The Washington herald., 1909-05-11

Tho BoFze a Buddhist priest and Cho-Clo-
sans unce...----.-.-.-----.-----T Thomas J. Conke
The japanese Imperial Commissioner
Tie japanese OasciaI Registrar Charles T. Loc
IChCChoSsns Ch2riot1e Meyer
Cno-C no san amt t.---.--.------ aaTle 1oilIi
ChoCho-Saus -Es;ella Lad
Trouble. Cho-Ch0-SaE's little son
.--------.--. --.------ Little Violet Dores-
SYNOPSIS OF SCENES
/ Act I-ChcChOSan's Tiiis. showing = beauttfI
garden u uis;sris rcses ard cherry blossoms O.
the height. ovs-iooking the Bay q Nagzsaki-
I Act II-Interior q Chc-Chn-S2Ds cottage ron
the cpen window q which there IS q view Of th'
Z harbos. Erenire
Act III-sans as Act II. Next morning
! As an oasis in the seasons desert. came
/ PuccinTs Madam Butterfly" 10 the Be
IIasco TheatNr last night Grand opera
/ save for one week last fan, had forsaken
/ Washington this year. and the faithful
( who journeyed forth last night 20 hear
/ some good music, well sung. were not
disappointed
] Madam Butterfly" IS not new 10
I Washington, either in its operate or It's
dramatic form, but both story and score
are firmly affixed as favorites in the az
( fecuoas Of. local music lovers. No more
, moving tragedy has ever been the basis
Of a grand opera. and yet the story Is
simplicity itself No need for rehearsal
I here OF John Luther Longs exquisite con
CeptiOn. which has had a wonderful
vogue. despite its improbable hypothesis,
and still less need 10 rhapsodize over
PuccinTs score. which many regard as the
pinnacle of this modern composers work
The English opera Company IS an excel
lent organization, especially as regards
members OF the cast. As 10 the orchestra
although inadequate in number thus u1-
happily Iessening the volame of harmony,
il was under the direction q Baron Gus
tave ". Ronfort. who conducted with a
gratifying degree Of intelligence. He ex-
hibited no mannerisUs. but seemed 10 be
q sincere artist. bent on getting the best
out OF his musicians The Interpretation
OF the score OF Madam Butterfly re-
Qui-es the highest musical ability, and az
20 point did Baron Ronfort or his men
seem lacking in that quality.
The score IS one OF great beauty and
intricacy. the adoption 10 a great degree
Of the japanese scale. consisting as il
does Of greater intervals than our own.
making music that is az first hearing IN
usual % ears accustomed to the conven-
tional melodies Of the Italian school. or
the crashing harnonies Of the Wagnerian.
Madam Butterfly is a blending az both.
with the third ingredient OF barbaric col
oring.
The whole opera. as regards score and
Hbretto. is a daring departure from she
accepted models on which grand opera IS
based The modern music drama, OF
which Butterfly IS a moderate. bUt
not too radical example. has done away
with the aria and the choruses. the
duets. and the ensembles. The whole
opera is smooth-howing, impressive
drama: something gay often sad. most
ly tragic. The psthos Of the story is re-
fected twofold in the music. which is
moving 70 a degree which is almost har-
rowing Indeed. this very fact sounds
a note Of iucOuEruity. for il does not
10 In well with its japanese setting. To.
the American mind. japan is all Ilghtness.
all beauty-it is only lately that we have
learned that she. too. has her tragedies
Pierre Lott. in his Nine Chrysam-
theme" would have us believe that the
japanese have no sentiment. that tragedy
passes them by with but light touch. but
john Luther Long has given rs the oppo-
site impression. Puccini. IN adopting the
Long story as his basis. has admirably
caught its spirit. The Americans. how
ever. in their modern attire, seem strange
y out 0f place IN grand opera. as also
do the ''high-baIT' and the wooden rock
ing chair IN the shOje; but the success
OF Madam Butterfly" cid not alone de.
pend upon these thinZs-it is a moving
and human tragedy. belonging not 70
japan. but % ali nations and with the
HH-r
makes something that is worth while. and
distinctly marks a musical epoch.
The singers in the company are without
exception selected with good judgment
Mss Adelaide Norwood. who sang "Cho-
ChO-San' last night. proved 10 be the
pOsesscr Of q magnificent soprano voice.
The role IS difficult. requiring a presence /
on the stage during the greater part Of
three acts. the tax on the voice being
unusually great Miss Norwood not only
sang the part well, but acted il with an
and a grace which showed |
her 70 be a thorough student Her
scenes with Pinkerton in the first act
were exquisite The most impressive
episode Of the story is perhaps the in (
terval OF waiting which extends from
Act II 70 Act II, during which Cho-Cho-
San keeps her lonely vigil. watching for /
the lieuJeuant's return. The music here
Is fun Of portent. and the tragedy vivid /
The little room. with its pathetic decora-
Tons. the inanimate reminders Of ChO-
Cho-San's Joy at a reunion with her /
lover; the dying lamps, and the slumber- 4
ing child and servant. and the motionless
figure at the window. watching, watch
Ing. all through the dark and lonely 4
night Miss Norwood was delightful /
throughout in her acting, and her death /
scene was excellent.
Miss Ellen James was admirable as
Suzuki and Ottley Cranston. as Sharp- /
ess. the American consul, while having /
little 10 sing but recitatives. conducted
b 1-nlseH so as 30 keep well within the
JictuTe- The Pinkerton OF Henry Tav-
or was good. and his voice well suited
70 the part But the subordinate roles. in
Madam Butterfly" are but foils tn the
1tle role The whole interest centers in
he poor little Geisha, who is offered ltp
ls sacrifice by one Of the pernicious
customs Of her race.
Madam Butterfly" is well mounted.
1nd Is an excellent attempt 10 give high
lass opera at prices that are not pro-
MOTIVE 20 the general public.
WILLIAM OSBORN
THE ACADEMY.