The evening star and Newark advertiser. [volume] (Newark, N.J.) 1907-1908, 1907-09-28
THE MUSIC OF PUCCINPS
s.MADAM BUTTERFLY. ~

In the score of Madam Butterfly the
grand opera which comes to the Newark
Theatre next week, as in the music Of
''Tosca'' and La Boheme," Puccini DEM
onstrates how musical style may be made
to conform TO the varying moods and emo
tions represented in a play. The correct
Interpretation of the idea into music, the
translation of the passing idea of the
drama into tones, is the aim OF every Puc-
cini measure. He brushes aside the es-
tablished tradition, whether of form, har-
monte relationship or melodic progression.
that the one ideal may be devotedly fol-
lowed.
The orchestra in Madam Butterfly
finds no easy task before it. Pages upon
pages of the score, containing some of the
most beautiful passages Of the opera, are
allotted to the Instruments alone. The
scores realizes the breadth and sweep of
the emotional contents of the play In "A
way to complete the story.
The music abounds in beautiful duet
passages, among them the scene between
the naval lieutenant. Pinkerton, and the
United States consul, Sharpless, and the
music sung by Butterfly and Pinkerton in
the first act. This closes with a powerful
duet that ends with a thrilling high c..
In the second act come the duets between
Butterfly and Sharpless, and the dainty
flower scene duet Of Butterfly and her sad
faced maid Suzuki during the scattering
of flowers ravished from their garden.
After this comes the tender strain of deep,
passionate longing as the occupants of the
cottage prepare for the all-night vigil at
the window. One of the numerous beau
tiful effects of the entire opera
is also at this point. 1t is the invisible
chorus of ladies who accompanied Butter
fly to her wedding. The contrasting mo-
tives Of Pinkerton's love for Butterfly and
her affection for him are woven contra
Ipunfally into this music.
The second act is followed by the graphic
intermezzo that prepares the audience for
the pathetic picture on the rise OF the
third act curtain, showing the trustful
Butterfly still watching until ~daybreak at
the window with both the baby and tired
out Suzuki asleep on their cushions.
Startling effects are obtained by intro
ducinR phrases from The Star Spangled
Banner and the dainty bits Of true Jap
anese airs. introduced at the marriage
ceremony, as well as when Butterfly sings
the pretty song to her child. This little
golden-haired boy permits the composer
to add a bit of sentimental color to the
last two acts as he builds up climaxes
that could not possibly be reached with any
other dramati effect.
Special interest attaches to the engage
ment because of the fact that Mr.. Saw
age will offer four different prima donnas
in the role of Madam Butterfly during the
Newark engagement. These are Miss Rene
Vivienne, the American prima donna
Nine. Phoebe Strakosch, Of London and
Paris: Fraulein Elizabeth Wolff. a young
German prima donna, and Mile. Dora de
Philippe, of the Opera Comique, Paris.
William SCHUYLER, NJ. Vernon Stiles aud
William ST. Willis, three tenors, will al
ternate in the role of Pinkerton, while the
baritone role of Sharpless will be taken by
Ottley Cranston, Thomas D.. Richards and
Wesley HubbelI Harriet Behnee and
Ethel Dufre Houston, who sang the role
of Suzuki last season. will again alternate
IN this ~contralto part.