Evening star., 1947-03-28
Butterfly Is Well Presented
Despite Scenic Handicaps

this past year. Although the stage
requirements In this city would not
permit OF the details that add both
color and poignancy to the scenes
and the limited space necessitated
changes in action, the general ef-
feet was good.
There was, Of course, no way
In which the events of the first
act could be made plausible, for
in place Of the cailed-for exterior
Of Pinkerton's house, the scene was
set as the interior of Butterfly S
house required for the next two
acts. The coming Of Butterfly is
sung OF stage with the soprano
soaring above the voices Of her
accompanying friends and relatives.
Last night, 1t was sung on the
stage to the detriment of one Of
the most effective moments of the
opera, with the other characters ef-
facing themselves as much as pos
sibles to give |credence to- this in
novation. Knowing that nothing
can be done about the staging of
opera in Constitution Hall, it Is a
pity, nevertheless, that those hear
ing the opera for the first time must
gain wrong impression.
Several Japanese sopranos have
sung the title role and have given
an authenticity to the portrayal
that no Occidental singer can at
tain. Not only their appearance
and gestures were more suitable, but
their understanding OF the psy-
chology Of the character was differ
ent. Essaying the part last night
was Norma Greco, a graceful, plant
figure as Cio-Cio San, with a feel
ing for the appeal of the role. Yet,
with the best intention, her char
acterization was too studied and too
ARTIFICIAL.
AS the 15-year-old Butterfly, she
had worldly air in the first act
and modern coquetry that negated
the impassioned buildup to the
the finale of the scene. In the
second act, especially in the reading
Of the letter with Sharpless, the
moving address to her child and the
duet with Suzuki, she registered the
emotions more convincingly and
with greater appeal. Her voice has
warm and responsive quality and
strength in the high notes. In the
middle section, where much Of the
finest music is placed, it has no
carrying power 50 that the varia-
tions in volume were marked.
The voice Of Nino Martini is well
adapted to the role Of 1t. Pinkerton
and he sang with ease. He has a
smooth acting technique and, al
though somewhat tepid in the love
scenes, he brought charm to small
details in movement and hearing
that artfully outlined the character
He had an able companion in Stefan
Kozakevich, who took the role OF
Sharpless on short notice. John
Ciavolo, originally announced, was
taken i'll and the program listed
Angelo Pilloto in the part. He also
was unable to apear and at the last
minute, Mr.. Kozakevich stepped In
His Interpretation was dignified and
carried weight, although vocally, he
was less secure.
Lillian Marchetto's Suzuki was ex-
cellently rounded out and her per-
formance of it one Of the most dis
tinctive. Her rich voice had only
few solo moments to be heard, but
these she sang with finish. Her
natural acting was also important
Francesca, Curci as Goro; Lloyd
Harris, as Yamadori, and John
Lawler, as the Bonze, gave clear-cut
performances Of these shorter roles
Shella Whitley was heard as Kate
Pinkerton and the well-costumed
chorus gave a good account of itself
| Giuseppe Bamoschek conducted.