Madame Butterfly, in the words of its author, “the most deeply feeling and sensitive being ever conceived” signals a return to psychological drama, intimacy, careful observation of inner feelings, and the poetry of small things. Though the technical level is extremely high, in terms of changing melody, harmony, orchestral colour and use of leitmotiv, this version is extremely measured and always sensitive to the demands of expression. Puccini, passionate about his subject and his little heroine, threw himself into studying popular music, culture and rites in Japan, even researching the tone of the Japanese female voice. Exoticism prevails throughout most of the opera, though it miraculously escapes any camp and is inseparably united to the quality of the score.

The whole opera focuses on the character of Butterfly and her march towards tragedy. Pinkerton is a contradictory figure and the love Puccini felt for his Butterfly is reflected irresistibly in him, while the other figures are little more than caricatures.

The first and only performance of the original version at the Scala was a failure due to the distorted cries of a hostile audience. The definitive version was staged at the Teatro Grande in Brescia three months later, and was a resounding success.