New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-02-12
MUSIC.
METROPOLITAN OPERA HOUSE.
Madame Butterfly"

night II benefited the action than the mu-
sic perhaps, though II helped 10 bring the two
elements into closer union and 70 spread over the
whole some OF that exquisite atmosphere Of sen
timent and romance which exhales from play and
music, but which the conditions cf the EnSish
representations which have heard failed fuily
% create. The chief differences between the per-
formances wore due 10 the widely different condl-
lions surrounding them,-the size and acoustic
properties OF the respective theatres. the coInpo-
siton OF the stage pictures, the competency OF the
musical forces. the Ct the v@rnacuar on the
one hand and foreign tongue on the other-al
these things have much TO do with the effect of an
opera which seeks at least. to get far away from
the conventional works Of its class Init
macy between an opera and it's hearers is not
always desirable. This fact was recognized
by some sstheticans long ago when opera was a
more artificial product than it is now, when II IL
seeking close intimacy with the drama and it has
frequently bean emphasized when emotions that
have taken wing with Il beautiful strain OF melody
have been rudey brought to earth by a prosaic
utterance which paralvzed the fancy that had tenn
porarily freed itself from verbal clogs. Last night
Milk punch wiskey'' sent a litter through the
house. and even America forever" for which the
American gentlemen who Ineligible when
speaking Italian with Japanese seem to have been
unable 10 find equivalent. failed to create a
single patriotic thiob. Neither did the occasional
quotation of the beginning OF the melody OF
The Star Spangled Banner" which must be
sorry material for a composer of the mod
ern school If a Puccini. who knew how 10
wrap stltf Japanese tunes in an ample
cloak OF poetic feeling. could do nothing better
with It than he has done In this score. But Per
haps there no occasion TO be In any wise COM
planetary TO America In such story as that
which this opera illustrates. However this Is rot
what the opening phrases of this review were aimed
az. Sgnor Pucclui Is here; he has superintendent
the production of Madame Butterfly" and the re-
suits disclosed last night were good more than
Of he h
ing his personality gratifed by his frequent
appearance on the stage 20 acknowledge the en-
thusiastic plaudts which remarkably beautiful
performance evoked. Many asked why he did not
corduct tlIs opera. But SignOr Puccin Is a COM
poser not a conductor; he is enough OF an artist
to be conscious OF the fact that the art of inter
probation is different from the art, the act. OF
creation, RE Is content to compose his operas
and leave their musical direction 10 Others-at
least in public Privately. during his sojourn
IN New York. no las impressed his wishes
touching tempt and nuances OF expression upon
the artists who are singing his "Boheme and
''Tosca' with results which have been beneficial
on the whole but which left some doubts in the
minds of critically inclined persons in the first act
of the fprmer opera last Saturday Siguor Puccinl
seems to have acquired the fondness for exag-
gerated slowness which has more and more pos
sessed the Germans OF the advanced school since
Wagner gave the suggestion. and many admirers
Of Puccinfs music, who had grown accustomed TO
Nine. SembriChS tempt IN her narrative song,
found the edge taken of their enjoyment by the
change Of tempo which she introduced last Satur
day in difference to the composers wishes. OF
course composers ought 10 know the tempo in
which melodies presented themselves to their
creative fancy. and that tempo ought to Re the
correct one. and unQuesuonaby would he if all the
associated elements were also present at the per-
Torrance. But tempt are modified by many things
character of voice. size OF room, acousticaI
ditiOns, and so on-and sometimes the artist. the
conductor. unhsmpered BY the composers inevitable
obsesson. Is better Judge than he OF tempt
though less often OF dynamic nuances. Schumann
never OF the tempt OF his own works. and
whenever he could do had his wife sit where
she could give him the time with her foot before
raising his baton. The friends Of Dr. Dvorak know
that he changed the time indication OF the slow
movement of his American symphony after hear
ing the music for the first time the direction
OF Mr.. Seidl
But questions Of this kind arose last night
whereas there many beautiful details in
the action. such nice adjustment Of movement and
music that il impossible see that a
higher intelligence than that ordinarily work In
the Italian operas at the Metropolitan Opera
House was influential
Madame Butterfly" has brought TO Miss Farrar
another opportunity 10 disclose her splendid gifts
of dramatic representation. Freed from occasional
extravagar.ce OF action, which robs it OF repose
which is essential in tragic moments Of the
second aud third scenes in the comedy OF
the first. her imperSonation would be almost ideal
In pose gesture vocal infection facial expression
movement. II is full OF eloquence and grace. She
sounds the note OF deep pathos in both action and
song convncingly, and last night won the tribute
of tears from many eyes. Her growth into woman
hood and from womanh0Od To tragic stature IS
beautifully presented without abruptuess and with
real power. And she is beautiful vision Her
triumph complete. OF Signor CaruSo 10 one
would expect an representation with even little
OF dramatic Illusion; but the music is perfect
hice for his voice. his voice for the music.
signor Scott, besides singing Well has filed need
ed plea for America by making manly out
Of the consul SharPless. Madame Homer looks.
sings and acts the part Of Suzuki with lovely de-
votton 10 every detail, and Mr.. Reiss makes an
amusing busybody and versatile out OF GOro. the
matchmaker The others in tho cast do not cali
for mention, because they are dramatically and
mus!cally incousequential
Scenically, this opera offers as every Japanese
setting does. rare opportunity for pictorial and
atmospheric effect and il was not lost by Mr.. Con-
reds designer. The first act showed the distant
harbor in beautifully gagged perspective. the
house. the garden On the deep stage OF the
Metropolitan this design copied from the original
OF the opera but improved told at its full at
mospherc value. The interior setting for the other
two acts. however lost by the size OF the stage.
chiefly because the twenty-foot transition from the
proscenium arch to the edge Of the set was not
made with Japanese material, nor in Japanese de-
sign. as Mr.. Savage's transition. The bit of
garden. too. through the window, was too raw
in color. there the too much which never
exists in japan. But it charming interior.
and those sliding windows at the back. here as al
ways were curtously potent in the creation of IL
fusion.
Siguor Puccinl being In town and active in the
production Of his works which cur public loves. 1t
is something OF a pity that he has not seen fit 10
remove some OF the blemishes which dishgure
Madame Butterfly" The wholly unnecessary
and painfully disturbing figure of Nine Pinkerton
ought TO be removed: the two of the last
act ought TO be brought together by the inter-