The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-18
~ W. ). HENDERSON.

toire Of the Century Opera Com
pany was welcomed with cordial
applause ny The audience which attend
cd the performance Of Tuesday evening
Critical opinions do not differ deeply
a. to the real merits Of Madam But
rf1y," while the general public has re-
ceivcd IT into lasting affection. The
opera is made with remarkable skill
and It's melodies are OF the type which
thc present day operagoer loves.
The translation Of the work into Eng
lsh cannot he said Ia be entirely happy,
hui on the other hand II cannot he
charged with violating any sacred ar
tistic CRnons. The fact Is that no other
composer has shown less regard for the
details of his texts than has Puccini.
He paints wholly in large strokes and
hc does not permit himself to he dis
turhcd ny tho fact that his brush work
frequently blurs the outlines OF the
verse
His principal aim Il always to exercise
his supcrlative skill in exciting the
nerve centres by delightful shocks He
feeds the ear according TO its appetite.
but ravishes II with surfeit OF the JOY
n desires PuCcni never asks his public
to come ~ him; he always goes more
than half way 10 meet II. And In
MADAM Butterfly he has done this
with shrewdness which commands ad
miration. II It does not gain respect
Tho score Is certainly one OF unques
tionahle charm. The moods of the opera
are voiced with a beautiful sense OF
proportion, with a delicacy. n refine
ment Of touch and skill in the mar
shallng Of the instrumental and choral
machinery Of the lyric stage such as no
other Italian master OF the present era
can hope to surpass. In the technic
OF operate construction Puccini Ia STU
preme. The result Is that while the
critical listener may find evidence.
which became more pronounced in
'"rhe Girl" NJ waning melodic inven-
tivcncss. the theatre responds to skill
ful combination Of devices quite equal
to anything achieved by Belasco.
There are not many points Of climactic
intensity in the score. but Of melodic
scnsuousness there are not few. That
which leaves the public in the most
conquered mood is the long duo for
butterfly and Pinkcrton ending the first
&C No one who takes the trouble to
examine this number can fail TO dis
cover that II is almost entirely wantins
in musical cohesion. that II Is in truth a
series of detached vocal pieces most in
gen uusly Joined. Neither can any dis
passionate student fail TO discover that
tho thing does not possess dramatic
cnnsistence. Nor does it AT all times
show that artis,ic union OF text ano
music which really great opera com
poscrs seek.
Rut the general public never troubles
itself about the text of such number
" gives II no more consideration wher
:, is English than when II is Italian
Mo- ono person in hundred cares u
know more than the situation and TIT
action disclose. namely, that these TIVE
persons. just married. are engaged ii
n passionate love dialogue. Nor does tn
ordinary observer face the indisputabl
fact that the music IL not passionate
that II gives no slightest hint OF IN
rcn temperament Of the little Japanes
woman whose soul contained Norl
tragedy. hut contents itself with beinl
supcrlatively sensuous. II is melodiou'
IN long drawn phrases, and II sings mos
effectively.
II rests upon one of the Arm founda
tions ~ operate popularity. II is writ
ton with view to affcrdinR the w
singers every opportunity to displs
81. range. volume and quality Of thei
voices r.d SAAss mastery Of the con
tempornr---.. combination OF extende
pnrasins- EsS strongly marked melc
die accent Two singers who have bee
fairly well trained in the manner OF "a
day will surely succeed in this duo. I
fact no one has ever made a failure !
Il. This is a point that should not h
overlooked. The singers often get niue
credit which really belongs to the CON
poser.
Miss Stanley and Mr. Harold san
the duo commercially and thereby e,
cited much applause. which they honor
My deserved But so did Puccini. VIII
WIS fortunate in both ways.