Podcasts about cio cio san

There are very few singers that mean more to me than does Elisabeth Söderström. I was first made aware of her at the tender age of ten, when I became obsessed with Pelléas et Mélisande after hearing the (at the time) brand new recording of the opera conducted by Pierre Boulez which featured Söderström and George Shirley in the title roles. Further explorations yielded further delights: the complete Rachmaninov songs with Vladimir Ashkenazy, the Janáček heroines under Charles Mackerras. I began grabbing every recording of hers that I could get, and every time I encountered her unique voice, frail yet passionate, I fell further and further under her spell. And then I saw her onstage, both in recital and as the Marschallin on the Met Tour and I became an even more passionate devotee. When I was recently reminded that May 7 was her birthday, I determined that it was time to revisit her legacy and artistry. Because she was so quintessentially Swedish, I have chosen a program featuring Söderström singing primarily in Swedish, including a healthy sampling of music by Swedish composers (Blomdahl, Nordheim, Lindberg, Alfvén, Larsson, Nystroem, and Rangström). And because she sang so many of her operatic roles in Swedish translation, we also get to hear her as Charpentier's Louise and Puccini's Cio-Cio-San. Vocal guest stars are fellow great Swedish singers Erik Sædén and Hugo Hasslo. Also expect some delicious and delightful surprises, as this most spontaneous and inspired of singers always had something unexpected up her sleeve! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

Today we're joined by two extraordinary sopranos, Karen Chia-ling Ho. and Yasko Sato⁠. Karen and Yasko are double cast in the role of Cio-Cio San in our upcoming production of Madama Butterfly, running April 26th to May 4th at the Queen Elizabeth Theatre.Learn MoreCredits:Karen Chia-ling Ho - Cio-Cio San April 27 & May 4Yasko Sato - Cio-Cio San - Cio-Cio San April 26, May 1 & 3Ashley Daniel Foot - HostMack McGillivray - Producer

Annemieke Bosman gaat met Char Li Chung in gesprek over de voorstelling Madame Butterfly. Puccini's opera Madama Butterfly uit 1904 vertelt het verhaal van de 15-jarige Japanse geisha Cio-Cio-San, bijgenaamd Butterfly. Ze wordt verliefd op de Amerikaanse marineofficier Pinkerton, die direct na hun huwelijk terugkeert naar zijn geboorteland. Butterfly blijft verlaten achter in verwachting van hun zoon. Na drie jaar keert haar geliefde terug, maar niet voor de hereniging waar Cio-Cio-San op heeft gewacht.

Es gibt Menschen, die einen grossen Bogen um die Opern von Giacomo Puccini schlagen. Zu schwülstig, üppig. Kitschverdacht! Und tatsächlich lässt sich hier trefflich schwelgen. Im November jährt sich Puccinis Todestag zum 100. Mal. Der so genannte Verismo, den Puccini als Komponist bedient und wo auch mal das ganze Orchester mit der sterbenden Sopranistin mitschluchzt, geht manchen zu nahe. Doch Puccini ist nicht so eindimensional wie ihn seine Verächter darstellen. Das zeigt sich im speziellen Fall seiner «Madama Butterfly» darin, wie ein Bemühen um Authentizität im Kolorit und der Melodik bemerkbar ist. Natürlich ist «Butterfly» dann eine italienische Oper geworden. Doch eine, in welcher gerade dieses Problem der kulturellen Aneignung Thema ist. Benjamin Franklin Pinkerton, ein in Japan stationierter amerikanischer Marineoffizier, geht mit der als Geisha tätigen Adligen Cio Cio San eine Scheinehe ein, die diese jedoch für wahrhaftig hält. Für ihn ist Cio Cio San, alias Butterfly, nur ein exotisches Tier, ein Schmetterling, den man aufspiesst und damit ja tötet, um sich an seiner Schönheit zu ergötzen. Für Butterfly dagegen sind der Marineoffizier und seine Heimat Amerika der Traum einer besseren Welt. Sofort nach der Hochzeit reist Pinkerton nach Hause und kommt drei Jahre später nach Japan zurück. Mit seiner «richtigen» Frau, die er, während Cio Cio San auf ihn wartete, in den USA geheiratet hatte. Als Butterfly das erkennt, bringt sie sich um. Puccini verwebt unterschiedlichste musikalische Idiome in seiner Oper, vor allem um den Gegensatz von westlicher und fernöstlicher Kultur hörbar zu machen. So kommt wie ein brutales Signal die heutige amerikanische Nationalhymne vor. Die japanische Färbung erreicht er in der Orchestrierung durch Instrumente wie Tamtams, also japanische Gongs, in verschiedenen Grössen oder japanische Glocken. Und mit einem erotischen Lied, das allerdings aus China stammt. Dieses ist das musikalische Thema der tragischen Titelheldin. In einer halböffentlichen Diskothek diskutieren die Dirigentin Graziella Contratto und der Musikwissenschaftler Anselm Gerhard mit Benjamin Herzog Puccinis 1904 in der Mailänder Scala uraufgeführte Oper. Erstsendung: 25.06.2022

[@ 1 min] It's the return of TKO, when we pit two sopranos against each other, one American and one Italian, in the obstacle course that is Madama Butterfly… [@ 39 min] And then, Ermonela Jaho, one of the undisputed great Cio-Cio San's of our time, takes a Free Throw on her signature role. [@ 55 min] And, in the listener mailbag, a field report on the Met's production of Grounded. [@ 1 hr] Plus, in the ‘Two Minute Drill'…Harmonia Mundi sells its soul? I mean, I guess it is almost Halloween… GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Solomea: Star of Opera's Golden Age by Andriy J Semotiuk https://amzn.to/3ya7Y3A Myworkvisa.com What does it take to reach the very top of your profession or calling? How does one rise from humble beginnings to achieve greatness and to perform with other first-class artists on the world stage? How do you break through barriers blocking you from reaching success because you are not the "right kind" of person? How do you break through the glass ceiling as a woman? As a parent or grandparent, where can one find a great model for children or even grandchildren to emulate? These are just some of the questions answered in this book. Solomea Krushelnytska was hailed as the world's leading dramatic soprano during the Golden Age of opera at the turn of the 20th century. Born in 1872 into a family with eight children in a small village in Western Ukraine, she studied opera and battled her way to superstardom while performing with opera legends like composer Giacomo Puccini, director Arturo Toscanini, and tenor Enrico Caruso. Working with Arturo Toscanini, she played the lead roles of Salome and Elktra in the premiers of these operas in Italy. Among other major successes, Krushelnytska helped Giacomo Puccini rescue the opera Madama Butterfly from its failed debut at La Scala in Milan in 1904 by playing the lead role of Cio-Cio-San in the opera's re-creation in the Teatro Grande in Brescia, Italy later that year. Thanks to their joint efforts, Madama Butterfly remains one of the most popular operas to this day. She also played other leading roles in major opera houses in Europe, South America, North America, and Northern Africa. Throughout her career, she shared the fruits of her success with her family. Towards the end of her career, she moved back to Western Ukraine on the eve of World War II. Her beautiful voice was then drowned out by the gunfire of Soviet and Nazi armies and she was reduced to struggling for survival. Yet reverence for her talent likely helped her escape most of the ultraviolence that rampaged through her city at that time. Throughout the world war, she sheltered the author's mother, aunt, and grandparents in her apartment. She spent her final years in Lviv, teaching at the same place where her rise to fame and fortune had begun. Told from the perspective of her grand nephew Andriy Semotiuk, with intimate details related to his family's immigrant experience never before shared, her rags-to-riches life story is an amazing odyssey, a triumph of the human spirit, an incredible testament to her dedication to art, and an inspiration to people everywhere.

durée : 00:59:41 - Une heure, un compositeur : Puccini par Maria Callas - par : Aurélie Moreau - Héroïnes de Puccini interprétées par Maria Callas : la jeune Lauretta dans Gianni Schicchi, Cio-Cio-San alias Madame Butterfly, Mimí venue demander du feu à son voisin dans La Bohème, Manon Lescaut promise à l'exil, et la cruelle princesse Turandot.

To pytanie od dawna chciałem zadać komuś, kto znalazł się na operowym szczycie świata. Okazja nadarzyła się niedawno, gdy do Wrocławia przybyła Ermonela Jaho, jedna z najwspanialszych śpiewaczek operowych, ogłoszona Artystą Roku 2022 przez International Classical Music Award. Wstrząsająca kreacja Violetty w Traviacie, poruszająca Cio Cio San w Madamie Butterfly czy wyciskająca łzy kreacja Siostry Angeliki w Pucciniowskim Tryptyku – to tylko niektóre z ról, które Ermonela Jaho śpiewała na scenach Metropolitan Opera, Royal Opera House, czy Opery Paryskiej. Kto dzisiaj potrzebuje emocji, które te kreacje niosą? Jaka będzie przyszłość opery w czasach nowych technologii? Czego śpiewaczka żałuje, a o czym marzy? Tłumaczenie: Gosia Fraser, czyta: Joanna Kołodziejska, realizacja nagrania tłumaczenia: Łukasz Dziedziuch. Zrealizowano w ramach stypendium Ministerstwa Kultury i Dziedzictwa Narodowego.

For a long time, I wanted to ask this question to someone who has been at the top of the opera world. The opportunity recently arose when Ermonela Jaho, one of the most outstanding opera singers, announced as the Artist of the Year 2022 by the International Classical Music Award, came to Wrocław. She performed for the first time in Poland during a gala at the National Forum of Music. The tremendous performance of Violetta in Traviata, moving Cio Cio San in Madame Butterfly, or the eye-watering creation of Sister Angelica in Puccini's Triptych - to speak of just some of the roles that Ermonela Jaho sang on the stage of the Metropolitan Opera, Royal Opera House and Paris Opera. Who today needs the emotions that these creations bring? What will be the future of opera in the era of new technologies? What does the singer regret, and what does she dream of? Our conversation is available in two languages. Co-financed by the Ministry of Culture and National Heritage of the Republic of Poland

Il soprano Karah Son, la grande stella della lirica sudcoreana, sta riscuotendo un enorme successo di pubblico e di critica interpretando il suolo di Cio-Cio-San nella Madama Butterfly di Giacomo Puccini su HOSH (Handa Opera on Sydney Harbour).

Informativo de primera hora en el programa El Remate de La Diez Capital Radio. Hoy se cumplen 360 días del cruel ataque e invasión de Rusia a Ucrania. Hoy es viernes 17 de febrero de 2023. Buenos días Ucrania. Día Mundial de la Resiliencia del Turismo. Cada 17 de enero se celebra el Día Mundial de la Resiliencia del Turismo, con la finalidad de destacar la capacidad de resiliencia del sector turismo, contribuyendo a impulsar las economías en las regiones. La creación de este día ha sido gracias a la iniciativa de la Organización de las Naciones Unidas, con la finalidad de reconocer al sector turístico como una actividad multisectorial. Resalta su contribución al logro de los Objetivos de Desarrollo Sostenible para el año 2030, referidos al crecimiento económico, disminución de la pobreza, creación de empleo, promoción de la cultura local, utilización sostenible de los recursos marinos, entre otros aspectos. 1913.- Edison presenta en un teatro neoyorquino la primera prueba pública del cine sonoro, consistente en un fonógrafo situado detrás de la pantalla. 1917: La Cámara francesa vota el pago de un franco diario a los soldados de las trincheras (en la Primera Guerra Mundial). 1939: Se da a conocer la «ley sobre el ejercicio profesional de la medicina sin acreditación», en España que entra en vigor al día siguiente. 1954: Se estudia un plan para revalorizar el turismo en la Costa del Sol. Años más tarde, el 17 de febrero de 1965, Gambia se convierte en el estado soberano más pequeño de África y la última de las colonias de África occidental en Gran Bretaña en obtener su independencia. 1968: En las escuelas públicas de San Sebastián (País Vasco) se autoriza la enseñanza de la lengua vasca. 1977: En la Unión Soviética, Dolores Ibárruri, la Pasionaria ―dirigente exiliada del Partido Comunista de España― solicita el pasaporte español para volver a su país natal. 2000: En Estados Unidos, el presidente de Microsoft, Bill Gates, presenta el sistema operativo Windows 2000. 2005: En Europa, un nuevo reglamento refuerza los derechos de los pasajeros que viajen en compañías aéreas de la Unión Europea. Siete Santos Fundadores; Julián de Capadocia y Alejo de Falconeri. Las tropas rusas y ucranianas luchan por "cada metro" de terreno en el Donbás. Más de 36.000 muertos y 100.000 heridos por el terremoto en Turquía y Siria. Los temblores han derribado miles de edificios bajo los que podrían haber aún atrapados decenas de miles de cuerpos. Aprobada la 'ley trans' por el Congreso español. El cambio de Gobierno de Sánchez en marzo: sólo relevará a Darias y Maroto. El presidente del Gobierno ha insistido en que sólo habrá cambios en los ministerios de Sanidad y Turismo, Industria y Comercio. Libertad con cargos para el exdirector general autonómico y los empresarios detenidos por el caso Mediador. De todos los detenidos en la redada, solo se ha dictado prisión provisional para el general retirado de la Guardia Civil Francisco Javier Espinosa Navas. 12.047 nacimientos y 18.526 muertes en 2022 en Canarias, saldo vegetativo negativo de récord en las islas. El año pasado nacieron una media de 33 bebés al día, la cifra más baja desde que hay estadísticas. En una década las muertes suben un 36% y la natalidad cae un 24%. Canarias cerró 2022 con un déficit comercial de 667,4 millones, un 15,7% menos que el año anterior. Las exportaciones aumentaron un 23%, hasta los 389.208 millones, acercándose al objetivo de 400.000 millones fijados para 2027. La EBAU canaria será del 7 al 10 de junio mientras se perfila una reforma «opaca». El llamamiento extraordinario será los días 5, 6 y 7 de julio - El Ministerio de Educación anuncia exámenes de 105 minutos. El Carnaval de Las Palmas de Gran Canaria, declarado Fiesta de Interés Turístico Internacional. CARNAVAL DE SANTA CRUZ DE TENERIFE (CANARIAS) 1980 CARNAVAL DE CÁDIZ (ANDALUCÍA) 1980 CARNAVAL DE ÁGUILAS (MURCIA) 2015 CARNAVAL DE BADAJOZ (EXTREMADURA) 2022 ENTROIDO DE XINZO DE LIMIA (GALICIA) 2019 El Ministerio de Turismo ha otorgado el título al carnaval de la capital grancanaria que se encuentra en plena celebración hasta el cinco de marzo. El tranvía de Tenerife operará con servicios mínimos del 90% y 75% durante el Carnaval. Metrotenerife podrá en servicio tranvías-dobles. Tal día como hoy, 17 de febrero de 1911, la ópera «Madame Butterfly» de Puccini, que cuenta la historia de un marinero estadounidense que se casa y abandona a una joven geisha japonesa, Cio-Cio-San, o Madame Butterfly tiene su estreno mundial en La Scala en Milán, Italia.

Programa de actualidad con información, formación y entretenimiento conectando directamente con los oyentes, presentado y dirigido por Miguel Ángel González Suárez. www.ladiez.es - Informativo de primera hora en el programa El Remate de La Diez Capital Radio. Hoy se cumplen 360 días del cruel ataque e invasión de Rusia a Ucrania. Hoy es viernes 17 de febrero de 2023. Buenos días Ucrania. Día Mundial de la Resiliencia del Turismo. Cada 17 de enero se celebra el Día Mundial de la Resiliencia del Turismo, con la finalidad de destacar la capacidad de resiliencia del sector turismo, contribuyendo a impulsar las economías en las regiones. La creación de este día ha sido gracias a la iniciativa de la Organización de las Naciones Unidas, con la finalidad de reconocer al sector turístico como una actividad multisectorial. Resalta su contribución al logro de los Objetivos de Desarrollo Sostenible para el año 2030, referidos al crecimiento económico, disminución de la pobreza, creación de empleo, promoción de la cultura local, utilización sostenible de los recursos marinos, entre otros aspectos. 1913.- Edison presenta en un teatro neoyorquino la primera prueba pública del cine sonoro, consistente en un fonógrafo situado detrás de la pantalla. 1917: La Cámara francesa vota el pago de un franco diario a los soldados de las trincheras (en la Primera Guerra Mundial). 1939: Se da a conocer la «ley sobre el ejercicio profesional de la medicina sin acreditación», en España que entra en vigor al día siguiente. 1954: Se estudia un plan para revalorizar el turismo en la Costa del Sol. Años más tarde, el 17 de febrero de 1965, Gambia se convierte en el estado soberano más pequeño de África y la última de las colonias de África occidental en Gran Bretaña en obtener su independencia. 1968: En las escuelas públicas de San Sebastián (País Vasco) se autoriza la enseñanza de la lengua vasca. 1977: En la Unión Soviética, Dolores Ibárruri, la Pasionaria ―dirigente exiliada del Partido Comunista de España― solicita el pasaporte español para volver a su país natal. 2000: En Estados Unidos, el presidente de Microsoft, Bill Gates, presenta el sistema operativo Windows 2000. 2005: En Europa, un nuevo reglamento refuerza los derechos de los pasajeros que viajen en compañías aéreas de la Unión Europea. Siete Santos Fundadores; Julián de Capadocia y Alejo de Falconeri. Las tropas rusas y ucranianas luchan por "cada metro" de terreno en el Donbás. Más de 36.000 muertos y 100.000 heridos por el terremoto en Turquía y Siria. Los temblores han derribado miles de edificios bajo los que podrían haber aún atrapados decenas de miles de cuerpos. Aprobada la 'ley trans' por el Congreso español. El cambio de Gobierno de Sánchez en marzo: sólo relevará a Darias y Maroto. El presidente del Gobierno ha insistido en que sólo habrá cambios en los ministerios de Sanidad y Turismo, Industria y Comercio. Libertad con cargos para el exdirector general autonómico y los empresarios detenidos por el caso Mediador. De todos los detenidos en la redada, solo se ha dictado prisión provisional para el general retirado de la Guardia Civil Francisco Javier Espinosa Navas. 12.047 nacimientos y 18.526 muertes en 2022 en Canarias, saldo vegetativo negativo de récord en las islas. El año pasado nacieron una media de 33 bebés al día, la cifra más baja desde que hay estadísticas. En una década las muertes suben un 36% y la natalidad cae un 24%. Canarias cerró 2022 con un déficit comercial de 667,4 millones, un 15,7% menos que el año anterior. Las exportaciones aumentaron un 23%, hasta los 389.208 millones, acercándose al objetivo de 400.000 millones fijados para 2027. La EBAU canaria será del 7 al 10 de junio mientras se perfila una reforma «opaca». El llamamiento extraordinario será los días 5, 6 y 7 de julio - El Ministerio de Educación anuncia exámenes de 105 minutos. El Carnaval de Las Palmas de Gran Canaria, declarado Fiesta de Interés Turístico Internacional. CARNAVAL DE SANTA CRUZ DE TENERIFE (CANARIAS) 1980 CARNAVAL DE CÁDIZ (ANDALUCÍA) 1980 CARNAVAL DE ÁGUILAS (MURCIA) 2015 CARNAVAL DE BADAJOZ (EXTREMADURA) 2022 ENTROIDO DE XINZO DE LIMIA (GALICIA) 2019 El Ministerio de Turismo ha otorgado el título al carnaval de la capital grancanaria que se encuentra en plena celebración hasta el cinco de marzo. El tranvía de Tenerife operará con servicios mínimos del 90% y 75% durante el Carnaval. Metrotenerife podrá en servicio tranvías-dobles. Tal día como hoy, 17 de febrero de 1911, la ópera «Madame Butterfly» de Puccini, que cuenta la historia de un marinero estadounidense que se casa y abandona a una joven geisha japonesa, Cio-Cio-San, o Madame Butterfly tiene su estreno mundial en La Scala en Milán, Italia. - Sección de actualidad en el programa El Remate de Miguel Angel González Suárez, en La Diez Capital Radio con el periodista José Juan Pérez Capote. El Número Uno. - Entrevista en el programa El Remate de La Diez Capital radio al primer Presidente de de Canarias, Alfonso Soriano. Analizamos la actualidad informativa. - Entrevista en el programa El Remate de La Diez Capital radio al buzo, soldador y deportista, Jonay Pérez que un accidente cambio su vida y que hoy imparte charlas por los colegios contándole su historia para no ponerse Metas. "La vida es muy bonita y merece la pena disfrutarla"

L'any 1959 la soprano Renata Tebaldi triaria el Gran Teatre del Liceu per debutar en un dels seus papers m

Es gibt Menschen, die einen grossen Bogen um die Opern von Giacomo Puccini schlagen. Zu schwülstig, üppig. Kitschverdacht! Und tatsächlich lässt sich hier trefflich schwelgen. Der so genannte Verismo, den Puccini als Komponist bedient und wo auch mal das ganze Orchester mit der sterbenden Sopranistin mitschluchzt, geht manchen zu nahe. Doch Puccini ist nicht so eindimensional wie ihn seine Verächter darstellen. Das zeigt sich im speziellen Fall seiner «Madama Butterfly» darin, wie ein Bemühen um Authentizität im Kolorit und der Melodik bemerkbar ist. Natürlich ist «Butterfly» dann eine italienische Oper geworden. Doch eine, in welcher gerade dieses Problem der kulturellen Aneignung Thema ist. Benjamin Franklin Pinkerton, ein in Japan stationierter amerikanischer Marineoffizier, geht mit der als Geisha tätigen Adligen Cio Cio San eine Scheinehe ein, die diese jedoch für wahrhaftig hält. Für ihn ist Cio Cio San, alias Butterfly, nur ein exotisches Tier, ein Schmetterling, den man aufspiesst und damit ja tötet, um sich an seiner Schönheit zu ergötzen. Für Butterfly dagegen sind der Marineoffizier und seine Heimat Amerika der Traum einer besseren Welt. Sofort nach der Hochzeit reist Pinkerton nach Hause und kommt drei Jahre später nach Japan zurück. Mit seiner «richtigen» Frau, die er, während Cio Cio San auf ihn wartete, in den USA geheiratet hatte. Als Butterfly das erkennt, bringt sie sich um. Puccini verwebt unterschiedlichste musikalische Idiome in seiner Oper, vor allem um den Gegensatz von westlicher und fernöstlicher Kultur hörbar zu machen. So kommt wie ein brutales Signal die heutige amerikanische Nationalhymne vor. Die japanische Färbung erreicht er in der Orchestrierung durch Instrumente wie Tamtams, also japanische Gongs, in verschiedenen Grössen oder japanische Glocken. Und mit einem erotischen Lied, das allerdings aus China stammt. Dieses ist das musikalische Thema der tragischen Titelheldin. In einer halböffentlichen Diskothek im Auditorium diskutieren die Dirigentin Graziella Contratto und der Musikwissenschaftler Anselm Gerhard mit Benjamin Herzog Puccinis 1904 in der Mailänder Scala uraufgeführte Oper.

Es gibt Menschen, die einen grossen Bogen um die Opern von Giacomo Puccini schlagen. Zu schwülstig, üppig. Kitschverdacht! Und tatsächlich lässt sich hier trefflich schwelgen. Der so genannte Verismo, den Puccini als Komponist bedient und wo auch mal das ganze Orchester mit der sterbenden Sopranistin mitschluchzt, geht manchen zu nahe. Doch Puccini ist nicht so eindimensional wie ihn seine Verächter darstellen. Das zeigt sich im speziellen Fall seiner «Madama Butterfly» darin, wie ein Bemühen um Authentizität im Kolorit und der Melodik bemerkbar ist. Natürlich ist «Butterfly» dann eine italienische Oper geworden. Doch eine, in welcher gerade dieses Problem der kulturellen Aneignung Thema ist. Benjamin Franklin Pinkerton, ein in Japan stationierter amerikanischer Marineoffizier, geht mit der als Geisha tätigen Adligen Cio Cio San eine Scheinehe ein, die diese jedoch für wahrhaftig hält. Für ihn ist Cio Cio San, alias Butterfly, nur ein exotisches Tier, ein Schmetterling, den man aufspiesst und damit ja tötet, um sich an seiner Schönheit zu ergötzen. Für Butterfly dagegen sind der Marineoffizier und seine Heimat Amerika der Traum einer besseren Welt. Sofort nach der Hochzeit reist Pinkerton nach Hause und kommt drei Jahre später nach Japan zurück. Mit seiner «richtigen» Frau, die er, während Cio Cio San auf ihn wartete, in den USA geheiratet hatte. Als Butterfly das erkennt, bringt sie sich um. Puccini verwebt unterschiedlichste musikalische Idiome in seiner Oper, vor allem um den Gegensatz von westlicher und fernöstlicher Kultur hörbar zu machen. So kommt wie ein brutales Signal die heutige amerikanische Nationalhymne vor. Die japanische Färbung erreicht er in der Orchestrierung durch Instrumente wie Tamtams, also japanische Gongs, in verschiedenen Grössen oder japanische Glocken. Und mit einem erotischen Lied, das allerdings aus China stammt. Dieses ist das musikalische Thema der tragischen Titelheldin. In einer halböffentlichen Diskothek im Auditorium diskutieren die Dirigentin Graziella Contratto und der Musikwissenschaftler Anselm Gerhard mit Benjamin Herzog Puccinis 1904 in der Mailänder Scala uraufgeführte Oper.

Tienes un nivel de productividad único, funcionas y piensas diferente, úsalo a favor. Es lo que hoy te queremos recordar, y nos apoyamos del escrito: "Pensar diferente: un atrevimiento con grandes beneficios", para nuestra reflexión del día. ¡Hoy conocemos a las madres de óperas! Margarita Miranda Mitrov nos amplía en este nuevo Camino, a propósito del día de las madres, conocemos dos extremos opuestos: La Reina de la Noche de “La Flauta Mágica” de Mozart y Cio Cio San en “Madama Butterfly” de Puccini. "Hacer conciencia no es tan sencillo", María Elena Asuad nos comparte por qué puede ser tan difícil tomar conciencia y amplia desde una de las teorías del psicoanálisis, lo que llamo Freud: los mecanismos de defensa. Cada vez que recibimos a Milka Hernández, salimos de cabina y cruzamos el peaje, para conocer rincones escondidos y conocidos de nuestro hermoso país. Esta vez nos lleva de vuelta a la Hidalga: Ciudad de Santiago de los Caballeros.

Shirley Wang is an award-winning operatic soprano, pianist, international bestselling author, entrepreneur, host, expert instructor, music arranger, illustrator, and children's Chinese curriculum creator. As a musician, she has performed across the U.S., including the Carnegie Hall.In 2020 she started an interview series, Tuesday Conversation with Friends featuring performing artists, composers, writers, dancers, actors, directors, and others who make the world more colorful. It is rapidly gaining viewership and critical acclaim. You can find it on Facebook, YouTube, Instagram, and as a podcast on all major podcast distribution platforms.In addition, she founded Simple Gifts Music Studio, which offers online voice, piano, music theory, performance technique, diction, and Chinese cultural language program. ​A native of Taipei, Taiwan, Shirley Wang is a graduate of the University of Southern California.  She was a finalist for the International Opera Singer's Competition of Chinese Heritage and was a soloist in the Chinese Rising Stars Concert at the Carnegie Hall. As a lyric soprano, Ms. Wang has performed with opera companies and symphonies throughout the United States. Her opera roles include Aida, the Countess, Fiordiligi, Mrs. Alice Ford, Violetta, Cio-Cio San, Mimi, Nedda, Marguerite, Gretel, and Laetitia. As a recitalist, Ms. Wang has been heard in California, Washington, Idaho, Boston, Long Island, and Florida. Notably, since 2016, she has created over 30 multi-media story-telling based concerts in Central Florida and in New York City. Social Media Platforms:https://linktr.ee/ShirleyWangTop 5 Sounds of Encouragement:1) Chopin Fantasie Impromptu in C#m - Op. 66https://www.youtube.com/watch?v=Gy5UHK4EeM82) Sarasate's Carmen Fantasiehttps://www.youtube.com/watch?v=2-oHLG0oB203) Ravel's Mother Goose Suitehttps://www.youtube.com/watch?v=hDjLh7xGyxA4) Tu, tu, tu from Madame Butterfly by Puccinihttps://www.youtube.com/watch?v=7FKGrFPZSuo5) Colorful Clouds Chasing the Moon (Chinese Folk Song)https://www.youtube.com/watch?v=TYNMtDklO_QKeep this podcast Ad Free by going to https://www.buymeacoffee.com/Encouragement today to make a one-time donation or become a monthly member.Support the show (https://www.buymeacoffee.com/Encouragement)

L'eterno incanto della Madame Butterfly di Giacomo Puccini, rivive al Teatro Verdi di Trieste sino al 9 ottobre con un allestimento ancora piu emozionante del solito. Merito di un cast vocale potente e di una conduzione d'orchestra impeccabile. Alla prima hanno letteralmente incantato Eugenia Murareva e il tenore italiano Francesco Castoro. Il soprano russo ha ben delineato e dato piena espressività a una Cio Cio San delicata quanto vibrante di passione mentre il secondo, dalla voce piena e rotonda, ha dato vita a un Pinkerton cinico e superficiale quanto basta a rendere sempre odioso il personaggio immaginato da Puccini. Ma tutto il cast ha decisamente conquistato il  pubblico presente. Applausi  più che calorosi sono andati anche al direttore d'Orchestra Francesco Ivan Ciampa, artista della scena internazionale della musica e  che ha ottenuto numerosi premi e riconoscimenti nella sua carriera. Profondo conoscitore del mondo pucciniano - protagonista indiscusso dei Festival italiani dedicati a Puccini - la sua orchestrazione  incanta  per la vitalità che imprime allo spartito pucciniano. L'allestimento in scena è la ripresa della messinscena del 2019, firmata da Alberto Triola con la collaborazione di Libero Stellutti, non stanca mai. Con le sue lanterne volanti, la pioggia di foglie autunnali e il ricorso a pannelli di carta per delineare lo spazio rarefatto si conferma nella sua capacità di restituire poesia a un mondo ostile per  la piccola Butterfly. Un allestimento che come allora - guardando alle stampe e all'arte teatrale giapponese - scarnifica   lo spazio dell'azione per indagare la dimensione psicologico/emotiva della quindicenne immaginata da Puccini alle prese con la crudeltà del mondo degli adulti (occidentali e orientali non fa differenza). Una ripresa che, questa volta, presenta  qualche variazione per le limitazioni imposte dalle misure di contenimento della pandemia e che il duo registico riesce a trasformare in opportunità scenica (come l'idea di immaginare in forma di ombre cinesi  l'ingenua passione iniziale dei due protagonisti). La rivisitazione nella regia si rivela particolarmente interessante per la capacita di rafforzare il centro emotivo di tutta la storia dentro la testa, il cuore e l'anima  di una adolescente - emblema  di tante altre che ancora popolano il nostro pianeta - e di provare a vedere il mondo, gli altri, l'amore e la maternità con i suoi occhi da ragazzina sensibile e sognatrice  Allestimento, orchestra, coro e tecnici della Fondazione Teatro Lirico Giuseppe Verdi di Trieste. Qui l'intervista di Monica Ferri al Maestro Ivan Ciampa:

El Scorcho! Ay carumba! Goddamn you half-Japanese girls Do it to me every time Oh, the redhead said you shred the cello And I'm jello, baby But you won't talk, won't look, won't think of me I'm the epitome of public enemy Why you wanna go and do me like that? Come down on the street and dance with me I'm a lot like you, so please Hello, I'm here, I'm waiting I think I'd be good for you And you'd be good for me I asked you to go to the Green Day concert You said you never heard of them (how cool is that) How cool is that? So I went to your room and read your diary: "Watching Grunge leg drop New Jack through a press table" And then my heart stopped: "Listening to Cio-Cio San, fall in love all over again." I'm a lot like you, so please Hello, I'm here, I'm waiting I think I'd be good for you And you'd be good for me How stupid is it? I can't talk about it I gotta sing about it and make a record of my heart How stupid is it? Won't you gimme a minute Just come up to me And say hello to my heart How stupid is it? For all I know you want me too And maybe you just don't know what to do And maybe you're scared to say: 'I'm falling for you' I wish I could get my head out of the sand 'Cause I think we'd make a good team And you would keep my fingernails clean But that's just a stupid dream that I won't realize 'Cause I can't even look in your eyes without shaking, and I ain't faking I'll bring home the turkey if you bring home the bacon I'm a lot like you, so please Hello, I'm here, I'm waiting I think I'd be good for you And you'd be good for me I'm a lot like you I'm a lot like you I'm a lot like you I'm waiting I think I'd be good for you And you'd be good for me

durée : 01:57:33 - Relax ! du mercredi 21 avril 2021 - par : Lionel Esparza - Portrait musical de la grande Renata Scotto qui pendant plus de quarante ans, mena une carrière hors du commun ; insurpassable Cio-Cio-San, tant sur le plan vocal que sur l'incarnation, elle ne limita pourtant pas son répertoire, prenant tous les risques, de Strauss au Bel Canto. - réalisé par : Antoine Courtin

“In cinema you are a spectator; in opera you are present. I’m fascinated by the notion that we witness in opera: we have to endure.” Ranging from Ancient Greece to The Godfather, and focusing on the operas of Puccini and Verdi, the renowned art historian Professor Griselda Pollock discusses how violence is represented in painting, sculpture, film and literature, how it is performed in opera, and its implications. The first podcast in a series exploring the world of opera and its component parts, produced as part of the DARE partnership between Opera North and the University of Leeds. Excerpts from Opera North’s 2018 production of Madama Butterfly featuring Anne Sophie Duprels as Cio-Cio-San, Ann Taylor as Suzuki, Merūnas Vitulskis as Pinkerton and the Orchestra of Opera North conducted by Martin Pickard. Excerpt from Cavalleria Rusticana Intermezzo performed by the Slovak Radio Symphony Orchestra conducted by Alexander Rahbari, Naxos Records.

Sometimes an illusion is the hardest thing to let go of. For Puccini’s Madama Butterfly, that illusion comes in the form of a distant ship on the horizon, carrying her long lost husband. Benjamin Franklin Pinkerton abandoned Cio-Cio-San three years earlier, but she's absolutely sure that one fine day he'll sail over the horizon and return for her and their child.  The aria "Un bel di vedremo" captures Butterfly's unwavering faith in their reunion and her unflagging desire for a better life. In this episode, Rhiannon Giddens and her guests explore the power of hope in Puccini's tragedy, as well as in a real-world Butterfly story. Then, you'll hear Ana María Martínez sing the complete aria onstage at the Metropolitan Opera. The Guests Soprano Ana María Martínez understands Butterfly not as a submissive woman-in-waiting, but as a woman of great determination and strength. Born in Puerto Rico, Martínez found some of her own inner strength when she and her parents moved to the mainland and left her extended family behind. Composer and conductor Huang Ruo grew up in China, following in his father's footsteps by studying composition. A professor told him to go study in the United States, where he fell in love with Puccini. He's currently writing an opera based on David Henry Hwang’s play, M. Butterfly. Sandra Kumamoto Stanley is a professor of English at California State University, Northridge. Her interest in Butterfly extends beyond the racialized fantasy within the opera: she has written about how society would have treated Cio-Cio-San’s mixed-race child. A writer and former psychotherapist, Kyoko Katayama is the child of a Japanese woman and an American soldier stationed in Tokyo after World War II. Like Pinkerton, her biological father shipped out and unwittingly left behind his pregnant lover. Katayama sees a clear parallel between Butterfly’s life and her mother’s. Special thanks to Kathryn Tolbert and Lucy Craft, whose work on The War Bride Experience was invaluable to this episode.

Puccinis einst exotisch gemeinte Geisha-Oper nach einem tränenseligen Boulevardstück "Madama Butterfly" wird in der Regie von Tina Lanik am Staatstheater Nürnberg zu einer feministischen Abrechnung mit Sexismus und Kolonialismus, an denen die anpassungswillige Cio-Cio-San scheitern muss. Eine Premieren-Kritik von Peter Jungblut.

As we conclude our "This vs. That" series, comparing great operas to parallel works in the musical theater repertoire, we got pretty carried away with our last comparison: Madama Butterfly vs. Miss Saigon! So this is Part 1 of 2, where we share some VERY strong feelings about the character of B.F. Pinkerton, and just strong feelings in general about the VERY problematic story of Cio-Cio San as told through some of most beautiful music Puccini ever composed. Listen all the way to the end, and you will be treated to an outtake that ends in a place only tangentially related to the opera via the topic of puppets: Elspeth and Kyle's raw, emotional reaction to Warhorse!

Melbourne born soprano Maureen Howard was beloved by audiences and critics alike. At twelve years of age, she was a regular voice on the weekly 3DB Radio programme Swallows Juniorsand she later won the Vocal Section of television’s Swallow’s Parade. Though she studied singing from an early age, she wanted to be a hairdresser and, it was serendipitous that one of her ‘clients’ was associated with the two major theatre entrepreneurs J.C. Williamson and Garnet H. Carroll Management. A simple conversation during a hairdressing appointment gained Maureen a stage audition for J.C.Williamson at Her Majesty’s Theatre in Melbourne . They had just opened their production of My Fair Lady. The following week, the same ‘client’ arranged an audition for Garnet H. Carroll at the Princess Theatre in Melbourne and she was immediately offered a contract for Chorus - and later ‘stand-by’ for Marian the Librarian - in The Music Man. As would occur many times during her early career, Maureen went on in the star’s role. In April of 1961, she was cast in Lock Up Your Daughters with an additional song especially written for her character by the conductor Dobbs Franks. In August that year, she performed in Loesser’s Most Happy Fella with Inia Te Wiata and Ronal Jackson. Later that year, Garnett H. Carroll Management cast her as June Bronhill’s ‘stand-by’ in The Sound of Music and, again, Maureen was frequently seen in the role of Maria. In 1962, Maureen Howard won First Prize in the celebrated Sun Aria and left her contract for The Sound of Music. She was a frequent face and voice on television especially on the popular Sunny Side Up in 1963.After study, a year in Italy and then London – with the noted teacher Vera Rózsa - her operatic career started with Puccini’s Tosca in 1967 – starting her career at the top – with the Elizabethan Trust Opera. The production opened at the Perth Festival on February 11th and featured Reginald Byers and the Hungarian baritone Alexander Major as Cavaradossi and Scarpia along with the twenty-seven years old Maureen Howard. Her operatic debut was a success, with one critic writing “She may not be as imperious as some Toscas, but she certainly is more vocally secure than many … A powerful voice which is always beautifully controlled, and dominated the stage.”The same year, she performed Zerlina in Don Giovanni with a stellar cast featuring Neil Warren-Smith, Marcella Reale, Rosemary Gordon, Robert Gard, Ronald Maconaghie and John Germain. It was a controversial production directed by the young Jim Sharman. A production of Die Fledermaus as Rosalinda (and June Bronhill as the maid, Adele) was a hit with audiences. Next came performances of Venus in Tannhäuser, Tebaldo in Don Carlo, Liù in Turandot, Micaela in Carmen and the cover of Minnie in the Australian premiere of Puccini’s La fanciulla del West. Her career reached a new high with her assumption of Cio Cio San in Madama Butterfly in 1969 with a new production mounted especially for her talents. As a company member, she was also cast as Felice in Wolf-Ferrari’s School for Fathers, Josephine in HMS Pinafore, Elsie Maynard in Yeoman of the Guard along with Giulietta in a concert version of The Tales of Hoffmann.Along with Cio Cio San in Madama Butterfly, the roles of Nedda in Pagliacci and Musetta in La bohème fitted Maureen Howard to a tee. To many audiences, her performances in all three roles have never been surpassed by an Australian born performer. She created Musetta in the famous La bohème production by Tom Lingwood in 1971. “Maureen Howard’s Musetta stole the show … she has the wonderful ability for stance, stage presence and poise of hand which just fix one’s eyes upon her.” During the following season, she performed her first Mimi in the same production. Her debut as Nedda came in 1972 and she was usually cast alongside the Canio of Donald Smith – who also seemed ‘born for the role’. Sparks flew on stage when they ignited each other’s performances. “Maureen Howard was attractively wayward, singing powerfully in the final scene, yet making something tender of the ballatella.”From 1976, Maureen Howard appeared in various operatic and music theatre productions. Man of La Mancha and La belle Hélène were prominent during this time. Other operetta roles ensued – Kathy in The Student Prince, Eurydice in Orpheus in the Underworld, Violet Gray in The Belle of New York, Angèle in The Count of Luxembourg (with Robert Gard as her René), Ottilie Giesecke in White Horse Inn, Marianne in New Moon (with John Larsen as her leading man), Yum Yum in The Mikado and Phyllis in Iolanthe. She returned to Opera Australia for the role of the Foreign Woman in Menotti’s The Consul in 1986 after a decade hiatus from that company.A decade later, she appeared as a guest at the Robert Allman Farewell Gala at the Sydney Opera House singing the Pagliacci duet with her long-time colleague. This led to her being contracted Lady Macbeth in Verdi’s opera and the Witch in Hansel and Gretel. Her stage farewell came in 1998 in Sondheim’s Follies when she performed Heidi Schiller – singing “One More Kiss” to perfection. The career of Maureen Howard was as varied as the roles and styles she played. She was a Star of each medium (radio, television and stage) and was adored by a myriad of fans.

Soprano Latonia Moore, our Aida in the 2013 Season, returns to sing the role of Cio-Cio San in Madama Butterfly. Here she speaks about her life and career since then as well as her outlook on trends in American opera. 

Mezzo-soprano J'nai Bridges plays the role of Cio Cio San's maid, Suzuki, in our production of Madama Butterfly. Her background is fascinating (from sports to opera!), her conservatory training exemplary and her voice is...luscious! Enjoy this interview. 

I den tragiska historien om geishan Cio-Cio-San samlar Giacomo Puccini sina vackraste toner. Den förfärliga historien om kärlek, svek och självmord är odödlig också genom musikalen Miss Saigon. Programledaren och producenten Britta Svanholm Maniette och Sam Jakobsson, musikläggare på SR P2 och mannen som väljer ut operaföreställningarna som sänds i kanalen, diskuterar vad som är värst: att lämna sin älskade eller att lämna sitt barn? Dessutom blir det snack om musikens betydelse i operan och om det finns någon sann historia bakom operan. Och en bonus: varför hette löjtnanten Pinkerton Linkerton i Sverige i 50 år?MADAME BUTTERFLYS LÅTLISTA:Madame Butterflys Spotifylista Låtlistan innehåller dels musik som spelas i podden, dels fler betydelsefulla avsnitt ur operan.Operaguiden operaguiden@sverigesradio.se

I den tragiska historien om geishan Cio-Cio-San samlar Giacomo Puccini sina vackraste toner. Den förfärliga historien om kärlek, svek och självmord är odödlig också genom musikalen Miss Saigon. Lyssna på alla avsnitt i Sveriges Radio Play. Programledaren och producenten Britta Svanholm Maniette och Sam Jakobsson, musikläggare på SR P2 och mannen som väljer ut operaföreställningarna som sänds i kanalen, diskuterar vad som är värst: att lämna sin älskade eller att lämna sitt barn? Dessutom blir det snack om musikens betydelse i operan och om det finns någon sann historia bakom operan. Och en bonus: varför hette löjtnanten Pinkerton Linkerton i Sverige i 50 år?MADAME BUTTERFLYS LÅTLISTA:Madame Butterflys Spotifylista Låtlistan innehåller dels musik som spelas i podden, dels fler betydelsefulla avsnitt ur operan.Operaguidenoperaguiden@sverigesradio.se

I den tragiska historien om geishan Cio-Cio-San samlar Giacomo Puccini sina vackraste toner. Den förfärliga historien om kärlek, svek och självmord är odödlig också genom musikalen Miss Saigon. Programledaren och producenten Britta Svanholm Maniette och Sam Jakobsson, musikläggare på SR P2 och mannen som väljer ut operaföreställningarna som sänds i kanalen, diskuterar vad som är värst: att lämna sin älskade eller att lämna sitt barn? Dessutom blir det snack om musikens betydelse i operan och om det finns någon sann historia bakom operan. Och en bonus: varför hette löjtnanten Pinkerton Linkerton i Sverige i 50 år?MADAME BUTTERFLYS LÅTLISTA:Madame Butterflys Spotifylista Låtlistan innehåller dels musik som spelas i podden, dels fler betydelsefulla avsnitt ur operan.Operaguiden operaguiden@sverigesradio.se

Our Tosca this season, soprano Alexia Voulgaridou, has been singing this role to great success all over the world, as well as roles such as Cio-Cio San, Marguerite and Liu. In this interview, she discusses Tosca with a very fresh 'take' on who this character really is.

The story of Cio-Cio San, Madama Butterfly, is an interesting and controversial tale with roots in actual events that occured as a result of intense interest in Japan in the 19th century. Dr. Nic explores the history, the story and the cultural collision of East and West.