#madamabutterfly — Public Fediverse posts

https://www.europesays.com/lv/176779/ galvenais notikums – Pučīni opera “Madama Butterfly” — Lente.lv #DžakomoPučīni #Entertainment #Izklaide #JūlijaVasiļjeva #KlasiskāMūzika #Latvia #Latvian #Latviešu #LatviešuValoda #LatviešuValoda #Latvija #LV #MadamaButterfly #SiguldasOpermūzikasSvētki

https://www.europesays.com/at/?p=95060 Junge Staatsoper – Puccini-Porträt für Kinder: So ist Oper wirklich #AnaGarotic #AT #Austria #ChristianeLutz #Entertainment #Italien #LaBohème #LisaPadouvas #Liù #MadamaButterfly #MartinGellner #Mimi #Minnie #Österreich #Puccini #Puccinis #Unterhaltung #Wiener

“”Traduttore, traditore”*…

Translation is key to communication across cultures– and across time. But as the old Italian adage above suggests, transaction is difficult; indeed, translation is sure, from time to time, to fail. (C.f., e.g., here) The estimable Jonathan Bate shares a “tragic” example…

One of the most consequential misunderstandings in the history of literary criticism turns on a single Greek word. In Aristotle’s Poetics, that word is hamartia. It is usually rendered, in classrooms and handbooks, as “tragic flaw,” and on that translation an entire tradition of reading tragedy has been erected. Yet if we return to Aristotle’s Greek and trace the word’s history with some philological care, it becomes clear that this familiar formula rests on a slow but decisive mistranslation—less an error at a single moment than a long cultural drift in which a term meaning “mistake” gradually hardened into a doctrine of moral defect.

In classical Greek, hamartia belongs to the language of action rather than character. Its root sense is concrete and kinetic: to miss one’s mark, as an archer misses the target. By extension, it denotes an error, a misjudgment, a false step—often one made in ignorance of some crucial fact. Aristotle uses the term this way throughout his works, ethical and otherwise. In the Poetics, when he says that the tragic hero falls into misfortune “because of hamartia,” he is careful to exclude two alternatives. The hero does not fall because he is wicked, nor because he is exceptionally virtuous. Tragedy, for Aristotle, does not punish vice or reward goodness; it stages the vulnerability of human action to error within an intelligible but unstable world. The downfall comes about δι’ ἁμαρτίαν—because of an error, not because the hero is “flawed” in a modern psychological or ethical sense…

[Bate locates this reading in the larger corpus of Aristotle’s thinking, then traces the evolution of the reading of hamartia— and of the culture(s) that informed those understandings. He concludes…]

… the history of hamartia traces a remarkable arc: from error in action, to moral fault, to sin, to vice, to psychological flaw. Each step made sense within its own intellectual climate, yet the cumulative effect was to impose on Aristotle a conception of tragedy he would scarcely have recognized. What began as a missed mark became a stain on the soul. And with that shift, tragedy itself was subtly transformed—from a meditation on human fallibility into a lesson on personal failure…

The history of a misreading: “Aristotle and the so-called Tragic Flaw,” from @profbate.bsky.social.

* Old Italian adage: “translator, traitor” (or, “to translate is to betray”) See here and here.

###

As we tangle with tragedy, we might recall that it was on this date in 1904 that Giacomo Puccini‘s Madama Butterfly premiered at La Scala in Milan. The tragic opera (with a libretto by  Luigi Illica and Giuseppe Giacosa) was based on the 1898 short story “Madame Butterfly” by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll, and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long’s version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year.

The premiere in Milan was a fiasco, beset by several bad staging decisions, from the lack of an intermission during the second act to the device of giving audience plants nightingale whistles to deepen the sense of sunrise in the final scene– which the audience took as a cue to make their own animal noises. Today Madama Butterfly is considered a masterpiece and is the sixth most performed opera in the world.

“Traduttore, traditore”*…

Translation is key to communication across cultures– and across time. But as the old Italian adage above suggests, transaction is difficult; indeed, translation is sure, from time to time, to fail. (C.f., e.g., here) The estimable Jonathan Bate shares a “tragic” example…

One of the most consequential misunderstandings in the history of literary criticism turns on a single Greek word. In Aristotle’s Poetics, that word is hamartia. It is usually rendered, in classrooms and handbooks, as “tragic flaw,” and on that translation an entire tradition of reading tragedy has been erected. Yet if we return to Aristotle’s Greek and trace the word’s history with some philological care, it becomes clear that this familiar formula rests on a slow but decisive mistranslation—less an error at a single moment than a long cultural drift in which a term meaning “mistake” gradually hardened into a doctrine of moral defect.

In classical Greek, hamartia belongs to the language of action rather than character. Its root sense is concrete and kinetic: to miss one’s mark, as an archer misses the target. By extension, it denotes an error, a misjudgment, a false step—often one made in ignorance of some crucial fact. Aristotle uses the term this way throughout his works, ethical and otherwise. In the Poetics, when he says that the tragic hero falls into misfortune “because of hamartia,” he is careful to exclude two alternatives. The hero does not fall because he is wicked, nor because he is exceptionally virtuous. Tragedy, for Aristotle, does not punish vice or reward goodness; it stages the vulnerability of human action to error within an intelligible but unstable world. The downfall comes about δι’ ἁμαρτίαν—because of an error, not because the hero is “flawed” in a modern psychological or ethical sense…

[Bate locates this reading in the larger corpus of Aristotle’s thinking, then traces the evolution of the reading of hamartia— and of the culture(s) that informed those understandings. He concludes…]

… the history of hamartia traces a remarkable arc: from error in action, to moral fault, to sin, to vice, to psychological flaw. Each step made sense within its own intellectual climate, yet the cumulative effect was to impose on Aristotle a conception of tragedy he would scarcely have recognized. What began as a missed mark became a stain on the soul. And with that shift, tragedy itself was subtly transformed—from a meditation on human fallibility into a lesson on personal failure…

The history of a misreading: “Aristotle and the so-called Tragic Flaw,” from @profbate.bsky.social.

* Old Italian adage: “translator, traitor” (or, “to translate is to betray”) See here and here.

###

As we tangle with tragedy, we might recall that it was on this date in 1904 that Giacomo Puccini‘s Madama Butterfly premiered at La Scala in Milan. The tragic opera (with a libretto by  Luigi Illica and Giuseppe Giacosa) was based on the 1898 short story “Madame Butterfly” by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll, and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long’s version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year.

The premiere in Milan was a fiasco, beset by several bad staging decisions, from the lack of an intermission during the second act to the device of giving audience plants nightingale whistles to deepen the sense of sunrise in the final scene– which the audience took as a cue to make their own animal noises. Today Madama Butterfly is considered a masterpiece and is the sixth most performed opera in the world.

“”Traduttore, traditore”*…

Translation is key to communication across cultures– and across time. But as the old Italian adage above suggests, transaction is difficult; indeed, translation is sure, from time to time, to fail. (C.f., e.g., here) The estimable Jonathan Bate shares a “tragic” example…

One of the most consequential misunderstandings in the history of literary criticism turns on a single Greek word. In Aristotle’s Poetics, that word is hamartia. It is usually rendered, in classrooms and handbooks, as “tragic flaw,” and on that translation an entire tradition of reading tragedy has been erected. Yet if we return to Aristotle’s Greek and trace the word’s history with some philological care, it becomes clear that this familiar formula rests on a slow but decisive mistranslation—less an error at a single moment than a long cultural drift in which a term meaning “mistake” gradually hardened into a doctrine of moral defect.

In classical Greek, hamartia belongs to the language of action rather than character. Its root sense is concrete and kinetic: to miss one’s mark, as an archer misses the target. By extension, it denotes an error, a misjudgment, a false step—often one made in ignorance of some crucial fact. Aristotle uses the term this way throughout his works, ethical and otherwise. In the Poetics, when he says that the tragic hero falls into misfortune “because of hamartia,” he is careful to exclude two alternatives. The hero does not fall because he is wicked, nor because he is exceptionally virtuous. Tragedy, for Aristotle, does not punish vice or reward goodness; it stages the vulnerability of human action to error within an intelligible but unstable world. The downfall comes about δι’ ἁμαρτίαν—because of an error, not because the hero is “flawed” in a modern psychological or ethical sense…

[Bate locates this reading in the larger corpus of Aristotle’s thinking, then traces the evolution of the reading of hamartia— and of the culture(s) that informed those understandings. He concludes…]

… the history of hamartia traces a remarkable arc: from error in action, to moral fault, to sin, to vice, to psychological flaw. Each step made sense within its own intellectual climate, yet the cumulative effect was to impose on Aristotle a conception of tragedy he would scarcely have recognized. What began as a missed mark became a stain on the soul. And with that shift, tragedy itself was subtly transformed—from a meditation on human fallibility into a lesson on personal failure…

The history of a misreading: “Aristotle and the so-called Tragic Flaw,” from @profbate.bsky.social.

* Old Italian adage: “translator, traitor” (or, “to translate is to betray”) See here and here.

###

As we tangle with tragedy, we might recall that it was on this date in 1904 that Giacomo Puccini‘s Madama Butterfly premiered at La Scala in Milan. The tragic opera (with a libretto by  Luigi Illica and Giuseppe Giacosa) was based on the 1898 short story “Madame Butterfly” by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll, and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long’s version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year.

The premiere in Milan was a fiasco, beset by several bad staging decisions, from the lack of an intermission during the second act to the device of giving audience plants nightingale whistles to deepen the sense of sunrise in the final scene– which the audience took as a cue to make their own animal noises. Today Madama Butterfly is considered a masterpiece and is the sixth most performed opera in the world.

“”Traduttore, traditore”*…

Translation is key to communication across cultures– and across time. But as the old Italian adage above suggests, transaction is difficult; indeed, translation is sure, from time to time, to fail. (C.f., e.g., here) The estimable Jonathan Bate shares a “tragic” example…

One of the most consequential misunderstandings in the history of literary criticism turns on a single Greek word. In Aristotle’s Poetics, that word is hamartia. It is usually rendered, in classrooms and handbooks, as “tragic flaw,” and on that translation an entire tradition of reading tragedy has been erected. Yet if we return to Aristotle’s Greek and trace the word’s history with some philological care, it becomes clear that this familiar formula rests on a slow but decisive mistranslation—less an error at a single moment than a long cultural drift in which a term meaning “mistake” gradually hardened into a doctrine of moral defect.

In classical Greek, hamartia belongs to the language of action rather than character. Its root sense is concrete and kinetic: to miss one’s mark, as an archer misses the target. By extension, it denotes an error, a misjudgment, a false step—often one made in ignorance of some crucial fact. Aristotle uses the term this way throughout his works, ethical and otherwise. In the Poetics, when he says that the tragic hero falls into misfortune “because of hamartia,” he is careful to exclude two alternatives. The hero does not fall because he is wicked, nor because he is exceptionally virtuous. Tragedy, for Aristotle, does not punish vice or reward goodness; it stages the vulnerability of human action to error within an intelligible but unstable world. The downfall comes about δι’ ἁμαρτίαν—because of an error, not because the hero is “flawed” in a modern psychological or ethical sense…

[Bate locates this reading in the larger corpus of Aristotle’s thinking, then traces the evolution of the reading of hamartia— and of the culture(s) that informed those understandings. He concludes…]

… the history of hamartia traces a remarkable arc: from error in action, to moral fault, to sin, to vice, to psychological flaw. Each step made sense within its own intellectual climate, yet the cumulative effect was to impose on Aristotle a conception of tragedy he would scarcely have recognized. What began as a missed mark became a stain on the soul. And with that shift, tragedy itself was subtly transformed—from a meditation on human fallibility into a lesson on personal failure…

The history of a misreading: “Aristotle and the so-called Tragic Flaw,” from @profbate.bsky.social.

* Old Italian adage: “translator, traitor” (or, “to translate is to betray”) See here and here.

###

As we tangle with tragedy, we might recall that it was on this date in 1904 that Giacomo Puccini‘s Madama Butterfly premiered at La Scala in Milan. The tragic opera (with a libretto by  Luigi Illica and Giuseppe Giacosa) was based on the 1898 short story “Madame Butterfly” by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll, and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long’s version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year.

The premiere in Milan was a fiasco, beset by several bad staging decisions, from the lack of an intermission during the second act to the device of giving audience plants nightingale whistles to deepen the sense of sunrise in the final scene– which the audience took as a cue to make their own animal noises. Today Madama Butterfly is considered a masterpiece and is the sixth most performed opera in the world.

“Traduttore, traditore”*…

Translation is key to communication across cultures– and across time. But as the old Italian adage above suggests, transaction is difficult; indeed, translation is sure, from time to time, to fail. (C.f., e.g., here) The estimable Jonathan Bate shares a “tragic” example…

One of the most consequential misunderstandings in the history of literary criticism turns on a single Greek word. In Aristotle’s Poetics, that word is hamartia. It is usually rendered, in classrooms and handbooks, as “tragic flaw,” and on that translation an entire tradition of reading tragedy has been erected. Yet if we return to Aristotle’s Greek and trace the word’s history with some philological care, it becomes clear that this familiar formula rests on a slow but decisive mistranslation—less an error at a single moment than a long cultural drift in which a term meaning “mistake” gradually hardened into a doctrine of moral defect.

In classical Greek, hamartia belongs to the language of action rather than character. Its root sense is concrete and kinetic: to miss one’s mark, as an archer misses the target. By extension, it denotes an error, a misjudgment, a false step—often one made in ignorance of some crucial fact. Aristotle uses the term this way throughout his works, ethical and otherwise. In the Poetics, when he says that the tragic hero falls into misfortune “because of hamartia,” he is careful to exclude two alternatives. The hero does not fall because he is wicked, nor because he is exceptionally virtuous. Tragedy, for Aristotle, does not punish vice or reward goodness; it stages the vulnerability of human action to error within an intelligible but unstable world. The downfall comes about δι’ ἁμαρτίαν—because of an error, not because the hero is “flawed” in a modern psychological or ethical sense…

[Bate locates this reading in the larger corpus of Aristotle’s thinking, then traces the evolution of the reading of hamartia— and of the culture(s) that informed those understandings. He concludes…]

… the history of hamartia traces a remarkable arc: from error in action, to moral fault, to sin, to vice, to psychological flaw. Each step made sense within its own intellectual climate, yet the cumulative effect was to impose on Aristotle a conception of tragedy he would scarcely have recognized. What began as a missed mark became a stain on the soul. And with that shift, tragedy itself was subtly transformed—from a meditation on human fallibility into a lesson on personal failure…

The history of a misreading: “Aristotle and the so-called Tragic Flaw,” from @profbate.bsky.social.

* Old Italian adage: “translator, traitor” (or, “to translate is to betray”) See here and here.

###

As we tangle with tragedy, we might recall that it was on this date in 1904 that Giacomo Puccini‘s Madama Butterfly premiered at La Scala in Milan. The tragic opera (with a libretto by  Luigi Illica and Giuseppe Giacosa) was based on the 1898 short story “Madame Butterfly” by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll, and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long’s version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year.

The premiere in Milan was a fiasco, beset by several bad staging decisions, from the lack of an intermission during the second act to the device of giving audience plants nightingale whistles to deepen the sense of sunrise in the final scene– which the audience took as a cue to make their own animal noises. Today Madama Butterfly is considered a masterpiece and is the sixth most performed opera in the world.

https://www.europesays.com/lv/38431/ Operas dīva Kristīne Opolais atgriežas uz Latvijas Nacionālās operas skatuves ar “Madama Butterfly” — Lente.lv #Aktualitātes #BreakingNews #BreakingNews #FeaturedNews #FeaturedNews #GiacomoPuccini #Headlines #KristīneOpolais #LatestNews #LatestNews #Latvia #Latvian #Latviešu #LatviešuValoda #LatviešuValoda #Latvija #LatvijasNacionālāOpera #LatvijasRadioSimtgade #LV #MadamaButterfly #News #PopulārākāsZiņas #PopulārākāsZiņas #TopStories #TopStories #Ziņas

https://www.europesays.com/lv/37260/ Nacionālajā operā dzirdēs “Madama Butterfly”, godinot Latvijas Radio 100 gadu jubileju — Lente.lv #Entertainment #Izklaide #Latvia #Latvian #Latviešu #LatviešuValoda #LatviešuValoda #Latvija #LatvijasRadioJubileja #LV #MadamaButterfly #NacionālāOpera #PucciniOpera #RadioVēsture

https://www.europesays.com/lv/37128/ Nacionālajā operā dzirdēs “Madama Butterfly”, godinot Latvijas Radio 100 gadu jubileju — Lente.lv #Entertainment #Izklaide #Latvia #Latvian #Latviešu #LatviešuValoda #LatviešuValoda #Latvija #LatvijasRadioJubileja #LV #MadamaButterfly #NacionālāOpera #PucciniOpera #RadioVēsture

https://www.europesays.com/lv/33461/ Kristīne Opolais dziedās Čo-Čo-sanas lomu Latvijas Radio simtgadei veltītajā operas “Madama Butterfly” izrādē — Lente.lv #Aktualitātes #BreakingNews #BreakingNews #DžakomoPučīni #FeaturedNews #FeaturedNews #Headlines #KristīneOpolais #LatestNews #LatestNews #Latvia #Latvian #Latviešu #LatviešuValoda #LatviešuValoda #Latvija #LatvijasNacionālāOpera #LatvijasRadioSimtgade #LV #MadamaButterfly #News #PopulārākāsZiņas #PopulārākāsZiņas #TopStories #TopStories #Ziņas

https://www.europesays.com/lv/?p=33455 Kristīne Opolais dziedās Čo-Čo-sanas lomu Latvijas Radio simtgadei veltītajā operas “Madama Butterfly” izrādē — Lente.lv #Aktualitātes #BreakingNews #BreakingNews #DžakomoPučīni #FeaturedNews #FeaturedNews #Headlines #KristīneOpolais #LatestNews #LatestNews #Latvia #Latvian #Latviešu #LatviešuValoda #LatviešuValoda #Latvija #LatvijasNacionālāOpera #LatvijasRadioSimtgade #LV #MadamaButterfly #News #PopulārākāsZiņas #PopulārākāsZiņas #TopStories #TopStories #Ziņas

Frauen im Blick: Theater Bremen startet männerkritisch in die Saison

Standdatum: 13. September 2025. Autorinnen und Autoren: Alexander Schnackenburg „Die Kopenhagen-Trilogie“ fußt auf autofiktiven Romanen der dänischen Schriftstellerin…
#Bremen #Deutschland #Deutsch #DE #Schlagzeilen #Headlines #Nachrichten #News #Europe #Europa #EU #Buddeln #Germany #Kopenhagen-Trilogie #MadamaButterfly #TheaterBremen
https://www.europesays.com/de/418808/

Madama Butterfly is an absolute gem of the musical and operatic world. I was fortunate enough to watch a gorgeous production by the COC.

#tabularasa #blog #blogger #opera #madamabutterfly #puccini

https://tabularasa.robsonrc.net/2025/05/08/madama-butterfly/?utm_source=mastodon&utm_medium=jetpack_social

Madama Butterfly is an absolute gem of the musical and operatic world. I was fortunate enough to watch a gorgeous production by the COC.

#tabularasa #blog #blogger #opera #madamabutterfly #puccini

https://tabularasa.robsonrc.net/2025/05/08/madama-butterfly/?utm_source=mastodon&utm_medium=jetpack_social

Madama Butterfly is an absolute gem of the musical and operatic world. I was fortunate enough to watch a gorgeous production by the COC.

#tabularasa #blog #blogger #opera #madamabutterfly #puccini

https://tabularasa.robsonrc.net/2025/05/08/madama-butterfly/?utm_source=mastodon&utm_medium=jetpack_social

Madama Butterfly is an absolute gem of the musical and operatic world. I was fortunate enough to watch a gorgeous production by the COC.

#tabularasa #blog #blogger #opera #madamabutterfly #puccini

https://tabularasa.robsonrc.net/2025/05/08/madama-butterfly/?utm_source=mastodon&utm_medium=jetpack_social

#30DaySongChallenge: Day 8: A song that proves you have good taste

#MariaCallas - Madame Butterfly - "Un bel di vedremo from Puccini's Madama Butterfly"

https://www.youtube.com/watch?v=vcEoBOHp-7Q
#Opera #Puccini #MadamaButterfly

#30DaySongChallenge: Day 8: A song that proves you have good taste

#MariaCallas - Madame Butterfly - "Un bel di vedremo from Puccini's Madama Butterfly"

https://www.youtube.com/watch?v=vcEoBOHp-7Q
#Opera #Puccini #MadamaButterfly

#30DaySongChallenge: Day 8: A song that proves you have good taste

#MariaCallas - Madame Butterfly - "Un bel di vedremo from Puccini's Madama Butterfly"

https://www.youtube.com/watch?v=vcEoBOHp-7Q
#Opera #Puccini #MadamaButterfly

#30DaySongChallenge: Day 8: A song that proves you have good taste

#MariaCallas - Madame Butterfly - "Un bel di vedremo from Puccini's Madama Butterfly"

https://www.youtube.com/watch?v=vcEoBOHp-7Q
#Opera #Puccini #MadamaButterfly

#30DaySongChallenge: Day 8: A song that proves you have good taste

#MariaCallas - Madame Butterfly - "Un bel di vedremo from Puccini's Madama Butterfly"

https://www.youtube.com/watch?v=vcEoBOHp-7Q
#Opera #Puccini #MadamaButterfly

Mi primera #ópera

Los asientos de esta madre no son para gordos. Ah pero quería estar frente a la orquesta 😓

#MadamaButterfly #Puccini

Mi primera #ópera

Los asientos de esta madre no son para gordos. Ah pero quería estar frente a la orquesta 😓

#MadamaButterfly #Puccini

Mi primera #ópera

Los asientos de esta madre no son para gordos. Ah pero quería estar frente a la orquesta 😓

#MadamaButterfly #Puccini

Tonight, at @liceu, #MadamaButterfly

https://www.liceubarcelona.cat/en/madama-butterfly

#Озон-таки доехал, две недели и два переноса
Сегодня у нас оперы #Puccini и слегка #artNouveau
@[email protected], не вовремя ты свалил, курўа польско-французская

PS партитура/либретто абсолютно идентичные, к сожалению

#tosca #turandot #madamaButterfly #sorini

#Озон-таки доехал, две недели и два переноса
Сегодня у нас оперы #Puccini и слегка #artNouveau
@[email protected], не вовремя ты свалил, курўа польско-французская

PS партитура/либретто абсолютно идентичные, к сожалению

#tosca #turandot #madamaButterfly #sorini

#Озон-таки доехал, две недели и два переноса
Сегодня у нас оперы #Puccini и слегка #artNouveau
@[email protected], не вовремя ты свалил, курўа польско-французская

PS партитура/либретто абсолютно идентичные, к сожалению

#tosca #turandot #madamaButterfly #sorini

#Озон-таки доехал, две недели и два переноса
Сегодня у нас оперы #Puccini и слегка #artNouveau
@[email protected], не вовремя ты свалил, курўа польско-французская

PS партитура/либретто абсолютно идентичные, к сожалению

#tosca #turandot #madamaButterfly #sorini

‘I Saw The TV Glow’ Channels Indie Market In Limited Expansion, ‘Madama Butterfly’ Soars – Specialty Box Office
#News #ForceofNatureTheDry2 #ISawtheTVGlow #JaneSchoenbrun #Madamabutterfly #NotAnotherChurchMovie #Poolman #ShindaShinda #SpecialtyBoxOffice #Wildcat

https://deadline.com/2024/05/indie-film-box-office-i-saw-the-tv-glow-madame-butterfly-1235912913/

‘I Saw The TV Glow’ Channels Indie Market In Limited Expansion, ‘Madama Butterfly’ Soars – Specialty Box Office
#News #ForceofNatureTheDry2 #ISawtheTVGlow #JaneSchoenbrun #Madamabutterfly #NotAnotherChurchMovie #Poolman #ShindaShinda #SpecialtyBoxOffice #Wildcat

https://deadline.com/2024/05/indie-film-box-office-i-saw-the-tv-glow-madame-butterfly-1235912913/

‘I Saw The TV Glow’ Channels Indie Market In Limited Expansion, ‘Madama Butterfly’ Soars – Specialty Box Office
#News #ForceofNatureTheDry2 #ISawtheTVGlow #JaneSchoenbrun #Madamabutterfly #NotAnotherChurchMovie #Poolman #ShindaShinda #SpecialtyBoxOffice #Wildcat

https://deadline.com/2024/05/indie-film-box-office-i-saw-the-tv-glow-madame-butterfly-1235912913/

‘I Saw The TV Glow’ Channels Indie Market In Limited Expansion, ‘Madama Butterfly’ Soars – Specialty Box Office
#News #ForceofNatureTheDry2 #ISawtheTVGlow #JaneSchoenbrun #Madamabutterfly #NotAnotherChurchMovie #Poolman #ShindaShinda #SpecialtyBoxOffice #Wildcat

https://deadline.com/2024/05/indie-film-box-office-i-saw-the-tv-glow-madame-butterfly-1235912913/

Pomeriggio all'opera 😍
#madamabutterfly #GiacomoPuccini #teatrodonizetti #bergamo

Pomeriggio all'opera 😍
#madamabutterfly #GiacomoPuccini #teatrodonizetti #bergamo

"O mio babbino caro" ("Oh My Beloved Father") > "Un bel dì vedremo" ("One fine day we'll see") > "Nessun dorma" ("None Shall Sleep") 🎼
#MiniHotTake #UnpopularOpinion #opera #music #Puccini #GianniSchicchi #MadamaButterfly #Turandot

That was the final Madama Butterfly tonight!!!!! 😢

#operaSelfie #backstage #operaSinger #opera #puccini #MadamaButterfly

That was the final Madama Butterfly tonight!!!!! 😢

#operaSelfie #backstage #operaSinger #opera #puccini #MadamaButterfly

That was the final Madama Butterfly tonight!!!!! 😢

#operaSelfie #backstage #operaSinger #opera #puccini #MadamaButterfly

That was the final Madama Butterfly tonight!!!!! 😢

#operaSelfie #backstage #operaSinger #opera #puccini #MadamaButterfly

That was the final Madama Butterfly tonight!!!!! 😢

#operaSelfie #backstage #operaSinger #opera #puccini #MadamaButterfly

MADAMA BUTTERFLY

📍 Landestheater Detmold
🗓️ July 1
🕢 19:30

Conductor: György Mészáros

Symphonic Orchestra of Landestheaters Detmold

Cio-Cio-San: Megan Marie Hart
Suzuki: Dorothee Bienert
Kate Pinkerton: Stephanie Hershaw
B.F. Pinkerton: Ji-Woon Kim
Sharpless: Andreas Jören
Goro: Nando Zickgraf
Yamadori: Hyunsik Shin
Bonzo: Irakli Atanelishvili

Staging & Costumes:
Zoran Todorovich

🎟️ https://www.landestheater-detmold.de/de/programm/madama-butterfly/39692666

📽️ https://www.youtube.com/watch?v=6AtentRdFPM

#opera #operaSinger #MadamaButterfly #Detmold #Puccini

MADAMA BUTTERFLY

📍 Landestheater Detmold
🗓️ July 1
🕢 19:30

Conductor: György Mészáros

Symphonic Orchestra of Landestheaters Detmold

Cio-Cio-San: Megan Marie Hart
Suzuki: Dorothee Bienert
Kate Pinkerton: Stephanie Hershaw
B.F. Pinkerton: Ji-Woon Kim
Sharpless: Andreas Jören
Goro: Nando Zickgraf
Yamadori: Hyunsik Shin
Bonzo: Irakli Atanelishvili

Staging & Costumes:
Zoran Todorovich

🎟️ https://www.landestheater-detmold.de/de/programm/madama-butterfly/39692666

📽️ https://www.youtube.com/watch?v=6AtentRdFPM

#opera #operaSinger #MadamaButterfly #Detmold #Puccini

MADAMA BUTTERFLY

📍 Landestheater Detmold
🗓️ July 1
🕢 19:30

Conductor: György Mészáros

Symphonic Orchestra of Landestheaters Detmold

Cio-Cio-San: Megan Marie Hart
Suzuki: Dorothee Bienert
Kate Pinkerton: Stephanie Hershaw
B.F. Pinkerton: Ji-Woon Kim
Sharpless: Andreas Jören
Goro: Nando Zickgraf
Yamadori: Hyunsik Shin
Bonzo: Irakli Atanelishvili

Staging & Costumes:
Zoran Todorovich

🎟️ https://www.landestheater-detmold.de/de/programm/madama-butterfly/39692666

📽️ https://www.youtube.com/watch?v=6AtentRdFPM

#opera #operaSinger #MadamaButterfly #Detmold #Puccini

MADAMA BUTTERFLY

📍 Landestheater Detmold
🗓️ July 1
🕢 19:30

Conductor: György Mészáros

Symphonic Orchestra of Landestheaters Detmold

Cio-Cio-San: Megan Marie Hart
Suzuki: Dorothee Bienert
Kate Pinkerton: Stephanie Hershaw
B.F. Pinkerton: Ji-Woon Kim
Sharpless: Andreas Jören
Goro: Nando Zickgraf
Yamadori: Hyunsik Shin
Bonzo: Irakli Atanelishvili

Staging & Costumes:
Zoran Todorovich

🎟️ https://www.landestheater-detmold.de/de/programm/madama-butterfly/39692666

📽️ https://www.youtube.com/watch?v=6AtentRdFPM

#opera #operaSinger #MadamaButterfly #Detmold #Puccini

MADAMA BUTTERFLY

📍 Landestheater Detmold
🗓️ July 1
🕢 19:30

Conductor: György Mészáros

Symphonic Orchestra of Landestheaters Detmold

Cio-Cio-San: Megan Marie Hart
Suzuki: Dorothee Bienert
Kate Pinkerton: Stephanie Hershaw
B.F. Pinkerton: Ji-Woon Kim
Sharpless: Andreas Jören
Goro: Nando Zickgraf
Yamadori: Hyunsik Shin
Bonzo: Irakli Atanelishvili

Staging & Costumes:
Zoran Todorovich

🎟️ https://www.landestheater-detmold.de/de/programm/madama-butterfly/39692666

📽️ https://www.youtube.com/watch?v=6AtentRdFPM

#opera #operaSinger #MadamaButterfly #Detmold #Puccini

Performance schedule update:

DON GIOVANNI (as Donna Anna)

🕖 April 15, 19:00
🕖 May 20, 19:00

EUGENE ONEGIN (as Tatjana)

🕢 April 29, 19:30
🕕 May 14, 18:00
🕢 June 2, 19:30
🕢 June 22, 19:30
🕢 July 15, 19:30

MADAMA BUTTERFLY ( as Cio-Cio-San)

🕢 July 1, 19:30

🗓️ http://www.meganmariehart.com/engagements.html

#opera #operaSinger #Darmstadt #StaatstheaterDarmstadt #Mozart #DonGiovanni #DonnaAnna #Tschaikowski #Tchaikovsky #EugeneOnegin #ЕвгенийОнегин #Tatyana #Tatjana #Татьяна #Puccini #MadamaButterfly #CioCioSan

Performance schedule update:

DON GIOVANNI (as Donna Anna)

🕖 April 15, 19:00
🕖 May 20, 19:00

EUGENE ONEGIN (as Tatjana)

🕢 April 29, 19:30
🕕 May 14, 18:00
🕢 June 2, 19:30
🕢 June 22, 19:30
🕢 July 15, 19:30

MADAMA BUTTERFLY ( as Cio-Cio-San)

🕢 July 1, 19:30

🗓️ http://www.meganmariehart.com/engagements.html

#opera #operaSinger #Darmstadt #StaatstheaterDarmstadt #Mozart #DonGiovanni #DonnaAnna #Tschaikowski #Tchaikovsky #EugeneOnegin #ЕвгенийОнегин #Tatyana #Tatjana #Татьяна #Puccini #MadamaButterfly #CioCioSan