"Madam Butterfly" in Auckland.

New Zealand Graphic, Volume XLIV, Issue 25, 22 June 1910, Page 14

"Madam Butterfly" in Auckland.

The Triumph of Bel Sorel and Hazon—Puccini s Original Genius.

THE expression of true beauty lies not in laughter, but sorrow—that was a fundamental observation to be gained from the first performance of “Madam Butterfly” in Auckland on Monday by the Williamson Grand Opera Company. Over the whole story and its numerous incidents, humorous, dainty and infinitely tragic as they are, looms a wonderful sense of beauty. It haunts one even as the memory of a great canvas glowing with the inspiration of a master. That beauty is contained and expressed in Puccini’s music—the soul of the opera. The score of “Madam Butterfly” cannot be assimilated in a single hearing, nor yet in two performances. One is at first eharmed with its natural wealth of melodic material, its gorgeous orchestration and extraordinary effects. It is only on more familiar acquaintance, and after careful analysis that the intellectual scheme of the composer is laid bare. The complexity and the felicity of the work once realised becomes a source of unending beauty and delight. -Here probably for the first time is the power and originality of the composer reaching to mature expression. In “La Boherne,” and earlier work and more direct in inspiration, Puccini shows very much the influence of Wagner. lie follow’s closely the great German in thematic construe* lion and development, but losing none of his originality in the virility and natural beauty of his melodies. But in “Madam Butterfly” Puccini the man and the genius stand emancipated from earlier influences, and mature in the expression of some of the most glorious music he has ever penned. The Basis of the Opera. The basis of the Opera itself, like his earlier works, completely ignores the set forms of the older Italian masters. One’s sense of the artistic and the natural is not offended by !-arbitrary* periods of recitative, aria, and chorus. Instead, we have a continuous flow of music and story passing from act to act, and culminating at last in the extraordinarily virile and-profoundly tragic closing scene. Every person 'and important incident has its motif, which recurs through the orchestra as they unfold and develop in the story. The score of Madam Butterfly is a network of these themes some? times combined, sometimes distorted, according to the scene. Thus, as a single instance, ..the love music leading up to the exquisite close of the first act, is used and distorted in the second act in conjunction with the themes forshadowing the impending tragedy. If it was only possible for an audience to be fully acquainted with the “themes” or motifs of the opera beforehand, they would find that the score tells just as much and sometimes more than the libretto itself. The music, in fact, would be an open book to them. It is in the use and the application of these themes combined with a genius for lyric beauty that Puccini excels. His gift of melody is only that which one would expect nowhereelse, outside of Italy. His orchestration, too, is just as original. He uses ton'al combinations regardless of the oldfashioned canons of harmony. The effect is just as striking as that made by thf? great Spaniard, Sorolla, when lie lays his colours on to canvas—gorgeous, daring, 'and free. Puccini delights in the untrammelled use of the reeds, the horns, and the drums, or plucking from the strings of the harp some melting liquid effect, even as a burst of sunlight on secluded waters. The unconventional effects he revels in impart art extraordinary richness of colour and variety to the score. They are, in short, the interpretation of the story itself, the intense /musical expression of the emotions and incidents that m’.ike “Madam Butterfly” a thrilling and human story.

A 'Woman's Love Is Her Life. The character of Cho ( ho San is no more Japanese* than it is French or English. It is just the old, old story of a natural and human woman giving all her life with her love, whilst the occasion for the man was no more than an incident. “ Poor Madam Butterfly! Poor Madam Butterfly!” as Suzuki sobs. What should hnve been the realisation of her springtime was crushed in a tragedy reaching

to intense and sublime expression through the genius of Puccini himself. The Performance. The opening performance in Auckland was full of excellence and felicity. Signor Hazon has his fine and complete orchestra schooled to every expression of his conception of the opera. He is quiet and unassuming in his direction, and gives the score all that breadth of colouring and strength of interpretation which marks the fine conductor. Madame Bel Sorel was frankly delightful. Her natural charm and refinement predominate both in singing and acting. The impersonation of Madam Butterfly, which seems to come to her quite naturally, is one that could not fail to delight even an European audience. Not the least attractive element in her singing is the quaint and pretty French accent which distinguishes many of her words. She is, in fact, an artist of that exquisite quality which we so rarely see on the stage in the Dominion. Her high soprano voice is singularly penetrating in quality, and splendidly controlled. Mr. Frederick Barney (Lieut. Pinkerton) has a commanding figure for a young man of twenty-four years. He possesses a tenor voice of exceptional quality and power, and uses it with a vigour and clearness that won the warmest applause. In the closing scene of the first act, both artists sang magnificently, the curtain falling oyer a scene of supreme felicity, which only Puccini’s glorious love music could have rendered possible. Mr, Arthur -Crane sang very well, and acted excellently the difficult part of “Sharpless,” whilst Miss Rosina Buckman was in very good voice, and succeeded in impersonating “Suzuki” with a vitality and a feeling that carried conviction with them. There was nothng at all weak or palpable in any of the caste, whilst the choruses and concerted singing were all up to the high standard which the Wellington performances led one to expect. Youthful Artists. The charm of the, whole company is its youth. All the artists are young, and their parts lose nothing in appearance or vitality. In consequence, “Madam Butterfly” was a memorable performance for Aucklanders, and over all, even the gracious charm of the youthful Bei Sorel herself, was the spirit of Puccini hovering with its message from the Infinite.