The Complete Opera Book Part 79

After greetings have been exchanged, the Consul on conversing with _b.u.t.terfly_ becomes thoroughly convinced that he was correct in cautioning _Pinkerton_. For he discovers that she is not contemplating the usual j.a.panese marriage of arrangement, but, actually being in love with _Pinkerton_, is taking it with complete seriousness. She has even gone to the extent, as she confides to _Pinkerton_, of secretly renouncing her religious faith, the faith of her forefathers, and embracing his, before entering on her new life with him. This step, when discovered by her relatives, means that she has cut herself loose from all her old a.s.sociations and belongings, and entrusts herself and her future entirely to her husband.

Minor officials whose duty it is to see that the marriage contract, even though it be a "j.a.panese marriage," is signed with proper ceremony, arrive. In the midst of drinking and merry-making on the part of all who have come to the wedding, they are startled by fierce imprecations from a distance and gradually drawing nearer. A weird figure, shouting and cursing wildly, appears upon the scene. It is _b.u.t.terfly's_ uncle, the _Bonze_ (j.a.panese priest). He has discovered her renunciation of faith, now calls down curses upon her head for it, and insists that all her relatives, even her immediate family, renounce her. _Pinkerton_ enraged at the disturbance turns them out of the house. The air shakes with their imprecations as they depart.

_b.u.t.terfly_ is weeping bitterly, but _Pinkerton_ soon is enabled to comfort her. The act closes with a pa.s.sionate love scene.

The j.a.panese theme, which I have spoken of as forming the introduction to the act, besides, the background to the greater part of it, in fact up to the scene with the _Bonze_, never becomes monotonous because it is interrupted by several other musical episodes. Such are the short theme to which _Pinkerton_ sings "Tutto e p.r.o.nto" (All is ready), and the skippy little theme when _Goro_ tells _Pinkerton_ about those who will be present at the ceremony. When _Pinkerton_ sings, "The whole world over, on business or pleasure the Yankee travels," a motif based on the "Star-Spangled Banner," is heard for the first time.

In the duet between _Pinkerton_ and _Sharpless_, which _Pinkerton_ begins with the words, "Amore o grillo" (Love or fancy), _Sharpless's_ serious argument and its suggestion of the possibility of _b.u.t.terfly's_ genuine love for _Pinkerton_ are well brought out in the music. When _b.u.t.terfly_ and her party arrive, her voice soars above those of the others to the strains of the same theme which occurs as a climax to the love duet at the end of the act and which, in the course of the opera, is heard on other occasions so intimately a.s.sociated with herself and her emotions that it may be regarded as a motif, expressing the love she has conceived for _Pinkerton_.

Full of feeling is the music of her confession to _Pinkerton_ that she has renounced the faith of her forefathers, in order to be a fit wife for the man she loves:--"Ieri son salita" (Hear what I would tell you). An episode, brief but of great charm, is the chorus "Kami! O Kami! Let's drink to the newly married couple." Then comes the interruption of the cheerful scene by the appearance of the _Bonze_, which forms a dramatic contrast.

It is customary with Puccini to create "atmosphere" of time and place through the medium of the early scenes of his operas. It is only necessary to recall the opening episodes in the first acts of "La Boheme" and "Tosca." He has done the same thing in "Madam b.u.t.terfly,"

by the employment of the j.a.panese theme already referred to, and by the crowded episodes attending the arrival of _b.u.t.terfly_ and the performance of the ceremony. These episodes are full of action and colour, and distinctly j.a.panese in the impression they make. Moreover, they afford the only opportunity throughout the entire opera to employ the chorus upon the open stage. It is heard again in the second act, but only behind the scenes and humming in order to give the effect of distance.

[Ill.u.s.tration: Photo by White

Farrar as Cio-Cio-San in "Madama b.u.t.terfly"]

The love scene between _Pinkerton_ and _b.u.t.terfly_ is extended. From its beginning, "Viene la sera" (Evening is falling),

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to the end, its interest never flags. It is full of beautiful melody charged with sentiment and pa.s.sion, yet varied with lighter pa.s.sages, like _b.u.t.terfly's_ "I am like the moon's little G.o.ddess"; "I used to think if anyone should want me"; and the exquisite, "Vogliatemi bene"

(Ah, love me a little). There is a beautiful melody for _Pinkerton_, "Love, what fear holds you trembling." The climax of the love duet is reached in two impa.s.sioned phrases:--"Dolce notte! Quante stelle"

(Night of rapture, stars unnumbered),

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and "Oh! Quanti occhi fisi, attenti" (Oh, kindly heavens).

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Act II. Part I. Three years have elapsed. It is a long time since _Pinkerton_ has left _b.u.t.terfly_ with the promise to return to her "when the robins nest." When the curtain rises, after an introduction, in which another j.a.panese theme is employed, _Suzuki_, although convinced that _Pinkerton_ has deserted her mistress, is praying for his return. _b.u.t.terfly_ is full of faith and trust. In chiding her devoted maid for doubting that _Pinkerton_ will return, she draws in language and song a vivid picture of his home-coming and of their mutual joy therein:--"Un bel d vedremo" (Some day he'll come).

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In point of fact, _Pinkerton_ really is returning to Nagasaki, but with no idea of resuming relations with his j.a.panese wife. Indeed, before leaving America he has written to _Sharpless_ asking him to let _b.u.t.terfly_ know that he is married to an American wife, who will join him in Nagasaki. _Sharpless_ calls upon _b.u.t.terfly_, and attempts to deliver his message, but is unable to do so because of the emotions aroused in _b.u.t.terfly_ by the very sight of a letter from _Pinkerton_.

It throws her into a transport of joy because, unable immediately to grasp its contents, she believes that in writing he has remembered her, and must be returning to her. _Sharpless_ endeavours to make the true situation clear to her, but is interrupted by a visit from _Yamadori_, a wealthy j.a.panese suitor, whom _Goro_ urges _b.u.t.terfly_ to marry. For the money left by Pinkerton with his little j.a.panese wife has dwindled almost to nothing, and poverty stares her in the face. But she will not hear of an alliance with _Yamadori_. She protests that she is already married to _Pinkerton_, and will await his return.

When _Yamadori_ has gone, _Sharpless_ makes one more effort to open her eyes to the truth. They have a duet, "Ora a noi" (Now at last), in which he again produces the letter, and attempts to persuade her that Pinkerton has been faithless to her and has forgotten her. Her only reply is to fetch in her baby boy, born since _Pinkerton's_ departure.

Her argument is, that when the boy's father hears what a fine son is waiting for him in j.a.pan, he will hasten back. She sings to _Trouble_, as the little boy is called:--"Sai cos'ebbe cuore" (Do you hear, my sweet one, what that bad man is saying). _Sharpless_ makes a final effort to disillusion her, but in vain. If _Pinkerton_ does not come back, there are two things, she says, she can do--return to her old life and sing for people, or die. She sings a touching little lullaby to her baby boy, _Suzuki_ twice interrupting her with the pathetically voiced exclamation, "Poor Madam b.u.t.terfly!"

A salute of cannon from the harbour announces the arrival of a man-of-war. Looking through the telescope, _b.u.t.terfly_ and _Suzuki_ discover that it is _Pinkerton's_ s.h.i.+p, the "Abraham Lincoln." Now _b.u.t.terfly_ is convinced that _Sharpless_ is wrong. Her faith is about to be rewarded. The man she loves is returning to her. The home must be decorated and made cheerful and attractive to greet him. She and _Suzuki_ distribute cherry blossoms wherever their effect will be most charming. The music accompanying this is the enchanting duet of the flowers, "Scuoti quella fronda di ciliegio" (Shake that cherry tree till every flower). Most effective is the phrase, "Gettiamo a mani piene mammole e tuberose" (In handfuls let us scatter violets and white roses.)

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_b.u.t.terfly_ adorns herself and the baby boy. Then with her fingers she pierces three holes in the paper wall of the dwelling. She, _Suzuki_, and the baby peer through these, watching for _Pinkerton's_ arrival.

Night falls. _Suzuki_ and the boy drop off to sleep. _b.u.t.terfly_ rigid, motionless, waits and watches, her faith still unshaken, for the return of the man who has forsaken her. The pathos of the scene is profound; the music, with the hum of voices, borne upon the night from the distant harbour, exquisite.

Act II. Part II. When the curtain rises, night has pa.s.sed, dawn is breaking. _Suzuki_ and the baby are fast asleep, but _b.u.t.terfly_ still is watching. Again Puccini employs a j.a.panese melody (the "vigil"

theme).

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When _Suzuki_ awakes, she persuades the poor little "wife" to go upstairs to rest, which _b.u.t.terfly_ does only upon _Suzuki's_ promise to awaken her as soon as _Pinkerton_ arrives. _Pinkerton_ and _Sharpless_ appear. _Suzuki_ at first is full of joyful surprise, which, however, soon gives way to consternation, when she learns the truth. _Pinkerton_ himself, seeing about him the proofs of _b.u.t.terfly's_ complete loyalty to him, realizes the heartlessness of his own conduct. There is a dramatic trio for _Pinkerton_, _Sharpless_, and _Suzuki_. _Pinkerton_, who cannot bear to face the situation, rushes away, leaving it to _Sharpless_ to settle matters as best he can.

_b.u.t.terfly_ has become aware that people are below. _Suzuki_ tries to prevent her coming down, but she appears radiantly happy, for she expects to find her husband. The pathos of the scene in which she learns the truth is difficult to describe. But she does not burst into lamentations. With a gentleness which has been characteristic of her throughout, she bears the blow. She even expresses the wish to _Kate_, _Pinkerton's_ real wife, that she may experience all happiness, and sends word to _Pinkerton_ that, if he will come for his son in half an hour, he can have him.

_Sharpless_ and _Mrs. Pinkerton_ withdraw. In a scene of tragic power, _b.u.t.terfly_ mortally wounds herself with her father's sword, the blade of which bears the inscription, "To die with honour when one can no longer live with honour," drags herself across the floor to where the boy is playing with his toys and waving a little American flag, and expires just as _Pinkerton_ enters to take away the son whom thus she gives up to him.

From examples that already have been given of modern Italian opera, it is clear that "atmosphere," local colour, and character delineation are typical features of the art of Italy's lyric stage as it flourishes today. In "Madama b.u.t.terfly" we have exotic tone colour to a degree that has been approached but not equalled by Verdi in "Ada."

Certain brief scenes in Verdi's opera are Egyptian in tone colour. In "Madama b.u.t.terfly" j.a.panese themes are used _in extenso_, and although the thrilling climaxes in the work are distinctively Italian, the j.a.panese under-current, dramatic and musical, always is felt. In that respect compare "Madama b.u.t.terfly" with a typical old Italian opera like "Lucia di Lammermoor" the scene of which is laid in Scotland, but in which there is nothing Scotch save the costumes--no "atmosphere,"

no local colour. These things are taken seriously by modern Italian composers, who do not ignore melody, yet also appreciate the value of an eloquent instrumental support to the voice score; whereas the older Italian opera composers were content to distribute melody with a lavish hand and took little else into account.

In character delineation in the opera _b.u.t.terfly_ dominates. She is a sweet, trusting, pathetic little creature--traits expressed in the music as clearly as in the drama. The st.u.r.dy devotion of _Suzuki_ is, if possible, brought out in an even stronger light in the opera than in the drama, and _Sharpless_ is admirably drawn. _Pinkerton_, of course, cannot be made sympathetic. All that can be expected of him is that he be a tenor, and sing the beautiful music allotted to him in the first act with tender and pa.s.sionate expression.

The use of the "Star-Spangled Banner" motif as a personal theme for _Pinkerton_, always has had a disagreeable effect upon me, and from now on should be objected to by all Americans. Some one in authority, a manager like Gatti-Casazza, or Ricordi & Co.'s American representatives, should call Puccini's attention to the fact that his employment of the National Anthem of the United States of America in "Madama b.u.t.terfly" is highly objectionable and might, in time, become offensive; although no offence was meant by him.

I "did" the first night of David Belasco's play "Madam b.u.t.terfly" for the New York _Herald_. The production occurred at the Herald Square Theatre, Broadway and Thirty-fifth Street, New York, March 5, 1900, with Blanche Bates as _b.u.t.terfly_. It was given with "Naughty Anthony," a farce-comedy also by Belasco, which had been a failure.

The tragedy had been constructed with great rapidity from John Luther Long's story, but its success was even swifter. At the Duke of York's Theatre, London, it was seen by Francis Nielsen, stage manager of Covent Garden, who immediately sent word to Puccini urging him to come from Milan to London to see a play which, in his hands, might well become a successful opera. Puccini came at once, with the result that he created a work which has done its full share toward making the modern Italian lyric stage as flouris.h.i.+ng as all unprejudiced critics concede it to be.

The Milan production of "Madama b.u.t.terfly" was an utter failure. The audience hooted, the prima donna was in tears. The only person behind the scenes not disconcerted was the composer, whose faith in his work was so soon to be justified.

LA FANCIULLA DEL WEST

(THE GIRL OF THE GOLDEN WEST)

Opera in three acts by Puccini; words by C. Zangarini and G.

Civini, after the play by David Belasco. Produced, Metropolitan Opera House, New York, December 10, 1910, with Destinn, Mattfeld, Caruso, Amato, Reiss, Didur, Dinh-Gilly, Pini-Corsi, and De Segurola.

CHARACTERS

MINNIE _Soprano_ JACK RANCE, sheriff _Baritone_ d.i.c.k JOHNSON (Ramerrez) _Tenor_ NICK, bartender at the "Polka" _Tenor_ ASHBY, Wells-Fargo agent _Ba.s.s_ SONORA } _Baritone_ TRIM } _Tenor_ SID } _Baritone_ HANDSOME } Miners _Baritone_ HARRY } _Tenor_ JOE } _Tenor_ HAPPY } _Baritone_ LARKENS } _Ba.s.s_ BILLY JACKRABBIT, an Indian redskin _Ba.s.s_ WOWKLE, Billy's squaw _Mezzo-Soprano_ JAKE WALLACE, a travelling camp minstrel _Baritone_ JOSe CASTRO, a greaser from Ramerrez's gang _Ba.s.s_ A POSTILLION _Tenor_ MEN OF THE CAMP

_Time_--1849-1850, the days of the gold fever.

_Place_--A mining-camp at the foot of the Cloudy Mountains, California.

[Ill.u.s.tration: Photo by White

Destinn as Minnie, Caruso as Johnson, and Amato as Jack Rance in "The Girl of the Golden West"]

Successful in producing "atmosphere" in "La Boheme," "Tosca," and "Madama b.u.t.terfly," Puccini has utterly failed in his effort to do so in his "Girl of the Golden West." Based upon an American play, the scene laid in America and given in America for the first time on any stage, the opera has not been, the more's the pity, a success.

In the first act, laid in the "Polka" bar-room, after a scene of considerable length for the miners (intended, no doubt, to create "atmosphere") there is an episode between _Rance_ and _Minnie_, in which it develops that _Rance_ wants to marry her, but that she does not care for him. _Johnson_ comes in. He and _Minnie_ have met but once before, but have been strongly attracted to each other. She asks him to visit her in her cabin, where they will be undisturbed by the crowd, which has gone off to hunt for Ramerrez, head of a band of outlaws, reported to be in the vicinity but which soon may be back.

The scene of the second act is _Minnie's_ cabin, which consists of a room and loft. After a brief scene for _Billy_ and _Wowkle_, _Minnie_ comes in. Through night and a blizzard _Johnson_ makes his way up the mountainside. There is a love scene--then noises outside. People are approaching. Not wis.h.i.+ng to be found with _Johnson_, _Minnie_ forces him to hide. _Rance_ and others, who are on the trail of _Ramerrez_ and hope to catch or kill him any moment, come in to warn her that _Johnson_ is Ramerrez. When they have gone, and _Johnson_ acknowledges that he is the outlaw, _Minnie_ denounces him and sends him out into the blizzard. There is a shot. _Johnson_, sorely wounded, staggers into the cabin. A knock at the door. _Rance's_ voice. With _Minnie's_ aid the wounded man reaches the loft where he collapses.

_Rance_ enters, expecting to find _Johnson_. He is almost persuaded by _Minnie_ that the fugitive is not there, when, through the loose timbers of the loft, a drop of blood falls on his hand. _Minnie_ proposes that they play cards--_Johnson_ to live, or she to marry the sheriff. They play. She cheats, and wins.