![]() The most innovative element of the staging is the use of Bunraku-style puppets to portray Cio-Cio-San’s child, as well as Butterfly herself in a dream sequence, which foreshadows her tragic end during the Act III Intermezzo. ![]() Still in character, the soprano descends alone downstage for her solo bow with the sashes still streaming from her waist. Butterfly commits ritual suicide center stage with her red obi expanding into four rivers of blood that reach to the far corners of the stage. In the second act, delicate garlands of cherry blossoms fall from above, while mounds of deep red peonies bank the stage for the Flower Duet. Pivotal scenes are reflected in mirrors above the stage, which create a distorted, haunting aura to the action. The images of softly lit white lanterns floating about the stage in the final moments of Act I are breathtakingly beautiful. There is bold use of color, particularly in the dazzling kimonos of Cio-Cio-San’s relatives. The house to which Pinkerton brings his fifteen-year-old bride is created by shoji screens that glide across the stage. The staging has lost none of its freshness and power since premiering at the Met in 2006. ![]() Minghella’s minimalist concept is not only a crowd pleaser, but a remarkably innovative and effective backdrop for Puccini’s tragic opera. ![]() Madama Butterfly returned to the Metropolitan Opera for the first time this season in Anthony Minghella’s visually stunning and emotionally devastating production. Eleonora Buratto and Brian Jagde star in Puccini’s Madama Butterfly at the Metropolitan Opera. ![]()
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