Double debut for Erika Grimaldi, who makes her first appearance at the Teatro Municipal de Santiago de Chile while also taking on the role of Cio-Cio-San in Madama Butterfly for the very first time. This new production is directed by renowned soprano Verónica Villarroel and conducted by Paolo Bortolameolli. Erika Grimaldi will be joined on stage by José Simerilla (Pinkerton), Kai Rüütel (Suzuki), Eleomar Cuello (Sharpless), Mikeldi Atxalandabaso (Goro), Matías Moncada (Bonzo), Ismael Correa (Yamadori), Pilar Garrido (Kate Pinkerton), and Pedro Alarcón (Commissario Imperiale). Opening night is July 3 with additional performances on July 5, 8, and 11.
Cio-Cio-San marks the latest in a string of major Puccini role debuts for the soprano from Piedmont, following acclaimed performances as Tosca and Manon Lescaut in recent seasons. At the same time, she continues to appear in her signature role of Mimì in La bohème—the opera in which she made her stage debut.

More information about Erika Grimaldi:

https://www.operabase.com/erika-grimaldi-a5155/de

Instagram Erika Grimaldi

https://www.erikagrimaldi.com/

About the Production:

Opera in three acts with music by Giacomo Puccini and libretto by Giuseppe Giacosa and Luigi Illica. Based on the work Theatrical of the same name by David Belasco, it was premiered on February 17, 1904 in La Scala in Milan. When talking about Puccini, there is talk of verism, a current of Italian opera that proposed to portray the lower classes crudely and without ornaments. But talking about Puccini is also talking about exotic lands, political dramas and heroines that ferociously resisted the blazes of fate and men. Madame Butterfly is an opera that brings together all the above. It is the story of a woman abandoned by a love who betrayed her, and who must now face not only her own candor of the past, but also the rigid pressures of a conservative society in which the disgrace is paid with life. In this drama, Puccini shows his skills as a composer, both in the adoption of the sonorities of ancient Japan, as well as in the expression of the intense pain of his protagonist and the cynicism of the lieutenant who fell in love with her to abandon her to his fate. In this classic of Italian verism, tragedy is transversal to all characters, including those who, happy, ignore the consequences of their actions.

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