Evening star. [volume] (Washington, D.C.) 1854-1972, 1906-10-16
THE THEAT e R.
Columbia Theater.

Columbia Theater.
Poor Madam Butterfly How often has
the story Of her little day OF sunshine and
her long night Of sadness awakened a re-
sponsive sighi When it was first told.
simply and obscurely enough by our Amer
lean poet. John Luther Long-for Mr.. Long
Is a poet even though disdainful Of rhyth-
mic limitations-its appeal was immediate.
Here was little love story which def,ed
the conventions and conquered by it's very
frankness and delicacy. From the printed
page this gentle heroine stepped to the
theater. She was not coarsened in the
transition. Her charms had won the hon-
age of that wonderful play-maker. David
Belasco and Madam Butterfly in the play
was no less sweet and gracious than
Madam Butterfly in the story. Then
Puccini. whose sensibility to poetic sug-
gestion Is SO marvelously keen, and whose
originality has an element of faith and
determination that ranks him as an ex-
the theme. And after Puccini, that Ma
poleonic producer. Henry Savage, added
himself and his retinue to the worshiping
train Of the humble little Geisha, who, as
a type, doubtless lives, even today. some
where in far-off Nippon land unconscious
Of the greatness that has been thrust upon
her.
1t was indeed daring enterprise, this de-
gible creation in grand opera. Only
Puecini would dare attempt It. This COM
poser Is something more than a musician.
His genius goes well beyond the invention
of melody and the construction of har-
monies. These faculties are but the
mechanism with which he works.
The achievement which marks him as the
worlds great musical modernist Is the gift
Of emotional Interpretation. He places but
scant and occasional reliance on trickery of
so-called descriptive music. His score re-
fleets mood and idea rather than physical
resemblances. 1t is rich in establishment,
and sincere. His melodies have the ex-
quisite f1uency of the fine Italian tempera-
ment. sustained and strengthened by the
rugged influence Of the German school.
The extent to which this production will
appeal to popularity cannot be measured.
1t Is an innovation Instead Of the tragedy
which Is expected in grand opera, 1t pre-
sents only pathos. It's atmosphere is SO
unless the auditor has succeeded in at
tanning the viewpoint Of the author and
musician as to realize that this era OF
ours has its picturesque values; that THE
utilized every now and then with musicianly
fnesse, Is our national air, stnd that the high
ball is as much the beverage of America
as lachryma cristi is that Of Italy or sake
lish facilitates comprehension, but involves
some sacrifice. English is still the Ian
guage of commerce more than OF romance.
And in this case the librettist has not al
ways taken the pains that might have been
shown in softening the directness Of our &C
customed phraseology.
Not only is the ear delighted in this pro-
duction, but the eye is ravished by sue
cession of glorious stage pictures, whose
like has been seen only when Japan has
provided the subject. 1t Is complete rep
resentation in every sense Of the word:
complete in thought and complete In execu-
ton. To attempt the Introduction Of the
dramatic climaxes which thrill successfully
through the usual grand opera would
have been fatal. There Is one great event
In the story-the fatal despair of the little
girl whose love was SO complete and tran
scendent. The imminence of the catas-
trophe is felt from the outset; 1t Is i'm
pressed not only by the action. but by the
music. In moments of melody, (which are al
most those of light opera, there Is an I'M
dercurrent Of somber significance: a note
of doom. 1t is an opera of a single great
episode, so far as dramatic interest Is con-
cerned. But the composer has seized upon
the intensites of feeling and sentiment
which the story develops in it's progress,
and has made them yield even more than
could have been expected from the cOnven-
tionalities of plot and situation. Like the
scores Of Hosea and La Boheme," that
of Madam Butterfly Is characterized by
fancy, yet constant and logical in the eluci-
dalton of a single purpose. The inter-
mezzo is a striking piece of composition
yet in perfect accord with the spirit of the
work an entirety.
The production last night moved the au-
dience to frequent and enthusiastic re-
Spouse. The climax at the close of the first
act found hearty recognition at i'm
portant juncture in the development of the
interest.
Mr. Rothwell, the conductor, held his
forces in perfect control and they responded
to his baton with spirit and effect. In Iact,
there were times when the burden of the
successful presentation of the opera rested
entirely on him. He evinced perfect IA
miliarity with the music Independently of
the written scor& His conduct of the sixty
musicians was mastery, and his aid to the
singers themselves invaluable. Frau SEA-
mosy, the Madam Butterfly, may not be
ranked among the greatest vocalists, but
her interpretative art is nevertheless con-
summate. Her impersonaton was impress
sive and sympathetic throughout. In the
denouement she showed herself possessed
of positive tragic power. Her voice carried
the music with beautiful though not uni
form effect, its meZZo quality being better
than the higher register. Miss Harriet
Behnee, as the maid Suzuki, displayed a
fine mezzo soprano voice and acted with In
tenigence. Mr.. Sheehan covered himself
with glory. He was in splendid voice and
sang true and with spirit. Mr.. Richards.
as the American consul. displayed a good
baritone voice and gave a satisfactory rem
dition of the part. The other roles were
well filled out, the choruses being not only
sufficient in volume, but accurate in the
expression of musical detail.
Madam Butterfly" defies ordinary stand
ards. 1t is creation of beauty rather than
power; of sentiment rather than Of story.
It is away, far away, from the beaten
track.