Madama Butterfly


Madama Butterfly

Capitol TheatreOctober 24 – November 4, 2017
Premium Reserve
A Reserve
B Reserve
C Reserve
Tue 24.10.17
7:30 PM
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Wed 25.10.17
7:30 PM
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Thu 26.10.17
7:30 PM
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Fri 27.10.17
7:30 PM
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Sat 28.10.17
7:30 PM
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Sun 29.10.17
3:00 PM
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Tue 31.10.17
7:30 PM
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Wed 1.11.17
7:30 PM
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Thu 2.11.17
7:30 PM
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Sat 4.11.17
1:00 PM
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Sat 4.11.17
7:30 PM
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Silken arias and fragile butterfly wings float on the water.

A young Japanese geisha falls head-over-heels in love with her new American husband. She believes their love is real, even after three years without so much as a word from him. Everyone around her knows the truth. They try to convince her to move on but she won't. She can't. Rejected by her past, and forgotten by the man she loves, she waits.

Madama Butterfly is one of the world's most famous love stories and this legendary production has been performed in Sydney more than any other. The set and costume design is inspired by Japan and the combination of wood, water, silk and flame is astonishingly elegant. Now it comes to the Capitol Theatre for a short season.

Karah Son and Hyesoung Kwon sing Puccini's much-loved music, breathtakingly beautiful from first love to tragic end.

Conductor Brian Castles-Onion
Original direction by Moffatt Oxenbould
Revival Director Hugh Halliday
Set & Costume Designers

Peter England
Russell Cohen

Lighting Designer Robert Bryan
Assistant Director Andrew Frith
Cio-Cio-San Karah Son *
Hyeseoung Kwon †
Pinkerton Diego Torre *
Andeka Gorrotxategi †
Suzuki Sian Pendry *
Agnes Sarkis
Sharpless Barry Ryan
Goro Graeme Macfarlane
The Bonze Gennadi Dubinsky
Yamadori Sitiveni Talei
Kate Pinkerton Jane Ede
Commissioner Ryan Sharp
Registrar  Gregory Brown

Opera Australia Orchestra

Opera Australia Chorus

* 24, 26, 28, 31 October; 2 November at 7:30pm 
4 November at 1pm

† 25, 27 October; 2, 4 November at 7:30pm
29 October at 3pm


Running time: approximately 2 hours & 45 minutes, including one interval.

Sung in Italian with English surtitles.

The StoryHide

The American naval captain, Pinkerton is exploring the world in the name of pleasure. “Life is not worth living if I can’t win the best and fairest of each country,” he declares. He sets his sights on the best and fairest of this land: the stunning Japanese beauty Cio-Cio-San.

Pinkerton is fascinated by her exotic beauty and marries her on sight, while Cio-Cio-San, enthralled by his American ways and promise of a modern life in America, falls wholeheartedly in love with the stranger. But Pinkerton already has a foot out the door, looking forward to the day he will marry “a real wife, a wife from America.”

Years pass, and Cio-Cio-San waits faithfully for her husband’s return from distant shores. Long abandoned by her family, she is alone with her servant Suzuki and a living memento of her American love. She refuses all offers of marriage, singing of her great hope for the day Pinkerton will return. The faithful Suzuki tries in vain to convince her to abandon hope.

But when his ship comes in, Pinkerton is not alone. As dawn breaks, what will become of Butterfly’s great hope?

Act I

On a terrace above Nagasaki harbour, US Navy Lieutenant B F Pinkerton inspects the house he has leased from a marriage broker, Goro, who has procured for him a geisha wife known as Madama Butterfly (Cio-Cio-San). To the American Consul, Sharpless, who arrives breathless from climbing the hill, Pinkerton describes his carefree philosophy of a sailor roaming the world in search of pleasure. For the moment, he is enchanted with the fragile Cio-Cio-San and intends to undergo a marriage ceremony with her — a 999-year contract, but subject to monthly renewal. When Sharpless warns that the girl may not take her vows so lightly, the lieutenant brushes aside such scruples, adding that he will one day take a ‘real’ American wife.

Cio-Cio-San is heard in the distance joyously singing of her wedding day. After she has entered, surrounded by her friends, she tells Pinkerton how, when her family fell on hard times, she had to earn her living as a geisha. Soon her relatives arrive and noisily express their opinions of the marriage. In a quiet moment, Cio-Cio-San shows the bridegroom her little store of possessions, one of which she hides from public view. Goro explains that it is a sheathed knife which the Mikado sent to Butterfly’s father, with the ‘invitation’ to commit hara-kiri —which he obeyed. Butterfly confesses to Pinkerton that she, on the previous evening, secretly went to the Mission and adopted the religion of her new husband.

The wedding ceremony completed, the guests toast the couple. Suddenly Cio-Cio-San’s uncle, a priest, bursts upon the scene, cursing the girl for having renounced her ancestors’ religion. Pinkerton angrily orders the priest and family to leave.

Alone with his bride, he dries her tears in the moonlit garden, where they discover the depths of their love.

Act II

Three years later, Cio-Cio-San still waits for her husband’s return. Suzuki prays to her gods for aid. The maid shows Cio-Cio-San how little money is left but is told to have faith: one fine day Pinkerton’s ship will appear on the horizon.

Sharpless is announced. He has not seen her since the wedding, and Butterfly receives him with joy. He has come with a letter from Pinkerton asking him tactfully to inform Butterfly of his marriage with an American woman, but his attempts to tell her the contents of the letter are frustrated by her constant questions about Pinkerton. Had Pinkerton not said that he would return ‘in the season when the robins are nesting?’ In Japan, she remarks, ‘the robins have already nested three times, but perhaps in America these birds behave differently?’ ‘I never studied ornithology,’ replies Sharpless.

Goro, who has been lurking outside, brings in a suitor for her hand. The girl dismisses the wealthy Prince Yamadori, insisting that her American husband has not deserted her. When they are alone, Sharpless again starts to read her the letter and suggests as tactfully as he can that Pinkerton may never return. Cio-Cio-San proudly shows him her child, insisting that as soon as Pinkerton knows of his son he will surely come back, though if he does not she would rather die than return to her former life. Moved by her devotion and lacking the heart to tell her of the lieutenant’s marriage, Sharpless leaves.

Cio-Cio-San, on the point of despair, hears a cannon report; and watches Pinkerton’s ship entering the harbour. Delirious with joy, she orders Suzuki to help her strew the house with flower petals. Then, as night falls, Cio-Cio-San, Suzuki and the child begin their vigil, awaiting Pinkerton’s arrival.

As dawn breaks, Suzuki insists that Cio-Cio-San rests. Humming a lullaby to her child, she carries him to another room.

Knocking is heard: it is Pinkerton and Sharpless, with Pinkerton’s wife, Kate, remaining discreetly outside. They have come, they explain to the startled Suzuki, so early in the morning in the hope of finding her alone and of enlisting her support in persuading Butterfly to accept Kate’s offer to adopt the child. Pinkerton, overcome with remorse, bids an anguished farewell to the scene of his former happiness and rushes away.

Meanwhile Suzuki has gone into the garden to speak to Kate and, moved by her sincerity, she promises to convey to her mistress her offer to adopt the child. Butterfly rushes into the room in joyful expectation to find Pinkerton, but is taken aback when she sees only Sharpless and a foreign lady. She takes only a moment to guess the truth. She agrees to give up her child if the father will return for him. Then, she takes the dagger with which her father committed suicide, choosing to die with honour rather than live in disgrace. Just as she raises the blade, Suzuki pushes the child into the room. Tearfully she bids him a last farewell. With solemn ritual, she stabs herself as Pinkerton’s anxious cries ‘Butterfly! Butterfly!’ are heard from outside.

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