Madama Butterfly

Final Dress Rehearsal Wednesday, October 7, 2009 at 2:00 p.m.

at the Academy of Music

and

The School District of Philadelphia

Present

Giacomo Puccini’s

OperaPennsylvania’s standards in education call for students to show what they know and

are able to do and children need to share what they have discovered or learned. Thus, the titleof our program is Sounds of Learning™. It reflects our belief that children must be activelyengaged in sharing ideas.

The Sounds of Learning™ workbook and teacher guide will integrate with local coreliteracy curriculum in many ways. Just as opera is a uniquely integrated art, combiningorchestra, voice, literature, drama, and dance, Sounds of Learning™ is an interdisciplinaryand student-centered program. The goal of the Active Learning sections is to have your children engaged in the process of self-teaching. They will be able to show how they havegained insights into their learning by drawing, writing, and discussing the issues most relevant to them. In this way, students demonstrate what they can do with what they know.

We believe the family is the most important foundation to learning. Let your kitchentable become a classroom where your children can build their knowledge of opera and thehumanities. As you join in the teaching and learning process with your children, watch theireyes sparkle. Opera is a communal celebration, so too should be your children’s education.

In reading the libretto, we suggest that you and your family members take turns reading particular roles. Dr. Ellen Winner of Harvard’s Project Zero found that: “drama helpsto build verbal skills that transfer to new materials;” helps students in “reading readiness andachievement;” and “oral and written language development.” (Journal of Aesthetic Education,v34, #3/4, Fall/Winter, 2000.)

In preparing for the opera, we suggest you purchase one of EMI’s excellent audio orvideo recordings of this opera. We are grateful to EMI for offering us their libretti for use in ourprogram. Together, we hope to build future audiences for, and performers of, the arts.

Goals and Objectives of Sounds of Learning™• Improve literacy rates by using the opera’s libretto to teach courses across the curriculum• Understand the plot, characters, and their motivations• Learn something about the composer, and others involved in writing the opera• Know something of the historic and social context of the story• Know some key musical elements, recognize certain melodies, differentiate between voices• Understand the role music plays by expressing emotions and heightening the dramatic

experience• Understand the various elements of producing opera and the functions of those involved;

e.g. conductor, director, set designer, technical crew, etc.• Develop the ability to make judgments about the opera, production, and performance.• Relate incidents in the opera to those of the present day

Best Practices in Arts Education is sponsored by Pennsylvania Alliance for Arts Education,Pennsylvania Council on the Arts and the Pennsylvania Department of Education.

A Family Guide to

Contents Opera 101: Getting Ready for the Opera

2 A Brief History of Western Opera4 Philadelphia’s Academy of Music5 Opera Etiquette 1016 There’s a Place for You at Settlement Music School7 Opera - Online!

Relating Opera to History: The Culture Connection8 The Man Behind the Music: Giacomo Puccini10 What in the World? A Timeline of Important Events12 The Fascinating Geisha13 The Kimono of Japan

Libretto and Production Information14 Madama Butterfly: Troubled Beginning15 Madama Butterfly: Plot Synopsis16 Madama Butterfly: Libretto34 Visual Artist Jun Kaneko35 Living a Dream: Soprano Ermonela Jaho35 Madama Butterfly: Discussion Questions

Glossary 39

Table

of

Check out our website for additional content! Here you’ll find more informationon the opera, its themes, lessons, and links to even more fascinating material.See page 7 for more details.

A Brief History of

Western OperaThese early operas were

performed in the courts of Italiannoblemen, but soon opera becamepopular with the general public.Europe at the time had a growing middle class witha taste for spectacular entertainment.

As opera’s popularity grew, so did the complexity of operas and the level of spectacle. Manyopera houses had elaborate machinery that could beused to create special effects such as flying actorsand crumbling buildings. There was much debateabout whether an excess of visual elements in operadetracted from the quality of the music and drama.Some people even worried that too much comedy inopera could lead to immorality among the public!

During the period from about 1600 to 1750,the Baroque period in music, Italian opera spreadacross Europe. In fact the Italian style of opera wasso popular that even though other countries andregions often had their own traditions of musicaldrama, the Italian form was usually preferred.George Frederick Handel was a German-born composer who lived and worked in England, but hisoperas such as Julius Caesar (1724) were in theItalian language and used an Italian style of music.The only nation to develop a national tradition to

2

In its 400-year history each opera has beenshaped by the times in which it was created and tells us much about those who participated in the art form as writers, composers, performers, and audience members.

The first works to be called operas were created in Italy at the end of the sixteenth century.They were inspired by a group of intellectuals knownas the Camerata who, like many thinkers of theirtime in the late Renaissance, admired the culture ofthe ancient Greeks. They proposed the invention ofa new type of musical theater that would imitateGreek drama’s use of music.

The result was a series of operas based onGreek myths, starting with Dafne by Jacopo Peri in1598. The most famous work of this early period isClaudio Monteverdi’s Orfeo (1607), based on themyth of Orpheus. These early operas had all thebasic elements that we associate with opera today,including songs, instrumental accompaniments,dance, costumes, and scenery.

Claudio Monteverdi1567-1643

Theatrical performances that use music, song and danceto tell a story can be found in many cultures. Opera isjust one example of music drama.

A tense scene from Act II of Mozart’s The Marriage of Figaro. (l-r: bass Richard Bernstein, baritone Simone Alberghini

and sopranos Christine Brandes and Mary Dunleavy.)

rival the Italian was France, where operas oftenincluded ballets inserted into the story. Jean-

Baptiste Lully and Jean-Philippe Rameau are themost famous French Baroque opera composers.

By the middle of the seventeenth centuryEurope was changing. The growing middle class wasmore influential than ever, and people were startingto talk about new forms of government and organization in society. Soon the American andFrench Revolutions (1776 and 1789) would seek toestablish the first modern democracies.

Music was changing, too. Composers abandoned the Baroque era’s complicated musicalstyle and began to write simpler music with moreexpressive melodies. Opera composers could writemelodies that allowed characters to express theirthoughts and feelings more believably. One of thefirst operas to use this new style was Cristoph

Willibald Gluck’s Orfeo ed Euridice (1762).

With the new democratic sentiments came interest in operas about common people in familiar settings, rather than stories from ancient mythology.A good example is Wolfgang Amadeus Mozart’s

The Marriage of Figaro (1786), in which a servant outsmarts a count. Several of Mozart’s operasremain among the most popular today. They includeFigaro, Don Giovanni (1788), Così fan tutte (1790),and The Magic Flute (1791).

In the nineteenth century operas continued togrow more diverse in their subject matter, forms, and national styles. The Italian tradition continued in the bel canto movement. Operas written in thisstyle, which means “beautiful singing”, includedarias with intricate ornamentation, or combinationsof fast notes, in the melodies. The most famous bel

canto composers are Vincenzo Bellini, Gaetano

Donizetti and Gioacchino Rossini, whose The

Barber of Seville (1816) is one of the most belovedcomic operas.

3

Wolfgang AmadeusMozart1756-1791

Later in the century the Romantic Movementled many composers to take an interest their national identities. As a result, operas in languagesother than Italian became more common, and newworks often reflected pride in a country’s people,history and folklore. Among the operas that showthe growth of national traditions are Carl Maria von

Weber’s Der Freischütz (Germany, 1821), Mikhail

Glinka’s Ruslan and Lyudmilla (Russia, 1842) andGeorges Bizet’s Carmen (France, 1875). In ItalyGiuseppe Verdi composed in a bold, direct style,and his operas, such as Nabucco and Macbeth, oftenincluded elements of nationalism. In GermanyRichard Wagner took the Romantic style to theextreme in an ambitious series of operas known collectively as The Ring of the Nibelung (1876) basedon Norse mythology.

In the twentieth century opera became evenmore diversified and experimental, to the point thatit sometimes became difficult to distinguish it fromother forms of musical theater. Some composerssuch as Giacomo Puccini (La bohème, 1896),Claude Debussy (Pelléas et Mélisande, 1902),Richard Strauss (Salome, 1905), and Benjamin

Britten (Peter Grimes, 1945) continued to writeoperas that were similar in many ways to those ofthe nineteenth century. Others, horrified by thedestructive effects of World War I (1914-1919) andother aspects of modern life, created works with radically experimental and dissonant music. Theseoperas often explored topics that were either disturbing (Wozzeck by Alban Berg, 1925) or absurdist (The Rake’s Progress by Igor Stravinsky,

1951). American opera also came into its own in thiscentury, beginning with George Gershwin’s Porgy

and Bess (1935) which incorporated jazz and bluesstyles of music. In the latter part of the century arepetitive and hypnotic style known as minimalismwas exemplified in Phillip Glass’s Einstein on the

Beach (1976), a piece that would hardly be recognized as an opera by earlier standards. The latetwentieth century even saw a return to some of thetraits of Romantic opera in works such as John

Corigliano’s The Ghosts of Versailles (1991).

Today, opera is a living art form in which bothnew works and those by composers of the past continue to be performed. It remains to be seen whatthe future of opera will be, but if history is any indication, it will be shaped by the creativity oflibrettists, composers and other artists respondingthe changing times in which they live.

Bass Kevin Glavin gets a close shave from baritone

Roberto DeCandia in Rossini’s The Barber of Seville.

4

Philadelphia’s

Academy of MusicYou will attend the opera at Philadelphia’s

Academy of Music, the country’s oldest grand operahouse still used for its original purpose - performingopera! It is a very grand opera house with a hugechandelier and four levels. Its design was based onthe famous La Scala opera house in Milan, Italy.

Finding the money to build an opera house inPhiladelphia was difficult, but enough money wasraised by 1854. On October 13th a plot of land wasbought on the corner of Broad and Locust Streets tobuild the opera house.

Fifteen architects entered a competition to seewho would design the Academy in the fall of 1854.On February 12, 1855 Gustav Rungé and Napoleon

le Brun won the contest, which included a $400prize. Within four months the ground-breaking tookplace. The project was so important that President

Franklin Pierce, along with the governor andmayor, laid the cornerstone on July 26, 1855.

The Academy opened on January 26, 1857with a Grand Ball and Promenade Concert. The firstopera presented in the brand new opera house wasGiuseppe Verdi’s Il trovatore on February 25,1857. Charles Gounod’s opera Faust had itsAmerican premiere here on November 18, 1863. OnFebruary 14, 1907, Madama Butterfly premieredto “emphatic success” with its composer, Giacomo

Puccini, in attendance.

Numerous presidents have visited theAcademy, including Ulysses S. Grant, Theodore

Roosevelt, and Richard Nixon. Prince Charles of

Wales visited the Academy in 2007. Thousands ofworld-famous performers have appeared on itsstage, such as Peter Tchaikovsky, Sergei

Rachmaninoff, George Gershwin, Igor Stravinsky,

Arturo Toscanini, Marian Anderson, Maria Callas,

and Luciano Pavarotti.

The Academy was made a Registered NationalHistoric Landmark in 1963. Since then, a fewchanges have been made to the structure. The“Twenty-First Century Project”, begun in 1996,replaced the stage floor, rigging system, and restoredthe historic ceiling. During 2008 the famous chandelier was rebuilt to how it looked in 1857. Allof these renovations have helped the Academyremain as grand as ever. We hope you find it grandas well!

Academy Facts› The auditorium seats 2,897; 14 columns support the Academy’s tiers; and the auditorium is encased within a threefoot thick solid brick wall.

› The Academy Chandelier is 25 feet high, 50 feet in circumference, almost 17 feet in diameter, and 3,500 poundsin weight. It has 23,000 crystals on it, which, if laid out, couldreach from Broad Street to Rittenhouse Square and back.

› The red and gold pattern on the Academy’s stage curtain simulates that of a pineapple, a Victorian-era symbolfor “welcome.”

› The first-ever indoor football game was held on theAcademy’s Parquet level on March 7, 1889 betweenUniversity of Pennsylvania and Riverton Club of Princeton. Athalftime, tug-of-war matches were held as entertainment.

› 1,600 people attended the first ever motion picture screening on February 5, 1870. The audience saw a coupledancing, a gymnastics routine and more during the silent film.

› Air conditioning was installed in the theatre 1959.

› There was no elevator for the general public in the Academy until 1990!

For more information on the Academy of Music, go to thelibrary and take out Within These Walls, by John FrancisMarion or go online to www.academyofmusic.org.

The Academyof Music’s

restored chandelier.

Photo by Michael Bolton

Opera Etiquette 101 5

There’s nothing quite as excitingas attending the opera in a beautiful theater like the Academy of Music. Youwill attending the opera’s final dressrehearsal, the last chance for the artiststo rehearse before opening night. Theopera will be run through without apause, just like a performance.

In the center of the floor level ofthe Academy, the Parquet Level, you’llnotice computer monitors on a largetable. The production team sits here totake notes and talk via headset with themany people backstage who make operatic magic happen.

Unlike actors on television or in the movies,performers onstage are very aware of the audience.They want to share their love of performing with you.Everything you do in the audience affects what happens on stage. Because this is a workingrehearsal, please refrain from talking. All of theartists need to concentrate on fine-tuning the production. You can show them how much youappreciate their work and the opportunity to come tothe rehearsal by being as quiet as possible. So,please refrain from talking out of respect for thecast, musicians, the entire production team, andeveryone in the theater. Give the artists and the production your full attention!

ACTIVE LEARNING

The picture on this page shows several patrons and famousopera characters on their way to attend an opera in theAcademy of Music.

Now picture yourself in their shoes. On a separate piece ofpaper, write a few words on what you think the trip to theopera will be like. You may want to mention coming intoPhiladelphia, visiting the Academy of Music, attending theopera. What will you wear? How will you and your classmatesact? At what time will you meet your classmates? How mayclassmates will attend? Will you have a special dinner beforethe opera? If so, where? Will the opera be exciting and entertaining? Share your thoughts here and compare your stories with your classmates.

Here’s a list of do’s and don’ts so that everyone in the theater can enjoy the opera:

Please Do...• Applaud after the arias; you can shout “Bravo!” for the men and “Brava!” for the women.

• Enter and exit the theater in an orderly fashion.

• Please use the bathrooms before the rehearsal begins or at intermission.

• Be careful in the auditorium! Because the theatre is 150 years old, it’s not necessarily designed for modern conveniences.

• Turn off your cell phones and all electronic devices.

• Enjoy the rehearsal. You’ve worked too hard preparing for the rehearsal not to!

Don’t Forget...• Food, gum and beverages are not allowed inside the Academy of Music.

• Photographs or video footage may not be taken duringthe performance.

• No talking or whispering during the rehearsal.

• No shoving, jumping, running, or spitting in the Academy of Music.

• Please obey the Academy of Music ushers and staff.

• Keep all objects to yourself. If you throw something, you might hurt someone and cause a disruption in rehearsal.It is grounds for removal from the auditorium.

• MAKE YOUR SCHOOL PROUD!

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There’s a Place for You at

Settlement Music School

Settlement Music School is a community artsschool that offers programs and activities in music,voice, dance and the related arts to help those interested achieve their greatest potential.

Settlement is dedicated to a belief that people of all ages, abilities, backgrounds,

and financial circumstances deserve and willbenefit from the high quality programs that

Settlement offers.

Founded in 1908, the School began when twoyoung volunteer teachers offered piano lessons for anickel. The response was so huge they raised theprice to a dime to hire more teachers. A full programof instruction soon took shape, encompassing allinstruments and voice and taught by professionals,including members of the Philadelphia Orchestra.

Today, Settlement’s six branches reach allover Philadelphia and serve more than 9,000 pupilson site and another 6,000 through outreach programs. Students from every zip code inPhiladelphia and the eight surrounding counties inPennsylvania and New Jersey attend Settlement.The school has four Philadelphia branches(West Philadelphia, Germantown, Kardon-

Northeast, and the original South Philadelphiaschool - the Mary Louise Curtis branch in QueenVillage); one in Jenkintown, Montgomery County;and the newest location in Camden, NJ.

An impressive list of former Settlement students has gone on to exciting careers, includingactor Kevin Bacon, jazz bassist Stanley Clarke,

pianist Joey DeFrancesco, Tonight Show guitarist

Kevin Eubanks, Hollywood film composer Alex

North, Star Wars director Irv Kershner, numerousmembers of The Philadelphia Orchestra (as well asmusicians in orchestras around the country). Evenscientist Albert Einstein was a Settlement MusicSchool student! In fact, studies show that scienceand music use similar principles—so music lessonsmay help your math skills, too.

Settlement is a vital force in the communitiesit serves. It brings together students from every walkof life, providing many with opportunities otherwise unavailable to them through scholarshipand financial aid. Settlement Music School helpsthem not only to develop musical and artistic talents, but also to build self confidence and readiness for academic and other achievements.Students who come here begin life-long friendshipswith other students who perform with them inensemble and orchestra programs. One student, acurrent member of the Philadelphia Orchestra, stillplays “gigs” on the side with a friend he met when hewas 14 years old at Settlement.

Students’ work at Settlement puts them intouch with the best of themselves, the best of theirneighbors, and the best that the world has to offer increative expression. And, anybody, no matter whatyour skill or circumstance, is accepted. Call 215-320-2600 or visit Settlement’s website atwww.smsmusic.org for more information.

Settlement Music School BranchesMary Louise Curtis (215) 320-2600416 Queen Street, Philadelphia, PA 19147

Germantown (215) 320-26106128 Germantown Avenue, Philadelphia, PA 19144

Kardon-Northeast (215) 320-26203745 Clarendon Avenue, Philadelphia, PA 19114

Jenkintown Music School (215) 320-2630515 Meetinghouse Road, Jenkintown, PA 19046

West Philadelphia (215) 320-26404910 Wynnefield Avenue, Philadelphia, PA 19131

Camden School of Musical Arts (856) 541-6375 531-35 Market Street, Camden, NJ 08102

Visit the Settlement Music School website atwww.smsmusic.org.

Famous

Philadelphia-born

actor Kevin Bacon

took lessons at

Settlement Music

School. You can,

too!

7

See rehearsal photos on our website athttp://www.operaphila.org/production/behind-scenes. Logon and see our Behind the Scenes area to see howa production develops from the first day of rehearsal to opening night!

Also, you can download extra copies of theSounds of Learning™ guide and past guides fromthis page as well. All of this content is provided forfree!

If you’re online, check out our myspace and facebook pages, too. Just search for Opera Company ofPhiladelphia!

OPERA – Online!

Many of you may be studying music in yourschools or privately. Where do you go if youwant to learn more about Madama Butterfly,opera singers, opera-related topics and experience opera more frequently? Visit OCP’swebsite at:

operaphila.org/community/sol-prod1.shtml.

Here you can find more information aboutMadama Butterfly and all the operas presented bythe Opera Company at absolutely no cost!

Opera Right in Your Email Inbox!

Another great way to learn more is to sign up for the freeweekly Sounds of Learning™ email list. Email your name,school and age to education@operaphila.org and eachweek we’ll send you an opera video “clip of the week”with famous opera singers singing great arias and ensembles all throughout the summer. Some will be funny,some will be thrilling, some will be dramatic, all if it will beexciting! Also included in the email will be the website ofthe week. We’ll feature links to singers’ websites, musiclinks, other great music and opera websites. You can build awhole library of video clips to go back to again and again!Share the clips and links with your family and friends.

Don’t forget to check out our Sounds ofLearning™ blog at http://operaphillysol.blogspot.com.The blog will allow you to discuss the opera with students throughout the tri-state area! Log onto the blog and share your thoughts and views about the opera, the music, the set, the singers, the Academy of Music, coming to center city Philadelphia, the email list clip of the week and more! Other students participatingin Sounds of Learning™ from Pennsylvania, New Jersey, and Delaware want to hear what youhave to say! Post your comments by going to: http://operaphillysol.blogspot.com.

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Puccini’s father, Michele, taught music at thelocal conservatory and was a church musician. Hedied when Puccini was six years old. His mother wasleft to support six daughters and two sons. The family was poor and his mother worried aboutPuccini’s future. She believed that a good educationcould free her children from poverty. At age nine,Puccini joined the seminary, later becoming a chorister and organist at the Cathedral of Lucca.

In 1876 Puccini and his brother walked 18miles to see a performance of Verdi’s Aida in thetown of Pisa. He knew opera was his destiny. Hewanted to study in the conservatory in Milan, but hecouldn’t afford the tuition. Puccini’s mother wrote aletter to the Queen of Italy to get a scholarship forher son.

The letter worked, but it didn’t mean thatPuccini was now rich. He wrote to his mother aboutfood, requesting a little olive oil or some beans.Puccini quipped of his lifestyle, “At five I have athrifty meal with soup, then I light up a cigar and Igo to the Galleria.”

In 1882 when Puccini was 24, he submittedhis first opera, Le Villi (The Willies) into a competition. He didn’t win, but it was staged twoyears later. The opera was a success and one criticcalled Puccini "the composer Italy had waited for."The publishing company G. Ricordi & Co wasimpressed enough to commission Puccini to writethe opera Edgar, but it failed at its 1889 premiere.

Elvira Bonturi

In 1884 Puccini was hired to teach ElviraBonturi Gemignani, the wife of his friend NarcisoGemignani, to sing and play the piano. Puccini andElvira hit it off and soon became lovers despite thatshe had a son and a daughter with her husband.When Elvira discovered she was pregnant withPuccini’s child, she moved out of the house with herdaughter to live with the poor composer. Divorcewas illegal at the time in Italy, and woman had fewrights under Italian law. It was impossible forPuccini and Elvira to marry.

They moved to the lakeside village of Torre delLago in the Tuscany region of Italy. Here Elvira gavebirth to Puccini’s son, Antonio and the composerthrew himself into his work.

He worked very hard on his next opera,Manon Lescaut (1893). It was an immediate triumph and gave Puccini fame and success, if notwealth. At Torre del Lago he composed his threemost popular operas: La bohème (1896), Tosca

(1900), and Madama Butterfly (1904), which finally brought him wealth.

Puccini enjoyed the relaxed life he could leadby the lake. Here he indulged in his passions: hunting, smoking cigars, technology (he frequentlycorresponded with Thomas Edison), and fast cars.Puccini almost died after he was in a near-fatal caraccident in 1903. Ironically, Elvira’s husband diedthe day after the accident. His death enabled Puccinito marry Elvira after the legally imposed 10 monthsof widowhood.

The Manfredi Incident

Perhaps that which Puccini liked the mostwas women. He had a long series of love affairs outside of his relationship with Elvira. He reassuredher that they meant nothing to him, but as an artist,he relied on them to help his creativity. This excusedid little to calm Elvira’s terrible jealousy.

One of the worst examples of Elvira’s jealousysurrounded her treatment of their maid, DoriaManfredi. A local peasant girl who had worked forthe Puccinis since she was 16, Doria helped Pucciniduring the long recovery period after the 1903 caraccident. Doria was extremely attentive to Puccini’sneeds and there was an affectionate bond betweenthe two of them.

Elvira noticed this affection and her jealousygot the best of her; she assumed the two were having an affair. She threw Doria out of the houseand threatened to kill her. She vowed to ruin Doria’sreputation in the small village. Elvira publicly condemned Doria and screamed insults at Doriaand her relatives in the street. In a quest to catchher husband with the former maid, Elvira disguisedherself in one of Puccini’s suits in the hopes ofcatching the two together one night.

The Man Behind the Music:Giacomo Puccini

Giacomo Puccini was born on December 22,1858 in Lucca, Italy. He would become one ofthe most popular opera composers ever.

9

The quiet and simple girl could take no more.In January 23, 1909 she committed suicide by taking three poisonous mercury chloride tablets.The poison worked slowly and Doria was in extruciating pain. It took three days for the poison todo its intended effect.

A court ordered autopsy proved that Doriahad died a virgin. Doria’s family sued Elvira fordefamation and slander. Elvira was found guilty andsentenced to five months in prison. The case wassettled out of court on appeal after Puccini offeredthe family 12,000 lire in compensation.

Publicly humiliated and devastated by theseevents, Puccini and Elvira temporarily separated.Doria’s death would haunt Puccini for the rest of hislife. He was known to place flowers on Doria’s gravefrom time to time.

Doria’s impact on Puccini is evident throughhis operas, almost as if life was imitating his art.Doria is the living embodiment of his sweet andinnocent heroines Mimì, Butterfly, and Liù. Somecritics say that the Turandot gave Puccini theopportunity to depict his wife and Doria through theroles of Turandot and Liù.

Back to Work

After Doria’s suicide, Puccini returned towork. He finished work on the opera La fanciulla

del west (The Girl of the Golden West). The operawas based on a play by American playwright DavidBelasco. Puccini discovered it while in America tosupervise the supervise the New York premiere of hisMadama Butterly, which was based on anotherBelasco play. Fanciulla had a successful premiere atthe Metropolitan Opera in New York City and starredthe famous tenor Enrico Caruso.

Puccini began to work on a trio of one actoperas for the Met: Il tabarro (The Cloak) about anunfaithful wife along the banks of the Seine River inParis; Suor Angelica (Sister Angelica) about a nunthat commits suicide, and Gianni Schicchi (Johnny

Schicchi) based on Dante’s The Divine Comedy. Thethree operas were to be performed on the same nightunder the title Il trittico (The Triptych). The operas didnot achieve the success of his previous works.

In 1920 Puccini began work on Turandot,

but he had difficulty finishing the opera. By 1923 he complained of a chronic sore throat which was diagnosed as throat cancer. He underwent treatment in Brussels, but died on November 24,1924. Originally buried in Milan, Puccini’s remainswere moved to a chapel in his Torre del Lago villa.

Turandot was completed by Franco Alfano

who used Puccini’s sketches to finish it. It was premiered at La Scala in Milan on April 25th, 1925.

Despite Puccini’s humble beginnings, he wenton to become an operatic superstar. At his death hisestate was worth $4,000,000. His operas receivehundreds of performances each year. He may havedied over 80 years ago, but he will live on throughhis soaring melodies and the passion of is operas.

ACTIVE LEARNING1. What six cities are mentioned in this article?

a. In what countries are they located?b. Can you find them on a map?

2. How old was Puccini when he went to see a production ofVerdi’s Aida in Pisa?

Composer Giacomo Puccini, with his trademark cigarettePhoto Courtesy Library of Congress Prints and PhotographsDivision Washington, D.C. 20540 , #LC-USZ62-65802

What in the World??Personal and Historic Events during Puccini’s Life10

Listed below are some historic and cultural events that took place during Puccini’s life. Events in boldface type are things that happenedto Puccini; an asterisk (*) indicates events of local interest. What might it have been like to be alive at this time?

1857 *

1858

1861

1862

1865

1870 *

1873

1874 *

1876

1876

1877 *

1878

1880

1882

1883

*

1884

1884

1888

1889

1890

1890

1892

1893*

1894 *

1895

1896

Philadelphia’s Academy of Music opened with a concert conducted by Tchaikovsky.

Puccini was born on December 22 in Lucca, son of Michele and Albina Magi.

American Civil War began. It ended in 1865.

The first U.S. paper money was issued in denominations of $5, $10, $20, $50, $100, $500 and $1,000.

The 13th Amendment to the Constitution abolished slavery throughout the U.S.

The first section of the famous boardwalk in Atlantic City, N.J. opened to the public.

Suffragist Susan B. Anthony was fined $100 for trying to vote in the 1872 presidential election.

The first U.S. zoo opened in Philadelphia.A U.S. child labor law took 12 year olds out of the work force.

Puccini wrote the Symphonic Prelude. He attended the opera Aïda and was very impressed.

Alexander Graham Bell made the first telephone call.

The first department store was opened by John Wanamaker in Philadelphia.

Puccini composed the Motet and Credo.

While at the Conservatory of Lucca, Puccini composed a Mass for soloists and orchestra. He enrolled at the Conservatory in Milan and was taught by Bazzini and Ponchielli.

The first string of Christmas tree lights was created by Thomas Edison.

Puccini graduated from the conservatory with a bronze medal. His Capriccio Sinfonico,which he later used in his opera La bohème, was performed by the student orchestra.

The Philadelphia Phillies, then called the Quakers, played their first baseball game.

Puccini’s first opera, Le Villi, premiered on May 31 in Milan. He began to work with publisher Giulio Ricordi. His mother died. He began a long love affair with his friend’s wife.

America's first roller coaster began operating at Coney Island, NYC. It hit a top speed of 6 mph.

The Washington Monument opened.

Puccini’s second opera Edgar premiered at La Scala on April 21 with short-lived success.

Ellis Island, NYC, opened as a US immigration depot.

Peanut Butter was invented as a vegetarian protein supplement for people with missing teeth.

The American Pledge of Allegiance was first recited in public schools to commemorate Columbus Day.

Manon Lescaut gave Puccini his first big success at Teatro Reggio in Turin on February 1.Philadelphia observed the first Flag Day.

George Ferris introduced his Ferris Wheel at the World's Columbian Exposition in Chicago.

Milton Hershey founded Hershey Foods in Pennsylvania.

Frederick E. Blaisdell patented the pencil.

The premiere of La bohème at Teatro Regio on February 1 was led by conductor Arturo Toscanini.

The first movie theater in US opened and charged 10 cents for admission.

111900

1901 *

1904

1907

1908

1909

1910

1912

1914

1917

1918

1919 *

1920

1921

1922

1924

1926

ACTIVE LEARNING

Explore the library or the internet and discover more events that occurred during this era.Consider making your own timeline with additional events from this period. You may also illustrate your timeline.

1. Which presidents were in office during Puccini’s lifetime?

2. What amendment granted women the right to vote and when was it made law?

3. The Philadelphia Phillies were not always called that. Under what other names did they play?

Information taken from Timelines of History website at http://timelines.ws.

Tenor EnricoCaruso inPuccini’s La fanciulla delwest. Photo courtesyLibrary of Congress

Puccini’s Tosca premiered at Teatro Costanzi in Rome on January 14.The hamburger was created by Louis Lassing in Connecticut.

The first annual Mummers parade was held in Philadelphia.

Puccini married Elvira Bonturi after the death of her first husband. Madama Butterfly had a disastrous premiere at La Scala. Puccini reworked it for a successful production in Brescia on May 28.

Puccini traveled to New York to see the Metropolitan Opera premieres of Madama Butterfly and Manon Lescaut. He was impressed by David Belasco’s play The Girl of the Golden West.

Puccini experienced marital problems because of his jealous wife. A lawsuit was filed against her after Puccini’s servant commits suicide due to Elvira’s jealous persecutions.

The 1st Lincoln-head pennies were minted. It was 95% copper and was the first United States coin to depict the likeness of a president.

Puccini went to New York a second time for the premiere of La fanciulla del west on November 10, led by Arturo Toscanini and starring Enrico Caruso. The opera was based on Belasco’s play.

The British ocean liner Titanic sank after hitting an iceberg.

W.H. Carrier patented the air conditioner.

Puccini’s operetta-inspired La rondine debuted in Monte Carlo on March 27.

Puccini had his second world premiere at the Met with Il trittico on December 14.

Daylight Savings Time went into effect throughout the United States for the first time.

Construction began on the Philadelphia Museum of Art’s current home. It was completed in 1928.

The United States Congress passed the 18th amendment, prohibiting alcoholic beverages, and the 19th amendment which granted suffrage to American women.

Puccini began work on Turandot at Viareggio with a libretto by Adami and Simone.

King Tut’s tomb was discovered.Fascism came to Italy as Benito Mussolini took control of the government.Harlem Renaissance begins in the New York City borough.

After treatment for throat cancer, Puccini died of a heart attack on November 29. Two months after his death, Puccini was given the honorary title of senator. His remains were moved to Torre del Lago andreinterred in the estate chapel.

Turandot premiered incomplete at La Scala, conducted by Toscanini on April 25. Later performance included the ending as completed by Franco Alfano who used Puccini’s sketches.

12 The Fascinating Geisha

We may be familiar with geisha from moviesand books like Memoirs of a Geisha, televisionshows, or even operas like Madama Butterfly.Puccini was fascinated by the geisha Cio-Cio Sanand just as they have fascinated Westerners for acentury, but who were they?

If translated literally, geisha means “beautyperson” or “person who lives by the arts.” The geishagrew out of the Japanese taikomochi or hokan

jester tradition that began in the Edo Period (1600-1868). Originally geisha were men who made jokesand amused guests and warriors, but through theyears women began to take on these responsibilities.Like jesters, geisha are professional entertainers;unlike jesters, these highly trained women weremasters of the arts including music (especially theshamisen stringed instrument), dance, calligraphy,flower arranging, tea ceremony, poetry, conversationand social graces. While schooled in the arts, geishadid not prepare or serve food.

By the 1780s there were mostly female geishaand they became an important part of Japanesesocial culture. Geisha were a valued component in theJapanese business tradition. Businessmen and theirclients got together out of the office at tea houseswhere strong, long-term relationships were nurturedwith the help of geisha. As part of this culture, ageisha’s silence concerning what was talked about atthe tea house was mandatory.

Traditionally, many geisha were young girlsfrom poor families who were sold to the geisha houses (called okiya) and trained from childhood.Geisha could earn a lot of money and geisha wererespected in society. They would start at the lowestlevel, working as maids within the house, then asassistants to the house’s senior geisha, from whomthey learned complex kimono traditions, the art ofconversation and socializing, and how to deal withclients.

A young geisha’s training would last for manyyears until she was ready to be introduced as amaiko or apprentice geisha. The maiko would go toengagements with her senior geisha to learn gamesand socializing skills which wouldn’t be taught inthe house and to seek potential clients. This trainingwould continue until the maiko was promoted to afull-fledged geisha.

Geisha were expensive and were mainly hiredby the rich. Geisha were not paid by the hour, buttheir fee was based on the length of time it took foran incense stick to completely burn. Traditionally,the minimum payment was for four sticks whichtook about an hour to burn. Today, a geisha partycan cost over $10,000.

Geisha are sometimes confused as prostitutes.While geisha are hired to entertain, it is purely in aprivate social or business setting. In fact when menstopped being geisha, female geisha were forbiddenfrom having casual physical relations for money soas not to compete with prostitutes. As with businesscustoms, many geisha formed long-term relationshipswith her patrons, even choosing to take a danna, ora wealthy man who financially supports a geishamistress. Some geisha fell in love with her danna.

Geisha are still working in Japan today. In the1920s there were over 80,000 geisha. Today thereare fewer than 1,000. While they are no longer soldinto an okiya, girls voluntarily begin their training intheir late teens. While some women remain geishaand become financially independent, others onlystay in the profession until they find a husband.Geisha are still a vital part of Japanese business lifeand continue to fascinate with their innocent charm.

For more information on geisha visit us on the web at

www.operaphila.org/community/sol-prod1.shtml

Two geishadressed in

traditional kimonoas photographed

by the BainsNews Service.

Photo: Library ofCongress Prints and

Photographs Division Photo LC-B2- 5789-9

13

The kimono is the ancient traditionaldress for the men and women of Japan.“Kimono” translated literally means “somethingto wear.” The kimono, although it is commonlyassociated with Japan, actually originated inChina. Some historians claim that the kimonowas brought to Japan from China by Buddhistmonks in the 8th century. Others trace thekimono’s arrival in Japan to as early as the 6thcentury C.E. (Common Era). Regardless of theexact date when the Japanese people adoptedthe kimono style of clothing, it has become animportant part of their culture and history.

The history and design of the Japanesekimono is complicated. Each kimono isdesigned according to a standard size andshape so that a man or woman of any height orweight can fit into it. In the history of thekimono there have been three popular types:The osode which is a large or long-sleevedkimono (and not very common in modernJapan); the kosode which is a smaller sleevedkimono; and the furisode which is a very longand flowing type of kimono.

All kimono are made from a single basicpattern, and vary a bit depending on whetherthe wearer is male or female. The kimono itselfis hand sewn and has to be taken apart seamby seam to be cleaned, and then put backtogether. The kimono is traditionally made ofsilk, cotton, or linen. However, many kimonoare now made from man-made materials.Kimono are usually sewn or woven by handand are frequently decorated with a familycrest on five different places on it.

The kimono is rectangular in shape andafter it is put on, it is tied with a belt-like mate-rial called an obi. The obi is a very significantpart of the kimono. The way the obi is tied aswell as its design and size tells a good dealabout the person wearing the kimono. There isa complex but proper way to tie the obi. Tyingthe obi is so difficult that many people needsomeone to help them put it on.

Kimono designs depend on a number ofthings including the gender, marital status,and age of the person wearing it. A young single woman, for example, would wear a

brightly colored and elaborately patternedkimono, while an older married woman wouldwear a kimono with a solid pattern and moresomber colors like navy, grey, or black. Thesecolors are supposed to signify the maturity andwisdom of the wearer. The cut of the kimonoalso varies according to the age of the wearer.The young single woman’s kimono will havelonger sleeves than that of the older woman.The traditional woman’s kimono ensemble ismade up of eighteen pieces.

Kimono worn by men are very similar tothose worn by women, except that men’skimono are usually made with a dark solidlycolored material which contains very little decoration.

The design, texture and layers of thekimono are made to accommodate the seasonin which it is worn. In the summer men andwomen wear a light cotton kimono called ayukata. In the winter a hanten, a heavy cotton-padded jacket is worn over the yukatafor extra warmth.

Today, kimono are not worn as often asthey were before the west profoundly influenced the Japanese people and style ofdress. Now, kimono are worn only for specialoccasions (weddings, graduations, etc.). Infact, the kimono is worn so infrequently thatthere are schools in Japan to teach women howto wear the kimono. Today the fashions wornby Japanese women, men, and children are thesame as those seen in the United States.

ACTIVE LEARNING

1. Have you ever wondered how geisha put on those manykimono layers? Well it can take over 20 minutes to put theentire garment on. There are several instructional video clipson youtube on how to wear a kimono. To see one of thoseclips, follow the link located on our website at http://www.operaphila.org/community/sol-prod1.shtml

The Kimono of Japan

14

just spontaneous disapproval. It has never beendetermined who plotted this scandal. However,it is generally believed that a group of rivalcomposers and their followers sabotaged thepremiere of Madama Butterfly. The overwhelmingsuccess of Puccini’s other operas, combinedwith his arrogance and dislike of contemporaryItalian music had made him many enemieswho may have organized Butterfly’s failure totoss a roadblock onto his seemingly spotlesscareer path.

Puccini withdrew the opera from La Scalaimmediately after the premiere and agreed tomake several revisions to make the opera moreappealing to the public. The revised opera waspresented at a smaller theater, the TeatroGrande in Brescia (a small town outside Milan)on May 28, 1904.

The reaction to the revised Butterfly wasphenomenally different from the premiere. Theaudience was enthralled, and even demandedthat several numbers be repeated. Puccini wasbrought on stage ten times amidst thunderousapplause. Madama Butterfly, after many trials,tribulations, and five revisions, was a success,never to fail again.

Madama Butterfly was soon producedthroughout Europe. The opera came to theUnited States in 1906 and premiered inPhiladelphia at the Academy of Music onFebruary 14, 1907 with both John Luther Longand Puccini at the performance. Puccinireceived cheers at the end of each act from theAcademy stage.

Today Butterfly is the most-performedopera in America and performances frequentlysell out. Its success has even helped inspire theplay M. Butterfly and the musical Miss Saigon.

ACTIVE LEARNING

1. Read John Luther Long’s short story and David Belasco’splay, on our web site. How are they different than the opera?

2. Read the review of the Philadelphia premiere of MadamaButterfly online on our web site at www.operaphila.org/community/sol-prod1.shtml

Madama Butterfly is based on aplay of the same name by Americanplaywright David Belasco whichwas based on a short story in amagazine by John Luther Longwhich was based on the true storyof Tsuru Yamamura, a Japanesewoman who had a child with anEnglish merchant. While Butterfly’s

heroine Cio-Cio San flees Nagasakiwith her child and maid in the shortstory, she tragically kills herselfrather than live without Pinkertonand their child in both the play andthe opera.

Puccini saw Belasco’s successful playwhile in London to oversee the British premiereof his opera Tosca. He fell in love with Butterfly

and began writing the score in 1902; however,the composition was interrupted for severalmonths when he was seriously injured in anauto accident. In pain and confined to a wheelchair, Puccini took more than a year tofinish the score. However, once the opera wascompleted, Puccini felt it was his finest work.He loved Cio-Cio San more than any of his previous heroines, exclaiming: “There is nocomparison between my love for Mimì,Musetta, Manon and Tosca and that love whichI have in my heart for her whom I wrote musicin the night.”

Madama Butterfly was not always theacclaimed opera it is today. The much-anticipatedopera premiered in Milan at La Scala onFebruary 17, 1904. It was an utter disaster.Instead of applauding and cheering, the audiencegrunted, groaned, booed, hissed, cursed,accused the soprano of being pregnant when agust of wind went up her kimono, shouted thatthe opera sounded too much like La Bohème,and more. The heart wrenching final scene inwhich Butterfly commits suicide was met withlaughs and belittling shouts. There was not asingle curtain call. Even the press was unkind;one critic called Madama Butterfly a "diabeticopera, the result of an automobile accident."

Puccini was devastated. It became obviousto him, and to the public, that the unruly scenein the theater had been organized; it was not

Madama Butterfly

Troubled Beginning

Rosina Storchio(1876–1945) who

sang the world premiere of

Madama Butterflyin 1904.

15

ACT I: Lieutenant Pinkerton of the U.S. Navyinspects a house overlooking Nagasaki harbor. Goro,who is brokering his marriage to Cio-Cio San, showshim around and introduces him to the cook and hisfuture wife’s maid, Suzuki. The American consulSharpless arrives out of breath from climbing thehill. Pinkerton describes his philosophy of the rovingYankee in search of pleasure wherever he can find it.(“Dovunque al mondo”). After sending Goro to bringhis bride, who is also known as Madame Butterfly,Pinkerton tells of his infatuation with her. Sharplesswarns that she may have other ideas about the marriage and he hopes that Pinkerton doesn’t hurther. Pinkerton brushes aside his friend’s concernsand raises a toast to America (“America forever!”)and the day he will have a real American wife.

Goro returns leading Butterfly and her friends in aprocession up the hill. Butterfly bows to Pinkertonand Sharpless. She tells Sharpless that she is 15years old and that her family was once prominentbut lost its position. Now she has had to earn her living as a geisha. As Butterfly’s family arrives, sheshows Pinkerton her few and treasured possessionsand tells him that she has visited the American mission to renounce her ancestral religion andembrace his. The Imperial Commissioner proclaimsthe marriage and the couple is congratulated. Butthe festivities are interrupted by the Bonze,Butterfly’s uncle, a Buddhist priest. He cursesButterfly for dismissing her religion. After orderingeveryone to leave, Pinkerton attempts to comfort hisbride and the lovers embrace (“Viene la sera”).

ACT II, Scene 1: Three years later. With Suzukiby her side, Butterfly waits for her husband’s return,which he has promised will be ‘when the robinbuilds his nest again.’ Butterfly imagines his returnand the joy it will bring (“Un bel dì”). Sharplessarrives with a letter from Pinkerton but on his heelsis Goro with a potential husband for Butterfly, thewealthy Prince Yamadori. Butterfly rejects the offerof marriage and after Yamadori and Goro leave,Sharpless begins to read the letter, which says thatPinkerton will not return to Butterfly. WhenSharpless suggests that she reconsider Yamadori’soffer, Butterfly furiously fetches her small child andasks “And this?” (“E questo?”) Too astonished to tellher more from the letter, Sharpless leaves, promisingto tell Pinkerton of the child. A cannon shot from the

harbor signals the arrival of a ship and, whenButterfly and Suzuki grab a telescope and read thename of Pinkerton’s ship, they are overwhelmed.After Butterfly and Suzuki gather blossoms andscatter petals throughout the home (“Squoti quellafronda”), they sit with the child into night, waitingfor Pinkerton while keeping watch over the harbor.

ACT II, Scene 2: As dawn arrives, Butterfly singsa lullaby and takes the child to another room wherethey both fall asleep. Pinkerton arrives withSharpless and, when Suzuki asks about the identity of the woman with them, Sharpless saysthat it is Pinkerton’s new wife, Kate. They want tomake sure that the child has a good Americanupbringing. Pinkerton expresses his grief and theguilt he feels for abandoning Butterfly, and leavesunable to face her (“Addio, fiorito asil”). WhenButterfly rushes in and realizes the situation, sheagrees to give them her child, but only on the condition that Pinkerton will return to get him. Aftereveryone leaves, Butterfly takes her father’s daggerand, after bidding farewell to her child (“Tu? Tu?Piccolo iddio”), stabs herself as Pinkerton desperatelycalls her name.

Madama Butterfly Plot

Synopsis

Butterfly arrives with her friends to meet Lieutenant B. F. Pinkerton

Photo from Opera Omaha’s production of Kaneko’s Madama Butterfly, courtesy Takashi Hatekeyama, Kaneko Studios

34

Visual Artist

Jun KanekoJun Kaneko is a world-famous artist whose

works are on display in museums around the world– including the Philadelphia Museum of Art. Bornin1942 in Nagoya, Japan, both Jun’s mother andfather were dentists. Jun’s mother wanted to studyart professionally, but her father encouraged her tobecome a dentist. She was an artist at heart: whileshe filled patients’ cavities during the day, she filledcanvases with her art at night.

When Jun was in grade school he took hisrequired weekly art class. He would draw andpaint at home, but never showed anyone his work.His mother found his work and secretly showedit to several respected artists who happened tobe her patients. They all thought he should studyart seriously.

His mother helped him find his first tutor,Satoshi Ogawa. Jun studied with Mr. Ogawa in themorning and went to high school at night. This styleof education worked well for Jun as he found thetraditional Japanese educational system too strictwith no room for creativity.

When he was twenty-one, Jun left Japan forthe United States to study art. He stayed withSatoshi Ogawa’s friend Jerry Rothman inCalifornia. Jerry, who spoke a little Japanese, agreedto help young Jun.

Jun did not speak English, and learned fromwhat he could see. His first real encounter withceramics was while house-sitting for Jerry’s friends,Fred Marer and his wife, who later became hisfriends. The Marers had a very large ceramic collection and they often brought Jun to visit thestudios of the artists whose pieces they collected –and again Jun absorbed all he could through observation.

Jun began taking painting classes at theChouinard Art Institute. Since he was still learningEnglish, he used his eyes instead of his ears to learnthe techniques taught in class. Later, Kaneko wouldsay, “everything we look at comes from our intuitionand feeling, which comes from our human body.”Jun has held this belief since his early days as anartist. If he had not trusted his intuition in a placewhere he could not speak the language, his talentsmight have gone undiscovered.

The famous artist Peter Voulkos, who taughtin the ceramics department at the University of

California in Berkeley, hired Jun to be his assistant.Jun was able to go to ceramics classeseven though he wasn’t enrolled, and shared avail-able workspace. The artist developed his own stylewith ceramics. Instead of imposing his personalideas upon a piece, he allows the art to come to him,rather than chasing it with his own images andideas.

Jun has slowly entered the world of opera. Hedesigned the sets and costumes for our stunningproduction of Madama Butterfly. Originallymounted for Opera Omaha, this production hasbeen seen all over the United States. After seeingJun’s amazing Butterfly production, OCP ArtisticDirector Robert B. Driver decided to bring the production to Philadelphia and also asked Jun tocreate a new production for Beethoven’s Fidelio,which premiered in October 2008.

With pieces in museums and on displaythroughout the world, Jun Kaneko’s works todaybalance structure and creativity. His artworkbridges his Eastern heritage and his Western home.Known for his large scaled ceramic pieces that canbe over ten feet tall, Jun has brought a unique voiceto the art world. Peter Voulkos said that Jun “hasbecome a true visionary, combining Eastern andWestern thought, propelling the medium towards auniversal language.”

ACTIVE LEARNING1. Visit Jun’s website at junkaneko.com2. Can you and your classmates find Nagoya, Japanon the map? How far away is it from Tokyo?

3. Jun’s mammoth dangos will be on display throughout Philadelphia this fall. Ask your teacher for a list of locationswhere the dangos can be seen.

Jun at work on one of hisfamous ceramic heads.

This head measures101”h x 70”w x 77”d.

Photo: Takashi Hatakeyama

35

Living a Dream:

Soprano Ermonela JahoSinging the role of Cio-Cio San, the title

role in Madama Butterfly, is Albanian sopranoErmonela Jaho (ĕr-mō-nĕl-lă yă-hō). Ermonelawas drawn to the opera when she and her olderbrother went to see Giuseppe Verdi’s opera La

Traviata when she was thirteen years old.Ermonela said, “Together with my big brother Ientered the theatre and my heart beat changedas the deep, sad and romantic sounds of theprelude began. Even though I did not understand all the words I just knew everything that was being said somehow. Thebeautiful arias where music expresses all theemotion that words and story are trying to convey made me feel one with the music.Somehow I wanted to sing out every feelingthat I had, in front of everybody. No filters, norestraints, no self control, nothing.... Just letthe heart follow the music and somehow touchother people's hearts too.”

Growing up in a musical home, Ermonelaand her family would sing together at familyparties and functions always a capella, or without accompaniment. Her parents, brothers,aunts, uncles, and cousins would improviseand make up harmonies as they sang traditionalAlbanian folk songs, which always impressedher. She started to study the violin at the ageof five but found it too difficult. So then sheswitched to singing which she thought wasmuch easier! Learning to sing properly can takea long time, and Ermonela has been dedicated tolearning the proper way to sing. She went tothe Licieu Artistik in Tirana, Albania, and thencontinued to study at the Academy of Fine Arts,

also in Tirana. While studying in Albania, shewon a scholarship to study singing at theAcademy of Mantova in Italy. Then she completedher studies at the Academy of Santa Cecilia inRome, Italy, where she studied singing andhow to play the piano. At the same time, shealso completed a Diploma in Phoniatry at theGemelli University in Rome, Italy.

Ermonela made her debut with the OperaCompany of Philadelphia in one of her favoriteroles, the seamstress Mimì in GiacomoPuccini’s very popular opera La Bohème inOctober 2006. The success of her performancesin Philadelphia led to performances in London,

England at the Royal Opera, Covent Garden and

the Metropolitan Opera in New

York City. At both theatersshe was asked to sing thevery role that attracted her toopera so many years ago,Violetta in Verdi’s La

Traviata. She returned toPhiladelphia in February2009 to sing the role of theslave girl Liù in Puccini’sChinese fairy tale opera,Turandot. Again in these performances she stole theshow with her gorgeoussinging and bold acting.

In Madama Butterfly

Ermonela fulfills anotherdream by singing the heart-rending role of Cio-Cio San. It’s one of the mostdifficult roles in opera, too. You need a powerfulvoice to sing over the large orchestra during along evening. The role tests the singer’s staminaas Butterfly is onstage for almost three quartersof the opera. She’ll also have to control heremotions during this very emotional opera.Have you ever tried to talk when you’re crying?It’s almost impossible. Imagine how hard it isto sing if you’re crying!

When not singing in opera houses allover the world, Ermonela likes to study foreignlanguages, philosophy, and read materialabout future projects trying to analyze the roleshistorically and philologically. “I am very luckyin this direction because my husband sharesthe same passion when it comes to music. Hehas an interesting way of explaining the mostabstract things in very concrete terms,” shesaid. Ermonela says that she has been verylucky to make a career in opera. But it couldnot have been possible without great mentorsin her life like her big brother, her teachers,and her husband – who supports her all thetime.

To learn more about Ermonela, visit herwebsite at www.ermonelajaho.com. Don’t forgetto shout “Brava!” at the end of the opera during the curtain call, too!

Albanian sopranoErmonela Jaho inperformance asMimì in La Bohèmeduring her OCPdebut in 2006.Photo: Kelly & MassaPhotography

36

Madama Butterfly is a thought provoking opera. While we sympathize with the naive young girl who falls in lovewith a naval officer, her actions seem drastic if remarkable today. Review the questions below in class with your classmates and compare your thoughts on the opera.

1. What does it mean to be an American? What “American” qualities do Pinkerton and Sharpless display during the opera?

2. What does America mean to Butterfly?

3. In the Act I, Butterfly tells us that she has converted to Christianity. In the Act 2 she wears Amercian style clothing and welcomes Shaprless into an “American” home. Yet, in the final scene she returns to traditional Japanese dress and wears a kimono. Why? Why does Butterfly convert to Christianity?

4. Why do you think Butterfly falls in love with Pinkerton so quickly and trusts him so much?

5. Was Butterfly right to fall in love with Pinkerton? Why does she reject Prince Yamadori?

6. Throughout the love duet that ends Act I Butterfly repeats that she is “renounced and happy.” Several people throughout the opera renounce Butterfly. Who are they and why do they renounce her? Does Pinkerton renounce her?

7. Butterfly’s father committed hari-kari in order to preserve his honor. How does his decision influence Butterfly’s actions throughout the opera? How does honor affect Butterfly’s decisions?

8. Does the Japanese reverence of “honor” affect Pinkerton, Sharpless, Suzuki, or Goro?

9. Should Sharpless have warned Butterfly of Pinkerton’s intentions? Why didn’t he?

10. How does Pinkerton’s character change throughout the opera?

11. Most women complete geisha training at the age of 20. If Butterfly is only 15, what does it say about her skills as a geisha?

12. Geisha were trained in the arts of conversation, calligraphy, dance, music, flower arranging and more. In which of these arts do you think Butterfly was the most talented?

13. Imagine that you are 15 years old and you enter into an arranged marriage with someone you have never met. How would you react to the marriage?

14. Imagine yourself in Butterfly’s position. You are 18 years old. You married a stranger, fell in love with him, gave birth to his son, and he has left you but promises to return. Your father died several years ago. Your entire family has rejected you. You have only a few dollars left. When your husband finally returns you are filled with joy and are anxious to see him. Your dream of reuniting your family is about to come true. When he arrives at your home you find out he has come to bring your son to live with him and his new wife in another country. You will never see your son again. What do you do? How do you preserve your honor and your name? Aside from suicide and marrying Prince Yamadori, what are Butterfly’s options?

15. What do you think happens to Suzuki? Butterfly’s child? Kate and Pinkerton?

Madama Butterfly Discussion Questions

39

Underlined words are used in the libretto and are underlined in the libretto as well.

act (akt) n. one of the main divisions of a play or opera.

allegro (uh-leg-roh) adv. musical term for fast and lively.

alto (al-toh) n. the range of the female voice between mezzo-soprano and contralto.

andante (ahn-dahn-tey) adv. a musical term meaning in moderately slow time.

antagonist (an-tag-o-nist) n. an adversary or opponent of the main character or protagonist in an opera,play, or other drama.

aria (ahr-ee-uh) n. an operatic song for one voice.

aromatic (ar-uh-mat-ik) adj. having an aroma; fragrant or sweet-scented.

bar (bahr) n. a division of music containing a set number of beats.

baritone (bar-i-tohn) n. the range of the male voice between tenor and bass.

bass (beys) n. the lowest male singing voice.

beat (beet) n. the basic pulse of a piece of music.capacious (kuh-pey-shuhs) adj. capable of holding much; spacious or roomy.

chord (kord) n. a group of notes played at the same time in harmony.

chorus (kawr-uhs) n. 1. a group of singers. 2. a piece of music for these.

chronological (kron-l-oj-i-kuhl) adj. a method of arrangement that puts events in order of occurrence.

concertina (kon-ser-tee-nuh) adj. pertaining to or resembling a concertina instrument that folds and collapses.

confound (kon-found) v. to perplex or amaze, esp. by a sudden disturbance or surprise; bewilder; confuse

consul (kon-suhl) n. an official appointed by the government of one country to look after its commercialinterests and the welfare of its citizens in another country.

contemporary (kuhn-tem-puh-rer-ee) n. a person belonging to the same time or period with another orothers.

contralto (cuhn-tral-toh) n. the lowest female singing voice.

creed (kreed) n. any system, doctrine, or formula of religious belief, as of a denomination.

desertion (di-zur-shuhn) n. willful abandonment, esp. of one's wife or husband without consent, in violation of legal or moral obligations.

disillusion (dis-i-loo-zhuhn) v. to free from or deprive of illusion, belief, idealism, etc.; disenchant.

extravagant (ik-strav-uh-guhnt) adj. exceeding the bounds of reason, as actions, demands, opinions, orpassions.

flat (b) (flat) adj. a half-step lower than the corresponding note or key of natural pitch.

forte (f) (for-tay) adv. loudly.

fortify (fawr-tuh-fahy) v. to strengthen mentally or morally.

fortissimo (ff) (for-tee-see-moh) adv. a musical term for very loud.

geisha (gey-shuh) n. a Japanese woman trained as a professional singer, dancer, and companion for men.

hara-kiri (hahr-uh-keer-ee) n. ceremonial suicide by ripping open the abdomen with a dagger or knife: formerly practiced in Japan by members of the warrior class when disgraced or sentenced to death.

hawsers (haw-zer) n. a heavy rope for mooring or towing.

herein (heer-in) adv. in or into this place.

infatuation (in-fach-oo-ey-shuhn) n. foolish or all-absorbing passion or an instance of this.

Kami (kä'mĭ) n. Any of the sacred beings worshiped in Shintoism, conceived as spirits abiding in naturalphenomena and sometimes in people with extraordinary qualities.

key (kee) n. the basic note of the main scale used in a piece of music. In the key of G, for example, G isthe fundamental note; the music often returns to it and comes to rest on it.lacquer (lak-er) n. a protective coating consisting of a resin, cellulose ester, or both, dissolved in a volatilesolvent, sometimes with pigment added.

languish (lang-gwish) v. to pine with desire or longing.

largo (lahr-goh) adv. a musical term meaning in slow time and dignified style.

leitmotiv (lahyt-mo-teev) n. a melodic passage or phrase associated with a specific character, situation, orelement.

Glossary

40

libretto (li-bret-oh) n. the words of an opera or other long musical.

magistrate (maj-uh-streyt) n. a civil officer charged with the administration of the law.

major (mahy-zer) adj. music in a major key uses a major scale, in which the first three notes are the keynote followed by intervals of a tone and then another tone (for example, C, D, E). It often has a cheerful,strong sound.

maneuver (muh-noo-ver) v. to steer in various directions as required.

minor (my-ner) adj. music in a minor key uses a minor scale, in which the first three notes are the keynote followed by intervals of a tone and then a semitone ( for example A, B, C). It often has a sad, melancholic sound.

natural (nach-er-uhl) adj. a note that is neither flattened nor sharpened.

nuptial (nuhp-shuhl) adj. of or pertaining to marriage or the marriage ceremony.

maneuver (muh-noo-ver) v. to steer in various directions as required.

obi (oh-bee) n. a long, broad sash tied about the waist over a Japanese kimono.

obstinate (ob-stuh-nit) adj. firmly or stubbornly adhering to one's purpose, opinion, etc.; not yielding toargument, persuasion, or entreaty.

octave (ok-tiv) n. a note that sounds twice as high in pitch as another, is an octave above the other note,and has the same letter naming it.

opera (op-er-uh) n. a play in which the words are sung to musical accompaniment.

orchestra (awr-keh-struh) n. a large body of people playing various musical instruments, including stringed and wind instruments.

overture (oh-ver-cher) n. an orchestral composition forming a prelude to an opera or ballet.

ornithology (awr-nuh-thol-uh-jee) n. the branch of zoology that deals with birds

palanquin (pal-uhn-keen) n. A covered litter carried on poles on the shoulders of four or more bearers, fomerly used in eastern Asia.

parasol (par-uh-sawl) n. a lightweight umbrella used, esp. by women, as a sunshade.

pessimistic (pes-uh-mis-tik) adj. gloomy, despairing, hopeless

pianissimo (pp) (pee-ah-nees-ee-moh) adv. a musical term meaning very softly.

piano (p) (pi-an-oh) 1. adv. a musical term meaning softly. 2. n. keyed percussion instrument first namedpianoforte because it could play both softly and loudly.

plight (plahyt) v. to bind (someone) by a pledge, esp. of marriage.

presto (pres-toh) adv. a musical term meaning very fast.

prophetic (pruh-fet-ik) adj. predictive; presageful or portentous; ominous.

registrar (rej-uh-strahr) n. a person who keeps a record; an official recorder.

remorse (ri-mawrs) n. deep and painful regret for wrongdoing.

renounce (ri-nouns) v. to repudiate; disown.

respite (res-pit) n. a delay or cessation for a time, esp. of anything distressing or trying; an interval of relief.

roving (roh-ving) adj. roaming or wandering.

scale (skayl) n. a series of notes arranged in descending or ascending order of pitch.

semitone (sem-i-tohn) n. a half step or half tone, an interval midway between two whole tones.

sharp (#) (shahrp) n. any note a semitone higher than another note. Also, slightly too high in pitch.

soprano (so-prah-noh) n. the highest female or boy's singing voice.

stage (stayj) n. a platform on which a public performance is given before an audience.

staging (stay-jing) n. the presentation or production on the stage.

symphony (sim-foh-nee) n. a long musical composition (usually in several parts) for a full orchestra.

synopsis (si-nop-sis) n. a summary, a brief general survey.

taper (tey-per) n. a candle, esp. a very slender one.

tone (tohn) n. 1. an interval equal to two semitones. 2. the sound quality of an instrument or voice.

troth (trawth) n. faithfulness, fidelity, or loyalty.

verbena (ver-bee-nuh) n. any of various plants of the genus Verbena, esp. any of several hybrid species cultivated for their showy flower clusters.

verismo (vuh-riz-moh ) n. realism in opera.

vindicate (vin-di-keyt) v. to uphold or justify by argument or evidence

From Dictionary.com. Based on the Random House Unabridged Dictionary, © Random House, Inc. 2009.

The School District of PhiladelphiaSchool Reform CommissionSandra Dungee Glenn, Chairwoman

Martin G. Bednarek, member

James P. Gallagher, Ph.D, member

Denise McGregor Armbrister, member

Heidi A. Ramirez, Ph.D, member

Dr. Arlene C. AkermanSuperintendent of Schoolsand Interim Chief Academic Officer

Dennis W. Creedon, Ed.D.Administrator, Office of Creativeand Performing Arts

Opera Company of PhiladelphiaRobert B. DriverArtistic Director

Corrado RovarisMusic Director

David B. DevanExecutive Director

Michael BoltonDirector of Community Programs

Opera Company of PhiladelphiaCorporate CouncilADVANTAKPMGPark Hyatt Philadelphia at the BellevuePennsylvania TrustQuaker ChemicalSunocoWachovia Wealth ManagementWyeth

The Opera Company of Philadelphia is sup-ported by major grants from The William PennFoundation, The Pew Charitable Trusts, andThe Lenfest Foundation.

Additional support is provided by theIndependence Foundation and the Horace W.Goldsmith Foundation.

The Opera Company ofPhiladelphia receives state artsfunding support througha grant from the PennsylvaniaCouncil on the Arts, a stateagency funded by theCommonwealthof Pennsylvania.

Sounds of Learning™ was established by a

generous grant from The AnnenbergFoundation.

Dedicated funding for the Sounds ofLearning™ program has been provided by:

$20,000 to $49,999GlenmedeHamilton Family FoundationLincoln Financial Group FoundationPresser FoundationUniversal Health Services

$10,000 to $19,999The ARAMARK Charitable Fund at the Vanguard Charitable Endowment ProgramCitizens Bank FoundationEllis A. Gimbel Charitable TrustEthel Sergeant Clark Smith Memorial FundEugene Garfield FoundationGlaxoSmithKline FoundationHirsig Family FundMorgan Stanley FoundationThe Patricia Kind Family FoundationPNC Bank FoundationSamuel S. Fels Fund

$5,000 to $9,999Alpin J. & Alpin W. Cameron Memorial TrustBank of America Charitable FoundationMcLean ContributionshipSheila Fortune FoundationWachovia Foundation

$1,000 to $4,999Dolfinger-McMahon FoundationLouis N. Cassett FoundationReading Anthracite Company

Written and produced by:Opera Company of PhiladelphiaCommunity Programs Department©20091420 Locust Street, Suite 210Philadelphia, PA, U.S.A. 19102Tel: (215) 893-3600, ext. 246Fax: (215) 893-7801www.operaphila.org/community

Michael BoltonDirector of Community Programsbolton@operaphila.org

Special thanks to:

Robert B. Driver

Dr. Dennis W. CreedonCreator, Sounds of Learning™Curriculum Consultant

Laura Jacoby

Tullo Migliorini

EMI Records

Maureen LynchOperations ManagerAcademy of Music

Cornell WoodHead UsherAcademy of Music

Academy of Music Ushers

Debra Malinics AdvertisingDesign Concept

Kalnin GraphicsPrinting

Center City Film and Video

R. A. Friedman

The Historical Society of Pennsylvania

Free Library of PhiladelphiaPrint and Picture Department

20092010Opera Company of Philadelphia1420 Locust Street, Suite 210, Philadelphia, PA 19102 T (215) 893-3600 F (215) 893-7801 www.operaphila.org

Madama Butterfly

October 9, 11m, 14, 16, 18m2009

Tea: A Mirror of Soul

February 19, 21m, 24, 26, 28m2010

Antony & Cleopatra

March 17, 19, 21m2010

La Traviata

May 7, 9m, 12, 14, 16m2010

Orphée & Euridice

June 19m, 23, 252010

* The Kimmel Center Presents Curtis Opera Theatre’s production in association with Opera Company of Philadelphia

*

OPERA at the Academy

OPERA@ the Perelman