The Richmond Virginian. (Richmond, Va.) 1910-1920, 1917-01-11

'M4ADAME BUTTERFLY,
AS SEEN BY THE CRITIC

Puccinis MADAME Butterfly"
founded on the book by John Luther
Long, and the play by David Be-
lasco, and first produced at Milan
in 1904, almost instantly became
recognized as a standard opera. and
by virtue of it's beautiful melodious
quality and the rich coloring lent by
the locality, 1t has been accorded the
same enthusiastic admiration given
his more vigorous and dashing lie
Boheme.
Every prima donna of consequence
holding the boards since the appear
ance of the opera, and even remote
ly suited to the part. has essayed It,
notably among these being Emmy
Destinn and Farrar.
Since Mime. Miura first appeared
as Butterfly" at the Manhattan
Opera House, autumn 1915, the uues-
ton OF the propriety Of this pre-
sentation has been actively argued
pro and con amongst musical folk
This controversy OF it may be so call
ed) lends piQuancy TO the present Of
fering in marked degree. The prob
lem Is complicated by varied fac
tors
Is It seenly that a splendid organ
izatior should be utilized in toto for
the exploitation OF one tiny woman
simply because chance makes her a
native of a land where an italian
librettest and composer, dreamed
and wrought their dreams into
reality?
Is or Is II not homogeneous that an
Oriental should sing the native role
in an alien tongue. especially IN view
of the fact that the two schools are
as far apart as the antipodes?
And finally the question as to the
class in which Nine. Miura may
properly be placed Does she really
dignity the term artistic" or is she
of those who fash into public view
for day and disappear after having
excited nothing more enduring than
the furry OF interest accorded the
curiosity?
In her appeal TO the heart Nine.
Miura is Irresistible: petite and win
some. she Is ever more-she is an
actress in a very real sense In her
first act we see Butterfly a chYldAsuch
child as no Westerner could depict
her-unconsciousiy pathetic--ani full
OF delight at her new ana unwonted
gift from heaven. And In the various
phases of the chara cterizatton. the
simplicity. the pathos. the sublime
faithfulness: the traeedv--she Is in
bSAtSillSs appearing A'|a convincing Y.
But the incontestable fact stands out
in relief that all This IS the product
Of her nationality and the novelty and
sympathy inspired by IT,
Nine Miura's voice Judged by
American standards, is ineffective.
Especially in the lower ranges 1t Is
seldom good ana at no time IS II
equal IN volume TO cxactfpns OF the
part. Her high notes, taking value
on a comparative basis. are good.
she sings better in the last than in
the first half Of the performance. As
Madame Butterfly. Nine MiuTa Is ac-
ceptable, but one does rot enthuse a
the thought OF hearing her In many
other operas-indeed, In any. The
single performance Is an interesting
and novel experience.
M. FulgenZio Guerrieri. conductor.
deserves praise emphatic ami I'M
stinted In that he provides so admir-
ably for the exactions OF this difficult
voice and supplies the musical interest
of which the prima donna is incapa-
bic.
The Sharpless of Graham Mari was
sung creditably and In Il measure
compensated those who anticipated
hearing Thomas Chalmers.
The Suzuki Of Elvira Leveroni was
admirable, whether estimated as to
her singing or acting art. And Paola
Ananian contributed a Dit of work
deserving favorable comment In his
performance of Bono.