki I’ll call her… Suzuki Suzuki 15 Who is it?… Who is it? Who is it? Ah what sorrow! (More knocking. She goes to open the door and cries Pinkerton (stopping her) No, not yet… Do you ask me to go out in great surprise:) Sharpless (with restraint but deliberately) and tell a mother… Oh!… Suzuki (pointing to the masses of flowers all about She’s his wife! Sharpless (persisting) the room) Suzuki (Stunned, she raises her arms to heaven, Pinkerton (motioning Suzuki to be silent ) Go now and call her, oh go Look around you. Last night then fall on her knees with her face to the ground.) Quiet! Quiet! and speak with that gentle lady she insisted that all be covered with flowers. Hallowed the souls of our fathers! All her world and bring her here… and then if Sharpless (on the threshold, also motioning her to is plunged in gloom! Butterfly should see her, no matter. be silent ) Sharpless (touched ) Sharpless (He soothes Suzuki and raises her from For with her own eyes Sh!… Quiet… quiet. What did I tell you?… the ground.) she will learn the cruel truth we dare not tell her. Pinkerton (troubled ) We came here so early in the morning. (Pinkerton and Sharpless enter cautiously on tiptoe.) (Sharpless pushes her into the garden, where she Oh God! We hoped you’d be alone here, Suzuki, because joins Mrs Pinkerton.) Pinkerton (anxiously to Suzuki) we need you to give us your guidance. Suzuki (She hears a noise in the garden and goes to Don’t wake her! We need your help. look outside the shosi. She exclaims in surprise.) Pinkerton Oh! The bitter fragrance Suzuki Who’s that outside there Suzuki (in despair) of these flowers, it is poison to my heart. She was so very weary! She stood and waited in the garden? How can I? And nothing has changed here., patiently A lady!!… (Sharpless takes Suzuki aside and tries to persuade Where once we loved… through the night with the baby. Pinkerton (He goes to Suzuki and leads her back her into consenting, whilst Pinkerton, getting more But a deathly chill haunts the air. Pinkerton again, urging her to speak in a whisper.) and more agitated, wanders about the room, noting (He sees his own portrait and picks it up.) How did she know? Quiet! every detail.) And here my picture!

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(He puts it down.) Pinkerton (sweetly, with remorse) Suzuki Why are you weeping? Three years have passed away and every day, 17 Farewell, oh happy home! I believe you but I must be quite alone beside (Sharpless approaches her to speak: she is afraid of every hour, alas, she counted. Farewell, home of love! her… understanding and shrinks back like a frightened (Agitated by these reminiscences, he turns to Haunted for ever I shall be In this cruel hour alone. She will weep tears of child.) Sharpless.) by all she suffered through me. anguish. No, no, tell me nothing… nothing… I might fall I cannot bear to stay here. Farewell, home where she waited and loved. Butterfly (calling from the room above) dead at your feet at the words I hear. Sharpless, I’ll wait for you outside. I cannot bear to stay! (with affectionate and childlike kindness to Suzuki) 19 Suzuki, where are you? 20 You, Suzuki, you’re always Sharpless Like a coward I must leave! (She appears at the head of the staircase.) so faithful, no need for tears. Is it not as I told you? Suzuki!… Sharpless Only answer my question. Pinkerton By now this faithful heart will already have Suzuki (signing to the others to keep quiet ) Say ‘yes’ or ‘no’ quite softly… He lives? Give her this money, just to support her… guessed. I’m here… I was praying and going back to Suzuki Remorse and anguish choke me. I warned you, and now you see how right watch… I was, my boy. (Butterfly begins to come downstairs. Suzuki rushes Yes. Sharpless Yes, go and let her learn the cruel truth. towards the staircase to prevent her.) Butterfly (transfixed as though she had received a I warned you, remember? No… Do not come down… mortal blow) When in your hand she laid hers: (He leaves hurriedly while Kate Pinkerton and Butterfly (She comes down quickly, freeing herself But he’ll come ‘Be careful! For she believes you.’ Suzuki enter from the garden.) no more. They have told you!… Alas, how right I was. from Suzuki who tries in vain to hold her back. Kate (gently, to Suzuki) The she paces the room in great but joyful (angered at Suzuki’s silence) Deaf to all treaties, 21 18 Viper! I want you to answer. deaf to doubt, humiliation, Then will you tell her? excitement.) He’s here… where is he hiding? Suzuki blindly trusting to your promise, Suzuki (replying with her head bowed, and still (She catches sight of Sharpless.) No more. her heart will break. very tense) Here’s the Consul… and where is?… where is?… Pinkerton I promise. Butterfly (coldly) (Having searched everywhere, in every corner, in But he reached here yesterday? Yes, in one sudden moment Kate the little alcove and behind the screen, she is I see my heartless action, And will you please persuade her frightened and looks around in alarm.) Suzuki and feel that I shall never she can trust me? Not here! Yes. free myself from remorse, (She sees Kate in the garden and stares fixedly at Butterfly (She has understood and looks at Kate as Suzuki no, never more, no! Sharpless.) though fascinated.) I promise. Sharpless Who are you? Who is this lady? Now go, she’d better hear Kate Why have you come here?… No one answers?… She makes me so frightened, she makes me so the cruel truth alone. As if he were my own son. (Suzuki weeps.) frightened?

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Sharpless Kate (going towards Sharpless) Butterfly My son, sent from Heaven, Through not fault of her own Poor little lady! Go, go, do as I tell you. From Paradise descended. (She makes the weeping Suzuki rise and pushes her Ah, remember, remember she is the cause of your trouble. Sharpless (deeply moved ) through the door on the left. She lights the lamp in how your mother has loved Please forgive her. Oh, the pity of it all! front of the Buddha and remains in front of the you and let the memory linger, Butterfly Kate (whispering to Sharpless) image, motionless, lost in sorrowful thoughts. Suzuki’s So farewell! Ah! She’s his wife! And can he have his son? sobs are still heard; they die away gradually. Butterfly Beloved angel! (in a calm voice) goes to the shrine and lifts the white veil from it. She Farewell, my sweet little love! All is over for me! Butterfly (who has heard, says solemnly) throws this across the screen, then takes the dagger Go, play, play. All is finished! Ah! His son I promise to give him which, enclosed in a waxen case, is leaning against if he will come and fetch him. (Butterfly takes the child, seats him on a stool with Sharpless the wall near the image of Buddha. She piously kisses Climb this hillside in half an hour from now. his face turned to the left, gives him the American Have courage. the blade, holding it in both hands by the point and flag and a doll and urges him to play with them Suzuki (placing her hand on Butterfly’s heart) the handle. She softly reads the words inscribed on it.) Butterfly 22 Your little fluttering heart is beating while she gently bandages his eyes. Then she seizes the 23 ‘Death with honour Would you leave me with nothing? dagger and, with her eyes still fixed on the child, goes like a frightened bird in a cage. is better than life with dishonour.’ My little baby! behind the screen. The knife is heard falling to the Butterfly (Butterfly gradually recovers; seeing that (She points the knife sideways at her throat. The door ground and the large white veil disappears behind Sharpless it is broad daylight, she disengages herself from on the left opens, showing Suzuki’s arm pushing the the screen. Butterfly emerges; tottering, she gropes her Only so he might have a brighter future. Suzuki and says to her:) child towards his mother: he runs in with outstretched way towards the child. The large white veil is round Too much light shines outside hands. Butterfly lets the dagger fall, darts towards the Butterfly her neck; smiling feebly she grasps the child with her and too much laughing spring. child and hugs and kisses him almost to suffocation.) Unhappy mother, to abandon my own son! hand and drags herself up to him. She has just Close them. You? You? My dearest darling, (She remains motionless.) enough strength left to embrace him, then falls to the (Suzuki goes to shut the screens so that the room is My dearest, dearest treasure. So be it. ground beside him. At this moment Pinkerton’s voice almost in total darkness. She returns to Butterfly.) Fairest flower of beauty. To him I owe my duty. is heard outside calling repeatedly:) Where is my baby? (Taking the child’s head in her hands she draws it Kate (coaxingly) to her.) ‘Butterfly! Butterfly!’ Ah, can you not forgive me, Butterfly? Suzuki You must never know it: Playing… Shall I call him? then the door on the right opens violently. Pinkerton For you, it’s for you Butterfly (solemnly) and Sharpless rush into the room and up to Butterfly I’m dying, poor Butterfly, Under the great sky above there is no Butterfly who, with a feeble gesture points to the Leave him where he is so you can go away happier lady than you are. child and then dies. Pinkerton is on his knees whilst and go and stay with him. beyond the ocean, (passionately) Sharpless takes the child and kisses him, sobbing. May you remain so, Suzuki (weeping) never to know the torment when you are older never be saddened through me. I’ll stay with you. that your mother forsook you! The curtain falls swiftly.

106 107 CHAN 3070 BOOK.qxd 16/7/07 11:01 am Page 108 Fayer Fayer

Cheryl Barker Paul Charles Clarke Jean Rigby Gregory Yurisich

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D’Arcy Bleiker

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Ann Taylor

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Opera in English on Chandos

You can now purchase Chandos CDs directly from us. For further details please telephone +44 (0) 1206 225225 for Chandos Direct. Fax: +44 (0) 1206 225201. Chandos Records Ltd, Chandos House, Commerce Way, Colchester, Essex CO2 8HQ, UK E-mail: [email protected] website: www.chandos.net Staging director: Charles Kilpatrick Language and vocal consultant: Ludmilla Andrew Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Christopher Brooke CHAN 3054(3) CHAN 3038(4) Editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Blackheath Halls, London; 13–17 December 2000 Front cover Photo of Cheryl Barker as Madam Butterfly by Bill Rafferty Back cover Photo of Yves Abel Design Cass Cassidy Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright G. Ricordi & C., Milan/United Music Publishers Ltd, London. Libretto Copyright of CASA-Ricordi BMG-Ricordi S.p.A. Milano p 2001 Chandos Records Ltd c 2001 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HQ, England Printed in the EU

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SOLOISTS/GEOFFREY MITCHELL CHOIR/PHILHARMONIACHAN ORCHESTRA/ABEL 3070(2) bit 24 96 kHz 96 DDD Printed in the EU 64:37 72:33 Choir Orchestra Yves Abel Yves Philharmonia CHAN 3070(2) 2001 Chandos Records Ltd COMPACT DISC ONE COMPACT DISC TWO Geoffrey Mitchell Geoffrey c bass bass tenor tenor 2-disc set soprano baritone baritone soprano mezzo-soprano mezzo-soprano bass Stuart Kale Stuart Clive Bayley Bayley Clive 2001 Chandos Records Ltd Roland Wood Roland p Paula Bott Paula Cheryl Barker D’Arcy Bleiker D’Arcy DIGITAL Jean Rigby Rigby Jean Gregory Yurisich Gregory Ann Taylor Paul Charles Clarke Charles Clarke Paul Frances Brett Brett Frances The Aunt soprano • soprano CHANDOS ......

PUCCINI: MADAM BUTTERFLY Registrar The Official (1858–1924) bass • Anne Sheridan Jinks Jinks Anne Sheridan , Lieutenant in the United States Navy...... States , Lieutenant in the United Simon Birchall Birchall Simon , United States consul at Nagasaki States , United ...... , her maid ...... , a marriage broker...... Kate Pinkerton...... Yakuside mother Cio-Cio-San’s The Bonze ...... Commissioner...... The Imperial Cio-Cio-San’s relations and friends and servants and friends relations Cio-Cio-San’s Goro YamadoriPrince ...... Suzuki Opera in two acts (final, Paris version) in two acts (final, Puccini Giacomo Long Luther John book by after the Illica and Luigi Giacosa Giuseppe by Libretto Belasco David and the play by based on that of R.H. Elkin version English Butterfly) (Madam Cio-Cio-San Pinkerton B.F. Sharpless CHANDOS RECORDS LTD Colchester . Essex . England

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