What to Listen For

Of all of Puccini’s operas set in exotic locations, the music of Madama Butterfly sounds the most authentic.

Although he used no Japanese instruments, Puccini accomplished this partly by the use of authentic Japanese tunes, but more importantly by blending instruments such as the harp, piccolo, flute and bells to give a small, if stereotypical, oriental sound. He also makes frequent use of the oriental-sounding pentatonic (five-tone) scale.

The Weight of a Butterfly

Unusual for Puccini, he allows the work’s full weight to rest on one character’s shoulders (Butterfly). It is a huge role for a lirico spinto soprano (someone who has a voice between a lyrical soprano and a dramatic soprano) with strong vocal and physical stamina.

She is on stage for most of the opera; the second act is especially long and demanding, ranging from the lyricism of the Flower Duet to the drama of the final scene. Pinkerton, the traditional tenor role, is a bit of a supporting player. His last act aria was an after-thought, added when Puccini realised that, without it, no leading singer would accept the role.

Setting the Mood

“The difficulty is how to begin an opera, that is, how to find its musical atmosphere. Once the opening is composed, there is no more fear.” Giacomo Puccini

Listen for the short scurrying prelude, suggesting the graceful, hurrying moves of the Japanese people.

Most of the main characters have a short theme which introduces them and tells you more about them: Pinkerton’s Star Spangled Banner theme, introduces the brass section and the music becomes more western; Cio-Cio-San’s entrance is accompanied by music based on a Japanese folk song which also doubles as the love theme; as the relatives arrive listen for the "chattering" music; the Imperial High Commissioner and his entourage are announced by a snatch of the Japanese Imperial Hymn; the Bonze is introduced by ominous sounding strings and tam-tams.

The chorus in this scene sings in horrified unison, repeating Cio-Cio-San’s name over and over like a curse. Prince Yamadori has a traditional Japanese theme, which was used by Sullivan in The Mikado. There is also a suicide theme, first heard in the scene where Goro explains about Cio-Cio-San’s father.

Trouble Ahead

At the end of the first act, the duet between Cio-Cio-San and Pinkerton is famous both for its variety and length (15 minutes). As she asks about the American custom of sticking butterflies with pins, the music becomes disturbed for a moment, then as the scene progresses, it becomes more passionate and less oriental. They end singing in unison, a sure sign that they are one.

In the second half, listen out for the moment after Sharpless asks Butterfly what she will do if Pinkerton never returns. There is a fortissimo note on the drum, followed by an aching silence, before Butterfly replies that she would rather die than have to become a geisha again.

Un bel dì (One fine day)

Butterfly envisions the details of Pinkerton’s return. Wispy music of a solo violin describes the thread of smoke which will be the first sign of the ship. As it grows nearer and nearer, the music swells. As Pinkerton climbs the hill toward the waiting Butterfly, she becomes more and more agitated. While words confidently describe their union, the orchestra expresses frenzied despair. There is an interesting use of musical keys around this aria. Just before the aria, Suzuki says “I never knew of a foreign husband who returned”, sung in the key of C, the key of truth. After the aria, Sharpless enters with the letter from Pinkerton, again in the key of C Major. Between the two, the aria is sung in the key of G, the furthest from C—suggesting that Butterfly is lying or at least trying to hold onto her dream, but she knows that it is not really true.

Scuoti quella fronda di ciliegio (Shake that branch of the cherry tree)

Cio-Cio-San and Suzuki gather cherry and peach blossoms, violets and jasmine from the garden in preparation for Pinkerton’s arrival, singing a very beautiful light and hopeful duet, very different from any other part of the opera.

The Humming Chorus

As Butterfly waits, the offstage women’s voices softly hum. The whole scene lasts only minutes, in place of Belasco’s 14-minute lighting interlude which so inspired Puccini when he saw it in New York. This is followed by a long orchestral intermezzo, starting with very loud chords, which then becomes tranquil. As dawn breaks, the birds are heard awakening.

Addio fiorito asil (Farewell, flowery refuge)

This is the aria that Puccini added for the leading tenor. At the very end, he sings the words ‘Fuggo, fuggo: ah son vil!’ (I must go: ah, I am contemptible) repeated like a mantra. This gives the character a little saving grace, in the realization of the consequences of his actions.

The End

The end comes quickly. As Butterfly says farewell to her child, the orchestral music is punctuated by ominous chords. Just before she reads the inscription on the knife (To die with honour when one can no longer live with honour), the suicide theme is heard once again. The steady bass beat shows her resolution and determination. At the moment that she stabs herself, there is a huge crash from the orchestra and as she dies, listen for the sombre chords echoing the theme used when Butterfly described how her child would appear to the Emperor.