Act I. There is a prelude, based on a Japanese theme. This theme runs
through the greater part of the act. It is employed as a background and as a connecting link, with the result that it imparts much exotic tone colour to the scenes. The prelude passes over into the first act without a break.
_Lieutenant B.F. Pinkerton_, U.S.N., is on the point of contracting a "Japanese marriage" with _Cio-Cio-San_, whom her friends call _Butterfly_. At the rise of the curtain _Pinkerton_ is looking over a little house on a hill facing the harbour. This house he has leased and is about to occupy with his Japanese wife. _Goro_, the nakodo or marriage broker, who has arranged the match, also has found the house for him and is showing him over it, enjoying the American's surprise at the clever contrivances found in Japanese house construction. Three Japanese servants are in the house, one of whom is _Suzuki_, _Butterfly's_ faithful maid.
_Sharpless_, the American Consul at Nagasaki, arrives. In the chat which follows between the two men it becomes apparent that _Sharpless_ looks upon the step _Pinkerton_ is about to take with disfavour. He argues that what may be a mere matter of pastime to the American Naval lieutenant, may have been taken seriously by the Japanese girl and, if so, may prove a matter of life or death with her. _Pinkerton_ on the other hand laughs off his friend's fears and, having poured out drinks for both, recklessly pledges his real American wife of the future. Further discussion is interrupted by the arrival of the bride with her relatives and friends.
After greetings have been exchanged, the Consul on conversing with _Butterfly_ becomes thoroughly convinced that he was correct in cautioning _Pinkerton_. For he discovers that she is not contemplating the usual Japanese marriage of arrangement, but, actually being in love with _Pinkerton_, is taking it with complete seriousness. She has even gone to the extent, as she confides to _Pinkerton_, of secretly renouncing her religious faith, the faith of her forefathers, and embracing his, before entering on her new life with him. This step, when discovered by her relatives, means that she has cut herself loose from all her old associations and belongings, and entrusts herself and her future entirely to her husband.
Minor officials whose duty it is to see that the marriage contract, even though it be a "Japanese marriage," is signed with proper ceremony, arrive. In the midst of drinking and merry-making on the part of all who have come to the wedding, they are startled by fierce imprecations from a distance and gradually drawing nearer. A weird figure, shouting and cursing wildly, appears upon the scene. It is _Butterfly's_ uncle, the _Bonze_ (Japanese priest). He has discovered her renunciation of faith, now calls down curses upon her head for it, and insists that all her relatives, even her immediate family, renounce her. _Pinkerton_ enraged at the disturbance turns them out of the house. The air shakes with their imprecations as they depart. _Butterfly_ is weeping bitterly, but _Pinkerton_ soon is enabled to comfort her. The act closes with a passionate love scene.
The Japanese theme, which I have spoken of as forming the introduction to the act, besides, the background to the greater part of it, in fact up to the scene with the _Bonze_, never becomes monotonous because it is interrupted by several other musical episodes. Such are the short theme to which _Pinkerton_ sings "Tutto è pronto" (All is ready), and the skippy little theme when _Goro_ tells _Pinkerton_ about those who will be present at the ceremony. When _Pinkerton_ sings, "The whole world over, on business or pleasure the Yankee travels," a motif based on the "Star-Spangled Banner," is heard for the first time.
In the duet between _Pinkerton_ and _Sharpless_, which _Pinkerton_ begins with the words, "Amore o grillo" (Love or fancy), _Sharpless's_ serious argument and its suggestion of the possibility of _Butterfly's_ genuine love for _Pinkerton_ are well brought out in the music. When _Butterfly_ and her party arrive, her voice soars above those of the others to the strains of the same theme which occurs as a climax to the love duet at the end of the act and which, in the course of the opera, is heard on other occasions so intimately associated with herself and her emotions that it may be regarded as a motif, expressing the love she has conceived for _Pinkerton_.
Full of feeling is the music of her confession to _Pinkerton_ that she has renounced the faith of her forefathers, in order to be a fit wife for the man she loves:--"Ieri son salita" (Hear what I would tell you). An episode, brief but of great charm, is the chorus "Kami! O Kami! Let's drink to the newly married couple." Then comes the interruption of the cheerful scene by the appearance of the _Bonze_, which forms a dramatic contrast.
It is customary with Puccini to create "atmosphere" of time and place through the medium of the early scenes of his operas. It is only necessary to recall the opening episodes in the first acts of "La Bohème" and "Tosca." He has done the same thing in "Madam Butterfly," by the employment of the Japanese theme already referred to, and by the crowded episodes attending the arrival of _Butterfly_ and the performance of the ceremony. These episodes are full of action and colour, and distinctly Japanese in the impression they make. Moreover, they afford the only opportunity throughout the entire opera to employ the chorus upon the open stage. It is heard again in the second act, but only behind the scenes and humming in order to give the effect of distance.
The love scene between _Pinkerton_ and _Butterfly_ is extended. From its beginning, "Viene la sera" (Evening is falling),
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to the end, its interest never flags. It is full of beautiful melody charged with sentiment and passion, yet varied with lighter passages, like _Butterfly's_ "I am like the moon's little goddess"; "I used to think if anyone should want me"; and the exquisite, "Vogliatemi bene" (Ah, love me a little). There is a beautiful melody for _Pinkerton_, "Love, what fear holds you trembling." The climax of the love duet is reached in two impassioned phrases:--"Dolce notte! Quante stelle" (Night of rapture, stars unnumbered),
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and "Oh! Quanti occhi fisi, attenti" (Oh, kindly heavens).
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