The present work begins in somewhat curious fashion with a tonal fugue, as if to show that the composer with all his modernity has still a regard for the old forms. A similar figure is used for the opening of the second act. The first indication of the Japanese character in the music--and this flavour is very sparingly introduced--comes when Goro (a sort of marriage broker) parades his wares, in the shape of girls, before the lieutenant. There is here a very distinctive melody in octaves underneath the vocal part, which is most effective. Several of the little melodies make an entrance after their first quotation much after the fashion of the old _ritornello_, which is an interesting point, among several, to note in Puccini's working out, on quite modern lines, of his scheme. The themes are often altered, in place of development, by a change in the time; and at the opening of the first act several examples are to be found, while here and there an Eastern character is given to the music by the frequent use of the flat seventh. Another noteworthy feature is the constant modulation by means of chords of the seventh. Sharpless, the friend (a baritone), makes an entry with a fine burst of melody--the theme, easily recognised on hearing the work, which is associated with this character, being one particular rhythmic distinction--and when Pinkerton (the tenor) explains that he has bought the house, and probably the little lady with it, on an elastic contract, there is a clever counterpoint in the music to the introductory fugue. Pinkerton's first chief solo--the music, of course, runs on continuously from start to finish--is a broad and vocal aria, quite allied to the old form. The general trend of the music gets brisker at the entry of Butterfly and her girl friends. Butterfly's first song, a beautiful "largo," in which she tells of her approaching happy state, is skilfully blended with the sopranos of the chorus, and ends with a high D flat for the soloist. The procession and arrival of Butterfly's relations give an opportunity for some humour in the music, which is quaint and characteristic, and brings in a clever theme for the bassoons. Just before the signing of the contract, Butterfly has a pathetic air, in which she states that, fully believing in Pinkerton, she has embraced the Christian religion and discards her native gods. Soon after, a noisy and cantankerous old uncle of the bride comes in to protest against the union. Here is another of the few examples of Japanese music, and his entry is shown by a quaint march of the conventional pattern chiefly in unison. After the guests leave, Butterfly and Pinkerton have a very tender scene, and begin a duet of great charm. Butterfly's share continues rather more vigorously when she is preparing for the marriage chamber, while Pinkerton has a contemplative air as he admires her pretty movements. The act ends with a strenuous outburst of love and longing, both voices going up to a