Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan

Medea as a Butterfly

While working on the PARALLEL PERSPECTIVES Archives page, I started thinking about Maria Callas & her rather bizarre, non-singing role in the equally bizarre 1970's Pier Passolini film MEDEA--and noticed this CD of Puccini's MADAMA BUTTERFLY. I must admit that I was kind of turned-off to see that the CD was remastered from the original non-sterophonic LP (there's just so much even digital technology can do in salvaging pre-stereo operatic recordings) and I really only purchased it because I was curious hear Callas in one of her less notable roles (unbelievably there were only 3 performances).

I was pleasantly surprised to find myself really enjoying the entire production.

Of course director Herbert Von Karajan is a famous talent in his own right and tenor Nicolai Gedda is outstanding as the faithless American lover, Pinkerton.

I wonder if Puccini called him that deliberately because "Pinkerton" was a notorious American "private detective agency" that supplied an armed goon squad used against immigrants & striking workers?

Probably not.

The fact that I love Puccinni and that MADAMA BUTTERFLY is my favorite opera helped as well.

And there is Maria Callas.

Even the most ferocious detractors of Callas (and there are still many) admit that she possessed a knack for characterization that was tantamount to genius. I too will admit that strictly analyzed from a musical perspective, Callas' performances (including BUTTERFLY) may not be the best in terms of singing technique--but she did have "It"--that certain something that makes her performance unique & unforgettable.

The plot of the opera is simple: Callous American Pinkerton in Japan has fun with local girl, goes through a marriage charade, gets her pregnant, then takes off back home again. But this isn't enough. He returns to Japan with his new American wife & wants to take Butterfly's son back with them to America. Butterfly realizes she's been betrayed & dishonored, but also has to admit that giving up her son could result in great advantages to the boy. She makes the unselfish decision to give custody to Pinkerton & his wife, but she also decides to kill herself.

Puccini has been criticized for his use of "The Star Spangled Banner" as a musical thematic element in the opera. The criticism is purely artistic and not political. However, I thought it was entirely appropriate and that by using it, the composer was making a valid, early multi-cultural statement. I think it also gave the work a universality that is as relevant today as it was near the turn of the last century, the so-called "American Century."

In the final scene Butterfly finally reaches the conclusion that there is no place, no home left for her (after all, by "marrying" Pinkerton she had also renounced her religious faith, and because of that has lost her family as well.) For me, this tragic scene represented the essence of Butterfly--a beautiful, fragile creature, her delicate wings torn off by an uncaring man & blinded by the sudden intrusion of an unforgiving & absolute insight. Like a natural butterfly trapped in a room, the human Butterfly is driven to blinding distraction, unable to escape. This is true in Callas' performance, but it is greatly overshadowed by an underlying emotion of a fierce, almost defiant, rejection of what appears to be her fate--and by implication, the false love that set the self-destructive wheel in motion. This element exists in the interpretation of other singer's as well, but not to the degree of strength as projected by Callas. In a strange way it reminded me of Medea: A rage that devours love, love lost to outrage. Callas' interpretation is particularly note worthy because this striking example of the actor's art is heard, but never seen.

In fairness to Pinkerton, Butterfly's death forces him to reach a higher level of self-awareness.

The CD memorializes one of the great performing artists of "The American Century"--incidentally, Maria Callas was born in New York.

Again, I found the entire production wonderful in its' own right, even if it does lack the latest technological recording innovation.

The Very Best of Maria Callas
Maria Callas, the Voice of the Century
Puccini - Madama Butterfly / Freni, Pavarotti, Ludwig, Wiener Phil., Karajan
Puccini: Madama Butterfly June 8, 2008

Stick with the Plot

Puccini.

Up there with Mozart when it comes to tearing the heart out of your soul.

Maria Callas - what a sexy women - no wonder that rich Greek fella courted her. She is a diamond, a truly wonderful opera singer. No, she is better than that. Maria Callas interprets the music into an emotional fury that extends passion and mundanity to their horizons.

Why buy Playboy when you can get the real deal right here. Smouldering femininity with knobs on. Simply the best.
February 9, 2007

Callas, an over-rated soprano

Nicolai Gedda as B.F Pinkerton is brilliant, a true showman in the role and a brilliant tenor full-stop. Callas on the other was not good at Cio-Cio San, in fact she was terrible.
It truly shows the difference between the two lead roles vocal technique and capability, in 'Vogliatemi bene', Gedda was brilliant note perfect and tone perfect, Callas was terrible she shrieked most of her way through the duet and sang a shrill top C at the end which compared with Gedda's masterful top C was a piece of dirt.
If you disagree listen the the track over and over again, see how shrill and whiney Callas's top C really is.

All over brilliant performance by Gedda, Callas was unworthy of such a great Pinkerton. December 22, 2006

It's a SHOCK!

It's a SHOCK how Callas interpreted "Madama Butterfly" It's close to perfect. Must listen for opera lovers! December 21, 2005

Perhaps The Best Recorded "Madama Butterfly"

There are many "Butterfly" recordings out there that are excellent in their own right but this recording deserves a category of excellence all it's own. What almost looks like mis-casting on paper, Callas does an astonishing job with the title role, which she recorded months before singing a series in Chicago and never to touch the role again. This is really one of those recordings that should be considered an historical event in the history of recorded opera. The collaboration of all the principles with von Karajan shows a unique unity that hasn't been duplicated very often.

But there's Callas' Cio Cio San that is really the reason to consider this recording. Even her silences, such as when she notices Kate in the garden in the final scenes, speaks volumes. There's this incredible thread that she creates from her entrance to her death that is like nothing I've ever heard before in this role. Also her choice of tone is remarkable and characteristic of this most chameleon of artists. She transforms herself from child to woman during the love duet and really does not sing at full tilt until the heart rendering final scene. This is an amazing studio portrayal and like I said, absolutely historical.
September 6, 2005

More reviews at Amazon.com ...