This Friday, May 30, the second performance of the opera Madama Butterfly will be staged on the Grand Stage of the Dohodno Zdanie. The premiere was part of the 64th edition of the "March Music Days" International Festival this March. In the role of the young Japanese girl Cio-Cio-san - who moves the audience with the strength of her love and hope - soloist of the Ruse Opera Teodora Chukurska will make her debut.
An exceptional talent, a rarity and pride for any theatre, Teodora is renowned for her passionate dedication to her craft. She has the honour and professional privilege of being the Bulgarian opera singer who graduated from the Santa Cecilia Conservatory in Rome.
The Ruse audience has embraced Teodora Chukurska as a beloved opera artist, continuing to welcome her enthusiastically in her unforgettable performances in major operatic roles on the stage of the Ruse Opera.
Here is what Teodora Chukurska kindly shared:
Have You ever thought about why your character Cio-Cio-san is symbolized specifically as a butterfly in Puccini’s legendary opera?
You know, butterflies are perhaps the most beautiful creatures in the world, created by Mother Nature. However, they only live for one day - that is, they live to die. Their life is dedicated to giving beauty without taking anything in return. Now that I think about it, to become a butterfly takes a long preparation - from a caterpillar, through the cocoon phase, and only then does this magical being emerge. I find a parallel here with the Geisha, who undergoes many years of difficult training from early childhood to reach this peak of femininity, artistry, and devotion to men, as is traditional in Japanese culture. I should point out that Cio-Cio-san is actually afraid of being called a butterfly because she realizes that such beautiful creatures are often caught and preserved. On one hand, the butterfly is a symbol of freedom, and on the other, of sacrifice in the name of beauty. Recently, I read a Native American legend about butterflies. They believe that if you whisper a heartfelt wish to a butterfly and then let it fly away, it will come true. Since butterflies make no sound, they can’t reveal your secret - they carry it high into the skies, so the wish reaches God. And, on top of that, I know the saying that a butterfly can flap its wings over a flower in China and cause a hurricane in the Caribbean. It’s a metaphor for the power of beauty and femininity, which can also be destructive.
How come You haven’t sung this role until now, even though it’s a key part of the soprano repertoire?
I’ve always wanted to sing this role, and I’m extremely grateful for the opportunity now. Over the years, I’ve felt drawn to it, touched by the fate of this young Geisha. Puccini’s music portrays her impossible love with Lieutenant Benjamin Pinkerton so masterfully and with such drama that it’s impossible to watch and listen to "Madama Butterflywithout being moved to tears. Actually, now that I think about it, I haven’t sung this role until now simply because I never had the opportunity, and perhaps the right moment hadn’t come.
How do You feel about finally taking on the fragile yet strong Cio-Cio-san?
Да Ви призная, щастлива съм! Много щастлива! Моят съпруг Емил Желев, царство му небесно, ми казваше: „Остави я тази скучна опера“. Той обаче винаги я възприемаше от гледна точка на басовите партии в творбата, защото там всъщност няма някаква интересна за него роля. А Бътерфлай е една невъзможна роля, погледнато реално, защото тя е толкова емоционално силна, изискваща физическа издръжливост! През цялото време си на сцената, нямаш момент, в който да отдъхнеш.
What are the challenges in building the character of Cio-Cio-san - are there vocal and technical difficulties, if I may say so?
First, not only must I portray the character of Madama Butterfly, but I also need to look like a Geisha - with all her traits: delicate steps, gentle demeanor, obedience, and patience. That’s not who I am in real life. Those who know me closely would confirm this. It’s a completely different mindset and culture, very hard to recreate for a European woman like me. It takes years to master their gestures, manners, and way of carrying themselves. I’m lucky to work with the Japanese dancers from the Ruse Opera ballet troupe - they help me a lot in this regard. Everything is very specific. It’s an art in itself, one that takes years to learn. Besides the technical aspect, the role is also vocally challenging. Puccini is not easy to sing - his orchestration is very rich and dense. The voice must cut through that wall of sound…
Do You often listen to other singers’ interpretations of the role, and are there any global or Bulgarian performers who inspire you?
Yes, I’ve been curious about some performances specifically, but I don’t learn roles that way. Unfortunately, I tend to imitate unconsciously. That said, one of the best global performers of Madama Butterfly is our very own Raina Kabaivanska. She is a benchmark! She prepared for years to master this role, whereas I can’t say I’ve had as much time for preparation. There are many names internationally who inspire me in this role - one of them is Renata Scotto. It’s a part that requires immense preparation, not just vocally, but psychologically too. It’s a deeply emotional role, and it’s easy to get swept away by the feelings, which actually doesn’t help the performance. I’ll try to overcome that.
And one last question - do You have any real-life role models who inspired your portrayal of Madama Butterfly?
Since I’m now a woman with experience, I can say that it’s different when you draw inspiration from the young. My daughter is 15, and actually, my character is the same age. In that sense, I’m deeply influenced by how my daughter behaves. I try to absorb her authenticity. She plays the flute, and that helps me too. The sound of something soft, childlike - I try to transfer that quality to my singing as Butterfly because it’s so specific.
I hope I can bring to the stage the freshness and innocence of a fifteen-year-old girl. I’m looking forward to performing this dream role of mine.
Interview by Diana Dimitrova
Photo: Archive of the State Opera Ruse; Teodora Chukurska as the Countess in Mozart’s opera The Marriage of Figaro.
