MADAMA BUTTERFLY
Giacomo Puccini (1858 - 1924)
Opera in three acts in Italian
Libretto: Giacosa and IllicaPremièr at Teatro alla Scala, Milan – 17 February 1904
10, 12 November 1960
State Fair Music Hall
Civic Opera, Dallas
Conductor: Nino Sanzogno
Chorus master: Roberto Benaglio
Costumes: Yugi Ito
Kate Pinkerton, Pinkerton’s American Wife n/a mezzo-soprano
B.F. Pinkerton, Lieutenant in US Navy GIANNI RAIMONDI tenor
Sharpless, US Consul at Nagasaki MANUEL AUSENSI baritone
Goro, a marriage broker MARIO PALERMO tenor
Prince Yamadori, a rich Japanese ROBERT FALK baritone
The Bonze, Cio-Cio-San’s uncle n/a bass
The Imperial Commissioner n/a bass
The Official Registrar n/a baritone
Stage director: Hizi Koyke
Scene: Trew HockerCostumes: Yugi Ito
Cio-Cio-San, Madam Butterfly LEYLA GENCER soprano
Suzuki, her servant REGINA SARFATY mezzo-soprano Kate Pinkerton, Pinkerton’s American Wife n/a mezzo-soprano
B.F. Pinkerton, Lieutenant in US Navy GIANNI RAIMONDI tenor
Sharpless, US Consul at Nagasaki MANUEL AUSENSI baritone
Goro, a marriage broker MARIO PALERMO tenor
Prince Yamadori, a rich Japanese ROBERT FALK baritone
The Bonze, Cio-Cio-San’s uncle n/a bass
The Imperial Commissioner n/a bass
The Official Registrar n/a baritone
Time: Early Twentieth Century
Place: NagasakiTHE MEXIA DAILY NEWS
1960.08.03
THE IRVING NEWS RECORD
1960.08.04
DENTON RECORD CHRONICLE
1960.08.07
WICHITA FALLS TIMES
1960.08.07
THE AUSTIN AMERICAN
1960.09.09
LANSING STATE JOURNAL
1960.09.11

RENO GAZETTE
1960.09.13
LONGVIEW NEWS JOURNAL
1960.10.03

THE DAILY IBERIAN
1960.10.04
DENTON RECORD CHRONICLE
1960.10.09
DENTON RECORD CHRONICLE
1960.10.23
THE DALLAS MORNING NEWS
1960.11.02

THE DALLAS MORNING NEWS
1960.11.04

THE ADA EVENING NEWS
1960.11.06
THE DALLAS MORNING NEWS
1960.11.06

TULSA WORLD
1960.11.06
DALLAS TIMES HERALD
1960.11.11

DENTON RECORD
1960.11.11
CHRISTIAN SCIENCE MONITOR
1960.11.19
OPERA NEWS
1960.12.31
OPERA MAGAZINE
1961 February
OPERA MAGAZINE
1965 Fabruary
Dallas. The pearly
loveliness of sound and affectingly restrained acting of the young Italian
soprano Lydia Marimpietri accounted for much of the poignant distinction
achieved by the opening production of the Dallas Civic Opera, Madama
Butterfly. A revival of its 1960 production, this was infinitely superior
to its predecessor, which also utilized the artfully underplayed production by
Hizi Koyke, airily realistic sets by the late Trew Hocker (only casually
'adjusted' this time) and the loving support from Nicola Rescigno and the
Dallas Symphony Orchestra, who only occasionally loosed a Wagnerian blare to
unsettle the abiding lyrical fervour of Puccini's score. The difference, of
course, was Miss Marimpietri, who more than rectified the colossal casting
error of the 1960 staging with Leyla Gencer and who left no doubt that her
first Cio-Cio-San on any opera stage is a distinguished characterization which
should blossom into a really great one. To see and hear her, one was reminded
of both a young and warmer-voiced Licia Albanese and the more reposeful looks
of Anna Magnani. Small wonder that capacity audiences on November 13, 15
(student matinee) and 20 (the performance we attended) were enraptured.