Act II. Part II. When the curtain rises, night has passed, dawn is
breaking. _Suzuki_ and the baby are fast asleep, but _Butterfly_ still is watching. Again Puccini employs a Japanese melody (the "vigil" theme).
[Music]
When _Suzuki_ awakes, she persuades the poor little "wife" to go upstairs to rest, which _Butterfly_ 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 _Butterfly'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.
_Butterfly_ 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, _Butterfly_ 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 Butterfly" we have exotic tone colour to a degree that has been approached but not equalled by Verdi in "Aïda." Certain brief scenes in Verdi's opera are Egyptian in tone colour. In "Madama Butterfly" Japanese themes are used _in extenso_, and although the thrilling climaxes in the work are distinctively Italian, the Japanese under-current, dramatic and musical, always is felt. In that respect compare "Madama Butterfly" 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 _Butterfly_ dominates. She is a sweet, trusting, pathetic little creature--traits expressed in the music as clearly as in the drama. The sturdy 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 passionate 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 Butterfly" 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 Butterfly" 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 _Butterfly_. 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 flourishing as all unprejudiced critics concede it to be.
The Milan production of "Madama Butterfly" 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_ DICK JOHNSON (Ramerrez) _Tenor_ NICK, bartender at the "Polka" _Tenor_ ASHBY, Wells-Fargo agent _Bass_ SONORA } _Baritone_ TRIM } _Tenor_ SID } _Baritone_ HANDSOME } Miners _Baritone_ HARRY } _Tenor_ JOE } _Tenor_ HAPPY } _Baritone_ LARKENS } _Bass_ BILLY JACKRABBIT, an Indian redskin _Bass_ WOWKLE, Billy's squaw _Mezzo-Soprano_ JAKE WALLACE, a travelling camp minstrel _Baritone_ JOSÉ CASTRO, a greaser from Ramerrez's gang _Bass_ 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.
Successful in producing "atmosphere" in "La Bohème," "Tosca," and "Madama Butterfly," 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 wishing 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.
The third act is laid in the forest. _Johnson_, who has recovered and left _Minnie's_ cabin, is caught, and is to be hung. But at the critical moment _Minnie_ arrives, and her pleading moves the men to spare him, in spite of _Rance's_ protests. They leave to begin a new life elsewhere.
In the score there is much recitative. It is not interesting in itself, nor is it made so by the insufficiently varied instrumental accompaniment. For the action of the play is too vigorous to find expression by means of the Debussyan manner that predominates in the orchestra. The most genuinely inspired musical number is _Johnson's_ solo in the last act, when it seems certain that he is about to be executed.--"Ch'ella mi creda libero e lontano" (Let her believe that I have gained my freedom).
LA RONDINE
THE SWALLOW
The opera begins in Paris during the Second Empire. _Magda_, the heroine, is a _demi-mondaine_ living under the protection of the rich banker _Rambaldo_. Satisfied with the luxuries he lavishes upon her, she longs for true affection, and is unable to stifle the remembrance of her first love, a poor young student. She meets _Ruggero_, who like her earlier love, is young and poor, and a student. At Bouilliers, the rendezvous of the gay life of Paris, _Ruggero_ declares his love for _Magda_. They leave Paris for Nice, where they hope to lead an idyllic existence.
_Ruggero_ looks forward to a life of perfect happiness. He writes to his parents asking their consent to his marriage with _Magda_. The reply is that if she is virtuous and honourable, she will be received with open arms. _Magda_ now considers herself (like _Violetta_ in "La Traviata") unworthy of _Ruggero's_ love and lest she shall bring dishonour upon the man she loves, she parts with him. Other principal rôles are _Lisetta_ and _Prunia_, and there are numerous second parts requiring first-rate artists.
In the second act of "La Rondine" is a quartet which, it is said, Puccini believes will rival that at the end of the third act in "La Bohème." "I have let my pen run," he is reported to have said, "and no other method suffices to obtain good results, in my opinion. No matter what marvellous technical effects may be worked up by lengthy meditation, I believe in heart in preference to head."
The opera was produced in March, 1917, in Monte Carlo, and during the summer of the same year, in Buenos Aires. Puccini intended to compose it with dialogue as a genuine opéra comique, but finally substituted recitative. The work is said to approach opéra comique in style. Reports regarding its success vary.
After the first Italian performance, San Carlo Theatre, Naples, February 26, 1918, Puccini, according to report, decided to revise "La Rondine." Revision, as in the case of "Madama Butterfly," may make a great success of it.
ONE-ACT OPERAS
Three one-act operas by Puccini have been composed for performance at one sitting. They are "Suor Angelica" (Sister Angelica), "Il Tabarro" (The Cloak), and "Gianni Schicchi." The motifs of these operas are sentiment, tragedy, and humour.
The scene of "Suor Angelica" is laid within the walls of a mountain convent, whither she has retired to expiate an unfortunate past. Her first contact with the outer world is through a visit from an aunt, who needs her signature to a document. Timidly she asks about the tiny mite, whom she was constrained to abandon before she entered the convent. Harshly the aunt replies that the child is dead. _Sister Angelica_ decides to make an end to her life amid the flowers she loves. Dying, she appeals for pardon for her act of self-destruction. The doors of the convent church open, and a dazzling light pours forth revealing the Virgin Mary on the threshold surrounded by angels, who, intoning a sweet chorus, bear the poor, penitent, and weary soul to eternal peace. This little work is entirely for female voices.
The libretto of "Il Tabarro" is tragic. The great scene is between a husband and his wife. The husband has killed her lover, whose body he shows to his unfaithful wife, lifting from the ground the cloak (il tabarro) under which it is hidden.
The scene of "Il Tabarro" is laid on the deck of a Seine barge at sunset, when the day's work is over, and after dark. The husband is _Michele_, the wife _Giorgetta_, the lover, _Luigi_, and there are two other bargemen. These latter go off after the day's work. _Luigi_ lingers in the cabin. He persuades _Giorgetta_ that, when all is quiet on the barge, and it will be safe for him to return to her, she shall strike a match as a signal. He then goes.
_Michele_ has suspected his wife. He reminds her of their early love, when he sheltered her under his cloak. _Giorgetta_, however, receives these reminiscences coldly, feigns weariness, and retires to the cabin.
It has grown dark. _Michele_ lights his pipe. _Luigi_, thinking it is _Giorgetta's_ signal, clambers up the side of the barge, where he is seized and choked to death by _Michele_, who takes his cloak and covers the corpse with it.
_Giorgetta_ has heard sounds of a struggle. She comes on deck in alarm, but is somewhat reassured, when she sees _Michele_ sitting alone and quietly smoking. Still somewhat nervous, however, she endeavours to atone for her frigidity toward him, but a short time before, by "making up" to him, telling him, among other things, that she well recalls their early love and wishes she could again find shelter in the folds of his big cloak. For reply, he raises the cloak, and lets her see _Luigi's_ corpse.
I have read another synopsis of this plot, in which _Michele_ forces his wife's face close to that of her dead lover. At the same moment, one of the other bargemen, whose wife also had betrayed him, returns brandishing the bloody knife, with which he has slain her. The simpler version surely is more dramatic than the one of cumulative horrors.
* * * * *
When the action of "Gianni Schicchi" opens one _Donati_ has been dead for two hours. His relations are thinking of the will. A young man of the house hands it to his mother [Transcriber's Note: should be 'aunt'] but exacts the promise that he shall marry the daughter of neighbour _Schicchi_. When the will is read, it is found that _Donati_ has left his all to charity. _Schicchi_ is called in, and consulted. He plans a ruse. So far only those in the room know of _Donati's_ demise. The corpse is hidden. _Schicchi_ gets into bed, and, when the _Doctor_ calls, imitates the dead man's voice and pretends he wants to sleep. The lawyer is sent for. _Schicchi_ dictates a new will--in favour of himself, and becomes the heir, in spite of the anger of the others.
Riccardo Zandonai
FRANCESCA DA RIMINI
FRANCESCA OF RIMINI
Opera in four acts, by Riccardo Zandonai; words by Tito Ricordi, after the drama of the same title by Gabriele d'Annunzio. English version from Arthur Symons's translation of the drama. Produced, Reggio Theatre, Turin, February 1, 1914. Covent Garden Theatre, London, July 16, 1914. Metropolitan Opera House, New York, December 22, 1916, with Alda (_Francesca_), Martinelli (_Paolo_), and Amato (_Giovanni_).
CHARACTERS
GIOVANNI, the lame } sons of { _Baritone_ PAOLO, the beautiful } Malatesta da { _Tenor_ MALATESTINO, the one-eyed } Verrucchio { _Tenor_ OSTASIO, son of Guido Minore da Polenta _Baritone_ SER TOLDO BERARDENGO, a notary _Tenor_ A JESTER _Bass_ A BOWMAN _Tenor_ TOWER WARDEN _Baritone_ FRANCESCA, daughter of Guido and sister of Ostasio _Soprano_ SAMARITANA, sister of Francesca and Ostasio _Soprano_ BIANCOFIORE } { _Soprano_ GARSENDA } women of Francesca { _Soprano_ ALTICHIARA } { _Mezzo-Soprano_ DONELLA _Mezzo-Soprano_ SMARADI, a slave _Contralto_
Bowmen, archers, and musicians.
_Time_--Thirteenth century.
_Place_--First act, Ravenna, then Rimini.
A pretentious but not wholly successful score based upon a somewhat diffuse drama--such is the net impression made by Zandonai's opera "Francesca da Rimini." The story of Francesca and Paolo is one of the world's immortal tales of passion, and an opera set to it should be inspired beyond almost any other. But as W.J. Henderson wrote in the New York _Sun_ the day after the production of Zandonai's work in New York, "In all human probability the full measure of 'love insatiable' was never taken in music but once, and we cannot expect a second 'Tristan und Isolde' so soon."