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Oh but I'm glad I didn't wade into the vision system with President butterfly. A program of this tedious Giacomo but she specially bred used and recorded in Rome for the nation on Association of education on broadcast or L.A.. In July 900 at the Duke of York theater in London. But Jeannie thought one act play by the American playwright David Belasco which had been running for a few months Madame Butterfly which she knew no English but what he saw on the stage together with the help of some friends who were present was enough for him. He went quickly backstage and excitedly asked Alaska if he could base an opera on the play. Alaska immediately granted you permission. I agreed it once he said later and told him he could do anything he liked with the play and make any sort of contract because it is not possible to discuss business arrangements with an impulsive Italian who has tears in his eyes and both arms around your neck.
Alaska's One-Act Play was not an original work but a theatrical adaptation of a novel by a somewhat obscure American writer John Luther long which had been published two years before New Century Magazine and had been a success. The novel was based on a true story which had taken place in Japan but at the same time it had garnered elements from a similar case narrated by the French woman Pierre OT in his autobiographical novel Madame chrysanthemum published in 1887 and from which in 1893 under a Mr. J. Had taken his famous operetta. All these works referred to a strange custom which was practiced in the second half of the 19th century in those Japanese cities where military ships of the Western powers landed the custom of temporary marriages. American English and French officers were allowed to marry geishas but the marriage was valid only during their stay in Japan. When the time came for their departure the contract was considered an allowed. But the writers
whom we have mentioned treated this theme in a different sense and ironic tone is used by Loti in his sophisticated novel in which the final separation between the French officer and his temporary wife is not at all dramatic to the extent that the officer surprises his wife shortly before their farewell in the act of testing to see if the money he had given her was real or counterfeit. You know Long's novel on the other hand the girl who has had a baby by her officer attempts suicide when she is certain of being abandoned. Although in the end she returns to the profession of geisha. In the last cosplay although he adapted Long's novel with the author's collaboration and kept the same characters with their original names the end is irremediably tragic. When Churchill sand called Butterfly finds out that her husband has remarried she commits suicide. Cine again work with the same acquittal librettist with whom he had composed the women Tosca.
That is Luigi Leica and she said the jackals are with the anonymous supervision of Julia because of the. He remains of stanchly faithful to the Lascaux that amplifying the story on the lines of the novel which describes the couple's wedding and life together while Belasco drama concentrated on the moment of the abandoned butterflies waiting in vain. None of his works to Puccini love as much as Madame Butterfly and none of them did he believe with such firmness. It was the only one which began its career with the climbers failure. It made its first appearance at La Scala on February 17th 1004 but the audience reception was such that the composer and the editor withdrew the score returning the money which they had been advanced and there was no repeat performance. Almost certainly a pre-ordained hostility had a part in this result. It is necessary to recall however that the butterfly which is popular today throughout the world is not the one which was booed at La Scala with such fury. Three months later when it
triumphantly rose again at the death of the band their brush at the opera had been profoundly modified. It is enough to say that the Milan version was in two acts. The second act lasting an hour and a half which of pressure was definitely divided into what is more numerous cuts had been made. The piece had been added and one of the principal leading things that actually been transformed a fact which bikini's biographers strangely forget plus other changes which Beeching later introduced at different times as witnessed by following editions of the score. What specifically does Madame Butterfly offer as regards Puccini's previous operas principally two elements one is the complexity of the hero's psychological portrait on which the drama is completely concentrated. The other is the exotic flavor of the environment. As regards my own and me me and even more so as regards Tosca butterfly has an incomparably more complex character because differently from the others. It is a character in evolution which
progresses before our eyes. And because it reflects a constant change in states of mind which the music pursues its most impalpable nuance. As for the other element many judge the Japanese isms a butterfly as a purely ornamental factor and external frame for the real substance of the opera. But most probably they are wrong. This criticism is made suspect by the care and devotion which puts me places in this theory searching for authentic Japanese themes and elaborating them into appropriate blends of harmony and timbre with truly masterful refinement. After a better look we discover the real reasons as to why he took such pains the effort to produce a Japanese musical atmosphere was an occasion for breaking the unity of sound making it changeable faceted capable of suggesting kaleidoscopic effects. And it was just this which encountered the inclination that Puccini was beginning to feel in that moment of his evolution towards the restlessness of expression towards us in a
story of instability at times almost morbid. And this restlessness and instability are seen even in the lightest and most sparkling images of the opera for instance. The description of the crowd in the first act during the wedding the nervous animation of which is completely different as compared to that which animates the people in the second act of buoying. Therefore the exotic flavor though it appears only in a few places sides spontaneously with the rest it springs from an impulse common to all its language and to all its world. And it is just this which allows the consideration of the Geishas psychology and the description of her environment under the same light as two aspects of the same reality which is the reality of Puccini's political world in its most restless sensual moment dispersed and almost exaggerated a moment which has already surpassed the chase kindness of ruin. And this explains the contrast in judgment still made on the opera. Many reject the opera in fact they were unable to deny its technical
skill as being the apology of an older graphic sentimentalism and explained that the norm of success as a confession of the author to the public is less noble appetite. Thus they consider at the farthest among which in these works from the ideas of art in general and Modern Art in particular. Others on the contrary without denying some of these aspects underlined However the extreme sophistication of its accomplishment and through this catch a glimpse of the singular points of contact between that so-called sentimentalism and certain precious tendencies of contemporary decadent ism. It is not therefore the most staged of Putin these works but actually the most modern. You will now hear two passages from the second act. One is butterflies dialogue with her maid whom she wants to inoculate with her certainty that Pinkerton her husband will return the other. Here's a scene in which the American consul tries to read butterfly a letter in which Pinkerton begs him to get her used to the
idea that he will not return to moments then a butterfly's long wait with all its alternatives of exultation and dejection of smiles and anguish. We're.
Going to. Who.
Won. Who was.
Who. Why.
Why. Why why. Yes.
Good.
Good good. You have been listening to a program of the Jackal mobile Jini today's
program introduces butterfly needed in Indonesia not exchange feature over i.e. dead in radio and television seized him. Bed Early Bird used and regarded in Rome by the nation on association over to geisha not broadcast of network this is the end E.B. Radio Network.
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Series
Puccini and his work
Episode
Madama Butterfly
Producing Organization
Radiotelevisione italiana
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-2r3p0m4b
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-2r3p0m4b).
Description
Episode Description
This program details the story behind Puccini's "Madama Butterfly," and features performances of selections from the opera.
Series Description
The story behind Puccini's opera, "Madama Butterfly."
Broadcast Date
1960-01-01
Topics
Music
Media type
Sound
Duration
00:29:55
Credits
Composer: Puccini, Giacomo, 1858-1924
Producing Organization: Radiotelevisione italiana
AAPB Contributor Holdings
University of Maryland
Identifier: 60-36-4 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:29:44
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Citations
Chicago: “Puccini and his work; Madama Butterfly,” 1960-01-01, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed May 26, 2024, http://americanarchive.org/catalog/cpb-aacip-500-2r3p0m4b.
MLA: “Puccini and his work; Madama Butterfly.” 1960-01-01. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. May 26, 2024. <http://americanarchive.org/catalog/cpb-aacip-500-2r3p0m4b>.
APA: Puccini and his work; Madama Butterfly. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-2r3p0m4b