Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
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Composer: Giacomo PucciniConductor: Herbert von Karajan
Orchestra: La Scala Theater Orchestra
Performer: Enrico Campi
Performer: Lucia Danieli
Performer: Luisa Villa
Performer: Maria Callas
Performer: Mario Borriello
Performer: Mario Carlin
Performer: Nicolai Gedda
Performer: Plinio Clabassi
Performer: Renato Ercolani
Edition: Music CD
CD Release Date: 1997-08-19
Music Label: EMI Classics
Soundtracks:
Music CD 1
- Act One: E Soffitto... E Pareti...
- Act One: Questa ? La Cameriera
- Act One: Dovunque Al Mondo
- Act One: Quale Smania Vi Prende!
- Act One: Quanto Cielo!...Ancora Un Passo Or Via
- Act One: Gran Ventura
- Act One: L'imperial Commissario
- Act One: Vieni, Amor Mio!
- Act One: Leri Son Salita Tutta Sola
- Act One: Ed Eccoci In Famiglia
- Act One: Vieni La Sera
- Act One: Bimba Dagli Occhi Pieni Di Malia
- Act One: Vogliatemi Bene, un Bene Piccolino
- Act Two: E Lzaghi Ed Lzanami
- Act Two: Un Bel Di Vedremo
- Act Two: C'?. Entrate
- Act Two: Non Lo Sapete Insomma
- Act Two: A Voi Per? Giurerei Fede Costante
- Act Two: Ora A Noi
- Act Two: E Questo? E Questo?
- Act Two: Che Tua Madre Dovr?
- Act Two: Lo Scendo Al piano
- Act Two: Vespa! Rospo Maledetto!
- Act Two: Una Nave Da Guerra
- Act Two: Scuoti Quella Fronda Di Ciliegio
- Act Two: Or Vienmi Ad Adornar
- Act Two: Humming Chorus
- Act Two: Oh Eh! Oh Eh! Oh Eh!
- Act Two: Povera Butterfly!
- Act Two: Lo So Che Alle Sue Pene
- Act Two: Addio, Fiorito Asil
- Act Two: Glielo Dirai?
- Act Two: Che Vuol Da Me?
- Act Two: Come Una Mosca Prigioniera
- Act Two: Con Onor Muore
Music reviews of Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
Music Review: Medea as a Butterfly
Rating: 5 Stars
While working on the PARALLEL PERSPECTIVES Archives page, I started thinking about Maria Callas & her rather bizarre, non-singing role in the equally bizarre 1970's Pier Passolini film MEDEA--and noticed this CD of Puccini's MADAMA BUTTERFLY. I must admit that I was kind of turned-off to see that the CD was remastered from the original non-sterophonic LP (there's just so much even digital technology can do in salvaging pre-stereo operatic recordings) and I really only purchased it because I was curious hear Callas in one of her less notable roles (unbelievably there were only 3 performances).
I was pleasantly surprised to find myself really enjoying the entire production.
Of course director Herbert Von Karajan is a famous talent in his own right and tenor Nicolai Gedda is outstanding as the faithless American lover, Pinkerton.
And there is Maria Callas.
Even the most ferocious detractors of Callas (and there are still many) admit that she possessed a knack for characterization that was tantamount to genius. I too will admit that strictly analyzed from a musical perspective, Callas' performances (including BUTTERFLY) may not be the best in terms of singing technique--but she did have "It"--that certain something that makes her performance unique & unforgettable.
The plot of the opera is simple: Callous American Pinkerton in Japan has fun with local girl, goes through a marriage charade, gets her pregnant, then takes off back home again. But this isn't enough. He returns to Japan with his new American wife & wants to take Butterfly's son back with them to America. Butterfly realizes she's been betrayed & dishonored, but also has to admit that giving up her son could result in great advantages to the boy. She makes the unselfish decision to give custody to Pinkerton & his wife, but she also decides to kill herself.
Puccini has been criticized for his use of "The Star Spangled Banner" as a musical thematic element in the opera. The criticism is purely artistic and not political. However, I thought it was entirely appropriate and that by using it, the composer was making a valid, early multi-cultural statement. I think it also gave the work a universality that is as relevant today as it was near the turn of the last century, the so-called "American Century."
In the final scene Butterfly finally reaches the conclusion that there is no place, no home left for her (after all, by "marrying" Pinkerton she had also renounced her religious faith, and because of that has lost her family as well.) For me, this tragic scene represented the essence of Butterfly--a beautiful, fragile creature, her delicate wings torn off by an uncaring man & blinded by the sudden intrusion of an unforgiving & absolute insight. Like a natural butterfly trapped in a room, the human Butterfly is driven to blinding distraction, unable to escape. This is true in Callas' performance, but it is greatly overshadowed by an underlying emotion of a fierce, almost defiant, rejection of what appears to be her fate--and by implication, the false love that set the self-destructive wheel in motion. This element exists in the interpretation of other singer's as well, but not to the degree of strength as projected by Callas. In a strange way it reminded me of Medea: A rage that devours love, love lost to outrage. Callas' interpretation is particularly note worthy because this striking example of the actor's art is heard, but never seen.
In fairness to Pinkerton, Butterfly's death forces him to reach a higher level of self-awareness.
The CD memorializes one of the great performing artists of "The American Century"--incidentally, Maria Callas was born in New York.
Again, I found the entire production wonderful in its' own right, even if it does lack the latest technological recording innovation.
The Very Best of Maria Callas
Maria Callas, the Voice of the Century
Puccini - Madama Butterfly / Freni, Pavarotti, Ludwig, Wiener Phil., Karajan
Puccini: Madama Butterfly
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