MADAME BUTTERFLY

Giacomo Puccini
The Story Of Madame Butterfly

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Madama Butterfly (IPA: [maˈdaːma ˈbatterflai]; Madam Butterfly) is
an opera in three acts (originally two) by Giacomo Puccini, with an
Italian libretto by Luigi Illica and Giuseppe Giacosa.
It is based on the short story "Madame Butterfly" (1898) by John Luther
Long, which in turn was based on stories told to Long by his sister
Jennie Correll and on the semi-autobiographical 1887 French
novel Madame Chrysanthème by Pierre Loti. Long's version was
dramatized by David Belasco as the one-act play Madame Butterfly: A
Tragedy of Japan, which, after premiering in New York in 1900, moved to
London, where Puccini saw it in the summer of that year.
The original version of the opera, in two acts, had its premiere on 17
February 1904 at La Scala in Milan. It was poorly received, despite
having such notable singers as soprano Rosina Storchio, tenor Giovanni
TITLE LOREM IPSUMGiacomo Puccini
Zenatello and baritone Giuseppe De Luca in lead roles. This was due in
part to a late completion by Puccini, which gave inadequate time for
rehearsals. Puccini revised the opera, splitting the second act in two,
with the Humming Chorus as a bridge to whatSitbecame
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Act III, and
making other changes. Success ensued, starting with the first
performance on 28 May 1904 in Brescia.
Madama Butterfly has become a staple of the operatic repertoire around
the world, ranked 6th by Operabase; Puccini's La bohème and Tosca rank
3rd and 5th.
Giacomo Puccini

Giacomo Antonio Domenico Michele Secondo Maria Puccini 22

December 1858 – 29 November 1924) was an
Italian opera composer who has been called "the greatest composer of
Italian opera after Verdi". Puccini's early work was rooted in traditional
late-19th-century romantic Italian opera. Later, he successfully
developed his work in the realistic verismo style, of which he became
one of the leading exponents.
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Puccini's most renowned works are La
bohème (1896), Tosca (1900), Madama Butterfly (1904),
and Turandot (1924), all of whichSitare among
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operas played as standard
Madame Butterfly story
A m e r i c a n n a v a l o ff i c e r, P i n k e r t o n , a n d s o m e f r i e n d s a r e b e i n g e n t e r t a i n e d i n a g e i s h a h o u s e . H e i s
bewitched by one particularly beautiful geisha and Goro the marriage broker points out that the
y o u n g g i r l i n q u e s t i o n , B u t t e r f l y, c a n b e p u r c h a s e d a s a ‘ b r i d e ’ . B u t t e r f l y i s l i t t l e m o r e t h a n a c h i l d
and believes this to be a serious marriage. She betrays her religion and adopts her husband’s
C h r i s t i a n f a i t h , c o m m i t t i n g h e r s e l f t o h i m f o r e v e r.
Butterfly and Pinkerton are married, but the festivities are interrupted when the Bonze, a Japanese
h o l y m a n , a r r i v e s t o d e n o u n c e B u t t e r f l y f o r c o n v e r t i n g t o C h r i s t i a n i t y. H e d e c l a r e s h e r a n o u t c a s t
and the guests all depart. Butterfly prepares for her wedding night, and though she has been
d i s g r a c e d a n d f e e l s s h y s h e s o o n f i n d s f r e e d o m i n t h e a r m s o f h e r l o v e r. D a w n f i n d s P i n k e r t o n
departing for his ship and the start of Butterfly’s patient vigilance.
Three years have passed and Butterfly has borne Pinkerton a son. As if in answer to Butterfly’s
blind determination and faith that Pinkerton will return, Sharpless appears with a letter from him.
The news is not good. Pinkerton has no plans to return.
A s s p r i n g b r e a k s G o r o a p p e a r s w i t h a n e w s u i t o r f o r B u t t e r f l y. H o w e v e r, w h e n t h e m e n t h i n k t h e y
have won her over she chases them from her house and is stopped only by the cannon on the
h a r b o u r a n n o u n c i n g t h e a r r i v a l o f P i n k e r t o n ’s s h i p . B u t t e r f l y w a i t s f o r h e r h u s b a n d , b u t w h e n d a y
breaks there is still no sign of him.
Pinkerton shares an intimate moment with his American wife, Kate, before meeting the Consulate.
T h e y a r r i v e a t t h e h i l l t o p b u t , a s m eSit m oDolor
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of Butterfly and the thought of seeing her again
overwhelm him, Pinkerton flees from the scene. Butterfly hears the noise outside and runs from the
h o u s e . I n s t e a d o f f i n d i n g h e r h u s b a n d s h e f i n d s i n s t e a d h i s w i f e a n d h e r o w n b i t t e r d e s t i n y. T h o u g h
filled with grief and desperation Butterfly accepts Kate as Pinkerton’s wife and surrenders into her
care her last reason for living, her child.
L e f t a l o n e , d e s e r t e d b y h e r f a m i l y, h u s b a n d , r e l i g i o n a n d c h i l d , B u t t e r f l y r e t r e a t s b a c k t o t h e o n l y
thing she has left – her culture. In this culture, freedom from life’s dishonour can be found through
TYPES OF VOICES
 DIFFERENT TYPES OF MALE VOICES
The three male voice types are: Bass, Baritone, and Tenor
Bass
The bass is the lowest singing range and
typically lies between E2 to E4. In the lower and upper extremes
of the bass voice, some basses can sing from C2 to G4.

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 Baritone
The baritone is the second
lowest singing range, and
overlaps both Bass and
Tenor. The typical baritone
range is from A2 to A4, and
might
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up to C5.
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The baritone voice type is the
most common type of male
voice.
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Tenor
The tenor is the highest type of male
voice, typically comfortable between C3
to C5. Tenors generally have greater
control over their falsetto (head voice),
allowing them to reach notes well into
the female register. TITLE LOREM IPSUM
Those who can sing higher
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than the
average tenor are often given the title
“countertenor.”
Queen-Bohemian Rhapsody
 DIFFERENT TYPES OF FEMALE
VOICES
Alto
The alto is the lowest type of female voice. The
typical alto range lies between F3 to F5, though
there are those who can sing above or below th
range. Those who can sing below are often call
“contralto’s” and can usually sing in a range
similar to a tenor.
Though altos have a very similar range to mezz
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sopranos, their voices are usually richer and ful
in the lower register than mezzos. Again, it’s all
about where the voice is most comfortable.
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Mezzo-Soprano
The mezzo-soprano voice is the
middle-range voice type for females,
overlapping both the alto and
soprano ranges. The typical range of
this voice is between A3 and A5.
Many times, mezzo-sopranos
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sing the same voice part as sopranos
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until there is a 3 way split between
sopranos, mezzos, and altos.
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Soprano
The soprano is
the highest
singing voice.
The typical TITLE LOREM IPSUM
soprano voice Sit Dolor Amet Monserrat Caballe’ – O Mio Babinno Caro

lies between
C4 and C6.
 Coloratura
elaborate
ornamentation
of a vocal
melody,
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especially in
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operatic singing
by a soprano.
Contralto
the lowest female singing voice

The contralto's vocal range is

fairly rare; similar to, but
different from the alto, and
almost identical to that of a
countertenor. ... Dramatic—The
dramatic contralto is the
deepest, darkest, and TITLE LOREM IPSUM
heaviest contralto voice,
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usually having a heavier tone
and more power than the
others. Singers in this class
are rare.
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Dramatic
Darker full sound is a vocal
category used to describe
a voice with the largest volume
when compared with other voices,
able to sing over TITLE LOREM IPSUM
the heaviest
orchestration by such composers as
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Verdi and Wagner.

Freddie Mercury and Monserrat Caballe’- Barcelona
FALSETTO
A METHOD OF VOICE
PRODUCTION USED BY MALE
SINGERS, ESPECIALLY TENORS, TO
SING NOTES HIGHER THAN THEIR
NORMAL RANGE.
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 1 4 7

2
8
5

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6 9 10
3
ANSWER KEY
1. BARITONE 5.DRAMATIC
2. MEZZO-SOPRANO 6.BASS
3.TENOR 7.ALTO
4.CONTRALTO 8.SOPRANO
9.COLORANTURA 10. FALSETTO
Sit Dolor Amet