Conducted János Kovács
Cso-cso-szán- Kriszta Kinga
Pinkerton- Boldizsár László
Sharpless- András Káldi Kiss
Szuzuki- Busa Gabriella
Goro- Kiss Tivadar
Bonzo- Sándor Egri
Imperial Commissioner – István Rácz
Kate- Simon Krisztina
and the Choir of the Hungarian State Opera House
Japanese culture gained great popularity in European art circles in the second half of the 19th century. Its many seemingly mystical traditions, its unusual social arrangement for the European perspective, have moved everyone among the imaginations of writers and composers.
During his stay in London in 1900, Giacomo Puccini watched a performance of a one-act play by David Belasco in Madama Butterfly . He found the piece so heartbreaking that he immediately asked his publisher, Ricordi, to sort out the legal implications of the libretto to be made. Work could begin in early 1901 with Puccini’s favorite librettists, Luigi Illica and Giuseppe Giacosa. The work went on passionately, which nothing proves better than that Illica even traveled to Nagasaki on the spot with a richer experience of Japanese culture, and Puccini studied Japanese music with a similar dedication. However, the first performance of the opera drowned in ugly failure based on all this. It was the Brescia performance of the substantially reworked version that, on May 28, 1904, brought the creators the well-deserved and still successful success.
In the heartbreaking history of opera, two cultures located similarly light years away symbolize innocence and insensitivity; it is represented by the tragic encounter of unconditional trust and selfish laziness. All of this, of course, was not shaped as a didactic tale by the creators of Madama Butterfly . The stifling atmosphere of the oppressive story of Cho-cho-sled, rich in pinkerton and loyal to the ultimate trustworthy and added to the death of the utterly trustworthy Pinkerton and the respect of the American girls, known for its moral uplifting, Puccini’s nuanced, breathtaking effect. elevated to cathartic regions of art.