Orientalism in Puccini’s Madame Butterfly

Blog post only

Following on my post from yesterday, I decided to look at another opera that details interaction between Europeans and non-Europeans and see how well it survives the test of time. So, I turn to the seminal Giacomo Puccini opera: Madame Butterfly (1904): Madama Butterfly – Wikipedia.

Madame Butterfly details the story of a Cio-Cio San (Madame Butterfly) who has a young child from a US naval officer (Pinkerton). She is convinced Pinkerton is coming back for her, even though her family keeps telling her otherwise. When Pinkerton does come back, he comes back with his wife and they have come to take the child. In the ensuing drama, Madame Butterfly kills herself with her father’s seppuku knife.

The opera has been criticized for orientalism before for its depiction of Madame Butterfly and yes, there are stereotypical orientalist references to Japanese ‘culture’ (ie Japanese culture, as imagined by Western audiences). But I imagine putting Madame Butterfly – a non-Westerner wronged by a Westerner – as the main protagonist was quite revolutionary. It also highlighted colonial misdeeds, as Westerns behaved abroad with impunity.

But I want to focus on one other point. When Pinkerton and the drama occurs, the perspective shifts to him and his new wife Kate. Both of them go into arias, where they bemoan their fate and essentially complain why Madame Butterfly is making such a drama and ask why she just doesn’t accept her fate so easily. As common in operas, this is melodramatic. But from today’s perspective, it is unclear why we should have any sympathy for Pinkerton and his wife at all. Pinkerton in particular created this situation and the pain of Madame Butterfly. So, for him to complain about his inconvenience of being confronted with the consequences of his own actions is a bit rich.

Obvious disclaimers: this is not advice. These view are my own and do not necessarily represent my employer.