MADAMA BUTTERFLY – PUCCINI
Presented on Nov 26, 28, Dec 7m 1940 at the Gaiety Theatre Dublin as part of the Dublin Operatic Society’s Autumn Season
May Devitt – Cio-Cio San
Bruce Flegg / John Torney[Nov 28, Dec7m] – Pinkerton
Patricia Black – Suzuki
Robert Irwin – Sharpless
T P O’Brien – Goro
John Lynskey – Bonze
Nicholas Lewis – Yamadori
Violet Lynch – Kate
J T Redmond – Commissioner
Jack Griffith – Registrar
Charles Lynch – Conductor
J C Browner – Producer
The performance on November 28th was broadcast on radio
“PUCCINI OPERA AT GAIETY – Fine Performance – By HAROLD R. WHITE (“Irish Independent” Music Critic.) – MAY DEVITT gave a superb performance of Madame Butterfly in the Dublin Operatic Society’s production of Puccini’s opera last night. In addition to her fine dramatic singing each moment of her acting was characterised by suggestive and subtle human touches. There was an imperative demand for a repeat of “One Fine Day,” but Mr. Charles Lynch, the conductor, was too much of an artist to yield to it. Still, this did not minimise Miss Devitt‘s splendid singing. As Pinkerton. Bruce Flegg bravely. I say bravely because, obviously, he was labouring under a touch of relaxed throat, and had to alter some ol Puccini’s music, and even here he showed artistic judgment and musicianship. His best scene was that with Robert Irwin. as the Consul, a refreshingly natural performance. Mr. Irvin also gave a convincing rendering of the pathetic reading ol the letter to Butterfly. As Suzuki, Patricia Black almost surpassed herself. It is not a thankful part. There are no heroics, no opportunities to shine, yet in her quiet and subdued demeanour, Miss Black showed singularly fine artistry. The cast was a worthy one. for it is rarely we hear the smaller parts so well performed. Tom O’Brien was a capital Goro. and what a grand figure, for instance, was John Lynskey as the Bonze. He is on the stage about three minutes, and yet he cowered the crowd and dominated the position all the time. We had also a good Yamadori in Nicholas Lewis, who sang Puccini’s opulent music excellently. Violet Lynch played Kate Pinkerton and Jack Griffith was the Registrar. Charles Lynch, the conductor, has a pood grip of the score, and if he insisted here and there on precision rather than freedom, his discipline had a good effect on the production.” (Irish Independent, Wednesday, November 27, 1940; Page: 6)
“Madame Butterfly At The Gaiety – It is a pleasure to write an unguarded criticism. Last night’s production of “Madame Butterfly” by the Dublin Operatic Society can have the only praise that is gracious – unreserved praise. I do not remember a poor production of this opera by the Society; last night’s performance is probably the peak of their excellence. The night was May Devitt‘s triumph, even though she was troubled by a cold. Vocally she can sing the part, physically she looks the part—and these excellences, intensified by mime that suggests superbly the fragile shyness of Butterfly—all were for our delight. She even invests those lovely Japanese gowns with graciousness—a rare thing. Patricia Black was the usual excellently subdued Suzuki; Bruce Flegg, troubled by a cold, was the Pinkerton. Two others must be mentioned. Robert Irwin as the Consul singing so well in tune and rhythm and looking every inch his part, and John Lynskey‘s Bonza. I do not remember before an entrance and singing and miming that so well fitted that snarling brass in Act I. as his. Mention of an improved Goro from T. O’Brien, and an extremely good Yamadori from Nicholas Lewis leaves room just to say that subsidiary roles were all well played and sung. The main quality of the stage performance, apart from the singing and miming, was the clarity of the diction, ninety per cent effective. The evening’s conductor was Charles Lynch, making his debut in opera. The orchestral performance was a pleasure—now and again speeds sagged slightly, and there were some hesitations, but nothing occurred to prevent the production being fine in life and continuity. A worth-while debut. Lighting was of subtlety, supremely well managed, and J. C. Browne’s production is adequate to the performance. The chorus played its small part admirably. Altogether, a production to give unalloyed pleasure.” (Irish Press, Wednesday, November 27, 1940; Page: 10)
“Gaiety TENOR’S FINE SINGING – By Harold R. White (“Irish Independent” Music Critic.) – THE Dublin Operatic Society found itself in a serious predicament last night with their principal tenor ill. It happened, however, that one of the Carl Rosa tenors was playing at the Theatre Royal, and. with the permission of the management, John Torney was able to take the part of Pinkerton in the Gaiety production of “Madame Butterfly.” John Torney is an Irish tenor of a robust type. He has a voice of exceptional power, superb quality, and extensive range. It seems strange to me that such a fine dramatic tenor has not been heard before this in the Society’s productions. I suppose his engagements with the Carl Rosa Opera kept him too busy. Mr. Torney‘s singing last night amazed a delighted audience. The climax of the love duet with May Devitt was electrifying, not only on account of Torney‘s splendid work, but. because it brought out all that was best in the soprano, for with artistic encouragement May Devitt can rise to great heights of dramatic intensity. The remainder of the cast was the same as before. I might add, however, that Charles Lynch impressed me still more as a conductor of Puccini. He was more elastic in his sway of the music and kept a fair balance. I understand John Torney will appear again as Pinkerton next week.” (Irish Independent, Friday, November 29, 1940; Page: 8)
Opera in Ireland 