Evening star., 1915-12-18
ArlllY1llnlglB
Grand Opera and Pavlowa.


A brilliant reception was given the Bos-
ton Opera Company and the PavloWa
Ballet Russo on the occasion Of treir first
performance at the Belasco Theater last
night. 1t was an enterprise possessing
strong local interest, the presentations
listed for this engagement being made
possible by the cooperation of Washns-
toms own citizens. constituting the Wash
lngton grand opera committee. The estao-
lishment of this committee as a permanent
institution would, judging from last
nights performance and audience, be a
distinct advantage in many ways. There
was the spirit of civic hospitality as well
as artistic appreciation in the splendia
welcome accorded the vocal artists and
the dancers whose appearance in ad-
nirable fitness last night represented
triumph over obstacles of all kinds.
| The cancellation of Thursday nights en-
gagement. owing to travel Instructions,
made Madame Butterfly" the first
the little tragedy has been recognized by
DISCRIMINATING taste as one of the fe"
American literary treasures; as drama,
it reflects the finished craftsmanship OF
DAVID Belasco, and as an opera, 1t com,
mands Puccinis most fluent, graceful
and powerful command of sustained
melody 1t is peculiarly illustrative OF
the style of musical composition which
makes melody an interpretative vehicle
for thought and sentiment, avoiding the
artif1ce of mere reiteration in order me-
chanically to impress the beauty OF a
theme The melody varies even as the
words and phrases, and may be as dell
| cately significant, when expressed with
ADEQUATE resources, both vocal and or
chestral, as the play of expression upon a
sensitive countenance.
| But the audience last night paid its
own tribute to Madame Butterfly a
tribute so usual that it has become not
an event but an expression of tradition,
to be varied only in it's emphasis. 1t
has been said that there are no really
bad Hamlets on the dramatic stage. the
part being such that a man with intelii-
gence to memorize the lines must re-
fleet enough of their beauty to give
them interest. 1t might also be said
that there could not be bad Madame
Butterfly, for the pathetic heroine pos
sesses so much appeal that sympathy
could not be wholly lost even in an in
sufficient rendition. But it can be shown
| that there is a butterfly that surpasses all
! the rest.
There were some fears among the
presentation of the role of Cho Cho
San would be in the nature of mere
appeal to the sense of the bizarre.
The announcement that Tamaki Mi
ura. the Japanese prima donna, would
sing the part suggested rather a call
to curiosity than reliable promise of
artistic suff1ciency. When she first came
on the stage she looked like some
pretty doll baby strayed from giant
Christmas tree. She soon demonstrated
that the doll baby had a smile and a
heart. She sang a little diffidently at
first. Her voice held at moments a
slight brassy vibrancy as method con-
trolled its tones to perfect accuracy of
pitch. AS she swept into volume her
notes took a crystalline clearness, and
the audience stepped with her into her
own land and viewed. as with the eyes
of her own people. the tragedy which
in order that social custom may be
satisfied. She brings a new personality
to the stage; an exotic daintiness CON-
bined with dramatic power. She has the
rare gift of being able both to act and
to sing without for moment destroy
ing continuity of impression in either
respect. Her subtlety, her poise, her alb
solutely unaffected ease and yet her
terest reveals her almost as a tiny
Bernhardt of the orient gifted with
song as well as speech.
RIecardo Martin was the 3. F. Pinker-
ton whose prosaic name melts into
euphony with it's surroundings in the
cruclole of genius. He gave it beauti-
ful vocal Interpretation and exhibited
line efhclency in tracing his share of
the heart story of the little japanese
girl who loved and trusted with all her
soul. The other roles were assumed
with the skill to be expected from an
organization whose announcements had
set such high standards of anticipat ton.
The very responsible element of the
presentation, the orchestra, was under
masterful guidance beneath the baton
OF Jacchia, and the ensemble work
drew approving attention to the pro-
gram mention of Amedeo Barbieri as
chorusmaster. In the midst of ova-
tons Tamaki accepted tribute with the
same dainty grace she displayed in
earning it, and left behind her multi
tude of admirers. who remember her
not as the japanese prima donna, but
as Cho Cho San herself.
Pavlowa and the Ballet Russo pro-
vided an extensive and most important
programs that the theater has offered.
The Egyptian ballet was chiefly en-
joyable for the Luigini music. ex-
quisite in charm and strong in inter-
est. The Egyptian ballet as a display
| necessarily aimed for the artisticaIly
of grace and beauty. 1t initiates with
| human figures the crude tracings OF
early Egyptian art, and some Of its
| Impressions are archaeological rather
| than idealistic Alexandra VoIinine
| from time to time bounded into the
picture with an exultant physical grace
truly Grecian in it's effect, even though
| his costume was in accord with the
Egyptian scheme. The performance OF
Pavlowa. while not expressing the hap
pfest phases of her unquestionable art
proved creation of wonderful allure.
ment.
The Boston Opera Company and tn.
Pavlowa ballet constitute an organi.
zation which gives Rabinofrs name
a place high in the list Of the com.
pressarios America has known. J..