Arturo Toscanini conducted the world premiere at the Metropolitan Opera
House in December 1910. His score has been located and found to contain
alterations he made for the performance. Puccini accepted the changes, which
appear in the published score. Dotto discusses the changes.See also #1464.
Gianni Schicchi; see Il trittico
Madama Butterfly
ASO56 (1983), ENOG 26 (1984).
- Smith, Julian. “A Metamorphic Tragedy.” PRMA106 (1979–1980): 105–114.
Reprinted in ENOG 26 (1984). Discusses the failure of the 1904 premiere and
the subsequent changes made in three revisions. Finds that the character of
Butterfly is much the same in all versions, but Pinkerton and his wife are con-
siderably altered.
See also #1480.
- Berg, Karl Georg Maria. “Das Liebesduett aus Madama Butterfly: Überlegun-
gen zur Szenendramaturgie bei Giacomo Puccini.” Musikforschung38–3
(July-September 1985): 183–194.
Seeks a large formal structure in the act 1 love duet, finding an arch (ABA),
comparable to that of “Mi chiamano Mimi.” Proposes that this form empha-
sizes the vulnerability of the two women. - Ashbrook, William. “Reflections on the Revisions of Madama Butterfly.” In
Giacomo Puccini(#1441), 159–168.
A description of the revision made after the failed premiere—one that differs
considerably in its conclusions from Smith’s (#1478). Ashbrook finds that the
changes “affected our perception of Cio-Cio San.” Puccini eliminated a comic
drinking song and many racial slurs, and in general “tightened up the score” in
ways that emphasized Cio-Cio San as a tragic figure. Kate’s role was reduced
at the same time. - Groos, Arthur. “Lieutenant F. B. Pinkerton: Problems in the Genesis and Per-
formance of Madam Butterfly.” In Puccini Companion(#1442), 169–201.
Discusses the four published versions of the opera in the light of the literary
sources, focusing on the problematic character of Pinkerton. - Groos, Arthur. “Return of the Native: Japan in Madama Butterfly;Madama
Butterflyin Japan.” COJ1-2 (July 1989): 167–194.
Puccini’s efforts to produce a Japanese atmosphere were affected by his theatri-
cal wish for the exotic. In Japan, for which Groos gives a performance history,
the opera is interpreted in various ways to present a more favorable picture of
the national character.
Giacomo Puccini 281