The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1927-01-22
STARS AND SAAIOSSOUD IN
SUCCESSFUL "RuTTEREI. Y,'

/ -
A large audience, an excellent per-
forinance, notable high lights of
grand opera-which proves how III.
escapable Is. the star system" de-
spite our much-talked of democracy
in music-made of the gala opera
benefit at the Washington Auditor
iuIn last evening a truly enjoyable
event, with Puccinis picturesque
opera Mime. Butterfly as the ve-
hicle.
Paul Althouse ami Thalia Saban-
ieva, with all the traditions and the
standards of the Metropolitan Opera
Company, and Fred Patton, baritone,
combined to carry this opera into
the musical ranks of. the best in
opera. Jacques Samossoud, to whom
the entire performa nee was due, had
at his command an orchestra of
surprising. worth, an orchestra that
rose to symphonic heights in the
prelude to the third act, with a
climax power and a musical appre.
citation of the score that bore little
evidence of the hurry up" with
which this opera group had been
assembled.
The music and the drama, in
fact, went through without a hitch.
The appealing story found its pic!
turesque elements also we'll han
died and Nine. Sabanieva as But
terfly'' brought to the drama one
of the most poignant death scenes
that we can recall.
Althouse gave of his best. which
is fine. vigorous and manly best,
with his voice dramatic and stir
ring, his ringing high notes reach
ing climax after climax with the
vitality of the impetuous youth who
idly loves. and tenderly loves for a
moment, then leaves dark tragedy
behind, him.
In many scenes this is mans
opera and AIthouse and Fred Pat
ton sang their roles and their
duets with equal. verve, Mr.. Pat.
tons resonant and commanding
voice meeting the fine abandon of
Althouse's singing with equal
warmth and musical authority.
Quite the finest thing that Wash.
ington has heard Thalia Sabanieva
do, her Butterfly possessed many
shades of vocal beauty, as we'll as
a sympathetic and lovely portrayal
OF the girl bride, that make it mem
orable. The big house dimmed
some of her voice effects. and made
the "Un bel d." which she opened
'back stage" at the window, less
effective than it could have been in
smaller theater. But Sabanieva
gives to her Butterfly a subtlety of
ca 1 spoken-singing tone that holds
the interest and that i@adorns the
score, , if
The flower duet with Suzuki
was not SO musically effective, but
a young singer Of deep love
ly voice though little stage expert
ence, Grace Yeager. proved that we
have voices of more than ordinary
worth to mold into our opera world.
Miss Yeager is a genuine /contralto
to whom, with stagecraft, a career
may be assured.
''Goro," the marriage broker, was
excellently done and finely sung by
Reschigilan, while Nina Norman. a
Washington singer, made an APP
pealing Kate Pinkerton, inbuing
that tf1ankless role with real sym.
pathy.. Warwick and Jessie Veitch
completed a cast that was wholly
good and additionally mintained.
Out of our local ranks came the
chorus, that was adequate and that
was particularly fine in the herri-
fled exit of the indignant relatives,
a difficult bit of work that was
clean-cut and accurate. Their off
stage singing was also good and
they contributed to the stage pic
lures which were further aided by
good lighting and color.
One tiny star, the baby, responded
to Sabanieva's mother-love with
tiny arms about her neck, or by
kissing, her tenderly as she lay
prone upon the ground, SO that the
motive force of the whole story
gained all its heart appeal in win
some manner
We have another opera group in
Washington that has splendidly
offered grand opera, with com
munity support from the studio of
Estelle Wentworth and Albert Parr,
that gives us another musical
round on the ladder, to fame.
Recall after recall. with real en-.
thusiasm. called the singers and
the directors before the curtain:
! and attested the musicianship OF
jacques Samossoud who brought