| Puccini, Giacomo (1858-1924) | Madama Butterfly | Livret de Luigi Illica, Giuseppe Giacosa |
| Daniele Rustioni | Direction | |
| Andrea Breth | Mise en scène | |
| Raimund Orfeo Voigt | Décors | |
| Ursula Renzenbrink | Costumes | |
| Alexander Koppelmann | Lumières | |
| Orchestre de l'Opéra de Lyon | ||
| Chœurs de l'Opéra de Lyon | ||
| Ermonela Jaho | Soprano | Cio-Cio-San (Madama Butterfly) |
| Adam Smith | Ténor | Pinkerton |
| Mihoko Fujimura | Mezzo-soprano | Suzuki |
| Lionel Lhote | Baryton | Sharpless |
| Carlo Bosi | Ténor | Goro |
| In-Ho Jeong | Basse | Le Bonze |
| Kristofer Lundin | Ténor | Prince Yamadori |
| Albane Carrère | Mezzo-soprano | Kate Pinkerton |
| Kristján Jóhannesson | Baryton | Le commissaire impérial |
After Tosca (2019), which marked Puccini’s entry into its repertoire, the Festival celebrates the centenary of the composer’s death this year by putting on his ‘Japanese tragedy’ Madame Butterfly: the cruel story of a vulnerable but strong and wilful heroine, driven by her blind perseverance to ritual suicide. By enveloping her with a bright lyricism and a supremely refined orchestration, Puccini reaches the heart of his artistic identity – reminding us of the real pleasure of tears. We have here a truth far from all verismo, according to Andrea Breth who suggests that everything in this work is a matter of perception and artifice: the relationship between the other singers and Butterfly, between Puccini together with his librettists and Japan, and between audiences and the opera. Conducting the orchestra of the Opéra de Lyon, Daniele Rustioni offers the finest of backdrops to Ermonela Jaho, whose rare combination of force and delicacy has made her a go-to choice in this wonderful yet harrowing role, in which she is making her prized debut in Aix.