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Madama Butterfly has been part of the standard repertory almost since its "second" premiere, in May 1904; the Japanese, however, have long had ambivalent feelings about the story, the heroine and the opera. As early as 1914, at the Imperial Theatre in Tokyo, an impresario produced part of the opera but also programmed a selection of Japanese songs to round out the evening. Otherwise, he feared, the audience would rise up against the work and its performers. For some spectators, the patriotic gesture was too little, too late.
Cio-Cio-San's suicide, for instance, derived from the seventeenth-century fascination with seppuku, or hara-kiri, was a plot staple in ...