Track Listing

Disc 1:

1. Madama Butterfly (Madame Butterfly), opera: Act 1.: "... E soffitto e pareti..."
2. Madama Butterfly (Madame Butterfly), opera: Act 1.: "Sorride Vostro Onore?"
3. Madama Butterfly (Madame Butterfly), opera: Act 1.: "Dovunque al mondo"
4. Madama Butterfly (Madame Butterfly), opera: Act 1.: "America for ever"
5. Madama Butterfly (Madame Butterfly), opera: Act 1.: "Ler l'altro il Consolato"
6. Madama Butterfly (Madame Butterfly), opera: Act 1.: "Ecco. Son giunte al sommo del pendio"
7. Madama Butterfly (Madame Butterfly), opera: Act 1.: "Gran ventura"
8. Madama Butterfly (Madame Butterfly), opera: Act 1.: "L'Inperial Commissario"
9. Madama Butterfly (Madame Butterfly), opera: Act 1.: "Vieni, amor mio!"
10. Madama Butterfly (Madame Butterfly), opera: Act 1.: "Vieni,amor mio!"
11. Madama Butterfly (Madame Butterfly), opera: Act 1.: "Tutti zitti!"
12. Madama Butterfly (Madame Butterfly), opera: Act 1.: "O Kami! O Kami!"
13. Madama Butterfly (Madame Butterfly), opera: Act 1.: "Cio-cio-san!"
14. Madama Butterfly (Madame Butterfly), opera: Act 1.: "Bimba, bimba, non piangere"
15. Madama Butterfly (Madame Butterfly), opera: Act 1.: "Viene la sera"
16. Madama Butterfly (Madame Butterfly), opera: Act 1.: "Vogliatemi bene"

Disc 2:

1. Madama Butterfly (Madame Butterfly), opera: Act 2.: "E lzaghi ed Izanami"
2. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Un bel dì vedremo"
3. Madama Butterfly (Madame Butterfly), opera: Act 2.: "C'è. Entrate"
4. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Si sa che aprir la porta"
5. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Udiste?"
6. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Ora a noi. Sedete qui"
7. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Ebbene, che fareste, Madama Butterfly"
8. Madama Butterfly (Madame Butterfly), opera: Act 2.: "E questo? E questo?"
9. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Che tua madre dovrà prenderti in braccio"
10. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Vespa! Rospo maledetto!"
11. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Una nave da guerra..."
12. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Scuoti quella fronda di ciliego"
13. Madama Butterfly (Madame Butterfly), opera: Act 2.: (Coro a bocca chiusa)

Disc 3:

1. Madama Butterfly (Madame Butterfly), opera: Act 2.: Intermezzo
2. Madama Butterfly (Madame Butterfly), opera: Act 2.: (fischi d'uccelli dal giardino)
3. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Già il sole!"
4. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Chi sia?"
5. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Io so che alle sue pene"
6. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Non ve l'avevo detto?"
7. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Addio fiorito asil"
8. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Suzuki? Suzuki? Dove sei?"
9. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Tu, Suzuki, che sei tanto buona"
10. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Come una mosca prigioniera"
11. Madama Butterfly (Madame Butterfly), opera: Act 2.: "Con onor muore"

Product Details

• Amazon Sales Rank: #15192 in Music
• Released on: 1990-10-25
• Number of discs: 3
• Dimensions: .81 pounds

Amazon.com essential recording
Since Madama Butterfly has more stage time than other sopranos, it is imperative that the singing actress captures extensive dramatic variety in addition to singing with exquisite tone and an affinity to Puccini. Mirella Freni, one of the greatest recorded Butterfly's of all time, succeeds at these demands with vocal sensitivity and eloquence. She is assisted by Karajan's superb, symphonic conducting, crisply and poignantly realizing all of Puccini's vast moods; Ludwig's urgent, loving and tenderly sung Suzuki; and Pavarotti's endearing and almost likeable Pinkerton. In addition, the Pavarotti-Freni duets are nectars of the gods. Get out the tissues and indulge. --Barbara Eisner Bayer

Customer Reviews

Simply fabulous
As other listeners have noted, this is an opera that stands or falls on its heroine. With this in mind, Karajan's recording must be ranked among the best. Pavarotti's Pinkerton, recorded during his prime, is fresh and youthful, and Christa Ludwig's Suzuki brings a lieder-singer's attention to the text (although Teresa Berganza on the Sinopoli recording outdoes her). But the reason for hearing this set is the magnificently sung Butterfly of Mirella Freni. While she may not have the sharpness or intensity of Renata Scotto, this is, bar none, the best-sung Butterfly on records. Butterfly's Entrance will never be better done than it is here (that high D-flat at the end is a little slice of paradise), and there are other moments that make the heart stand still. The recorded sound is ravishing, and Karajan conducts with soul and passion. Don't hesitate about the extra cost of this set -- it would still be a bargain at twice the price.

A STUDY IN DETAIL
The success of Madama Butterfly rests on the shouders of the soprano, more so than any other opera. While a well-sung Pinkerton, Suzuki or Sharpless are appreciated, it is the title role that people think of first. In this aspect, Mirella Freni has excelled. Her performance of Cio Cio San is almost legendary and this recording is a summation of her understanding and interpretation of the role and character. From the passion and love in the duet with Pinkerton to the wrath and despair of the finale, Freni shows us how plaiable her voice can be. Light and dreamy for one, and heavy and dramatic for another. Her "Dormi amor mio" sends chills down spines with its paralysing beauty. Pavarotti sings with ardent brilliance and splendour. His tone as always bright and ringing creates a Pinkerton that does not seem at at that heartless. Ludwig's sensitively potrayed Suzuki complete with the "voice" lend to the work an asset. Karajan, more so than for his recording with Callas, takes a leisurely and unhurried stroll down the trial and tribulations of Cio Cio San, giving a most beautifully performed Butterfly. One point to note however, is that the CD is on three discs and thereby, is dearer. However with such a recording, the extra disc is worth every cent.

Heart-aching and very human
We all have our preferences (I intend to get the rare recording featuring Anna Moffo as well) and we may not be particularly moved by something being described as the best 'all-rounder'. This suggests a piece of work that isn't necessarily spectacular, but nevertheless steers clear of any poor performances. We therefore avoid them and go for our favourites instead, reasoning away any shortfalls.

Well this is not just the best 'all-rounder' in its ability to please....it is demonstration class! I'm not a Pavarotti fan, though I give him his due. Domingo's my hero. Freni, with her girl-next-door-of-a-voice reputation was never a voice I'd chase down, though I regarded her as a 'safe' bet. Well here they SHINE! Freni kisses every note and sends it floating or flying with charm, vulnerability, pride, love....such emotion but all with a very genuine HUMAN feel. I have NO difficulties hearing her either. Pavarotti, as was said by another reviewer, sings here, rather than shouts (which he can do sometimes). Again, his emotions are so human...even the very, very light grate in his voice sometimes. Believe me, it was totally convincing. I pictured a man who lives for the present but for whom thoughts of the future are an emotional drain. After these few moments, he continues to display a clear and beautiful tone as the mood later changes....and I'm not one disposed to rationalising anything on Pavarotti's behalf. Full marks to him for texturing.

And the rest? Well, I'll confess my biases here: Christa Ludwig (I'm tempted not to say any more; the name speaks for itself!). I'll limit myself to one word: sumptous. From her millings around in the background in Act 1 to her endearing prayers at the beginning of Act 2 to the despair and tragedy of the trio at track 5 in Act 3, her performance seems to say "I care; with all my heart, I care deeply". Robert Kerns, with whom I'd been previously unfamiliar, is a very warm and well-sung Sharpless. Deep and sombre-toned, without being too sonorous. The effect is that it feels less theatrical and, again, more human.

Michel Senechal as Goro is a joy to listen to. His tenor is less noble that Pavarotti's Pinkerton, as it should be. In fact, there is not a badly sung role in all of this, and Wolfgang Schneider as Uncle Yakuside is a spiteful fright without sounding ugly! The chorus sounds lovely. Now and again you get hear the voice of one or two matronly (but NOT overly fruity) voices among the mezzos ( "O Kami! O Kami!" Act 1, track 12) and this just adds to the endearing quality of what is already a beautiful score. The only petty quibble I can think of would be Freni's "Tu? Tu?..Piccolo Iddio!" which was a little less ravishing than I might be acustomed to (e.g.; the breath in between "...fiso," and the very next word "fiso..." weakened the aria) but that's verging on being pedantic. After all, Butterfly was about to die. Even so, it was still well done.

As for von Karajan? Well he's always been my kind of conductor....from Tosca (Price/di Stefano) to Parsifal (Hoffmann/Van Dam/Moll etc.) to Boris Godunov (Ghiaurov etc.) I have lauded his dexterity, passion and devotion to depicting not just music, but the aura of the music. He has NEVER indulged in the music too much for my taste. Too much beauty?? Is there such a thing???? Listen to the birds at the beginning of Act 3. The warm flood of the strings of the Wiener Philharmoniker are a testament to Herbert von Karajan's mastery, whether they bear you away in amorous rapture or sweep you on tidal waves of high emotion.

This IS an essential recording. Puccini's beautiful melodies here present another tear-jerker, but with more colour and depth than La Boheme.