 @book {niccolai_giacomo_2012,
	title = {Giacomo Puccini et Albert Carr{\'e}: {\guillemotleft}Madame Butterfly{\guillemotright} {\`a} Paris},
	year = {2012},
	pages = {XVIII-314 p.},
	publisher = {Brepols},
	organization = {Brepols},
	address = {Turnhout},
	abstract = {<p>Suite {\`a} l{\textquoteright}insucc{\`e}s da la cr{\'e}ation de Madama Butterfly {\`a} Milan (17 f{\'e}vrier 1904), Giacomo Puccini se plonge dans la r{\'e}flexion afin de donner une nouvelle structure {\`a} sa {\guillemotleft}trag{\'e}die japonaise{\guillemotright}. Apr{\`e}s plusieurs {\textquoteright}versions{\textquoteright}, la cr{\'e}ation parisienne de Madame Butterfly a {\'e}tabli un mod{\`e}le pour les repr{\'e}sentations de l{\textquoteright}oeuvre jusqu{\textquoteright}{\`a} aujourd{\textquoteright}hui. La collaboration avec Albert Carr{\'e}, directeur et metteur en sc{\`e}ne {\`a} l{\textquoteright}Op{\'e}ra-Comique, se r{\'e}v{\`e}le fondamentale pour le compositeur, qui apporte de nombreux changements dramaturgiques et musicaux {\`a} sa partition. Le r{\'e}sultat tient aussi de la r{\'e}alisation visuelle : Carr{\'e} pr{\'e}pare une mise en sc{\`e}ne qui interagit avec la partition pour un r{\'e}sultat des plus modernes, tenant compte des ferments th{\'e}{\^a}traux qui animent l{\textquoteright}Europe au tournant du XXe si{\`e}cle. Au-del{\`a} d{\textquoteright}une attention minutieuse port{\'e}e aux mouvements sc{\'e}niques (tant pour les solistes que pour les sc{\`e}nes de foule), le metteur en sc{\`e}ne fran{\c c}ais exp{\'e}rimente {\'e}galement une nouvelle fa{\c c}on de concevoir l{\textquoteright}{\'e}clairage sc{\'e}nique. Ce dernier est ici consid{\'e}r{\'e} ainsi comme une composante du spectacle {\`a} part enti{\`e}re, rendue c{\'e}l{\`e}bre gr{\^a}ce {\`a} l{\textquoteright}apport th{\'e}orique et cr{\'e}atif d{\textquoteright}Adolphe Appia dans le domaine de l{\textquoteright}op{\'e}ra wagn{\'e}rien. Cette mise en sc{\`e}ne, dont Puccini allait particuli{\`e}rement fi{\`e}re, est rest{\'e}e {\`a} l{\textquoteright}Op{\'e}ra-Comique jusqu{\textquoteright}en 1972. La connaissance de ce document, pr{\'e}sent{\'e} ici en {\'e}dition critique et accompagn{\'e} d{\textquoteright}un article scientifique qui en souligne sa fonctionnalit{\'e} vis-{\`a}-vis de la partition, nous l{\textquoteright}esp{\'e}rons, pourra {\^e}tre utile tant aux musicologues qu{\textquoteright}aux metteurs en sc{\`e}ne lyriques, dans une perspective de red{\'e}couverte des mises en sc{\`e}ne du pass{\'e} mais aussi pour des nouvelles r{\'e}alisations sc{\'e}niques.</p><p>Following the failure of the Milan production of Madame Butterfly on 17 February 1904, Giacomo Puccini immersed himself in the consideration of a new structure for his "Japanese tragedy". After the emergence of several {\textquoteright}versions{\textquoteright}, the Paris premiere of Madame Butterfly has established a model for subsequent performances of the work up until the present. Collaboration with Albert Carr{\'e}, manager and director of the Op{\'e}ra Comique, proved fundamental to the composer, who introduced many changes to its dramatic content and the musical score. The result is also reflected in the visual realization: Carr{\'e} prepares a version that interacts with the score for a more {\textquoteright}modern{\textquoteright} result, taking into account the factors that were driving European theatre at the turn of the twentieth century. Beyond the careful attention paid to scenic movements (both for the soloists and the crowd scenes), the French director also pioneers a new form of lighting design. The latter is considered here as an inherent component of the spectacle in itself, made famous by the theoretical contribution of Adolphe Appia and other creative work in the field of Wagnerian opera. This staging, of which Puccini was especially proud, remained at the Op{\'e}ra-Comique until 1972. Knowledge of this document, presented here in a critical edition and accompanied by an article that underscores its functionality vis-{\`a}-vis the score will, it is hoped, prove useful to musicologists as well as to opera directors, with a view to achieving a rediscovery of the past, but also for the benefit of future theatrical productions.</p>},
	isbn = {978-2-503-54761-9},
	url = {http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503547619-1},
	author = {Michela Niccolai}
}
