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Japanese tragedy in three acts

Composer Giacomo Puccini · Libretto by Luigi Illica and Giuseppe Giacosa
In Italian with German surtitles

Tuesday, 19. February 2002
07:30 pm – 10:25 pm
Nationaltheater

Duration est. 2 hours 55 minutes · 1 Interval between 1. Teil and 2. Teil (est. 08:30 pm - 09:00 pm )

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Cast

Musikalische Leitung
Jun Märkl
Inszenierung
Wolf Busse
Bühne
Otto Stich
Kostüme
Silvia Strahammer
Chor
Stellario Fagone

Cio-Cio-San
Tatjana Zaharchuk
Suzuki
Mihoko Fujimura
B. F. Pinkerton
Keith Ikaia-Purdy
Kate Pinkerton
Victoria Safronov
Sharpless
Alan Opie
Goro Nakodo
Ulrich Reß
Der Fürst Yamadori
Jan Zinkler
Onkel Bonzo
Karl Helm
Yakusidé
Rüdiger Trebes
Der Kaiserliche Kommissär
Hermann Sapell
Der Standesbeamte
Gerhard Auer
Die Mutter der Cio-Cio-San
Barbara Rohlfs
Die Base
Julia Rempe
Die Tante
Barbara Schmidt-Gaden
  • Bayerisches Staatsorchester
  • Chorus of the Bayerische Staatsoper

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The U.S. Forces show their presence world-wide: American Lieutenant Pinkerton has an affair in Nagasaki with Cio-Cio San, "Madame Butterfly". He sails away. She then has his child. Three years later he returns to Japan – accompanied by his American wife and wants to take the child with him. Butterfly commits suicide.

 

Act I

The U.S. naval officer Pinkerton, along with a marriage broker named Goro, comes to inspect a house near Nagasaki he has bought to live with the geisha Butterfly, whom he plans to marry according to Japanese law. This law however allows him to abandon his wife whenever he feels like it. He casually brushes off the warnings of the American Consul Sharpless, who has told him that Butterfly takes love and marriage very seriously. Before Butterfly appears, he drinks a toast "to a future marriage with a genuine American woman". Butterfly now appears with her friends, attended by members of her family. Hardly has the marriage ceremony ended when Butterfly's uncle arrives and curses the girl for having renounced the faith of her ancestors. Cast out by all the others, all Butterfly has left is her great love.

Act II

Three years have passed. After a brief period of happiness, Pinkerton has left Butterfly. She lives with her servant Suzuki, confidently waiting for her husband's return, although she has not received a single sign of life from him. The consul comes to visit Butterfly. He explains to her that Pinkerton will never return. He cannot bring himself to tell Butterfly that he has married an American woman. Then she triumphantly shows him Pinkerton's child. Sharpless leaves the house after advising her to marry the rich Yamadori who has been courting her. She however feels bound to Pinkerton and refuses. Then the cannon in the harbor goes off. Butterfly recognizes Pinkerton's vessel. Full of hope, she decorates the room and waits in her bridal gown for her beloved.


Act III

Morning dawns. Butterfly has been waiting in vain all night. Finally she goes into the next room with the child in her arms to get a little rest. Pinkerton and Sharpless arrive. Suzuki finds out the whole story. Lamenting, she promises to prepare Butterfly for the worst. Full of remorse, Pinkerton goes running off. Awakened by the sound of the voices, Butterfly returns to the room: full of hope she looks for Pinkerton. Suddenly a strange woman appears. Butterfly discovers the truth from Sharpless. As if this weren't enough - they want her to turn over her child. All that remains for Butterfly is death.


English translation by Donald Arthur

© Bavarian State Opera

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Premiere of Giacomo Puccini's "Madama Butterfly" on June 5, 1973 in the Nationaltheater 

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Biographies

geboren in München, unterrichteten ihn seine Eltern schon im Alter von vier Jahren Geige und Klavier. Nach Diplomen in Klavier und Dirigieren an der Musikhochschule  Hannover  setzte er seine Studien bei Sergiu Celibidache in München und Gustav Meier an der University of Michigan, Ann Arbor fort. 1986 gewann er den Dirigentenwettbewerb des Deutschen Musikrates. Im folgenden Jahr erhielt er ein Stipendium des  Boston Symphony Orchestras, um bei Leonard Bernstein und Seiji Ozawa zu studieren.Ab September 2005 wird Jun Märkl als Directeur Musical das Orchestre National de Lyon leiten. Von  1991-94 war er Generalmusikdirektor am Staatstheater Saarbrücken, zwischen 1994 und 2000  Operndirektor und Generalmusikdirektor am Nationaltheater Mannheim. Jun Märkl ist häufiger Gastdirigent an vielen bekannten Opernhäusern der Welt wie der  Wiener Staatsoper, der Semperoper Dresden, der Deutschen Oper Berlin, des London Royal Opera House Covent Garden, der New York Metropolitan Opera, der San Francisco Opera und des New National Theatre Tokyo, wo er im April 2004 eine vierjährige Zusammenarbeit mit dem Regisseur Keith Warner für eine Neuproduktion von Wagners Ring des Nibelungen beendete. Ein Vertrag als ständiger Gastdirigent verbindet ihn mit der Bayerischen Staatsoper München.Gleichermaßen pflegt Jun Märkl eine intensive Karriere als Konzertdirigent. Seit 1997 gastiert er regelmässig bei dem NHK Symphony Orchestra Tokyo. In den letzten Jahren arbeitete er unter anderem mit dem Orchestre de Paris und dem Orchestre Philharmonique de Radio France, dem Chicago, Boston,Saint Louis und Dallas Symphony Orchestra, den Sinfonieorchestern von Montreal, Melbourne, Hamburg NDR, Stockholm, den Münchner Philharmonikern und dem Copenhagen Radio Sinfonieorchester. Neben einem breiten Opern- und Konzertrepertoire hat  Jun Märkl eine Vielzahl von Werken zeitgenössischer Komponisten auf- oder uraufgeführt.Dirigate an der Bayerischen Staatsoper: La traviata, Aida, Madama Butterfly, Peter Grimes, Die verkaufte Braut, Die Walküre, Tannhäuser, Salome, Der Rosenkavalier, Tosca, Lohengrin, Le nozze di Figaro, Pique Dame, Das schlaue Füchslein.

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