MADAME BUTTERFLY at the Moniuszko Auditorium in Warsaw

polandlogoFri 7:00pm February 6, 2015

Moniuszko Auditorium


Giacomo Puccini

Japanese tragedy in three acts
Libretto: Giuseppe Giacosa and Luigi Illica
World premiere: Regio Teatro alla Scala, Milan, 17/02/1904
Polish premiere: Teatr Wielki, Warsaw, 3/12/1908
Premiere of this production: 29/05/1999
Original language version with Polish surtitles
duration: 3 hrs 20 min., including: 2 intermissionsb2 b3

Artistic Team:

Conductor: Andriy Yurkevych, Piotr Staniszewski (26 March 2015)
Direction: Mariusz Treliński
Set Design: Boris Kudlička
Costumes: Magdalena Tesławska, Paweł Grabarczyk
Movement: Emil Wesołowski
Chorus Master: Bogdan Gola
Lights: Stanisław Zięba

Soloists, Chorus and Orchestra of Teatr Wielki – Polish National Opera
Photo: Krzysztof Bieliński
Poster for the production, designed by Andrzej Pągowski

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Madame Butterfly – Alketa Cela
Suzuki – Hanna Hipp
Kate – Aleksandra Orłowska-Jabłońska
Pinkerton – Jacek Laszczkowski
Sharpless – ***
Goro – Mateusz Zajdel
Yamadori – Krzysztof Szmyt
Bonzo – Mieczysław Milun
The Imperial Commissioner – Łukasz Motkowicz

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He’s rich, handsome, hungry for ever new erotic conquests; she’s beautiful, poor, trusting, madly in love. They are the protagonists of a story as old as the world, its schematic structure verging on banality. However, it is a plot excellent for uplifting repetition by opera composers, and many before Puccini did copy it. The Italian composer tossed the story into Japanese surroundings, highlighting them with references to traditional music from the Land of Cherry Blossoms, only to completely abandon the “made in Japan” poetics elsewhere. Mariusz Treliński did much the same in his (large stage) opera debut, which could actually explain the great mystery of its spectacular success in Poland, the United States, Russia, Israel, Italy, Spain and Oman. Giving up realistic details but not that special Japanese atmosphere, the director – supported by Boris Kudlička’s phenomenal stage design – very subtly invoked the convention of Kabuki theatre but also Robert Wilson’s theatre and, finally, his own experience with film. This cultural melange of different arts and inspirations has resulted in a show of historical importance that in a way splits the contemporary history of Polish opera productions into what came before and what came after the premiere of Butterfly by Treliński and Kudlička.

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