Budden, most known for his treatment of the operas of Verdi, seems equally at home with Verdi’s fellow countryman. A brief biography gives way to in-depth analyses of all of Puccini’s operas. In the chapter on Madama Butterfly, Budden describes the opera’s creation, interprets the numerous musical motifs, and describes the storyline as one of “action that evolves steadily.” The audience is drawn into a 3-year period of Butterfly’s life, a span that begins with romance and ends in grief.

The author discusses the origins of the opera’s libretto, the real-life woman who inspired the character of Cho-Cho-San, and the influence of the Japanese aesthetic on turn of the twentieth century Western artists like Puccini.

Wilson explores the debates about Puccini as a composer. Was he an Italian nationalist or an international artist? Did he modernize opera or did he continue its traditions? The chapter about Madama Butterfly is titled, “A frame without a canvas: Madama Butterfly and the superficial.” The opera was a huge flop upon its premiere. Many critics believed that Puccini focused too much on style over substance. Wilson suggests that they were challenged by Puccini’s modern score – an interesting argument.

Puccini’s soaring melodies are in good hands (voices) with this classic pairing of Renata Tebaldi and Carlo Bergonzi.

Angela Gheroghiu and Jonas Kaufmann bring star power as Cio-Cio San and Pinkerton.

Mirella Freni and Placido Domingo are at the height of their vocal powers. Many opera buffs have this production at the top of their lists.

Anthony Minghella’s production from the Metropolitan Opera received raves upon its debut. Patricia Racette and Marcello Giordano portray the tragic lovers. Maria Zifchak and Dwayne Croft are excellent in their supporting roles of Suzuki and Sharpless.

This production from Hamburg State Opera features costumes by fashion designer Christian Lacroix and showcases the powerful soprano, Alexia Voulgaridou.