1. The Evolution of Madame Butterfly

2. Who Is She?

3. Admiral Perry Enters Japan
On July 8, 1853, Commodore Matthew Perry entered Edo Wan (Tokyo Bay) leading 4 American warships: The Susquehanna, the Mississippi, the Saratoga, and the Powhatan
Motives for American contact with Japan:
Coal source for steamships
Protection of shipwrecked American sailors
Competition with empire-building Britain, France and Russia
Trade markets
Missionaries
Perry delivered letters from President Fillmore and left, promising to return in 1854.

4. Japanese-American Agreements
Code of conduct for shipwrecked sailors and whalers
Coal sales
Opening up of trading sites beyond Nagasaki, the traditional foreigners’ ghetto
Transition period to put full agreement into effect
Japan remained a sovereign country

5. Meiji Government 1868-1911 1868: Restoration of Emperor
Rapid industrialization
Modernization of society
politics adopted Constitutional gevernment
education set up Western style -- 20,000 schools within 3 years
expansionist foreign policy -- victories in Sino-Japanese War and Russo-Japanese War
Wealthy, educated nation with strong military

6. The French Novel Loti’s Madame Chrysantheme
Madame Chrysanthemum by Pierre Loti, 1887
Fictionalized travel narrative recounting the author’s time in Japan
Affair between French naval officer (Loti) and a geisha
Colonialist and imperialist responses to gender, race and class

7. The American Story: Long’s Madame Butterfly
John Luther Long’s story Madame Butterfly first appeared in 1898 in Century magazine.
Sources include accounts from Long’s sister, Mrs. Correll, who had been a missionary in Japan, and probably Loti’s novel
Long described himself as “a sentimentalist, and a feminist and proud of it.”
Long’s Cho Cho San attempts suicide but is distracted by her son. At the end of the story, they disappear.
Madame Butterfly by John Luther Long

8. The Play: Madame Butterfly
David Belasco, playwright, director and producer collaborated with Long to write a one-act play that was performed in NYC and London in 1900.
Production was famous for its intense emotionalism and sense of exotic place.
Puccini saw production in London and immediately applied for the rights transform it into an opera.
David Belasco Homepage

9. The Opera: Puccini’s Madama Butterfly
Giacomo Puccini’s opera premiered in February, 1904, at La Scala in Milan: it was a disaster. The audience booed and hissed.
A somewhat revised version in Brescia, Italy in May, The audience demanded seven encores and 32 curtain calls.

10. Madama Butterfly
The slightly revised 1906 Paris version is today’s standard version.
Puccini extensively researched Japanese customs, words, art, architecture and music. The opera includes snatches of Japanese folk songs and its national anthem as well as “The Star-Spangled Banner.”
Madama Butterfly: synopsis and midi sound files

11. Basic Opera Elements Voices: Soprano: high-range female singing voice
Mezzo: medium-range female voice
Alto: low –range female voice
Tenor: high-range male voice
Baritone: medium-range male voice
Bass: low-range male voice

12. Basic Opera Elements Libretto: the words of the opera
Score: the music of the opera
Aria: solo
Duet: song sung by two singers
Recitative: vocal music based on imitation speech with a minimum of accompaniment
Coloratura: fancy decorations in vocal music – many fast little notes in complicated passages

13. The Musical: Miss Saigon
Conceived and composed by Alain Boublil and Claude- Michel Schönberg, Miss Saigon opened in London in September 1989 (closed 10/30/1999) and on Broadway in 1980 (still playing)
Set in Vietnam in 1975 as the Viet Cong are invading Saigon, and the Americans are on their out of the country.
Chris, an American GI is attracted to Kim, a “bar-girl” at a club called Dreamland.
Miss Saigon Website

14. Miss Saigon
The work was inspired by a photograph of a child leaving for America -- one of the Bui- Doi, “the dust of life,” children of American soldiers and Vietnamese women.
“She knew as only a mother could, that beyond this departure gate there was both a new life for her daughter and no life for her, and that she had willed it.”

15. Another Play: M. Butterfly
M Butterfly by David Henry Hwang was based on a New York Times story.
It premiered in Washington DC in February 1988 and opened on Broadway in March 1988.
Directed by John Dexter, starred John Lithgow and B.D. Wong.
Won the Tony Award , the Outer Critics Circle Award , the John Gassner Award , and the Drama Desk Award for best play.
Information on David Henry Hwang
: “A former French diplomat and a Chinese opera singer have been sentenced to six years in jail for spying for China after a two day trial that traced a story of clandestine love and mistaken sexual identity…. Mr. Bouriscot was accused of passing information to China after he fell in love with Mr. Shi, whom he believed for twenty years to be a woman.” -- New York Times, 11 May 1986

16. And the film version: M. Butterfly
Directed by David Cronenberg, starring Jeremy Irons and John Song, the film version appeared in 1983.
Received mixed critical reviews and was not popular.
M. Butterfly from E! Online

17. David Henry Hwang on M. Butterfly
“I came up with the basic ’arc’ of my play: the Frenchman fantasizes that he is Pinkerton and his lover is Butterfly. By the end of the piece, he realizes that it is he who has been Butterfly, in that the Frenchman has been duped by love; the Chinese spy, who exploited that love, is therefore the real Pinkerton.”
The neo-Colonialist notion that good elements of a native society, like a good woman, desire submission to the masculine West speaks precisely to the heart of our foreign policy.”

18. The Ballet: Robert de Warren’s Madame Butterfly
Choreographed by Robert de Warren, the Sarasota Ballet opened the work to critical acclaim on January 19, 1999.
Although set in Vietnam, the narrative follows the traditional tragic story with a few adjustments.

19. Why the Fascination? Tragic love story The exotic Orient
Woman as “Other”
Oriental woman as fragile exotic Other

20. “For the myths of the East, the myths of the West, the myths of men and the myths of women -- these have so saturated our consciousness that truthful contact between nations can only be the result of heroic effort.”
D. H. Hwang