diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:05:11 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:05:11 -0700 |
| commit | 08ee63925f3a7cd2c42e8f3bc0e7a47f071e6b21 (patch) | |
| tree | 94fe4ffa3ef4a237ba5389ac3b168463b1e82deb | |
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 36143-8.txt | 8653 | ||||
| -rw-r--r-- | 36143-8.zip | bin | 0 -> 181373 bytes | |||
| -rw-r--r-- | 36143-h.zip | bin | 0 -> 440230 bytes | |||
| -rw-r--r-- | 36143-h/36143-h.htm | 10066 | ||||
| -rw-r--r-- | 36143-h/images/cover.jpg | bin | 0 -> 15018 bytes | |||
| -rw-r--r-- | 36143-h/images/cover_lg.jpg | bin | 0 -> 61651 bytes | |||
| -rw-r--r-- | 36143-h/images/ill_mapleson.jpg | bin | 0 -> 49767 bytes | |||
| -rw-r--r-- | 36143-h/images/ill_mapleson_lg.jpg | bin | 0 -> 111776 bytes | |||
| -rw-r--r-- | 36143-h/images/seal.png | bin | 0 -> 5167 bytes | |||
| -rw-r--r-- | 36143.txt | 8653 | ||||
| -rw-r--r-- | 36143.zip | bin | 0 -> 181131 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
14 files changed, 27388 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/36143-8.txt b/36143-8.txt new file mode 100644 index 0000000..c887638 --- /dev/null +++ b/36143-8.txt @@ -0,0 +1,8653 @@ +Project Gutenberg's The Mapleson Memoirs, vol I, by James H. Mapleson + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Mapleson Memoirs, vol I + 1848-1888 + +Author: James H. Mapleson + +Release Date: May 18, 2011 [EBook #36143] +[Last updated: September 20, 2011] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE MAPLESON MEMOIRS, VOL I *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images available by The Internet Archive) + + + + + + + + + +THE MAPLESON MEMOIRS + +VOL. I. + +[Illustration: J H Mapleson] + + + + +THE MAPLESON MEMOIRS + +1848-1888 + +IN TWO VOLUMES + +WITH PORTRAIT OF THE AUTHOR + +VOL I + +CHICAGO, NEW YORK, AND SAN FRANCISCO + +BELFORD, CLARKE & CO., + +PUBLISHERS. + +1888 + +[_All rights reserved_]. + +COPYRIGHT, 1888, BY + +JAMES H. MAPLESON + +TROW'S +PRINTING AND BOOKBINDING COMPANY, +NEW YORK. + + + + +PREFACE. + + +HAVING been repeatedly urged by numerous friends on both sides of the +Atlantic to set forth a few of the difficulties attending the career of +an _impresario_, who, during the last thirty years, has fought many +operatic battles, I have undertaken the task, having at the present +moment for the first time in my recollection a few weeks of comparative +repose before again renewing my lyrical campaigns. + +I willingly sat down to the work, trusting that an account of the few +partial defeats and the many brilliant victories incident to my life may +be found interesting. + +This being my first appearance as an author, I am naturally unpractised +in the artifices of style familiar to more experienced hands. + +Some of my plain statements of facts will not, I fear, be fully +appreciated by the personages to whom they refer; and in case they +should feel offended by my frankness, I ask their pardon beforehand, +convinced that they will readily accord it. + +J. H. MAPLESON. + +_Junior Carlton Club, + 21st September, 1888._ + + + + +CONTENTS. + + +CHAPTER I. + +Qualifications for the Career of Impresario--My First Appearance +as Violinist--_Début_ as a Vocalist--Difficulties as a +Critic--Engaged at Lodi and Verona--Radical Operation +on my Throat--I start as Musical Agent--Meeting with +Mr. E. T. Smith--Management of Drury Lane pp. 1-12 + +CHAPTER II. + +Injunction against the Birds on the Trees--Drury Lane Season +of 1859--_Débuts_ of Victoire Balfe, Mongini, and Guarducci--My +Contralto Marries a Duke--The Duke and +Duchess at Naples pp. 13-22 + +CHAPTER III. + +Nocturnal Negotiations--Reopening of Her Majesty's Theatre--Sayers +and Heenan Patronize the Opera--English and +Italian Opera Combined--Smith and his Speculations--Discovery +of Adelina Patti--My Management of +the Lyceum pp. 23-39 + +CHAPTER IV. + +At Her Majesty's Theatre--Verdi's Cantata--Ginglini at the +Seaside--Pollio and the Drum-stick--An Operatic Conspiracy--Confusion +of the Conspirators pp. 40-57 + +CHAPTER V. + +Running over a Tenor--Titiens in Italy--Cashing a Cheque at +Naples--A Neapolitan Ball--Approaching a Minister--Return +to London pp. 58-65 + +CHAPTER VI. + +Production of Gounod's _Faust_--Apathy of the British Public--A +Managerial Device--Damask Crumb Cloth and Chintz +Hangings--Heroic Attitude of a Dying Tenor--Prayers to +a Portmanteau pp. 66-80 + +CHAPTER VII. + +Garibaldi Visits the Opera--Giuglini's Trouble at St. Petersburg--Giuglini +Visited by Titiens--Alarm of Fire--Production +of _Medea_--Grisi's Last Appearance--An +Enraged Tenor pp. 81-98 + +CHAPTER VIII. + +Payment after Performance--Discovery of Madge Robertson--Mario +and the Sheriff--Generosity of the Great Tenor--_Début_ +of Christine Nilsson--Destruction of Her Majesty's +Theatre--A Great Philanthropist pp. 99-117 + +CHAPTER IX. + +Proposal for an Operatic Union--Titiens in Dublin--Her +Services as a Pacificator--Autumn Season at Covent +Garden--The Combination Season--Immense Success--Costa's +Despotism--An Operatic Conspiracy--Lucca and +her Husbands pp. 118-135 + +CHAPTER X. + +Gye's Fraternal Embrace--Law-suits Interminable--Dissolution +of Partnership--Return to Drury Lane--Arrival of +Albani--_Début_ of Cainpanini--The Annual Onslaughts +of Mr. Gye pp. 136-149 + +CHAPTER XI. + +Adelina's Successor--A Prima Donna's Marriage Negotiations--Pounds +_v._ Guineas--Nilsson and the Shah--Production +of _Lohengrin_--Salvini's Performances and Profits--Marguerite +Chapuy--Irony of an Earl pp. 150-174 + +CHAPTER XII. + +The National Opera-house--Foundation Difficulties--Primæval +Remains--Titiens Lays the First Brick--The Duke of +Edinburgh the First Stone--The Opera and Parliament--Our +Recreation Rooms pp. 175-183 + +CHAPTER XIII. + +First Visit to America--Making Money out of Shakespeare--Chatterton's +Secret Agents--Bidding for Her Majesty's +Theatre--Illness of Titiens--Gerster's Success--Production +of _Carmen_ pp. 184-198 + +CHAPTER XIV. + +First American Campaign--Difficulties of Embarkation--Concert +on Board--Dangerous Illness of Gerster--Opera +on Wheels--The "Dressing-room Row"--A Learned +Throat Doctor--Gerster Sings before her Judge--The +Pianoforte War--Our Hurried Departure pp. 199-219 + +CHAPTER XV. + +Reception of a Tenor--Belocca and Lady Spencer--Marimon's +Superstitions--Her Lovesick Maid--An Encouraging +Telegram--Marimon in the Cathedral--Disappearance of +a Tenor pp. 220-236 + +CHAPTER XVI. + +Sir Michael and his Cheque--Six Minutes' Bankruptcy--Success +of _Lohengrin_--Production of _Mefistofele_--Return +to New York--_Lohengrin_ under Difficulties--Elsa's Tails--Cincinnati +Opera Festival pp. 237-253 + +CHAPTER XVII. + +Production of _Il Rinnegato_--Ravelli's Operatic Theory +Negotiations with Covent Garden, "Limited"--A Search +for a Prima Donna--Failure of Patti's Concerts--Cincinnati +Opera Festival of '82--Patti's Indisposition pp. 254-272 + +CHAPTER XVIII. + +I Engage Patti--My Military Experience--Influencing Electors--Operatic +Joint Stock Company--Objections to English +Monopoly--Patti in New York pp. 273-291 + +CHAPTER XIX. + +Non-Arrival of Scalchi--General Indisposition--King Kalakau +Ennobles Patti--Ravelli Consults his Dog--The Company +Vaccinated--Patti Eaten by Mice--Arrival of Albani--Cincinnati +Opera Festival of '83--Freedom of the +City pp. 292-308 + +CHAPTER XX. + +Galassi Distinguishes Himself--Politeness of Prime Donne--English +Welcome to Canada--Concert at the White +House--Value of Patti's Notes--Phantom Ship Wrecked--Nilsson's +Contract--Patti's Contract--Return to +England pp. 309-327 + + + + +CHAPTER I. + + QUALIFICATIONS FOR THE CAREER OF IMPRESARIO--MY FIRST APPEARANCE AS + VIOLINIST--DÉBUT AS A VOCALIST--DIFFICULTIES AS A CRITIC--ENGAGED + AT LODI AND VERONA--RADICAL OPERATION ON MY THROAT--I START AS + MUSICAL AGENT--MEETING WITH MR. E. T. SMITH--MANAGEMENT OF DRURY + LANE. + + +BEFORE beginning my thirty years' career as an operatic manager, I had +already had a large and varied experience of music in the character of +student, critic, violinist, vocalist, composer, concert director, and +musical agent. At the age of fourteen I entered the Royal Academy of +Music, where the Principal was at that time Cipriani Potter. I took as +my first study the violin, my professor being Watson, under whom I made +good progress. Harmony I studied under Lucas. My compositions are +limited to two pianoforte pieces and a song, which I published soon +after leaving the Academy, where I remained about two years. + +I made my first public appearance among the first violins at Her +Majesty's Theatre, where, during the Jenny Lind seasons of 1848 and a +portion of 1849, I played from the same desk as Remenyi, the famous +Hungarian violinist. Remenyi, too, shared my rooms, and often kept me up +at night by his loud and passionate declamations on the subject of +Hungarian independence, and of liberty generally. He had taken part in +the revolutionary movement of 1848, and on its collapse had fled for his +life to foreign parts. Fortunately, he had his violin to depend upon; +and it was in London, I believe, that he first turned his remarkable +talent to practical and pecuniary account. + +Mr. [afterwards Sir Michael] Costa had left Her Majesty's Theatre two +years previously to take part in establishing the Royal Italian Opera at +Covent Garden, and the new conductor at Her Majesty's Theatre was our +eminent composer M. W. Balfe. It had already occurred to me to quit the +comparative obscurity of the orchestra for a brilliant position on the +stage; and this idea was encouraged by Balfe, who, during the intervals +of operatic business, gave me singing lessons. I also received +instruction from Gardoni, the tenor, and Belletti, the baritone. As I +had a tenor voice, Gardoni's lessons were particularly useful to me; and +I was led to believe by each of my distinguished professors that I had +in me the making of a primo tenore. + +Long before I had completed my studies as a vocalist, an opportunity, +indeed a necessity, for making my first appearance as a singer +presented itself. Not to remain idle during the long months separating +one opera season from another, I took out in the English Provinces in +1849 a company in which were included Sontag, Calzolari, Belletti, +Lablache, and the famous pianist Thalberg. On one occasion, after giving +a concert at Salisbury, the whole party paid a visit to Stonehenge, +where Sontag sang "Casta diva," and Lablache a portion of Oroveso's solo +music among the Druidical remains, so suggestive of the opera of +_Norma_. I have now before me a handsome little clock which Madame +Sontag presented to me at the end of the tour. It is inscribed: "To J. +H. Mapleson from Madame Sontag (Countess Rossi)." I may mention in +connection with this charming vocalist, whose good nature and good +temper were on a par with her talent, a peculiarity which will perhaps +astonish some of the concert singers of the present day. Instead of +avoiding, according to the modern practice, the task of either beginning +or ending a concert, she was ready and even anxious to sing both the +first piece and the last. "If I do not begin the concert people will not +come in time," she would say; "and if I do not end it they will go away +before it is over." + +In the autumn of 1850 I took on tour a company which included Roger and +Madame Viardot, the famous representatives of "John of Leyden" and +"Fidès" in _Le Prophète_. Meyerbeer was in constant correspondence with +them. To avoid the expense of postage, he used to send his music written +on such fine paper that to be able to read it with any ease it was +necessary to place it on a back-ground of ordinary writing paper. + +In a subsequent tour my leading tenor was one night for some reason or +other not forthcoming. There was no one to replace him, and as I was +myself a tenor I plunged boldly into the gap. I sang with success, but +it occurred to me even as I was singing that I had need of further +instruction. On my return to London I called on Sims Reeves, and sang to +him; when he at once recommended me to go to Milan, and place myself +under Signor Mazzucato, director and principal professor of singing at +the celebrated Conservatorio. Reeves was kind enough to give me a letter +to Mazzucato, under whom he had himself studied, with results which need +not here be set forth. + +Before taking farewell of England in order to go through a three years' +course of training in Italy I did a little work as musical critic for a +journal called the _Atlas_, which for years past has ceased to exist, +but which, at the time I speak of, enjoyed a good reputation, especially +in connection with literary and artistic matters. The proprietor, and +ostensible editor, was a well-known journalist, Mr. George Francis, +author of "The Orators of the Age," a series of papers which made some +stir when, before appearing in book-form, they were published in the +pages of _Frazer's Magazine_. Mr. Francis had, I believe, gained his +experience of our British orators in the gallery of the House of +Commons, where he was for many years one of the principal reporters of +the _Times_ staff. Mr. Francis was also a brilliant foreign +correspondent, and it afterwards became a speciality of his to assist +and preside at the birth of new journals. His fee as accoucheur on these +occasions was, I believe, a considerable one. After a time nothing would +satisfy him but to have a paper of his own. He bought the _Atlas_, and +while entrusting most of the editorial work to a Mr. Joyce, who was my +immediate chief, appropriated to himself all free admissions that +reached the office. Accordingly, when it became my duty to write an +account of the first production of _Le Prophète_ at the Royal Italian +Opera, I received instructions from my editor about sending in "copy," +but was not furnished with a stall. I was to manage, somehow or other, +to hear the opera, and I was in any case to send in a notice of it. I +endeavoured to buy a ticket, but everything was sold. + +In my despair I chanced to meet the American philanthropist, Mr George +Peabody, well known by his charitable deeds, and who hastened on this +occasion to perform a good work towards me. He assured me that the +difficulty which troubled me was not so great as I imagined. It was now +late in the afternoon. The performance was to take place that evening, +and Mr. Peabody suggested that first of all the best thing I could do +was to dine with him at the "Hummums." Thence, after finishing a bottle +of excellent port, we walked quietly to the gallery entrance of the +opera--at that time under the piazza, next door to the Bedford +Hotel--bought our tickets, and found places in the very front row. + +Soon, however, I was to start for Milan, where, studying constantly with +Professor Mazzucato, I spent nearly three years. Then an engagement was +offered to me at Lodi, where I was to make my first appearance on any +stage as "Carlo" in _Linda di Chamouni_. + +Manners and customs at the Lodi Opera-house were at that time rather +peculiar. Refreshments of all kinds used to be served in the audience +department between the acts. Every box was furnished with a little +kitchen for cooking macaroni, baking or frying pastry, and so on. The +wine of the country was drunk freely, not out of glasses, but in +classical fashion from bowls. Attired in the brilliant uniform of my +part I was in the middle of the pit draining one of these bowls, when +suddenly the signal was given for the rising of the curtain. All seemed +lost. But I hurried back to the stage, and fortunately was not very late +for my entry. + +My success in Lodi was such that I was offered four pounds a month to +sing at Verona. Here my first duty was to replace Bettini (not the +husband of Madame Trebelli Bettini, but the dramatic tenor of that +name) in the important part of "Manrico." _Il Trovatore_ had but lately +been brought out, and was then in the first period of its success. I had +never heard the work, but the tenor part had been sent to me, and I had +to master it in four days, my final study being made in the diligence, +with no musical instrument to aid me except a tuning-fork. I studied the +part all day and, by the light of a candle, all night, and before I +reached Verona knew it perfectly. The prima donna of the cast was Mdlle. +Lotti, afterwards known in London and elsewhere as Madame Lotti Della +Santa, the second part of her name being derived from her husband, +Signor Della Santa, who, during my stay at Verona, played the part of +the "Count di Luna" to the "Leonora" of his future wife. Bettini married +a sister of Max Maretzek, afterwards well known as conductor and +impresario in the United States. I made a sufficiently good impression +at Verona to cause Signor Bettini, who on my arrival was seriously ill, +to get perfectly well after I had made but two appearances. + +Returning to London early in 1854, I gave a grand concert with the +following eminent artists:--Mdme. Clara Novello, Miss Dolby, Mr. Sims +Reeves, Herr Formes, and Mdme. Arabella Goddard. I also took part in it. +My throat, however, had become affected, and after I had been very +thoroughly operated upon by Dr. Billing, I found myself deprived alike +of tonsils, uvula, and voice. + +My path had now been marked out for me. For the future I might be a +musical agent, a concert director, or an impresario; but not a vocalist. + +In 1855 the two principal members of the touring party I was directing +were Miss Hayes and Mdme. Gassier. + +In the year 1856 I started a musical agency in the Haymarket, the first +established in London. Both Mr. Lumley and Mr. Gye applied to me for +singers. As I was well known in Italy, numbers of artists inscribed +their names on my books. I did a good business, and was making a large +income. My business relations bound me more particularly to Mr. Lumley, +the manager of Her Majesty's Theatre, and he had enough confidence in me +to entrust me with the work of adapting Balfe's _Bohemian Girl_ to the +Italian stage. This was about the time of the gala performances in +honour of the marriage of the Crown Prince of Prussia (late Emperor of +Germany) to the Princess Victoria of England, when a number of +Shakespearian representations were given at Her Majesty's Theatre, with +Mr. Phelps in the principal parts. + +No Italian version of Balfe's work existed previously, and I received +for mine the sum of £50. Operatic translations are often severely +judged, but it is no easy matter to adapt the words of a song so that, +while other more obvious requirements are duly fulfilled, the accents +shall fall in exact accordance with the composer's music. + +In the early part of this year (1858) the late E. T. Smith, then lessee +of the Theatre Royal, Drury Lane, called upon me at my office, in the +Haymarket, requesting me to aid him in the formation of an Italian Opera +Company, which he wished to secure for his theatre during the coming +summer months. He had so many enterprises on hand that he asked me to +undertake the superintendence and management of the Italian Opera season +he had in view. I explained to him that the business I was then carrying +on required all my care and attention, and that it was far more +profitable than any interest he could offer me in his contemplated +enterprise. + +But won over by his solicitations, and influenced by my love of the +divine art, I consented, and found myself at once drawn into the +artistic vortex. My knowledge and experience fitted me well enough for +the conduct of the undertaking, which, however, I considered rather a +hazardous one. + +On the one hand would be ranged against me Her Majesty's Theatre, under +the late Mr. Lumley's able management, with such artists as Piccolomini, +Alboni, Giuglini, and the new and successful Thérèse Titiens, who had +already fully captured London; and on the other hand the Royal Italian +Opera, Covent Garden, newly rebuilt, under the skilful direction of Mr. +Gye, with Grisi, Mario, Costa, and a host of celebrities. I felt the +great responsibility of the position I had undertaken. I, however, set +to work and engaged the services of Salvini-Donatelli, Viardot, +Persiani, Naudin, Badiali, Marini, Rovere, Charles Braham and other +tried artists. + +My first object was to secure an able conductor. I discovered Signor +Vianesi (afterwards of the Royal Italian Opera, and now of the Grand +Opera, Paris), and appointed him to the post at a salary of £8 a month. +Much trouble was experienced in forming an efficient orchestra on +account of the two great Italian Operas, and still more in obtaining a +stage military band. This latter difficulty I surmounted when one day in +Leicester Square I lighted upon a very excellent one composed of +itinerant Italian musicians performing in the open street. + +The season opened in due course, and the public gave ample support to +the undertaking. I will not fatigue the reader by entering into details +with respect to that season, which I began five days before the opening +of the new Royal Italian Opera, Covent Garden, just rebuilt, in order +that the singers might at all events give two public performances before +the whole attention of the town would be centred on the new theatre. + +On one occasion I encountered a slight difficulty, when the opera of _La +Traviata_ had, in consequence of the illness of one of the singers, to +be suddenly substituted for the work originally announced. It was +already half-past seven o'clock at night, and we were without a stage +band. + +I sent the call-boy down all the likely thoroughfares where my Italian +wanderers might be playing, and I myself started to look for them in +another direction. I ultimately traced them to a small restaurant in +Soho, where they were eating macaroni. I gave them orders to come on +immediately to the theatre to perform behind the scenes in _La +Traviata_, and hurried back to the theatre. On arriving there I found +the call-boy had brought another street band, which now refused to quit +the stage. At one time things looked very serious, as the Italians of +the opposing bands, with their stilettos drawn, vowed vengeance on one +another. Ultimately all was satisfactorily arranged. + +The interest of this first season was kept up until its close, in the +latter part of July. The only other incident here worth mentioning was +the performance, on the 17th July, of Mozart's _Don Giovanni_ with the +following powerful cast:-- + + "Donna Anna" Madame Pauline Viardot. + "Donna Elvira" Madame Rudersdorff. + "Zerlina" Madame Persiani. + "Don Giovanni" Signor Badiali. + "Leporello" Signor Rovere. + "Commendatore" Signor Marini. + "Masetto" Signor Insom. + "Ottavio" Signor Naudin. + +The evening prior to its performance I met Mr. E. T. Smith, who +horrified me by saying that in order to "strengthen up the bill," it +being his benefit, he had added _The Waterman_, in which Charles Braham +would play "Tom Tug," and moreover, introduce into the piece a new song +dedicated by Mr. E. T. Smith to the Metropolitan Board of Works, who, +said Smith, with a knowing wink, were "a most useful body." + +I paid no attention to this at the time, thinking it was only a joke; +but on looking at the _Times_ newspaper on the day of the performance, I +found that the announcement, as communicated to me by Mr. E. T. Smith, +had really been made. The performance, too, of the _Waterman_, with the +introduced song, was really given. + +I waited with interest to see what the newspapers would say as to my +closing representation. Only one paper mentioned the performance; and it +confined itself to stating that _Don Giovanni_ had been played the +previous evening "by a body of singers whose united ages amounted to +nearly 500 years." + +Mr. E. T. Smith, the manager, had made money by our season; and he +remunerated me very handsomely for my labours. In the meantime, +notwithstanding the phenomenal success of Mdlle. Titiens at Her +Majesty's Theatre, Mr. Lumley's difficulties had been constantly +increasing; and Her Majesty's Theatre now closed, never to open again +under his management. + + + + +CHAPTER II. + + INJUNCTION AGAINST THE BIRDS ON THE TREES--DRURY LANE SEASON OF + 1859--DÉBUTS OF VICTOIRE BALFE, MONGINI, AND GUARDUCCI--MY + CONTRALTO MARRIES A DUKE--THE DUKE AND DUCHESS AT NAPLES. + + +EFFORTS were now made to obtain the lease of Her Majesty's theatre, but +it was so entangled with legal difficulties that it was resolved, on my +advice to remain another year at Drury Lane. I therefore set to work to +secure a very powerful company for the London season of 1859. + +During the latter part of 1858 the baritone Graziani had called +repeatedly upon me, stating that as Mr. Gye had not renewed his +engagement, and as there were some arrears outstanding, he was very +desirous that I should engage him for the forthcoming season. After +lengthy negotiations, some time during the month of March, 1859, I +signed with him, and added him to the list of artists in the official +programme. + +On the prospectus being issued, law proceedings were immediately +commenced by Mr. Gye, who asked for an injunction to restrain Graziani +from appearing at Drury Lane. + +Application was made before Vice-Chancellor Wood, and the most eminent +counsel were engaged on both sides. Mr. Gye retained Rolt, Giffard, +Martindale, etc., whilst Mr. E. T. Smith was represented by Sir Hugh +Cairns, Hawkins, Swanstone, Serjeant Ballantine, Cottrell, Daniel, &c. +The case was heard on the 11th and 12th May, 1859, when an injunction +was granted. At this I felt somewhat astonished, inasmuch as Graziani's +engagement had never been renewed by Mr. Gye, although in a period of +more than eight months the eminent baritone had made more than a dozen +applications for a renewal; neither had his salary been paid him. + +I have repeatedly failed to obtain injunctions against my singers, both +here and in America, though the engagements which they had broken were +in every respect perfectly in order. I recollect a case in which one of +my principal singers was announced to appear at the Crystal Palace in a +concert, notwithstanding a written engagement whereby he contracted that +I should have his exclusive services, and that he would sing nowhere +without my written consent. No salary was owing to him, and I felt +perfectly sure of obtaining an injunction, for which I duly applied, in +order to restrain him from committing the contemplated breach of +engagement. + +A formal injunction was, in fact, granted; but the case was immediately +afterwards brought before the Lords Justices for a full hearing. As I +was very much occupied at the theatre with rehearsals, and felt sure the +injunction would be confirmed, and, moreover, that the case would occupy +but a few minutes, I did not attend; but at the end of my day's labours, +feeling a little curious, I called on my solicitor on my way home, when +I was informed by his clerk that he was still in Court and that my case +was not concluded. I went there. Sure enough, there were the counsel +still arguing. Two attendants were busily employed handing in law-books +every minute or two, with pieces of paper between the leaves indicating +pages for reference. The counsel on the other side was forcibly +explaining the case by supposing a similar one between a vendor and a +purchaser of sacks of flour. I could not believe that it was my case +they were proceeding with. + +Later on "---- _v._----, page----," was quoted, and now sacks of corn +and of linseed were brought in. The candles of the Court were burnt low +down in the sockets, and the three Lords Justices were evidently very +tired, when one of them spoke thus-- + +"I cannot conceive how Mr. Mapleson could expect to retain the exclusive +services of any vocalist. In my opinion, sweet musical sounds should be +for the benefit of everybody, and Mr. Mapleson might just as well apply +for an injunction to restrain the birds from singing on the trees." + +The other Justices concurred in the view that a singer must be free to +sing where he liked. + +In the United States I have been invariably unsuccessful in my +applications for an injunction, or of even getting the Courts to define +the meaning of a singer's engagement. The legal mind cannot grasp the +idea. Were it a contract for the erection of buildings or machinery, or +the sale of goods, or the exclusive manufacture of a piece of cotton +printing, the matter would be clear enough. But no evidence on the part +of musical experts is ever by any chance understood by the Court. + +The Drury Lane season of 1859 opened on the 25th April with _La +Sonnambula_, when I was fortunate enough to introduce two new singers, +who both met with unequivocal success. One was Mdlle. Victoire Balfe +(afterwards Lady Crampton, and subsequently Duchess de Frias), who +appeared as "Amina;" the other, Signor Mongini, whose triumph was +instantaneous in the part of "Elvino." This was his first appearance in +England. + +For this season two conductors had been engaged, Signor Arditi and Mr. +(afterwards Sir Julius) Benedict. Both were excellent, but neither +wished to be mistaken for the other. Both, moreover, were bald, and I +remember on one occasion, when a grand combined performance was to take +place, Benedict going into the prima donna's dressing-room, taking up a +brush, and carefully arranging his scanty hair so as to cover as much as +possible of his denuded cranium. + +"What are you about, Benedict?" I asked. + +"Nothing particular," he replied; "only I don't want, whilst wielding +the baton, to be mistaken for Arditi." + +Soon afterwards Arditi appeared, and with a couple of brushes began +operating on his hair so as to leave as much as possible of his bare +skull exposed to view. He explained his action by exclaiming-- + +"I don't want to be mistaken for Benedict." + +On the following night I brought forward Mdlle. Guarducci, who appeared +as "Leonora" in _La Favorita_, with Giuglini as "Fernando." Guarducci's +success was instantaneous, her lovely voice being the object of +universal admiration. + +A very strange thing occurred in connection with Guarducci's _début_. +She had arrived in London only two days before, in the belief that she +would have two or three weeks to prepare the part which she had +undertaken to perform. By a careful process of cramming we got her +through; and she made one of the most marked successes London had +witnessed for many years. I thereupon announced the opera for repetition +four days afterwards, when to my great astonishment Guarducci informed +me that she did not know a note of her part, and it took ten days' +rehearsals for her to learn it in systematic style. + +Later on I produced Mercadante's Giuramento, which, however, met with +indifferent success. Mdlle. Titiens shortly afterwards appeared as +"Lucrezia Borgia," when her phenomenal voice attracted such a house as +had rarely been seen. Her performances throughout the remainder of the +season were a series of triumphs never to be forgotten. + +Arrangements were afterwards made for an operatic tour in the provinces, +which we commenced in Dublin. + +About this time the attentions of an Italian nobleman towards Mdlle. +Guarducci became rather conspicuous, and at Mdlle. Titiens' suggestion I +resolved to ask him what his intentions towards her really were. As no +satisfactory answer could be obtained, Mdlle. Titiens took Guarducci +entirely under her charge, and all communication with the Italian +nobleman was put an end to. + +Shortly afterwards he visited me, assuring me his intentions were most +honourable, and begging me to intercede so that he might again meet +Guarducci. Mdlle. Titiens' reply was-- + +"Yes, as her husband, not otherwise;" and to this ultimatum he +consented. + +In the course of a few days preparations were made for the marriage, but +many difficulties presented themselves. The duke's father would have to +be consulted, together with the Neapolitan Government, the Pope, and a +few other powers. + +About this time Mr. E. T. Smith appeared on the scene, and he assured +the priests that of his certain knowledge the proposed marriage would be +most agreeable to the duke's father; whilst I, on my side, induced the +Consul of the then King of Naples and of the Two Sicilies to affix the +Government stamp to the contract. I also had a marriage settlement +drawn, whereby it was stipulated that if Mdlle. Guarducci at any time +after the marriage should feel disposed she should have liberty to +resume the exercise of her profession, and take the whole of the +benefits she might derive therefrom for her own use; the duke engaging, +moreover, that on the day he succeeded to his father's property and +title he would assign to her £50,000 for her sole and separate use. The +marriage was celebrated in the Metropolitan Church of Dublin, with full +choral service, in which Piccolomini, Titiens, Aldighieri, Giuglini, and +others took part. The scene was most impressive. + +Within a week afterwards the marriage had made such a stir in Italy that +the new duchess had to leave me, and, accompanied by the duke, take her +departure for Italy. + +I did not meet them afterwards until the year 1863, when at my hotel in +Naples a gorgeous equipage drove up, in which were the Duke and Duchess +di Cirilla, with a beautiful little child. It appeared that he had +succeeded to his titles and estates, that he had already handed over the +large sum of money promised in the settlement, and that they were the +happiest couple in the world. They insisted upon my spending several +days with them at their palace; and as it was the closing day of the +Carnival we amused ourselves from the balcony of the Palazzo by throwing +the most gorgeous sweetmeats, dolls, and other things at the heads of +the populace. I was afterwards invited by the duke to a wild-boar hunt. +He had charge of all the King's preserves at Caserta, and by his +hospitable attentions he enabled me to pass the time most pleasantly. + +Looking over my papers I find, what had really escaped my memory, that +in order to ensure, so far as we could, the execution of the Duke's +promise in regard to the settlement on his wife, Mr. E. T. Smith and +myself made him sign a bond by which he bound himself, should he fail to +fulfil his pledge, to pay to each of us the sum of £5,000. + +Here is an exact copy of the deed; the like of which could scarcely be +found in the archives of any Opera House in the world:-- + +"Know all Men by these Presents that I Alfonso Catalano Gonzaga de Duchi +de Cirella formerly of Naples but now stopping at Gresham Hotel Dublin +am held and firmly bound unto Edward Tyrrel Smith of Pensylvania Castle +Dorset England and Lessee of the Theatre Royal Drury Lane London but now +stopping at Gresham Hotel Dublin and James Henry Mapleson of 12 +Haymarket London Gentleman but now stopping at Gresham Hotel Dublin in +the sum of Ten thousand pounds sterling good and lawful money of the +United Kingdom of Great Britain and Ireland to be paid to the said +Edward Tyrrel Smith and James Henry Mapleson or their lawful Attorney +Executors Administrators or assigns to the which payment to be made I do +bind myself my heirs executors and administrators firmly by these +presents Sealed with my seal and dated the eighth day of August in the +year of our Lord one thousand eight hundred and fifty-nine. + +The Condition of the above obligation is such that if the above bound +Alfonso Catalano Gonzaga de Duchi de Cirella his heirs executors or +administrators shall and do well and truly pay or cause to be paid unto +the above named Edward Tyrrel Smith and James Henry Mapleson their +executors administrators or assigns the just and full sum of Five +thousand pounds sterling of good and lawful money of the United Kingdom +of Great Britain and Ireland according to the covenant on his part +contained in a certain Indenture of Settlement bearing even date +herewith and made between Carolina Guarducci of the first part the said +Alfonso Catalano Gonzaga de Duchi de Cirella of the second part and the +said Edward Tyrrel Smith and James Henry Mapleson of the third part and +shall also fully perform all and singular the other covenants and +agreements on the part of him the said Alfonso Catalano Gonzaga +contained in the aforesaid Settlement without fraud or further delay +that then the above obligation is to be void and of none effect or else +to stand and remain in full force and virtue in law + +ALFONSO CATALANO GONZAGA + DE DUCHI DE CIRELLA + +Signed sealed and delivered in the presence of by Alfonso Catalano +Gonzaga de Duchi de Cirella the same having been first truly read +explained and interpreted to him by J H Mapleson + + THOMAS FITZGERALD + Solicitor 20 Saint Andrew St Dublin + THOS SNOWE + Neapolitan Vice Consul + +I hereby certify that the within named James Henry Mapleson took a +solemn oath administered by me that he had truly read explained and +interpreted the true contents of the annexed Bond to the within named +Carolina Guarducci and Alfonso Catalano Gonzaga de Duchi de Cirella + + Neapolitan Vice Consulate + Dublin 10th August 1859 (nine) + THOS SNOWE + V Consul" + +[Illustration: SEAL.] + + + + +CHAPTER III. + + NOCTURNAL NEGOTIATIONS--REOPENING OF HER MAJESTY'S THEATRE--SAYERS + AND HEENAN PATRONIZE THE OPERA--ENGLISH AND ITALIAN OPERA + COMBINED--SMITH AND HIS SPECULATIONS--DISCOVERY OF ADELINA + PATTI--MY MANAGEMENT OF THE LYCEUM. + + +EARLY in the spring of 1860 I opened negotiations again with Lord +Dudley, on behalf of Mr. Smith, to obtain the lease of Her Majesty's +Theatre. After spending two days at Witley Court with his lordship I +returned to London with the lease, and loaded with game. + +The next step was to secure the services of Mdlle. Titiens, Giuglini, +and others who still were bound to Mr. Lumley; and for that purpose Mr. +Smith and myself started for the Continent. Mr. Lumley met us at +Boulogne; the Channel, as in the previous year, being still too breezy +for him to cross. + +On our arrival we found that Mr. Lumley had prepared a sumptuous +banquet. Every kind of expensive wine was on the table, together with +the most famous liqueurs. The Bordeaux, the Burgundy, the Champagne, +the Chartreuse, the Curaçao, and the Cognac were for us; whilst Mr. +Lumley, like a clever diplomatist, confined himself to spring water. +After I had made several attempts to broach the subject of our visit, +which Lumley pretended not to understand, he showed himself quite +astonished when he heard that Mr. Smith contemplated engaging his +artists. To me fell the duty of conducting the negotiations between +these two wily gentlemen; and it was not until about three or four +o'clock the following morning that things began to get into focus. Mr. +Lumley, in the meantime, had kept ordering innumerable syphons and +_fines champagnes_ for Mr. Smith, before whom the bottles were +perpetually empty. As Mr. Smith warmed up, he wanted extensions for the +following autumn, to which Lumley, reluctantly, of course, agreed. In +the end the transfer was to cost some £16,000--I having obtained a +reduction of £3,000 or £4,000 from the original price insisted on by +Lumley. I afterwards had to draw an engagement that would prove +satisfactory to both parties; a matter which was not finally settled +until nearly six o'clock in the morning. + +Mr. Smith having observed that he would see to the financial part being +promptly carried out, Mr. Lumley replied that he would prefer to have +bills drawn and handed over to him at once, payable at different dates, +for the whole of the amount. He feared, he said, that some hostile +creditor might attach any moneys in Smith's hands payable to him. Smith +regretted that in France they could not purchase bill stamps, otherwise +he would have been delighted to meet Mr. Lumley's views. Mr. Lumley, +however, in getting a brush from his little hand-bag found some papers +he could not account for, but which had somehow got in there; and these, +to the astonishment of both Lumley and Smith, proved to be bill stamps. +The next thing was to draw the various bills; and Smith remarked before +leaving the banqueting-room that it would be better to finish the +remains of the bottle then before him, lest the hotel servants should do +so and get drunk. Mr. Lumley, instead of going to bed, went back to +Paris by the early morning train, while Smith and myself returned to +London. + +The company for the season of 1860 was a marvellously attractive one. + +Admirable, too, were the works produced. + +Mr. Smith about this time had acquired various restaurants in London, +besides the Alhambra, Cremorne Gardens, Drury Lane, and a variety of +other establishments. The management of the opera was, therefore, left +entirely to me, except that I received occasional visits at the most +unseasonable hours from Mr. Smith, who arrived with the strangest +suggestions. About this time the celebrated fight for the championship +took place between Sayers and Heenan, and as the Covent Garden people +were getting rather ahead of us, Mr. Smith, with a view to increased +receipts, insisted on my announcing that Messrs. Sayers and Heenan, who +had fought the day previously, would attend the opera in their bruised +state. It was with the greatest difficulty that I afterwards got the +announcement withdrawn from the papers. Both men appeared, nevertheless, +that evening--one worse-looking than the other--in a private box which +Smith had prepared specially for them on the grand tier; one corner +being filled with brandies and sodas, and the other with bottles of +champagne. Both men were so fatigued with their business of the previous +day that before the end of the first act they went home, much to my +relief. + +Shortly afterwards Smith proposed that the Champion's belt (which had +been divided in two) should be presented on the stage between the acts +of the opera. This, too, I overruled, and the ceremony ultimately took +place at the Alhambra. + +On another occasion Mr. Smith suggested to me an idea that had occurred +to him for closing up Covent Garden, by giving a grand double +performance of _Il Trovatore_ without any increase of prices. He +proposed dividing the stage into two floors, as in the opera of _Aida_, +with the occupants as follows:-- + + Top floor. Bottom floor. + "Manrico" ... Mongini ... Giuglini. + "Conte di Luna" ... Aldighieri ... Everardi. + "Azucena" ... Alboni ... Borghi-Mamo. + "Leonora" ... Grisi ... Titiens. + +The singers were alarmed, as the matter became serious. This project, +however, like previous ones, I ultimately succeeded in setting aside. I +pleaded that the preparations for the production of Oberon, now resolved +upon, needed all my attention. Benedict, the favourite pupil of Weber, +had undertaken to adapt the famous opera for the Italian stage by +introducing recitative and excerpts from some of Weber's other works, +whilst Planché, the author of the libretto, undertook the _mise en +scène_. A really grand performance took place, with the following cast +of characters:-- + + "Sir Huon," Mongini; "Scerasmin," Everardi; "Oberon," + Belart; "Fatima," Alboni; "Rezia," Titiens. + +Despite the artistic successes of the season, matters, as usual with +operatic managers, did not go well in a financial sense. This, in a +great measure, was to be accounted for by the drain on our exchequer +caused by Mr. Smith's numerous outside speculations; for the receipts +from the various establishments were all lumped into one banking +account. + +On one occasion I recollect having a deal of difficulty with the +Sheriff's officers, who had got possession of the wardrobes. We were on +the point of producing the _Huguenots_, and the whole of the dresses for +that opera were under ban. One afternoon Smith came in; and after some +little time it appeared that the officers had agreed not to take the +_Huguenots_ until we had had two performances out of it. + +In fact, there was always some trouble going on, and it was with the +greatest difficulty that we got through the season. + +In the Boulogne contracts Lumley's artists were ceded not only for a +summer, but also for an autumn season at Her Majesty's. As, however, +they were to sing but three times a week, it occurred to me that English +opera might be tried with advantage on the alternate nights. +Arrangements were accordingly entered into, through the kindness of Mr. +Thomas Chappell, with Mrs. L. Sherrington, Mr. Sims Reeves, and Mr. +Santley. Charles Hallé was at the same time engaged as conductor. + +Negotiations were also entered into with Macfarren for the production of +an English work entitled _Robin Hood_, the libretto by Oxenford. The +opera met with very great success, so much so that the chief attentions +of the public were directed to the evenings on which _Robin Hood_ was +performed. I then opened negotiations with Vincent Wallace to prepare an +opera to follow, entitled the _Amber Witch_, libretto by Chorley, in +which Mr. Sims Reeves, Mrs. L. Sherrington, Santley, Patey, and others +appeared. + +But again the war cloud seemed to hover over the establishment, and +again the Sheriff's officers appeared in force. It was thought advisable +to transfer the _Amber Witch_ to Drury Lane, leaving the myrmidons of +the law in possession of the theatre and its belongings. The _Amber +Witch_ wardrobe (which somehow had fallen off the portico of the theatre +early one Sunday morning) found its way to the other theatre. Here the +part of the "Amber Witch" was undertaken by Madame Parepa, _vice_ +Sherrington. + + * * * * * + +Mr. Edward Tyrrel Smith, with whom I had business relations for some +three or four years, was an extraordinary personage, whose like could +only be met with in our own time, and in such capitals as London or +Paris, where the population in general has certainly not the faintest +idea how some small part of that population lives. Mr. E. T. Smith had +made up his mind early in life to be the possessor, or at least the +handler, of considerable sums of money; and he at one time found it +worth his while, so as never to be without funds, to hire daily, at the +rate of £1 a day, a thousand-pound note, which was obligingly entrusted +to him by a money-lender of the period, one Sam Genese. + +There are not many persons to whom such a loan would be worth the +thirty-six and a half per cent. interest which Mr. E. T. Smith paid for +it. He was an adept, however, at all kinds of business, and his +thousand-pound note enabled him to make purchases on credit, which, +without deposit money, he would have been unable to effect. Attending +sales he would buy whatever happened to suit him, with a view to +immediate resale, offering his thousand-pound note as a deposit, to +discover, as a matter of course, that it could not be changed, and have +the article for which he had bid marked down to him all the same. Then +he would resell it, and pocket the difference. + +The mere exhibition of the thousand-pound note secured him a certain +amount of credit, and he was not likely ever to meet with an auctioneer +able to change it. Before offering his (or rather Mr. Genese's) note he +took care to write his name on the back of it. Afterwards his usurious +friend would replace the note that had been endorsed by a brand new one, +and occasions presented themselves in which it was a distinct advantage +for E. T. Smith to be known as a gentleman who, in the course of a +comparatively short space of time, had inscribed his name on several +bank-notes, each for a thousand pounds. + +Once, when St. Dunstan's Villa, in the Regent's Park, was knocked down +to Smith for ten thousand pounds, the thousand-pound note which he had, +as usual, in his waistcoat pocket was just what was wanted to satisfy +the auctioneer's immediate demands. Smith handed up the note with the +observation that he would turn the place into a second Cremorne Gardens, +in which character it could not fail to attract thousands of people and +bring in lots of money. At this announcement the auctioneer drew back +and informed the apparently eager purchaser that the house could be +converted to no such purpose. + +One day, when I had run down to Brighton with Mr. Smith, then associated +with me in the management of Drury Lane, we missed, by about half a +minute, the return train we had intended to catch; and we had now two +hours to wait. Smith could not remain idle, and strolling with me along +the Parade his attention was attracted by a corner house which was for +sale, and which, it at once struck him, might be turned to profitable +account as a milliner's shop. He inquired as to the rent and other +conditions, bought the house there and then, and at once ordered that +the windows on the ground floor should be replaced by much larger ones +of plate glass. + +That night he started for Paris, and in the Passage du Saumon, where +bonnets of almost the latest fashion can be purchased for moderate +prices, laid in a stock of millinery for his Brighton "_magasin des +modes_." While making his purchases in Paris he secured the services of +two eligible young women, who were brought over to direct the Brighton +establishment. This, within a very short time, he duly opened under the +name of "Clémentine," and the house of Clémentine did such good business +that a few weeks afterwards its spirited proprietor was able to sell it +at seven hundred pounds' profit. + +On the occasion of a melancholy event which compelled all the London +managers to close their theatres, Mr. E. T. Smith saw in this day of +national gloom a tempting opportunity for a masked ball. It was to be +given at Her Majesty's Theatre, and earnestly as I sought to divert him +from his project he insisted on carrying it out. I had no right of veto +in the matter, and the masked ball took place. The sum of one guinea +entitled a ticket-holder to entrance and supper, and a day or two before +the entertainment fires were lighted in the property-room, the +painting-room, and the wardrobes, in order to cook some hundreds of +fowls which had been purchased in the market, after ordinary market +hours, at a very cheap rate. + +Wine would be an extra charge. In order to suit the tastes of +connoisseurs, Mr. Smith made large purchases of Heidsieck, Pommery +Greno, Perrier Jouet, and other favourite brands somewhere in +Whitechapel, where they can be secured at a much less cost than at +Epernay or Rheims. When the wine came in he showed it to me with a look +of pride, and opened a bottle of someone's _cuvée réservée_ in order to +have my opinion. I told him frankly that the bottles, labels, and the +names branded on the corks seemed all that could be desired, and that I +found nothing bad except the wine. This he seemed to look upon as an +unimportant detail, and the Whitechapel champagne was sold to infatuated +dancers at ten and twelve shillings a bottle. + +About this time I chanced to hear of an extraordinary young vocalist, +who had been charming the Americans, and, although hardly nineteen, +seemed to have obtained a firm hold on the sympathy and admiration of +their public. I opened negotiations at once, in order to secure her +services for the forthcoming season at Her Majesty's, and a contract was +duly entered into on behalf of Mr. Smith, whereby the little lady +undertook to sing four nights on approval, when, in case of success, she +was to have a salary of £10 a week. I likewise concluded an engagement +with Mario, whose term had expired at Covent Garden, and with Madame +Grisi; while Costa undertook to join the following year on the +expiration of his existing contract with Mr. Gye. + +In fact, all looked very promising for the year 1861. But, as the time +approached, I found more difficulty than ever in communicating with Mr. +Smith, who seemed to be out of the way. I then accidentally learned that +owing to the extreme financial difficulty in which he was placed through +his numerous outside speculations he had been compelled to accept an +offer from Mr. Gye of £4,000 on condition of his not opening. + +In accordance with this arrangement Her Majesty's Theatre remained +closed. + +Some time in the month of April the little lady from America arrived and +sent me up her card, bearing the name of Adelina Patti. She was +accompanied by Maurice Strakosch, her brother-in-law. They wished to +know when Mr. Smith's season was likely to begin. I could give them no +information beyond the current report which they had already heard +themselves. The little lady, who was then seated on a sofa at the +Arundel Hotel, at the bottom of Norfolk Street, Strand, suggested that I +should try the speculation myself, as she felt sure she would draw +money. I thereupon asked her to let me hear her, that I might judge as +to the quality of her voice, to which she responded by singing "Home, +Sweet Home." I saw that I had secured a diamond of the first water, and +immediately set about endeavouring to get Her Majesty's Theatre. But +this was a hopeless business, as Smith, who still held the lease, was +nowhere to be found. Shortly afterwards, however, I met Smith by chance, +and proposed renting Drury Lane from him, without saying what for. + +Two days later he brought me an agreement which he requested me to sign. +I said that I should like first to glance over it. He pointed out to me +that I might give operas, dramas, pantomimes, ballets, in fact +everything; and that I should have no difficulty in making a very fine +season. But on the top of the page overleaf my eye caught sight of a +parenthesis, within which were the words "Italian Opera excepted." I +thereupon put down the pen, raised some question about the deposit, and +afterwards kept clear of Mr. Smith. + +But many years after he had ceased to be connected with theatres I one +day received a letter from him, in which he told me he was in the metal +trade, and asked me to send him a couple of stalls for himself and his +"old woman." The heading of the letter announced the character of his +new business, and he added in a postscript: "Do you ever want any tin?" + +Nothing now remained but to secure the Lyceum; the only other theatre +available. This I did. It having been occupied but two or three years +previously by the Royal Italian Opera, I considered the locale would be +perfectly suited for my purpose. I thereupon started off to Paris to +find Mr. Lumley, from whom I now wished to secure for myself the singers +still engaged to him. Mr. Lumley had unfortunately left for Marseilles. +I myself started for Marseilles, but in passing Avignon I thought I saw +black whiskers in the passing train resembling those of Mr. Lumley. But +I was not sure. I therefore continued my journey. + +"Mr. Lumley, est parti," I was told on my arrival. I returned to Paris, +and was informed that he had gone to England, which I knew was not +possible, except on a Sunday. This being Saturday, I determined to stop +at Boulogne and make inquiries; and in the same hotel where I had +conducted the negotiations some two or three years previously I found +him. I soon completed my arrangements, undertaking to give him half my +total gross nightly receipts in exchange for Titiens and Giuglini. I +undertook to provide the whole of the expenses, with Alboni, Patti, and +others among my other singers. I returned joyfully to London, and at +once went to the Arundel Hotel to inform Miss Patti and Strakosch of my +good luck. They did not seem overjoyed, or in any way to participate in +my exuberant delight. + +Maurice Strakosch told me that as their last £5 note had been spent he +had been obliged to borrow £50 of Mr. Gye, which intelligence at once +reduced my height by at least two inches; and after a deal of difficulty +I ascertained that he had signed a receipt for the said loan in a form +which really constituted an engagement for the Royal Italian Opera, +Covent Garden. + +In short, I found myself manager of the Lyceum Theatre, with an +expensive Company, and with Mdlle. Patti opposed to me in the immediate +vicinity at Covent Garden. + +My season opened at the Lyceum on Saturday, the 8th June, 1861, the +opera being _Il Trovatore_, "Manrico," Signor Giuglini; "Il Conte di +Luna," Signor delle Sedie, the eminent baritone, who made his first +appearance in England; "Ferrando," Signor Gassier; whilst "Azucena" was +Mdme. Alboni, and "Leonora," Mdlle. Titiens; Arditi conducting the +orchestra, which was composed of the members of the Philharmonic Society +and Her Majesty's private band. On the second night I gave _Lucrezia +Borgia_, with Giuglini, Gassier, Alboni, and Titiens in leading parts. + +In the meanwhile I placed Verdi's new opera, _Un Ballo in Maschera_, in +rehearsal in order that I might have the honour of representing it for +the first time in this country; and by dint of almost superhuman effort +on the part of Arditi and the principal artists, I produced it some few +days before Covent Garden, although it had been in rehearsal there for +over six weeks. I well recollect how, after a fatiguing performance of +such an opera as _Les Huguenots_, _Lucrezia Borgia_, or _Norma_, Mdlle. +Titiens, Giuglini, and other artists would go in the direction of Eaton +Square to take supper with Signor Arditi, and at about half-past one in +the morning begin rehearsing. The rehearsals terminated, the full blaze +of the sun would accompany us on our way home to bed. This was done +night after night. + +But our efforts were rewarded by the immense success the opera achieved +at its first performance. + +During the first weeks of my management I had a strong +counter-attraction operating against me in the shape of a large fire +raging in Tooley Street, which it seemed to be the fashionable thing to +go and see. Thousands attended it every evening. + +Before the close of the season I gave a grand combined performance +composed of excerpts from various operas--a kind of representation never +popular with the British public; but, this being the last night of my +season, the house was crowded from top to bottom. During the evening the +choristers had banded together, threatening to refuse their services +unless I complied with an exorbitant claim which I considered they had +no right to make. + +Prior to the curtain rising for the final section of the +performance--the entire fourth act of the _Huguenots_--I was sent for. +All reasoning with the chorus singers was useless. I therefore left the +room, telling them to remain until I returned, which they promised to +do. I then instructed Mdlle. Titiens and Giuglini that the +"Conspirators' Chorus" ("Bénédiction des Poignards") would be left out, +and that the act must commence, as it was now very late, with the entry +of "Raoul" and "Valentine" for the grand duet, whereby I dispensed with +the services of the chorus altogether. + +No sooner did they hear that the opera was proceeding than they one and +all surrendered. I, however, had the pleasure of telling them that I +should never require one of them again--and I never did. + +This really was the origin, now common at both Opera-houses, of the +introduction of choristers from Italy. I may mention that the members of +my refractory chorus were people who had been some thirty or forty +years, or even longer, at the Opera-houses and other theatres in London, +and it was really an excellent opportunity for dispensing with their +services. + +At the close of the opera season, on balancing my accounts, I found +myself a loser of some £1,800. Thereupon, I resolved to carry on the +Opera again in a larger locale next year in order that I might get +straight; vowing, as the Monte Carlo gambler constantly does, that as +soon as I got quite straight I would stop, and never play again. I have +been endeavouring during the last thirty years to get straight, and +still hope to do so. + + + + +CHAPTER IV. + + AT HER MAJESTY'S THEATRE--VERDI'S CANTATA--GIUGLINI AT THE + SEASIDE--POLLIO AND THE DRUM-STICK--AN OPERATIC + CONSPIRACY--CONFUSION OF THE CONSPIRATORS. + + +EARLY in the following spring, I succeeded in securing a promise of the +lease of Her Majesty's Theatre for 21 years, for which I deposited +£4,000 pending its preparation. I hastened to make public announcement +of the fact. Lord Dudley, however, kept varying the conditions of +payment, which I understood originally to have been a deposit of £4,000 +to remain as security for the payment of the rent throughout the +tenancy. His lordship contended, however, that the sum deposited was in +part payment of the first year's rent, and that another £4,000 must be +paid before I could obtain possession. + +This was indeed a terrible set-back to me, and I was at my wits' end +what to do. However, through the kindness of my friend Mitchell, who +subscribed largely, together with various members of the trade, I +secured the remainder; and on the first day of April--ominous day!--I +passed through the stage door with the key of the Opera in one pocket +and £2--my sole remaining balance--in the other. I stood in the middle +of the stage contemplating my position. I was encouraged by the +celebrated black cat of Her Majesty's; which, whether in good faith or +bad, rubbed herself in the most friendly manner against my knees. + +Prior to the opening of my season of 1862 I made an increase in the +number of stalls from seven to ten rows, my predecessor having increased +them from four to seven. This removed the Duke of Wellington, who was an +old supporter of the house, much farther from the stage, it having +always been his custom to occupy the last number. Thus in Mr. Lumley's +time he occupied No. 82, in Mr. Smith's time 163, whilst this increase +of mine sent back His Grace to 280. Nothing but the last stall would +satisfy him; he did not care where it was. + +Prior to my opening the most tempting offers were made by Mr. Gye to my +great prima donna Titiens. Her name, which closed my list of artists, +was mentioned in my prospectus with the subjoined prefatory remarks: +"The Director feels that with the following list of artists nothing more +need be said. Of one, however, a special word may not be out of place, +since she may without exaggeration be said to constitute the last link +of that chain of glorious prime donne commencing with Catalani. It is +seldom that Nature lavishes on one person all the gifts which are needed +to form a great soprano: a voice whose register entitles it to claim +this rank is of the rarest order. Melodious quality and power, which are +not less essential than extended register, are equally scarce. Musical +knowledge, executive finish, and perfect intonation are indispensable, +and to these the prima donna should add dramatic force and adaptability, +together with a large amount of personal grace. Even these rare +endowments will not suffice unless they are illumined by the fire of +genius. By one only of living artists has this high ideal been +reached--by Mdlle. Titiens." + +The subscriptions began pouring in, and all appeared _couleur de rose_, +when Mr. Gye's envoy, the late Augustus Harris, again appeared, Titiens +not having yet signed her contract with me; and he produced a contract +signed by Mr. Gye with the amount she was to receive in blank. She was +to fill in anything she chose. It was indeed a trying moment, and +various members of her family urged her to give consideration to this +extraordinary proposal. She, however, replied in few words: "I have +given my promise to Mr. Mapleson, which is better than all contracts." +My season, therefore, commenced in due course. + +I had got together a magnificent company, and as the public found that +the performances given merited their support and confidence, the +receipts gradually began to justify all expectations, and within a +short time I found myself with a very handsome balance at my bankers. +This may be accounted for by the very large influx of strangers who came +to London to visit the Exhibition of 1862. One day, about this time, in +coming from my house at St. John's Wood, I met Verdi, who explained to +me that he was very much disappointed at the treatment he had received +at the hands of the Royal Commissioners, who had rejected the cantata he +had written for the opening of the Exhibition. I at once cheered him up +by telling him I would perform it at Her Majesty's Theatre if he would +superintend its direction, Mdlle. Titiens undertaking the solo soprano +part. The cantata was duly performed, and the composer was called some +half-dozen times before the curtain. At the same time the work was +purchased by a London publisher, who paid a handsome price for it. Verdi +appeared very grateful, and promised me many advantages for the future. + +Early in the season I produced the opera of _Semiramide_, in which the +sisters Marchisio appeared with distinction. Afterwards came Weber's +romantic opera of _Oberon_; J. R. Planché, the author of the libretto, +and Mr. Benedict, Weber's favourite pupil, taking part in its +reproduction. + +This was followed by the remounting of Meyerbeer's _Robert le Diable_, +with Titiens in the part of "Alice," the whole of the scenery and +dresses being entirely new. Mdlle. (now Mdme.) Trebelli shortly +afterwards arrived, and on May 4th appeared with brilliant success as +"Maffio Orsini" in _Lucrezia Borgia_, her second appearance taking place +four days afterwards in the part of "Azucena" (_Trovatore_), when her +permanent reputation seemed to be already ensured, as it in fact was. + +About this time I had a great deal of difficulty with the tenor, +Giuglini, who, like a spoilt child, did not seem to know what he really +required. He went down to Brighton accompanied by a certain notorious +lady, and all persuasion to induce him to return proved useless. He said +he had the "migraine." Thereupon I hit upon a device for making him +return, which succeeded perfectly. + +On the day of my visit I announced the _Trovatore_ for performance, with +Naudin, the tenor whom I had introduced some two years previously to +London, in the principal _rôle_. I spoke to a friendly critic, who +promised, in the event of Naudin's meeting with the success which I +anticipated, to make a point of recording the fact; and on the following +morning at Brighton, as I was accidentally walking with Giuglini, I +purchased the paper in which my friend wrote and handed it to the lady +who was absorbing all Giuglini's attention. I casually observed that +Giuglini might now remain at Brighton for a lengthened period. In the +course of an hour the tenor was on his way to London, volunteering to +sing the same evening if necessary; adding, however, a condition which +really caused me some inconvenience. + +He now informed me that he had written a better cantata than Verdi's, +and that unless I performed it I could no longer rely upon his services; +if, however, his work were given he would remain faithful to me for the +future. The work was duly delivered, in which I remember there was a +lugubrious character destined for Mdlle. Titiens, called "Una madre +Italiana." Giuglini further required 120 windows on the stage, from each +of which, at a given signal, the Italian flag was to appear; and no +smaller number than 120 would satisfy him. We were at our wits' end. But +the difficulty was met by arranging the scene in perspective; grown-up +people being at the windows nearest the public, then children at those +farther removed, until in the far distance little dolls were used. + +At a given signal, when the orchestra struck up the Garibaldi hymn, +these were all to appear. I need scarcely say that the cantata was given +but for one night. Poor Arthur Bacon, of the Ship Hotel, backed up +Giuglini's own opinion when he declared it to be "a fine work." + +The business meanwhile kept on increasing. In fact, I kept the theatre +open on and off until nearly Christmas time, and always to crowded +houses. + +During my autumn provincial tour of 1862 I had much trouble in finding a +substitute for my contralto, at that time Mdlle. Borchardt, who was +suffering from a sudden attack of "grippe;" an illness which, at least +in the artistic world, includes influenza, low fever, and other maladies +hard to define. The opera announced was _Lucrezia Borgia_, and my +difficulty was to find a lady capable of singing the part of "Maffio +Orsini." I improvised a substitute who possessed good will, but was +without knowledge of music and had scarcely a voice. In an apology to +the public I stated that Mdlle. Borchardt being indisposed, another +artist had at a moment's notice kindly consented to sing the part of +"Maffio Orsini," but that "with the permission of the audience she would +omit the brindisi of the third act." + +This seemed little enough to ask, though the part of "Maffio Orsini" +without the famous drinking song, "Il segreto per esser felice," was +only too much like the celebrated performance of _Hamlet_ with the part +of the Crown Prince of Denmark left out. + +It being quite understood, however, that the brindisi was to be omitted, +the singer left out on her own account and by my special directions +(scarcely necessary, it must be admitted) the legend of the opening +scene. Cut out the legend and drinking song, and nothing of the part of +"Maffio Orsini" remains except the few bars of defiance which this +personage has to address to "Lucrezia Borgia" in the finale of the first +act. These, however, can be sung by some other artist, and an audience +unacquainted with the opera will probably not complain if they are not +sung at all. The brindisi of the banqueting scene could not, of course, +have been omitted without explanation. But the necessary apology having +been frankly made there was nothing more to be said about the matter. + +I hoped that Mdlle. Borchardt would be sufficiently recovered to +undertake next evening the part of "Azucena" in _Il Trovatore_. But "la +grippe" still held her in its clutches. She would have sung had it been +possible to do so, but all power of singing had for the time left her, +and it was absolutely necessary to replace her in the part which she was +advertised to play. + +In the first act of _Il Trovatore_ "Azucena" does not appear, and I had +reason to believe, or at least to hope, that before the curtain rose for +the second act I should succeed in persuading my _seconda donna_ to +assume in the second and succeeding acts--in which "Leonora's" confidant +is not wanted--the character of "Azucena." + +At the last moment my eloquence prevailed, and the _seconda donna_ +declared herself ready to undertake the part of the gipsy. As for +singing the music, that was a different question. Already instructed by +me, she was to get through the part as well as she could without +troubling herself to sing. + +Meanwhile I had desired Titiens, Giuglini, and Aldighieri to exert +themselves to the utmost in the first act; and it was not until after +they had gained a great success in the trio which concludes this act +that I ventured to put forward an apology for my new and more than +inexperienced "Azucena." + +It was necessary first of all to see to her "make up," and as soon as +the requisite permission had been given, I myself covered her face--and +covered it thickly--with red ochre. Unfortunately, in my haste and +anxiety I forgot to paint more than her face and the front part of her +neck. The back part of her neck, together with her hands and arms, +remained as nearly as possible a pure white. I had told my new "Azucena" +to sit on the sofa, resting her head upon her hands, and this, at the +risk of bringing into too great contrast the red ochre and the pearl +white, she obligingly did. + +I had arranged that after the anvil chorus, the opening scene of the +second act should terminate; the duet between "Manrico" and "Azucena" +being thus left out. We passed at once to the "Count di Luna's" famous +solo, "Il balen," and so on to the finale of this act. In the third act +"Azucena" was simply brought before the Count and at once condemned to +imprisonment. In the fourth act she had been strictly enjoined to go to +sleep quietly on the ground, and not to wake up until "Manrico" was +decapitated. + +Thus treated, the part of "Azucena" is not a difficult one to play; and +how else is it to be dealt with when the contralto of the Company is +ill, and no adequate substitute for her can possibly be found? + +The devices, however, that I have set forth are obviously of a kind that +can only be resorted to once in a way under stress of difficulties +otherwise insurmountable. + +Accordingly, when the third day came and Mdlle. Borchardt was still too +unwell to sing, there was nothing left for me but to announce an opera +which contained no contralto part. The one I selected was _Norma_, a +work for which our principal tenor, Signor Giuglini, had conceived a +special hatred and in which he had sworn by the Holy Virgin and Madame +Puzzi never to sing again. I must here break off for a moment to explain +the origin of this peculiar detestation. + +About a year before Giuglini had been playing the part of "Pollio" to +the "Norma" of Mdlle. Titiens; and in the scene where the Druid +priestess summons by the sound of the gong an assembly which will have +to decide as to the punishment to be inflicted upon a guilty person +unnamed, Mdlle. Titiens, on the point of administering to the gong an +unusually forcible blow, threw back the drum-stick with such effect, +that coming into violent contact with the nose of Signor Giuglini, who +was close behind her, it drew from it if not torrents of blood, at least +blood in sufficient quantity to make the sensitive tenor tremble for his +life. He thought his last hour had come, and even when he found that he +was not mortally wounded still nourished such a hatred against the +offending drum-stick that he uttered the solemn combination oath already +cited, and required, moreover, that the drum-stick should never more be +brought into his presence. If not destroyed, it was at least to be kept +carefully locked up. + +Mdme. Puzzi had been to Giuglini more than a mother. Frequently, indeed, +this lady helped him out of scrapes in which a mother would probably not +have cared to interfere. She rescued him, for instance, more than once +from enterprising young women, who, by dint of personal fascinations, of +flattery, and sometimes of downright effrontery, had got the +impressionable singer beneath their influence. When things were at their +worst, Giuglini would write or telegraph to "Mamma Puzzi," as he called +her; and his adopted mother, to do her justice, always came to his +relief, and by ingenuity and strength of will freed him from the tyranny +of whatever siren might for the time have got hold of him. + +When, therefore, he swore by Madame Puzzi he was serious, and when he +pronounced his grand combination oath, "By the Holy Virgin and Madame +Puzzi," it was understood that he had spoken his last word, and that +nothing could ever move him from the determination arrived at under such +holy influences. + +Giuglini was in many things a child. So, indeed, are most members of the +artistic tribe, and it is only by treating them and humouring them as +children that one can get them to work at all. + +The only two things Giuglini really delighted in were kites and +fireworks. Give him kites to fly by day and rockets, roman candles, or +even humble squibs and crackers to let off at night, and he was +perfectly happy. Often in the Brompton Road, at the risk of being +crushed to death by omnibuses, he has been seen lost in admiration of +the kite he was flying, until at last the omnibus men came to know him, +and from sympathy, or more probably from pity for the joy he took in +childish pleasures, would drive carefully as they came near him. + +His fireworks proved to him more than once a source of serious danger. +On one occasion, in Dublin, for instance, when he was coming home from +the theatre in company with Mademoiselle Titiens, who had just achieved +a triumph of more than usual brilliancy, the carriage, already stuffed +full of fireworks, was surrounded by a number of enthusiastic persons +who, heedless of the mine beneath them, smoked cigars and pipes as they +at the same time leaned forward and cheered. + +Let us now return to the doings of Signor Giuglini in connection with +the opera of _Norma_, in which he had sworn his great oath never again +to appear. + +I have said that the artist is often child-like; but with this +childishness a good deal of cunning is sometimes mixed up. The one thing +he cannot endure is life under regular conditions. Exciting incidents of +some kind he must have in order to keep his nerves in a due state of +tension, his blood in full circulation. It annoys him even to have his +salary paid regularly at the appointed time. He would rather have an +extra sum one day and nothing at all another. The gratuity will give +him unexpected pleasure, while the non-payment of money justly due to +him will give him something to quarrel about. + +The artist is often suspicious, and in every Opera Company there are a +certain number of conspirators who are always plotting mischief and +trying to bring about misunderstandings between the manager on the one +hand, and on the other the vocalists, musicians, and even the minor +officials of the establishment. + +Needless to say that the singer on the night he sings, his nerves +vibrating with music, cannot at the end of the performance go to bed and +get quietly to sleep; and on one occasion, at Edinburgh, I passed on my +way to my bed the room in which Signor Giuglini was reposing, with a +cigar in his mouth, between the sheets and listening to the tales, the +gossip, the scandal, and the malicious suggestions poured into his ears +by the _camorristi_ of whom I have above spoken. + +All I heard was, uttered in exciting tones, such words as "extra +performance," "almanac," "imposition," "Mapleson," and so on. + +I knew that some plot was being hatched against me, but what it could be +I was unable to divine; nor, to tell the truth, did I trouble myself +much about it. + +Meanwhile I had spoken to Mr. Wyndham, manager of the Edinburgh Theatre, +about the necessity, should Mademoiselle Borchardt still remain ill, of +performing some opera in which there was no part for a contralto. He saw +the necessity of what I suggested, and agreed with me that _Norma_ would +be the best work to play. I, at the same time, informed him that +Giuglini had sworn "by the Holy Virgin and Madame Puzzi" never more to +appear in that work, and I had no reason for believing that he had +forgotten either his impressive oath or his bruised nose. + +It was resolved, therefore, to announce Signor Corsi for the part of +"Pollio." This might have suited Giuglini, from the superstitious point +of view; but it put him out in the project which, prompted by the +_camorristi_, he had formed for extorting from me a certain sum of +money. He was engaged to play sixteen times a month at the rate of sixty +pounds a performance. I had wished to have his services four times a +week; and in signing for sixteen performances a month it did not occur +to me that now and then in the course of the year the tenor might be +called upon to give a seventeenth. This was the point which he and his +fellow-conspirators had been discussing in his bedroom on the night when +it had struck me that some sort of dark scheme was being prepared for my +confusion. + +It had been pointed out to Giuglini that if he sang on the 31st of the +month, as I originally intended him to do, he would be singing once too +often--once more than had been stipulated for in his engagement; and +thereupon he would be in a position to enforce from me whatever penalty +be might choose to impose. This he deigned to fix at the moderate sum of +£160; and his claim was sent in to me just before--in consequence of the +continued illness of Mdlle. Borchardt--I had decided to change the +opera, and out of respect for Signor Giuglini's own feelings, to assign +the tenor part in _Norma_ not to him, but to an artist who was not bound +to keep clear of this opera either by a peculiarly solemn oath or by +painful recollections of a dab on the nose from a vigorously-handled +drum-stick. + +The opera, then, was announced with Signor Corsi in the part of +"Pollio;" and there seemed to be no reason why the performance should +not go off successfully. I noticed, however, some ominous signs, and, +for one reason or another, it seemed to me that the carefully-laid mine, +if it exploded at all, would burst that evening. + +Giuglini was in a very excited condition, and I knew that whenever he +felt unduly agitated he sent for "Mamma Puzzi" to come and soothe his +irritated nerves. I did not know where Mdme. Puzzi was; but I _did_ know +that she might at any moment arrive, and I therefore gave orders that +she was not, under any circumstances, to be admitted. The stage door was +closed absolutely against her. With or without explanations, she was not +to be let in. + +When the night for the performance arrived I took care to see that +Signor Corsi, at the proper time, was fitly attired for the character +of "Pollio." He had often played the part before in company with Mdlle. +Titiens, and I saw no reason for believing that his performance would +not on this, as on previous occasions, be thoroughly satisfactory. The +house was crowded. "Oroveso" had sung his air, and was being warmly +applauded. I stood at the wing close to the first entrance and waited +for Corsi to appear. The music in announcement of "Pollio's" entry was +played; but no "Pollio" was to be seen. I motioned to Arditi, and the +introductory strains were heard again. Still no "Pollio." + +I rushed to Corsi's room in order to find out the meaning of the delay, +when, to my consternation and horror, I saw Corsi seated in a chair with +Mdme. Puzzi--Mdme. Puzzi, to whom all access to the theatre had been so +strictly forbidden!--pulling off his fleshings (she had already divested +him of his upper garments) while Giuglini was hurriedly taking off his +costume of ordinary life in order to put on the uniform of the Roman +soldier. + +Giuglini, I found, had some days before telegraphed to Mdme. Puzzi at +Turin begging his "mamma" to hurry to Edinburgh, where her child was in +a terrible difficulty; and to Edinburgh she had come. + +Mdme. Puzzi, refused admission at the stage door, had before the raising +of the curtain gone round to the pit entrance, paid for her place, +climbed over into the stalls, and then clambered from the stalls to the +orchestra, and--most difficult of all these gymnastic +performances--from the orchestra to the stage. She had then made her way +to the dressing-rooms, and, finding Corsi already costumed for the part, +had by persuasion or force induced him to change clothes with the +excited tenor, who, by the very lady who was now helping him to break +his vow, had sworn never to play the part he was on the point of +undertaking. + +The curtain, meantime, had been lowered, amidst deafening protests from +the audience; and it was difficult to know what to do, until Giuglini, +having, with due assistance from his "mamma," completed his toilette, +declared himself ready to sing the part of "Pollio" provided one hundred +pounds were stopped out of the receipts to pay him for his extra +performance! + +On my afterwards taunting Giuglini with having broken his vow, he +declared that Mdme. Puzzi possessed the power to liberate him from it. + +When the audience were informed that the part of "Pollio" would be +played by Signor Giuglini, they were naturally delighted. The +performance was begun again from the beginning. The drum-stick, however, +in accordance with Giuglini's earnest prayer, was kept in the +property-room under lock and key, and Mdlle. Titiens struck the gong +with her hand. + +Afterwards Giuglini showed himself a little ashamed of his conduct; and +of the hundred pounds paid to him for the extra performance he +presented fifty to Mrs. Wyndham, with a request that she would expend +the money in the purchase of a shawl. Mrs. Wyndham, however, would do +nothing of the kind. She considered that I had been very badly treated, +and made over the sum to me. + +The remaining fifty pounds had to be shared between Giuglini and the +conspirators who had put him up to the trick, each of them having +bargained beforehand for a share in such plunder as might be obtained. + +Then a claim was put in by Mdme. Puzzi for her travelling expenses from +Turin. This her affectionate child was not prepared to allow, and some +violent language was exchanged between him and his "mamma." How the +delicate matter was ultimately arranged I forget; but in the end, when +he had satisfied all demands made upon him, Giuglini could scarcely have +gained much by his too elaborate stratagem. + + + + +CHAPTER V. + + RUNNING OVER A TENOR--TITIENS IN ITALY--CASHING A CHEQUE AT + NAPLES--A NEAPOLITAN BALL--APPROACHING A MINISTER--RETURN TO + LONDON. + + +ONE afternoon about four o'clock, during the month of November, 1862, +Giuglini sent word that he would be unable to sing the part of "Lionel" +in _Martha_ that evening, having had some dispute at home. All my +persuasion was useless; nothing would induce him, and as at that period +of the year there were no tenors to be found in London, I was at my +wits' ends to know what to do, and I ultimately decided to close the +theatre, having no alternative. I therefore got into a hansom and drove +off to inform Mdme. Trebelli, also Mdlle. Titiens, who was dining at her +house, that there would be no need of their coming down. + +On turning the corner of the Haymarket, Piccadilly, the horse's head +struck a gentleman and forced him back on to the pavement. The cab was +stopped, and a policeman came up. The gentleman was not, however, +injured, and to my great astonishment he turned out to be an English +tenor, who had been lately in Italy. On learning this I politely took +him into my cab and inquired what had brought him back to England. He +said that he had been performing at various Italian theatres, and that +he was now very desirous of obtaining a _début_ in this country. + +I at once informed him that nothing could be easier, and that it would +be best for him to make his appearance immediately, without any further +preparation, for thus he would have no time to reflect and get nervous. +I then quite casually, as we were going along, asked him if he knew the +opera of _Martha_, to which he replied that he knew nothing of the music +and had never seen the work. This for the moment wrecked all my hopes as +to saving my receipts that evening, the booking for which exceeded £600. + +My impulse was to stop the cab and put him out; but first I sang to him +a few bars of _M'appari_. This romance he said he knew, having +occasionally sung it at concerts, but always with the English words. I +thought no more of ejecting him from the cab, and continued my drive up +to St. John's Wood. + +On my relating to Mdlle. Titiens and Mdme. Trebelli how by good luck I +had nearly run over a tenor they both said it was useless to think of +attempting any performance. + +I assured, however, my newly-caught tenor that if he would only be +guided by me and appear forthwith he would make a great success. I at +once set to work and showed him the stage business in the drawing-room, +requesting Mdme. Trebelli to go through the acting of the part of +"Nancy," and Mdlle. Titiens through that of "Martha." I explained to the +tenor that on entering he merely had to come on with his friend +"Plunkett," go to the inn table, seat himself, drink as much beer as he +liked, and at a given signal hand over the shilling to enlist the +services of "Martha" at the Richmond Fair, after which he would drive +her away in a cart. This would complete Act I. + +In Act II. he simply had to enter the cottage leading "Martha," and +afterwards to attempt to spin (two drawing-room chairs served as +spinning wheels), until at last the wheels would be taken away by the +two ladies. When the spinning quartet began he was merely to laugh +heartily and appear joyous. In the third act I explained that he might +sing his song provided always that he confined himself to Italian words. +It did not much matter, in view of the public, what he sang if he only +kept clear of English; and I advised him to keep repeating _M'appari_ as +often as he felt inclined. This he did, and in consequence of a printed +apology which I had previously circulated in the theatre, to the effect +that Signor Giuglini had refused his services without assigning any +reason, my new tenor was warmly applauded, receiving for his principal +air a double encore, and afterwards a recall. In the last act there was, +of course, nothing for him to do, and the newspapers of the next morning +were unanimous in his praise. + +The singer who rendered me these services was Mr. George Bolton, who +some years later (his voice having by that time become a baritone) +played with great success the part of "Petruchio" to Minnie Hauk's +"Katherine" in Goetz's _Taming of the Shrew_. + +In the course of the season, which ended about the 18th December, I had +accepted an engagement for Mdlle. Titiens to sing at the San Carlo of +Naples. The contract was made direct with the Prefect, at the +recommendation of the "Commissione." The leading soprano engaged by the +manager had not given satisfaction, and the "Commissione" had the power, +before handing over the subvention, of insisting on the engagement of a +capable artist so as to restore the fortunes of the establishment. + +Naturally, then, on my arrival with the great prima donna every possible +difficulty was thrown in our way. At length the _début_ took place, when +Titiens appeared as "Lucrezia Borgia." The vast theatre was crowded from +floor to ceiling, the first four rows of stalls being occupied by the +most critical "cognoscenti," who literally watched every breath and +every phrase, ready in case of need to express hostile opinions. At +length the boat came on, and "Lucrezia" stepped on to the stage amidst +the most solemn silence; and it was not until the close of the +_cabaletta_, of the first aria that the public manifested its +approbation, when it seemed as if a revolution were taking place. Mdlle. +Titiens' success went on increasing nightly, and the theatre was +proportionately crowded. + +I recollect on one occasion after I had made four or five applications +to the Prefect for the money payable for the lady's services he handed +me a cheque the size of a sheet of foolscap paper. The amount was £800 +for her first eight nights' services. On presenting myself at the bank I +was referred from one desk to another, until I was told that I must see +the chief cashier, who had gone out to smoke a cigar, and would not +return that day. I went again the following day, and after waiting a +considerable time at length saw him, when he told me to go to a certain +counter in the bank where I should be paid. + +I endorsed the cheque in the presence of the cashier, who told me, +however, that he could not hand me the money for it unless my signature +was verified by the British Consul. On going to the British Consul I +found that he had gone to Rome, and would not be back for a couple of +days. At length I obtained the official verification of the signature, +and presented myself for the seventh time at the bank, when I was +invited by the cashier to go down into the cellars, where a man told me +off the amount in bags of silver ducats, which he drew from a large iron +grating. He did not count the sacks he was giving me, but only those +remaining behind; which left me one bag short. This he did not care for; +he only wanted his own remainder to be right. + +Eventually the manager of the bank insisted on my having the amount +stated in the cheque, and I was then left to myself, surrounded by my +bags, with no porters to move them for me. + +On my returning to the manager, who was very polite, and telling him +that I wished for the money in gold napoleons, he said it would be very +difficult, and that in the first place I must hire men to carry the bags +of silver up into the gold department. Thereupon I bargained with four +ill-looking individuals who were brought in out of the streets, and who +moved the bags at my risk to the gold department, when a vast premium +had to be paid. On my leaving the bank with the gold I saw my four +lazzaroni who had helped to move the silver, with hundreds of others, +all extending their hands and following me. + +I drove with difficulty to the British Consul, who happened to be a +banker, followed by this vast multitude; for such a sum of money had not +been seen for a long time in or about Naples. I had now to pay another +large premium to get a bill on London for my gold, and this concluded +the matter, which had occupied me altogether seven days and a half. + +After the next payment had become due I went three or four times to the +Prefect, but could never find him. One day, however, about twelve +o'clock, I was told he was within, but that he had a headache, and could +not see anyone. I nevertheless insisted on the necessity of his +receiving me, saying that otherwise the night's performance at the San +Carlo might be jeopardized. I was invited upstairs, where his Excellency +was eating macaroni in the grand ball-room, lying on a sofa, which had +served as a bed, he having returned home too late to mount the stairs, +whilst about eighty Bersaglieri were rehearsing a selection from +_Rigoletto_ for a ball he was going to give that evening. The sound was +deafening. + +The Prefect was very polite, and gave me another of those large cheques, +which with a little manipulation I induced the British Consul to change, +and get me a bill for it. The Prefect invited me very courteously to the +ball he was giving, at which over 2,000 persons were present. It was a +most magnificent affair, the four angles of the large room being +occupied by wild boars roasted whole (with sundry fruits, wines, etc.), +to which the guests after every dance or two helped themselves, and then +continued their dancing. + +At that time I was very anxious to secure the lease of the San Carlo +Opera-house, and by the aid of my friend the Prefect so far advanced +the matter, that it wanted but the sanction of the Minister at Turin to +complete it. The pay-sheet of the orchestra contained over 150 names, +but as the salaries varied from six to eight shillings a week I made no +objection to this. The heaviest salary was that of the conductor +Mercadante (composer of _Il Giuramento_, &c.), who received £5 a week. + +On leaving Naples I went to Turin to present myself to the Marquis +Braham, but before I could get my card forwarded, even to the first +room, I was obliged to make a monetary advance. On reaching the second +room I was referred to another room on the entresol. It was impossible +to gain entrance, or even get my card sent further, without the help of +a napoleon. On going into the fourth room another tax was laid upon me, +and it being evening I thought it better to go home and reserve my money +offerings towards meeting the Marquis Braham until the next day. I +returned, armed with sundry five-franc pieces and napoleons; but it was +not until the fourth day, when I gave an extra douceur, that I could +approach him at all. It then appeared that someone had anticipated me, +and I was recommended to wait another year. I left for England, and the +matter dropped. + + + + +CHAPTER VI. + + PRODUCTION OF GOUNOD'S "FAUST"--APATHY OF THE BRITISH PUBLIC--A + MANAGERIAL DEVICE--DAMASK CRUMB CLOTH AND CHINTZ HANGINGS--HEROIC + ATTITUDE OF A DYING TENOR--PRAYERS TO A PORTMANTEAU. + + +ON my return from Italy I set to work preparing for my grand London +season of 1863, and entered into several important engagements. About +this time I was told of an opera well worthy of my attention which was +being performed at the Théâtre Lyrique of Paris. I started to see it, +and at once decided that Gounod's _Faust_--the work in +question--possessed all the qualities necessary for a success in this +country. On inquiry I found that Mr. Thomas Chappell, the well-known +music publisher, had acquired the opera for England. The late Mr. Frank +Chappell, on the part of his brother, but acting in some measure on his +own responsibility, had bought the Faust music for reproduction in +England from M. Choudens, of Paris; and I have heard not only that he +acquired this privilege for the small sum of £40 (1,000 francs), but +moreover that he was remonstrated with on his return home for making so +poor a purchase. + +The music of an opera is worth nothing until the opera itself has become +known, and Messrs. Chappell opened negotiations with Mr. Frederick Gye +for the production of _Faust_ at the Royal Italian Opera. The work, +however, had not made much impression at the Théâtre Lyrique, and Mr. +Gye, after going to Paris specially to hear it, assured his stage +manager, the late Mr. Augustus Harris, who had formed a better opinion +of Gounod's music than was entertained by his chief, that there was +nothing in it except the "Chorus of Soldiers." After due consideration +Mr. Gye refused to have anything to do with _Faust_, and the prospect of +this opera's being performed in London was not improved by the fact +that, in the Italian version, it had failed at Milan. + +Meanwhile I had heard Faust at the Théâtre Lyrique, and, much struck by +the beauty of the music, felt convinced that the work had only to be +fitly presented to achieve forthwith an immense success in London. Mr. +Chappell was ready to give £200 towards the cost of its production, and +he further agreed to pay me £200 more after four representations, +besides a further payment after ten representations. + +Certain that I had secured a treasure, I went to Paris and bought from +M. Choudens a copy of the score, the orchestral parts, and the right for +myself personally of performing the work whenever I might think fit in +England. I then visited Gounod, who for £100 agreed to come over and +superintend the production of what he justly declared to be his +masterpiece. + +I was at that time (as indeed I always was when anything important had +to be done) my own stage manager. My orchestral conductor was Arditi; +Titiens undertook the part of "Margherita;" Giuglini that of "Faust;" +Trebelli was "Siebel;" Gassier "Mephistopheles;" and Santley +"Valentine." + +Far from carrying out his agreement as to superintending the production +of the work, Gounod did not arrive in London until nearly seven o'clock +on the night of production; and all I heard from him was that he wanted +a good pit box in the centre of the house. With this, for reasons which +I will at once explain, I had no difficulty whatever in providing him. + +One afternoon, a few days before the day fixed for the production of the +opera, I looked in upon Mr. Nugent at the box-office and asked how the +sale of places was going on. + +"Very badly indeed," he replied. + +Only thirty pounds' worth of seats had been taken. + +This presaged a dismal failure, and I had set my mind upon a brilliant +success. I told Mr. Nugent in the first place that I had decided to +announce Faust for four nights in succession. He thought I must be mad, +and assured me that one night's performance would be more than enough, +and that to persist in offering to the public a work in which it took no +interest was surely a deplorable mistake. + +I told him that not only should the opera be played for four nights in +succession, but that for the first three out of these four not one place +was to be sold beyond those already disposed of. That there might be no +mistake about the matter, I had all the remaining tickets for the three +nights in question collected and put away in several carpet bags, which +I took home with me that I might distribute them far and wide throughout +the Metropolis and the Metropolitan suburbs. At last, after a prodigious +outlay in envelopes, and above all postage stamps, nearly the whole mass +of tickets for the three nights had been carefully given away. + +I at the same time advertised in the _Times_ that in consequence of a +death in the family, two stalls secured for the first representation of +_Faust_--the opera which was exciting so much interest that all places +for the first three representations had been bought up--could be had at +twenty-five shillings each, being but a small advance on the box-office +prices. The stalls thus liberally offered were on sale at the shop of +Mr. Phillips, the jeweller, in Cockspur Street, and I told Mr. Phillips +that if he succeeded in selling them I would present him with three for +the use of his own family. Mr. Phillips sold them three times over, and +a like success was achieved by Mr. Baxter, the stationer, also in +Cockspur Street. + +Meanwhile demands had been made at the box-office for places, and when +the would-be purchasers were told that "everything had gone," they went +away and repeated it to their friends, who, in their turn, came to see +whether it was quite impossible to obtain seats for the first +performance of an opera which was now beginning to be seriously talked +about. As the day of production approached the inquiries became more and +more numerous. + +"If not for the first night, there must surely be places somewhere for +the second," was the cry. + +Mr. Nugent and his assistants had, however, but one answer, "Everything +had been sold, not only for the first night, but also for the two +following ones." + +The first representation took place on June 11th, and the work was +received with applause, if not with enthusiasm. I had arranged for +Gounod to be recalled; and he appeared several times on the stage, much, +I think, to the annoyance of Arditi, to whom the credit of a good +_ensemble_ and a fine performance generally was justly due. The opinions +expressed by several distinguished amateurs as to the merits of Gounod's +admirable work were rather amusing. The late Lord Dudley said that the +only striking pieces in the opera were the "Old Men's Chorus" and the +"Soldiers' March;" which was going a step beyond Mr. Gye, who had seen +nothing in the work but the "Soldiers' Chorus." + +Another noble lord, when I asked him what he thought of _Faust_, +replied-- + +"This demand is most premature. How am I to answer you until I have +talked to my friends and read the criticisms in the morning papers?" + +The paucity of measured tunes in the opera--which is melodious from +beginning to end--caused many persons to say that it was wanting in +melody. + +The second night _Faust_ was received more warmly than on the first, and +at each succeeding representation it gained additional favour, until +after the third performance the paying public, burning with desire to +see a work from which they had hitherto been debarred, filled the +theatre night after night. No further device was necessary for +stimulating its curiosity; and the work was now to please and delight +successive audiences by its own incontestable merit. It was given for +ten nights in succession, and was constantly repeated until the +termination of the season. + +So successful was _Faust_ at Her Majesty's Theatre that Mr. Gye resolved +to produce it at once; and he succeeded in getting it out by July 2nd. + +The following was the cast of the work at the Royal Italian +Opera:--"Margherita," Miolan-Carvalho (the creator of the part at the +Théâtre Lyrique); "Siebel," Nantier Didiée; "Mephistopheles," Faure; +"Valentine," Graziani; "Faust," Tamberlik. + +The success of _Faust_ at the Royal Italian Opera was so great that it +enabled the manager to keep his theatre open until long beyond the +usual period. On the 15th May of the following year _Faust_ was +reproduced with Mdlle. Pauline Lucca and Signor Mario in place of Madame +Miolan-Carvalho and Signor Tamberlik. Three weeks afterwards, June 7th, +the part of "Margherita" was assumed for the first time by Adelina +Patti. + +Mr. Gye, who had purchased of M. Gounod "exclusive rights" over the +work, sent to inform me that he did not wish to interfere with my +arrangements during the season already begun, but that for each +performance given at Her Majesty's Theatre he should expect in future to +be paid, and that meanwhile he had a claim against me of £800 for +performance of the work given in London and the provinces during 1863 +and 1864. I, of course, resisted this extraordinary pretention on the +part of Mr. Gye; for, as the reader has already been informed, I had, +before producing _Faust_, purchased from the Paris publishers the right +of performing it wherever I personally might think fit. Mr. Gye brought +his action, of which the result was to establish the fact, painful +enough for M. Gounod, that, owing to some defect in regard to +registration, no exclusive rights of performance could be secured for +_Faust_ in England by anyone. + +After the close of the season of 1863 I made a concert tour in the +autumn, a recital of _Faust_ being the chief attraction. The company +comprised Mdlle. Titiens, Mdme. Trebelli, Mdlle. Volpini, Signor +Bettini--who had just married Trebelli--and Signor Volpini. After we had +been out about two or three weeks Signor Volpini became very ill, and +whilst at Birmingham sent for a leading physician, who, on examining +him, said he would require a deal of attention, but that he hoped to +bring him round in about a couple of weeks. The patient replied that on +no account would he separate himself from his wife, who had to travel to +some fresh city daily, but that the doctor must do what he could for him +until he left the following morning with the Company. This he insisted +upon doing. + +From Birmingham we went to Bristol, and on arriving the sick tenor was +at once put to bed and the leading physician sent for, who, on examining +him, asked who had been attending him. On the name of the Birmingham +physician being mentioned, the Bristol physician rejoined: "A very able +man. One of the very first in the profession." The patient had been in +good hands. + +But on seeing the last prescription the doctor was astonished that his +predecessor should have written such a thing; in fact, he could scarcely +believe it, and it was fortunate for the patient he had left Birmingham +and come to place himself under his care. + +The patient informed the physician that on no account could he part from +his wife, and that he would have to move off with the Company the +following morning to Exeter. + +From Exeter we went to Plymouth, from Plymouth to Bath, from Bath to +Oxford, and so on during a space of some two or three weeks, the sick +tenor being carried from the hotel to the railway and from the railway +to the hotel, and each medical man of eminence making the same +observations with regard to his esteemed colleague in the previous town; +each one exclaiming that had Volpini remained in the previous city he +must have died. He was carried to London, and there he remained, as all +thought, on his death-bed, at the Hôtel Previtali, Panton Square. He was +not yet, however, destined to die, and, as I am about to relate, it was +a miracle that saved his life. + +About this time I had engaged Sims Reeves to sing the _rôle_ of "Faust" +on certain evenings at Her Majesty's Theatre, and one day received a +telegram from the eminent tenor, dated "Crewe," expressing his +astonishment that I had announced him for that evening, when the +engagement was for the following one. + +I at once went off to Sims Reeves's house, and learned from the butler +that his dinner had been ordered for half-past seven o'clock. I +thereupon informed the man that the orders had been changed, and that +the dinner was to be served at twelve o'clock instead of the time +originally fixed. I ascertained that Mr. Reeves was to arrive at Euston +Station, and there met him, accompanied by Mrs. Sims Reeves. + +While she was busying herself about the general arrangements, I got the +tenor to myself and told him the difficulty I was in, to which he +replied that it was quite impossible for him to sing that evening, as he +had ordered his dinner at home. I at once explained that I had postponed +it for a few hours, and that a light dinner was being prepared for him +in his dressing-room at the theatre. + +The suddenness of my proposition seemed rather to amuse him, as he +laughed; and I was delighted to get a kind of half-promise from him +that, provided I mentioned the matter to his wife, he would consent. + +At this moment she appeared, asking me what I was talking about to her +husband. One of us began to state what the object in view was, when she +exclaimed-- + +"It's all nonsense; but I can well understand. Mapleson is an +impresario, and wants to ruin you by making you sing." + +She then asked me how I could possibly think of such a thing when the +chintz and the crumbcloth of his dressing-room had not been fixed? + +It was the custom of Mrs. Reeves to hang the walls with new chintz and +place a fresh-mangled white damask cloth on the floor the nights her +husband sang; and on this occasion the sacred hangings had gone to the +wash. + +I explained that I had provided other chintz, but to no effect. Reeves +was hurried to his brougham and driven away, his wife remarking as she +looked scornfully at me: "He's only a manager!" + +It being now half-past six I was in a nice state of mind as to how I +could possibly replace the great tenor in _Faust_. Signor Bettini, it +was true, had on the concert tour sung portions of the garden scene and +the duet of the prison scene in the recital of _Faust_ which we had +given throughout the provinces. Signor Volpini, moreover--only he was on +his death bed--knew the introduction and the trio of the duel scene. +Putting all this together I decided on my course of action. + +First I called on Signor Bettini, requesting him to oblige me by going +to the theatre. + +I next presented myself at Volpini's hotel, when I was informed that I +must step very quietly and say but few words. On entering I was told by +the invalid in a faint whisper that it was very kind of me to call upon +him; and he wished to know whether I had really come to spend the +evening with him. I told him that I had been informed on entering that +my visit must be a short one. + +He asked me again and again what could possibly be done to save his +life, as he had tried all the doctors, but in vain. I said I would give +him my advice if he would only follow it. I then assured him that he had +but one chance of recovery. He must first allow me to mix him a pint of +Château Lafite and a couple of raw eggs, beaten up with powdered sugar, +and come down with me to the theatre, where, after drinking it, if he +was to die, he could die like a man before the footlights. + +A faint smile came over his pallid countenance. Of course he thought I +was joking. But in due course the Château Lafite appeared, and the eggs +were beaten up, and I managed to make him swallow the stimulating +beverage. I put him on his flannel dressing-gown, took the blankets off +the bed, and, wrapping him up in them, carried him myself in a +four-wheeler down to the theatre. + +I explained to him that he would have very little to do, beginning +simply with the few bars of the introduction; after that nothing but the +music he had been in the habit of singing on the concert tour. I +explained to him that although "Mephistopheles," the Prince of Darkness, +would in the eyes of the public transform him from an old man into a +young one, there would be no difficulty about this inasmuch as Bettini +would continue the part. Later on he could sing the trio in the duel +scene, where with his lovely voice a great effect would be produced. + +The long and short of it was I induced him to dress; and all now seemed +in good order. I explained the matter to Titiens, Trebelli, and Arditi; +and as I had not touched a particle of food since nine o'clock that +morning, I went next door to Epitaux's, where I ordered a very small +repast, pending the commencement of the opera. + +I had hardly seated myself at the table when my servant rushed in, +stating that there was a general row going on amongst the artists, and +that they were all going home. The doors of the theatre had been opened, +and the apology for the absence of Sims Reeves, which I had posted on +the outer doors, had been accepted by the public. This was evident from +the fact that over £650 of money was now in the house. The audience must +be already a little irritated by the disappointment, and I knew that any +further one might be attended with serious consequences. I believed that +there would be a riot unless the representation took place. + +On entering the stage-door I met Mdlle. Titiens, who was about to step +into her carriage, going home. She told me it was useless to think of +performing. This was at ten minutes past eight. I begged her to remain. +I gave orders to the hall-keeper not to let anyone out of the place, and +to get two policemen to assist him. I then crossed the stage to the +dressing-room, where high words were going on--first between the two +tenors, and afterwards between their two pretty wives. Mdme. Volpini's +voice was uppermost, and I heard her say to Trebelli-- + +"Of course you will rejoice! My poor sick husband brought out at the +risk of his life, and then simply to undertake an old man's part, with +grey hair and beard concealing his beauty; whilst your husband is to +come on and make all the love in the garden scene, and get all the +applause." + +Mdme. Trebelli responded by snapping her fingers at Mdme. Volpini, and +taking her husband, despite my entreaties, from the theatre. All this +excitement tended to work Volpini up; and, like a true artist, he said +he would do his best--even if he had to walk through the scenes in which +he was unacquainted with the music--rather than let me be disappointed. + +It was now half-past eight, and the opera was on the point of +commencing. This I had ordered should be done punctually. Meanwhile I +had followed Mdme. Trebelli to her apartments in Regent Street. The +excitement had made her quite ill, and she was totally unable to appear +in consequence. I appealed forcibly to her husband, begging him if he +would not sing "Faust" to help me by taking the part of "Siebel." He was +a very good musician, and as at this time he never quitted his wife's +side I knew that he must be intimately acquainted with the music. I +thereupon got him down to the theatre in time for the garden scene, had +his moustache taken off, and put him into his wife's clothes. Everything +went off brilliantly, the male "Siebel" and the dying "Faust" sharing +with the admirable "Margherita" the applause of the evening. + +The sudden exertion, the unwonted excitement, had really the effect of +saving Volpini's life; and he lived happily for many years afterwards. + +During the worst stage of poor Volpini's illness, when, as already set +forth, he persisted in being moved from town to town, wherever his +charming wife had to go, they were both astonished one night to find +that their little girl, a child of three or four years of age, had got +out of bed, and apparently was praying to a large travelling trunk which +accompanied them on all their journeys. Kneeling before the huge box, +the little thing was heard to say: "And make my dear papa well again, or +I will believe in you no more." + +The explanation of this touching mystery was that the little girl had +been in the habit of saying her prayers before an image of the Holy +Virgin, which the family carried with them from town to town. The image, +or picture, was now enclosed within the travelling trunk which had not +yet been unpacked, and the affectionate child addressed it where she +knew it to be. + + + + +CHAPTER VII. + + GARIBALDI VISITS THE OPERA--GIUGLINI'S TROUBLE AT ST + PETERSBURG--GIUGLINI VISITED BY TITIENS--ALARM OF FIRE--PRODUCTION + OF "MEDEA"--GRISI'S LAST APPEARANCE--AN ENRAGED TENOR. + + +IN 1864 my season opened brilliantly, and on the fifth night I induced +Garibaldi, who was then in this country, to visit the theatre; which +filled it to overflowing. On that evening Titiens and Giuglini really +surpassed themselves; and at the close of the opera Garibaldi told me he +had never witnessed such a spirited performance, and that he had been +quite carried away by the admirable singing of the two eminent artists. +The opera was _Lucrezia Borgia_. + +Some few nights afterwards I placed Nicolai's opera, the _Merry Wives of +Windsor_, before the public, under the name of _Falstaff_, introducing a +charming contralto named Bettelheim; who undertook the _rôle_ of "Mrs. +Page," whilst Titiens impersonated "Mrs. Ford," Giuglini "Fenton," +Bettini "Slender," Gassier "Mr. Page," Santley "Mr. Ford," &c., &c. The +magnificent new scenery was by Telbin. The opera met with most +unequivocal success, and was repeated for several consecutive nights. +But, as with so many other operas, the public were so slow in expressing +their approbation that it gradually had to drop out of the _répertoire_. +Shortly afterwards I produced, remounted, Beethoven's _Fidelio_, with +Titiens as the heroine, which was given some seven or eight nights in +succession to the most crowded houses. In the winter I gave my usual +extra performances in the provinces and in London. + +Prior to the close of the London season of 1864 Giuglini signed an +engagement for St. Petersburg, receiving a very large honorarium for his +services. Regarding himself as the only representative of "Faust," he +had not taken the precaution of stipulating for his appearance in this, +or, indeed, any other part in his _répertoire_. On his arrival he was +much mortified to find the Covent Garden artists, of whom there were +several, always working and intriguing together; and to Giuglini's great +dismay the part of "Faust" was assigned to Signor Tamberlik; Patti being +the "Margherita" and Nantier Didiée the "Siebel." Now passed some two or +three weeks before Giuglini could obtain a _début_. One afternoon, about +three o'clock, he was informed by the intendant that he was called upon +to perform the _rôle_ of "Faust," Tamberlik being taken suddenly ill. +This was indeed good news, and he set about arranging his costumes and +looking over the music. Towards six o'clock he heard it rumoured that +Madame Patti would be too indisposed to sing the _rôle_ of "Margherita," +and that he would have to appear with some _débutante_. + +This thoroughly unnerved him, and he himself became indisposed, which he +at once notified to the intendant. At the advice of some friends he was +induced to take a walk, and pay a visit to some acquaintances to spend +the evening. + +About ten o'clock the door was rudely opened without any warning, and an +_employé_ entered, accompanied by two officials, one of whom politely +raised his hat and said, "Signor Giuglini, I believe?" to which the +Signor replied that he was Giuglini. They thereupon immediately left. +Nothing more was heard of this matter until about a fortnight +afterwards. It being pay day for the principal artists, that afternoon +the Imperial Treasurer called at Giuglini's house with a roll of rouble +notes, requesting him to sign the receipt for his month's pay, which +Giuglini at once did. But on leaving, the treasurer begged to draw his +attention to the notes, as a deduction of £150 had been made from his +monthly stipend in consequence of his having left the house on the day +he was reported to be indisposed. He got into a towering fit of rage, +requesting the balance to be handed to him, as he was allowed certain +days of indisposition according to the terms of his contract. The +treasurer replied that according to the provisions of that clause he +should have remained at home in his house on the day of his reported +illness. The arguments became very warm, and Giuglini, in a fit of rage, +threw the whole bundle of rouble notes into the stove, which was then +burning; and from that moment his reason seemed to have left him. + +On the termination of my spring concert tour in 1865 we began a season +of opera in the beginning of March at Dublin, Giuglini promising to join +us at the conclusion of his St. Petersburg engagement, which ended about +that time. + +One morning at breakfast I received a telegram from London: "Come on at +once. Giuglini arrived." I was indeed delighted, and, having notified +the good news to the Dublin press, left immediately for London. On my +arrival at Giuglini's house in Welbeck Street I was told that he was +very much indisposed in consequence of the fatigues of the journey, and +that his mind did not seem quite right. I went upstairs to him at once. +He was very pleased to see me, but to my astonishment he had no trousers +on. Otherwise he was all right. + +I talked with him some time, and advised him to put on the necessary +garment, so that we might start that evening for Dublin. By force of +persuasion I at last obtained his consent to let me put his trousers on +for him, and in the course of an hour succeeded in getting one leg in. I +then ordered some oysters for him, and talked to him whilst I was +coaxing in the other leg. This I at length managed to do, when to my +horror I found the first leg had come out again. After wasting the whole +of the day I found myself too late to catch the Irish mail, and the +Signor still with one leg only in his pantaloons. + +Whilst Giuglini was sleeping I inquired as to the full particulars of +his condition, and was informed that he had arrived from St. Petersburg +in charge of a hired courier, who simply wanted a receipt for him. At +the same time his magnificent fur coats and other costly clothing were +all missing. He had made the journey in second-class, wearing a summer +suit although it was the depth of winter; and on examining his jewel +case I found that the stones had been taken out of everything he +possessed, although the articles themselves were there. It was indeed a +sad affair. I was advised to place him for a short time under the care +of Dr. Tuke, and I had then to hurry back to Ireland. + +On my return to London I went to pay Giuglini a visit at Chiswick, +Mdlle. Titiens insisting on accompanying me. We waited some time during +which we were particularly cautioned not to approach him. At length he +entered; he was delighted to see us and talked quite rationally. We +persuaded the doctor to allow us to take him for a drive, the signor at +the same time expressing a wish to be driven to the Star and Garter, at +Richmond, to dine. To this the keeper, who was on the box alongside the +coachman, objected, promising Giuglini that if he would return to the +doctor's he should have a nice large plate of meat, which seemed greatly +to please him. Giuglini had previously complained to me that he was made +to drink sherry, a wine which he particularly disliked, his ordinary +drink being claret or claret and water. He afterwards sang us "Spirto +gentil" from the _Favorita_, followed by "M'appari" from _Martha_, +singing both airs divinely. The only thing peculiar was that his tongue +was drawn very much to the right, and that he had to stop after every +ninth or tenth bar to straighten it. + +When we got back to the doctor's Mdlle. Titiens and myself stayed to +dinner. During the repast Giuglini, who had been looking forward to his +plate of meat, came into the room exhibiting on a very small plate a +very small piece of meat. + +"Look what they have given me, Thérèse," he said to Titiens. "I am +afraid to eat it," he added, in a tone of irony; "it might give me an +indigestion." + +My firm belief is that if I could have got both Giuglini's legs into his +trousers the day that he arrived in London I should have saved him. +Living something like his ordinary life, among his old companions, he +would have had at least a chance of getting well. + +Thus matters went on until the London season of 1865 opened, which took +place on the Saturday night of the Easter week. I had made a series of +improvements throughout the theatre, by reducing considerably the number +of the private boxes, and enlarging those I retained. I likewise removed +the twelve proscenium boxes, ten each side of the stage, thereby +advancing the drop curtain some 16 feet nearer the public. This gave me +much more room behind the scenes. + +Amongst the new singers I introduced was Miss Laura Harris, who +afterwards, as Mdme. Zagury, achieved brilliant success throughout the +whole of Europe; also Mdlle. Ilma de Murska, a lady who at once took +high rank from her phenomenal vocal qualities. I also presented Signor +Foli, a young artist, who was engaged at the Italian Opera in Paris, and +who soon became a public favourite; likewise Signor Rokitanski, another +eminent basso. Despite the blow I had received in the loss of Giuglini I +went to work with renewed energies, and presented to the public +Beethoven's _Fidelio_, with a magnificent cast, including Titiens, the +incomparable "Leonora." I, moreover, mounted in great style Mozart's +_Flauto Magico_, Titiens being the "Pamina," Ilma de Murska the "Queen +of Night," Sinico the "Papagena," and Santley the "Papageno;" whilst the +subordinate parts were all undertaken by principal artists. + +During the last act an accident occurred, which might have been very +serious, inasmuch as the house was crowded from the stalls right up to +the back of the gallery. In preparing for the final scene some of the +gauze, which had been used for clouds during the evening, caught fire +over the gas battens. Instantly the alarm was given, when one of the +flymen, at the risk of his neck, flung himself across the stage, +balancing himself on a "batten" (a narrow strip of wood, some forty feet +long), while he cut the ropes with his knife, causing the burning gauze +to fall down on to the stage, where it was extinguished by the firemen. +Mr. Santley, who was undertaking the _rôle_ of the "Bird-catcher," +remained on the stage unmoved. He walked forward to the audience, and +addressed them in these eloquent words-- + +"Don't act like a lot of fools. It's nothing." + +This speech had an immediate effect; and Santley continued his song as +if nothing had happened. But for his presence of mind the loss of life +would have been most serious. + +I likewise produced Cherubini's tragic opera, _Medea_; a work considered +by musical amateurs one of the finest dramatic compositions ever +written. No musician ever exercised more influence on his art than +Cherubini. His compositions are of the first authority, so that no +musical library, whether of the professor or the amateur, can claim to +be considered complete without them. The part of "Medea" was represented +by Mdlle. Titiens. In assuming this _rôle_ Mdlle. Titiens certainly +added the final touch of lustre to her lyric crown. I need scarcely say +the opera was magnificently mounted, even to the smallest detail. It +was particularly successful, and still retains its place in the +_répertoire_. I was interested to find in what large numbers the +relatives and descendants of Cherubini were attracted to my theatre by +the announcement of his Medea. Naturally they all expected free +admissions, even to great-grandchildren and third cousins. + +The season was a very successful one. In the autumn I started the +regular provincial opera tour, Mario being my principal tenor, vice +Giuglini. We commenced in Manchester, where Mario's unrivalled +performances in _Faust, Rigoletto, Martha, Ballo in Maschera_, and _Don +Giovanni_ attracted crowded houses. We afterwards visited Dublin, +proceeding thence to Belfast, Liverpool, etc., terminating, as usual, +about Christmas. + +In the early part of January, 1866, I made a very successful concert +tour, giving no less than one hundred and twenty concerts in some +seventy cities in sixty successive days, with two very strong parties: +Titiens, Trebelli, Santley, Stagno, and Bossi in one; and Grisi, +Lablache, Mario, Foli, and Arditi in the other; ending up with a +brilliant series of operas with casts combined from the two parties in +the northern capital and at Glasgow, where Mdme. Grisi distinguished +herself in the _rôles_ of "Lucrezia Borgia," "Norma," "Donna Anna," etc. + +Thus matters went on until the London season. On each occasion when I +visited Giuglini I found no improvement, and it was ultimately decided +that a sea trip might benefit him. He, therefore, left London in a +sailing ship for Italy. I never saw him afterwards. I need scarcely add +that his loss was irreparable. + +I opened my London season of 1866 early in April, for which I engaged a +very powerful Company, including Mdme. Grisi. I announced her engagement +in the following terms:-- + +"Mr. Mapleson has the gratification to announce that he has prevailed on +Mdme. Grisi to revisit the scene of her early triumphs, and again to +appear at the Theatre, her previous connection with which formed one of +the most brilliant epochs in operatic history. Mdme. Grisi will once +more undertake some of the parts which she created, and in her +impersonations of which will be revived the traditions obtained direct +from Rossini, Donizetti, and Bellini. These representations can only +extend for a few nights, and they will derive additional interest from +the fact that Mdlle. Titiens has consented to take part in them as a +mark of respect to one who for so many years reigned absolutely without +a rival on the lyric stage." + +I was justified in making this announcement in consequence of the +magnificent style in which Mdme. Grisi had been singing during our +spring opera tour. + +Grisi seemed interested and affected by her return to the old house of +which she had taken leave twenty years previously. The old _habitués_ +came in large numbers to see her, to hear her, and naturally to support +her with their applause on her first (which proved also to be her last) +appearance. This took place on the evening of May 5, 1866. The Prince +and Princess of Wales were both present. + +When the gondola came down, from which, in the first act of _Lucrezia +Borgia_, the heroine makes her entry, there was breathless attention +throughout the house. The great vocalist had the command of all her +resources, and sang the two verses of "Com'è bello" admirably, omitting, +according to her custom, the _cabaletta_, which Titiens and all other +"Lucrezias" made a point of giving. + +Well as she sang, I noticed some signs of nervousness. She had been +visited by misgivings before the performance began. I had done my best, +however, to reassure her, and was under the impression, judging from the +apparent result, that I had succeeded. But her hands, I remember, just +as she was going on, were extremely cold. I took them in my own, and +found that they were like stone. + +At the end of the first act, on the conclusion of the scene in which +"Lucrezia" is taunted and reproached by her victims and their friends, +Mdme. Grisi, accustomed to the stage of the Royal Italian Opera, +remained too far in front, though at a point where, at Covent Garden, +the curtain would have fallen between her and the audience. It was +otherwise at Her Majesty's Theatre (I refer, of course, to the old +building), where the stage advanced far into the audience department; +and when the curtain came down the "Lucrezia" of the evening found +herself kneeling on the ground (in which attitude she had defied the +conspirators) and cut off by the curtain from the stage behind. This +placed the unfortunate singer in a ludicrous and, indeed, painful +position; for she had a stiffness in one of her knees, and was unable on +this occasion to rise without the help of the stage attendants. + +Mdme. Grisi was, of course, much distressed by this _contretemps_. She +had recourse, however, to the homeopathic remedies which she always +carried with her, and after a time was herself again. These remedies +were for the most part in the form of stimulants, which, however, Mdme. +Grisi took only in the smallest quantities. Her medicine-chest contained +a dozen half-pint wicker-covered bottles, which held, besides orgeat and +other syrups, brandy, whisky, hollands, port-wine, and bottled stout. + +In the second act Mdme. Grisi got on very well, especially in the scene +with the bass preceding the famous trio. In the passionate duet with the +tenor, just when the Duke, after administering the poison to "Gennaro," +has gone away, she made an unsuccessful attempt to reach the A natural; +and the failure caused her much confusion. She got through the +performance; but she ran up to me immediately the curtain fell and +exclaimed that it was all over with her, and that she never could appear +again. + +The notices next morning were sufficiently favourable; but it was +evident that the career of the great vocalist was now, indeed, at an +end. Let me here say a word about Mdme. Grisi's pecuniary affairs. + +After the duel between her husband, M. de Meley, and Lord Castlereagh a +separation took place; and the injured spouse made an arrangement by +which he was to receive out of his wife's salary the moderate income of +two thousand a year. This she was to pay as long as she remained on the +stage. In order that the famous singer might enjoy the use of her own +earnings, I made an agreement with her by which on my provincial tours +she was to sing for me gratuitously, while I at the same time engaged to +pay Signor Mario £300 a week. For this salary the two admirable artists +were ready to sing as often as I liked. They were most obliging; full of +good nature, and without any of the affectation or caprice from which so +few singers at the present day are free. They took a pleasure in their +performances, and thought nothing of playing three or four times a week. +They would have sung every night had I been unreasonable enough to ask +them to do so. + +Far from insisting that she should never be called upon to do anything +that was not expressly set down for her in her written contract, Mdme. +Grisi would often volunteer her assistance in cases where it was really +very useful. In _Don Pasquale_, for instance, while Mario was singing +the beautiful serenade "Com'e gentil!" she would direct the chorus +behind the scenes, singing herself and marking the time on the +tambourine. + +She was invaluable to Mario in many ways, not only in connection with +his art, but also with the occupations of his ordinary life. She was +always punctual, and, indeed, a little before the time; whereas Mario +was invariably late. He had always his cravat to tie or a fresh cigar to +light just when the last moment for catching the train had arrived. He +was the most inveterate smoker I ever knew. He had always a cigar in his +mouth, except when he was on the stage and actually in the presence of +the audience. When he came off, if only for a moment, he would take a +puff at his still burning cigar, which he had carefully left in the +wings where he would be sure to find it again. "Faust" in the garden +scene passes for a few moments behind some bushes at the back of the +stage. During those moments Mario had just time to enjoy a few whiffs, +after which he returned to continue his love-making. + +Mario spent large sums of money on his favourite weed, and thought +nothing of giving away a box of cigars to a friend for which he had paid +(to some friendly tobacconist who had cheated him) £5 or £6 a hundred. + +About this time I charged Mr. Telbin and his talented sons to paint me +the whole of the scenery for Meyerbeer's _Dinorah_, which was brought +out in due course, Ilma de Murska appearing as the demented heroine, +Gardoni as "Corentino," and Santley as "Hoel." It was a truly +magnificent performance, well worthy the reputation of the theatre. + +Shortly afterwards I produced another classical opera, which was gladly +welcomed by all musical amateurs. The work I refer to was Gluck's +_Iphigenia in Tauris_--a work not less remarkable for its intrinsic +merits than for having been the cause of one of the most fierce and +prolonged artistic controversies on record. Paris, ever the _champ de +bataille_ of such contests, was, figuratively speaking, shaken to its +foundations by the antagonistic Gluckists and Piccinists; and the +dispute was only ended by Gluck leaving France. + +This work was likewise magnificently put upon the stage, Titiens, +Santley, and Gardoni really surpassing themselves. + +I afterwards had the honour of introducing Mozart's comic opera, _Il +Seraglio_, in which Mdlle. Titiens appeared as "Constanza," the +remaining personages being entrusted to Dr. Gunz, Signor, Stagno, +Rokitanski, &c. + +One evening, when the opera of _Rigoletto_ was being performed, with +Mongini as the "Duke," feeling tired, as I had been working in the +theatre throughout the day, I went home just before the termination of +the third act. I had been at home about three-quarters of an hour when +my servant hurried up in a cab to inform me that the curtain had not +yet risen for the final act, and that a dreadful disturbance was going +on in consequence of some question with Mongini, who was brandishing a +drawn sword and going to kill everybody. I immediately slipped on my +clothes and went down to the theatre. + +At the stage door, without her bonnet, I met the tenor's charming wife, +the only person, as a rule, who could control him in any way; and she +entreated me not to go near him, or there would be bloodshed. I +insisted, however, on going to his room without delay, as the curtain +was still down and the public was getting tumultuous. I took the +precaution of buttoning my overcoat across my chest, and in I went, my +first words being-- + +"This time, Mongini, I hear you are right (_Questa volta sento che avete +ragione_)." + +With this preliminary we got into conversation, but he still remained +walking up and down the room with nothing but his shirt on and a drawn +sword in his hand. I saw that I had to proceed very slowly with him, and +began talking on indifferent matters. At last I asked him the details of +all the trouble. He thereupon explained to me that the master tailor, +who had been requested by him in the morning to widen his overcoat by +two inches, had misunderstood, and contracted it by two inches. I wished +to have a look at the dress, which, however, was lying on the floor torn +to pieces. I assured Mongini that the man should be cruelly punished, +and he and his family put upon the streets to starve early the next +morning. + +He then got calmer, and I casually observed, "By-the-bye, is the opera +over yet, Mongini?" to which he replied, "No, it is not." + +"Never mind that," I continued; "the public can wait. Everyone, by the +way, is talking of the magnificent style in which you have been singing +to-night." + +His eyes brightened, and he said he should like to go on with the opera. + +"Not at all a bad idea!" I remarked. + +"But I have no dress," said Mongini, rather sadly; "it is destroyed." + +I suggested that he should wear the dress of the second act, putting on +the breastplate and the steel gorget with the hat and feathers, and he +would then be all right, and "La Donna e Mobile" would make amends for +the delay. He dressed and followed me to the stage, when I made the sign +for the stage manager to ring up the curtain, greatly to the +astonishment of Mongini's wife, who was fully expecting to hear that I +had been run through the body. + +The next day at twelve o'clock, as per appointment, Mongini came to my +office to be present at the punishment of the master tailor. I had taken +the precaution to inform the tailor, who was a single man, that he had a +wife and four children, and that he was to be sure and recollect this. +I called him into my room in the presence of Mongini, and told him +gravely that he with his wife and children must now starve. There was no +alternative after the treatment Mongini had received the previous +evening. + +Mongini at once supplicated me not to let the children die in the +gutter, as it might injure him with the public, and he ended by +promising that if I would retain the tailor in my service he would sing +an extra night for nothing. + + + + +CHAPTER VIII. + + PAYMENT AFTER PERFORMANCE--DISCOVERY OF MADGE ROBERTSON--MARIO AND + THE SHERIFF--GENEROSITY OF THE GREAT TENOR--DÉBUT OF CHRISTINE + NILSSON--DESTRUCTION OF HER MAJESTY'S THEATRE--A GREAT + PHILANTHROPIST. + + +AT the close of the London season of 1866 we went to Ireland for the +usual autumn operatic tour, stopping _en route_ at Liverpool to give a +morning concert. The rush was so great that all the metal cheques for +the half-crown seats were exhausted and we had to use penny pieces. +Numbers of the public found out, therefore, a ready way of getting in +without payment. As soon as I observed this, and as there were still +many hundreds unable to obtain admission, I conducted them across to +another door which led into the orchestra. There being no money-taker, I +let some four hundred of them crowd in, impressing upon them that they +would have to pay half-a-crown apiece as they came out; and I must add +that every one paid up punctually. + +We left Liverpool after the concert for Dublin, where we fulfilled a +very profitable engagement. + +After leaving Dublin we went, early in October, to Leeds, and afterwards +to Hull, at which latter place I recollect well that a full rehearsal of +_Les Huguenots_ was necessary in consequence of a new "Queen" having +joined the company. Both Mario and Titiens complained of the incident +and wondered how they were to finish the rehearsal in time to dine by a +quarter past three, it being a general rule with artists not to eat +later than that hour when they have to sing the same evening. We began +the rehearsal early; and it was not until after two that it was +concluded. The dinner being nearly ready at the hotel, I went in a +carriage to fetch Mario and Titiens back from the theatre without loss +of time. At a quarter past three I found them both seated in the stalls, +witnessing a morning performance, at which a Miss Madge Robertson was +playing in a piece called _A Wolf in Sheep's Clothing_. So rivetted to +the spot were Titiens and Mario--both exclaiming "Do not disturb us, let +us wait a little longer"--that it was nearly five o'clock before I got +them home, when it was, of course, too late to dine. Not that they +regretted this. They both told me that I ought to write to every London +manager telling them what a charming actress they had discovered. I need +hardly say that the Miss Robertson of those days is now Mrs. Kendal, +more perfect in her art than ever. + +I again started my concert tour in the early part of January, 1867, with +Titiens, Trebelli, and others; and was as usual pre-eminently successful +all along the line. Mario joined us about the 7th March in Scotland. + +About this time he experienced considerable worry through being served +with various writs for bills of exchange, for which he had received no +consideration whatever, and which had been accumulating for many years. +In more prosperous times preceding the period in question he had +frequently assisted young artists, painters, sculptors, and Italians +generally, who had come to this country with recommendations to him, and +who had nearly all proved most ungrateful. It was computed that over +£40,000 had been distributed by the great tenor on various occasions +amongst his compatriots and others seeking aid. + +I recollect meeting at Fulham one Sunday at dinner a young sculptor who +had arrived with a letter of recommendation to Mario, and who on +presenting himself exclaimed that he had not come to borrow money, +hearing how much victimized Mario had been by others. All he wanted was +to bring a piece of sculpture from Rome to London, for which he already +had a purchaser in view; and if Mario would but accept a bill at two +months, which he then had with him, he would within a month have sold +his work and the money could be put to Mario's credit, so that the bill +would be punctually met. In fact, every possible device was resorted to +by persons well acquainted with his generous nature--which brings me to +the case in point. + +We had gone through a most arduous tour, and Mario had been singing four +times a week throughout the whole time, and with most brilliant voice. +As he had sung four nights running during the week I am speaking of, and +was to be replaced the following evening (Saturday) by Signor Tasca in +the _Huguenots_, he devoted his last day to the packing of his luggage, +intending to leave by an early train for York, whence, after a night's +rest, he would go on to London, presenting himself on the Monday for +rehearsal at the Royal Italian Opera, Covent Garden, where the season +was to commence on Tuesday. + +In the hall at the Edinburgh Hotel, where Mario had put up, a Sheriff's +officer was waiting for him with a writ or an attachment for £100; and I +thought to help him out of the dilemma by the following device, knowing +how delicate and sensitive he was. I called to bid him good-bye, taking +with me a closed envelope containing a £100 note. I by degrees gave him +to understand that I had been looking about the city for some little +souvenir, but without success, and as his taste was so superior to mine, +if he would select one in memory of the pleasant time we had spent +together, I should feel obliged. I at the same time handed him the +envelope. I was on the point of leaving the room when a note was +brought to me, requesting me to come to the theatre at once, as Tasca, +the new tenor, had been taken ill at the rehearsal, and was obliged to +go home. Mario, noticing signs of displeasure across my brow, insisted +upon knowing the reason; and after some pressure I informed him that the +new tenor, who was to replace him, had fallen sick, and that I must be +off to see how the matter could be remedied. + +My dear friend patted me on the shoulder, and said he knew of a way. The +opera to be performed being _Les Huguenots_, for the benefit of Mdlle. +Titiens, he would try, he said, to satisfy the public in the part of +"Raoul," and thus help me out of my difficulty. I readily acceded, and +asked him to name any terms he liked; but he assured me that he should +consider himself amply repaid if I would be present at Covent Garden on +the following Tuesday, when he was to appear as the "Duke" in _Un Ballo +in Maschera_, as that would encourage him. I thanked him, and was again +leaving when he called me back to express his displeasure at my having +offered him the hundred-pound note in the envelope, requesting me at +once to take it back. This I, of course, declined to do, until at last +he said-- + +"If no one is to have it, it had better go into the fire; but sing I do +not unless you allow me to return it to you at once." + +All argument was useless. Then reluctantly I left him. + +The following Monday night I started for London, where I attended the +opening of the Royal Italian Opera the next evening, and had the +pleasure of applauding Mario, and complimenting him in his +dressing-room, after the second act. He could not express sufficiently +his delight at my being present. + +The London season of 1867 was remarkable for the first performance in +England of Verdi's _Forza del Destino_. + +Prior to the commencement of this season my attention had been drawn to +a young Swedish singer, named Christine Nilsson, who had appeared at the +Théâtre Lyrique of Paris, and was attracting a certain amount of +attention. I went over and heard her in the _Magic Flute_, and was +delighted with the purity of her voice. She was also singing _La +Traviata_ and _Martha_. I at once concluded an engagement with her. + +Before disclosing the fact to Arditi, or any other member of my Company, +I invited Mdlle. Titiens and Mdme. Trebelli, with Signor and Mdme. +Arditi, over to Paris for a fortnight's holiday prior to the +commencement of our laborious London season. Amongst the places of +amusement we visited was the Théâtre Lyrique, where the Swedish singer +was that night filling the _rôle_ of "Martha." I must say I was not +impressed myself, whilst the remainder of the party thought nothing +whatever of her. I, therefore, refrained from even hinting that I had +already engaged her. As the time approached, the lady insisted on making +her _début_ as "Martha." I plainly foresaw that it would be the +greatest possible mistake to acquiesce in her desire; and, after a +lengthy discussion, Verdi's _Traviata_ was decided upon. I at once +instructed a Bond Street dressmaker to make her four of the most elegant +toilettes possible, discarding _in toto_ the costume of the 16th century +so far as "Violetta" was concerned. + +At all times it is a difficult thing for a manager to employ with +advantage assistants placed among the audience to support either a new +singer or a new piece; for grave mistakes are sure to be made, thus +defeating the object for which the supporters were intended. I have +often known singers send in friends to applaud; but they invariably +begin their uproar on the appearance of the singer, even before he or +she has uttered a sound. + +On one occasion I recollect at Her Majesty's Theatre a singer appearing +in _Il Trovatore_, and about a dozen bouquets falling at her feet from +the top boxes before she had sung a note. + +I saw that great judgment was necessary, while convinced in my own mind +that I possessed a jewel of the first water. I, therefore, gave the very +simplest instructions as to the amount of encouragement necessary for my +fair Swede in order to ensure the rapture of London; knowing that when +once serious attention had been drawn to her she could do the rest +herself on her own merits. Being very fond of rowing in my spare time on +the River Thames, I made an arrangement with the head-boatman at Essex +Stairs, near where I resided, to supply me with some twenty-five +horny-handed watermen, who were merely told that they should receive one +shilling apiece provided they did _not_ applaud Mdlle. Nilsson--the lady +who would appear on the stage at the beginning of the opera, wearing a +pink dress. They were moreover informed that when the first act was over +and the curtain down, they would be paid a shilling apiece for each time +they could get it up again; and I believe they succeeded some five or +six times in their repeated attempts. That was all that was ever done +for Mdlle. Nilsson; her extraordinary talent did the rest. At all +events, it gave her a fair start, and her _début_ was the talk of +London. + +Mdlle. Nilsson's performances were continued throughout the season with +increasing success, she appearing successively as "Martha," "Donna +Elvira," and the "Queen of Night" in the _Magic Flute_. She repeated the +_Traviata_ again and again, bringing the season to a most brilliant +termination. + +After a short holiday I recommenced my regular autumn tour in Dublin, +repeating the usual Liverpool morning concert with the usual success. + +After visiting Liverpool and Manchester, I returned to London and opened +my season on the 28th October. + +In consequence of my having engaged a female harpist I received a round +Robin from the orchestra, threatening to leave at the end of the week +unless I at once replaced her by a male performer. I insisted on +receiving the week's notice to which I was entitled, and, seeing +evidence of a conspiracy, took out a summons against every member of my +orchestra. On the day fixed for the hearing the musicians excused +themselves, through their solicitor, from appearing, their case not +being ready. Afterwards I myself was unable through indisposition to +appear on the day to which the case had been adjourned. At this there +was much groaning among the defendants, and threats were uttered. The +Trade Unions were very active just then throughout the country, and the +players had been promised unlimited support towards maintaining their +menaced strike. At last the case was heard; but on the very day before +the one fixed by the Magistrate for giving his decision an occurrence +took place which rendered all further proceedings in the matter +unnecessary. + +Towards the end of November an insurance agent called upon me urging the +necessity of effecting an insurance on my properties, scenery and +dresses, which had been accumulating since the beginning of my tenancy. +I replied that in consequence of the high rate of premium it was better +to let things take their chance. Besides, there was no probability, +under my management, of the theatre ever being destroyed by fire. +Eventually we came to terms as to the rate to be charged. + +About this time a proposition was made to let the theatre to Professor +Risley for his Japanese performances, to run from Christmas to February. +A large sum of money was to be paid to me, and it was verbally agreed +that my treasurer should be retained by the new-comers to superintend +the front of the house and the monetary arrangements. + +On the 7th December, during a rehearsal of _Fidelio_, my insurance agent +called to complete the insurance. I showed him the inventories of the +different departments, and agreed to insure for £30,000; but as the +costumier's list was not at hand, and the costumier himself was out at +dinner, the agent suggested my giving him £10 on account and keeping the +matter open until the following Monday, when he would call again. Just +as he was leaving the room my treasurer came in, stating that he had +just heard that the Japanese people did not intend to avail themselves +of his services after he had given them all the information respecting +the working of his department. + +I asked whom they _had_ engaged. He mentioned the name of Mr. Hingston, +at which I started, and said-- + +"If Hingston is engaged, good-bye to the theatre. It will make the +fifteenth that will have been burnt under his management." + +On hearing this, the insurance agent stepped across the room and again +suggested that I should hand him the £10 to keep me right till Monday. + +I jokingly said: "There is no fear;" and he took his departure. + +I remained working in my office at Pall Mall until about six o'clock +that evening. As I was engaged to dine at Mdlle. Titiens's in St. John's +Wood, I had but a few moments to put my head into the box-office, which +was just closing, and ask Mr. Nugent for some opera tickets for the +following night. I did not, according to my custom, go through his +office on to the stage (which I might have done while he was getting out +the tickets), fearing I should be too late for the dinner. + +About half-past eleven o'clock that evening our party was alarmed by a +violent ringing of the bell. Then my servant rushed in with his clothes +very much torn, uttered some inarticulate sounds, and fell on a chair, +pointing upwards. On looking out of the window we saw that the sky was +bright red, although we were four miles from the fire. Mdlle. Titiens +and Signor Bevignani exclaimed with one voice: "It's the theatre!" + +I hastened down at once, accompanied by Bevignani, only to find +impassable barriers of soldiers and populace, and it was not without +great difficulty I could approach the building. On my pointing out to +the firemen certain doors which they ought to break open in order to +recover wardrobes, music, &c., I was told to "mind my own business." +They then went to quite another part and began chopping and breaking, +whereas had they allowed themselves to be guided by me they might have +saved a considerable portion of my property. It was not until three +hours afterwards that the fire reached that part of the theatre which I +had pointed out as containing things which might have been saved. + +Lord Colville was very kind, and with his assistance I reached one +portion of the building, to which he accompanied me, enjoining me to +save engagements or any important documents in my private rooms at Pall +Mall. But I was so bewildered that all I could do was to seize a dress +coat and an opera hat, with which I came downstairs, leaving all my +papers and documents on the table. I remained until two or three in the +morning. Then, my presence being useless, I went home to change my +clothes, which were freezing on me, and next hurried to Jarrett, my +acting manager. + +Jarrett was in bed. But he had already heard of the calamity, and +expressed great regret. I desired him at once to go over to Chatterton, +the then lessee of Drury Lane, who resided in the neighbourhood of +Clapham, and endeavour to secure his theatre from March till the end of +July before he could hear of my disaster. + +"Go as quickly as possible," I said, "and if the newspaper is lying +about be careful he does not see it." + +On arriving at Chatterton's the first thing Jarrett saw, lying on the +hall table, was the _Times_ newspaper. He threw his top coat over it, +and waited quietly downstairs until Chatterton, who was dressing, could +receive him. Then, like the able diplomatist he was, without appearing +at all anxious, he concluded a short agreement whereby I was to have +the use of Drury Lane for the following spring and summer seasons, with +a right to renew the occupation for future years. By half-past nine +o'clock Mr. Jarrett was able to hand me the agreement, and it was not +until half-past ten that Mr. Gye drove up to Mr. Chatterton's to inform +him of the disaster Mapleson had met with, and at the same time to offer +him £200 per week provided he did not let Drury Lane for Italian Opera. + +The day after the fire I received letters of sympathy from all parts of +the country; likewise telegrams of condolence, including one from Her +Majesty the Queen, which greatly affected me. In fact, my nerves were so +unstrung that I was hardly master of myself. In the course of the next +day His Royal Highness the Prince of Wales came to see me. I showed him +over the ruins of what the day before had been the Opera-house. After +his departure I was so unnerved that I took to my bed in the adjoining +hotel, and remained there some two weeks. + +The Monday after the fire the insurance agent, with whom I had neglected +to do business, called upon me to assure me of his deep sympathy, since +if I had paid him the £10 on account of the proposed insurance he would +now have had to give me a cheque for £30,000. I told him that I was +exceedingly glad I had not paid him the £10, as I certainly should have +been suspected of having myself caused the fire, and should never +afterwards have been able to set myself right with the public. + +Prior to my recovery, amongst the numerous callers was one particularly +sympathetic gentleman, who came in a carriage and pair, and said he +would see that the theatre was rebuilt, asking, as it were, my +permission for this. I was deeply touched by his kindness. Some short +time afterwards he wrote saying that he thought it better, for my sake, +that Covent Garden should be closed, and that he had seen Mr. Gye and +made terms for its purchase. On a later occasion he called upon me, and +stated that the site of Her Majesty's Theatre, which had then been +cleared by Lord Dudley, being such a desirable one, he was in treaty +with the Bank of England to lease it to them at a considerable ground +rent, they erecting the building. By this means, he explained, the +£80,000 then lying in consols for the purpose of re-erecting the theatre +could be handed over to me. But he ultimately consented that I should +give him half. + +Notwithstanding all my troubles, within three weeks after the fire I was +already on the road with a strong concert company for the usual spring +tour; all my spare time being utilized in the creation of a new +wardrobe, music library, etc. Whilst at Manchester Mdlle. Titiens aided +me kindly in the purchase of various goods, stuffs, cottons, needles, +etc., etc.; all the prime donne of the Company volunteering their +services as dressmakers in order to have everything ready for my Opera +season, which was to commence early the following month in Glasgow. + +Being under the belief that this fire had cancelled the contract I had +already made at the Theatre Royal, Glasgow, I got entangled, in my +mistake and hurry, into an engagement at another theatre, the Prince of +Wales's; and as the time approached for my coming to Scotland both +managers threatened me with an attachment if I did not fulfil my +engagement. In fact, I found myself announced at both houses, with war +to the knife threatened by the two rival managers. At one time they +proposed to combine against me and leave me, with my expensive Company, +outside in the cold. But about ten days before the date fixed I paid a +visit to each, when, out of consideration for me personally, they both +agreed to have me alternately at their theatres. This caused great +excitement in the city, and as the adherents of each manager mustered in +force the receipts at both houses were very great, so that eventually +each manager had taken more money in the half number of representations +than he would have received had I given him the full number. + +Prior to the opening of my London season of 1868 I received another +visit from my philanthropic friend, Mr. Wagstaff. He told me that he had +purchased Mr. Gye's interest, showing me the agreement, and he +considered that it would be more desirable that Covent Garden for the +future should be run by a Company, of which I should be the manager, +receiving some £20,000 cash as a consideration for my goodwill and for +any property I might have in music or other effects, with a salary of +£3,000 a year as long as I chose to retain my post, and a fair share in +the profits. + +I became quite uncomfortable at having so much wealth suddenly thrust +upon me, and wished I were back in my old position of trouble and +anxiety. In due course all the necessary documents were signed, Mr. Gye +at the same time writing a letter to a high personage, in which he +stated that his long-sought desire to quit the cares of management had +at length been satisfied, and strongly urged that all patronage should +now be transferred to me, as the shattered state of his health would +preclude him for the future from taking part in operatic affairs. On +entering upon my duties I began to reorganize the establishment by, in +the first place, relieving myself of some sixty old choristers who had +been engaged from time immemorial, and introducing in their stead my +fresh, full-voiced young Italians whom I had imported the previous year. + +One evening a card was brought to me from a young gentleman, the son of +an old musical friend of mine, requesting an interview. He told me that +he had been promised the secretaryship of the Grand Opera (meaning Her +Majesty's and Covent Garden, united under the new arrangement) for seven +years at a salary of £800 a year, provided he lent £200 for a month to +my philanthropic friend, who had organized the whole thing. It appeared +to me like a dream. I could not understand it; but still, as nothing +astonishes me in this world, I took it as a matter of course, and later +in the day went over to Wandsworth to call on Mr. Gye, in order to see +how matters stood. + +On my entering, Mr. Gye said how pleased he was to leave operatic +management for ever, and that he wondered how he had found the nerve to +continue it so long. Before I could say a word to him, he desired me to +be seated and handed me a cigar, when he began to inform me of his plans +for the future. He told me he had secured by private treaty a vast +estate in Scotland of some 20,000 acres, with the right of shooting and +fishing. He was arranging, moreover, to purchase a large estate in +Oxfordshire. Various guns had been ordered, with fishing rods and other +appurtenances. Steps, too, had been taken for the sale of the house in +which he was then living. + +I made two or three attempts to get a word in, but without success; and +at last I had scarcely the courage to hint that the projected +arrangements might, possibly, not be carried out. + +I explained, however, that on the following Monday a small payment of +£10,000 would be due to me; also that a further deposit on Drury Lane +would become payable, and that I should make that deposit, as it was +probable, nay, very possible, that I should be called upon to resume my +position at Drury Lane, instead of Covent Garden. I at the same time +recommended Mr. Gye at all events to be prepared to open Covent Garden, +as it wanted but some three or four weeks to the beginning of the +season. This he replied he could not do, as the deposit he was to +receive would not be payable before some three or four weeks. He still, +moreover, doubted all I had been telling him. + +On the Monday following I attended at the Egyptian Bank, which had been +specially hired for the occasion, and on entering with my order for the +payment of £10,000, found one small boy seated on a very high stool, +drawing figures on a sheet of blotting paper. On my demanding £10,000 +the boy turned deadly pale and was at first inclined to run. I explained +to him that it was not his fault if the money was not forthcoming, but I +requested him, in the presence of a witness I had brought with me, to +present seven letters which I already had in my pocket, each one +containing notice to the Directors that, they having failed to pay me my +money at the appointed time, my contract as general manager was at an +end. I at once informed Gye of what had occurred, recommending him again +to get his Company together and re-engage Costa and the orchestra, as my +own prospectus was to come out the middle of that week. + +From what I afterwards learned, the £200 my musical friend's son was to +have advanced prevented some thousands of circulars from being posted +for want of stamps, and the printer from delivering the remainder of the +circulars he had prepared for want of a deposit. I must add that Mr. Gye +repeatedly thanked me for my straightforward conduct in preventing him +from being practically ruined. + +Considerable changes were necessary in adapting the Theatre Royal, Drury +Lane, for Italian Opera. I was obliged to have sundry discussions with +the Committee before I could be allowed to alter the floor of the pit +and boxes, and to take about twenty feet off the stage, its removal +enabling me to add some two or three rows of stalls. I had, moreover, to +decorate, clean, and carpet the house from top to bottom, the outlay for +which, irrespective of the rent, cost me from £3,000 to £4,000. A +further difficulty presented itself, as there were some six or seven +hundred renters who were at that time allowed free admission to any part +of the theatre, and it was only by temporizing with their +representatives that I ultimately made an equitable arrangement +satisfactory to all parties. + +The season opened in due course, and a magnificent Company I was enabled +to introduce: Mdlle. Titiens in the zenith of her powers; Christine +Nilsson, who had made such a prodigious success the previous season at +Her Majesty's; also Miss Clara Louise Kellogg, Mongini, Fraschini, +Santley, etc. The performances were really of the first order, and +Mozart's masterpieces were given with such strong combined casts as to +attract the whole of London. In fact, the success was such as to +paralyze the efforts of the rival manager. + + + + +CHAPTER IX. + + PROPOSAL FOR AN OPERATIC UNION--TITIENS IN DUBLIN--HER SERVICES AS + A PACIFICATOR--AUTUMN SEASON AT COVENT GARDEN--THE COMBINATION + SEASON--IMMENSE SUCCESS--COSTA'S DESPOTISM--AN OPERATIC + CONSPIRACY--LUCCA AND HER HUSBANDS. + + +DURING my successful Drury Lane season, in the month of June, 1868, a +letter addressed to me was left by an unknown person in the hall. The +superscription on the envelope was in a disguised hand, but the letter +enclosed was in the writing of Mr. Gye. + +The manager of the Royal Italian Opera proposed a coalition with the +manager of Her Majesty's Theatre, and Mr. Gye suggested a personal +interview on the subject. Here, however, is his letter:-- + + [COPY.] + "Springfield House, + "Wandsworth Road, + "June 19th, 1868. + +"DEAR MR. MAPLESON, + +"The last time you were over here I believe we were pretty well agreed +that our interests lay rather in the combination of the two operas than +in fighting one another. As we shall both of us be making our +engagements for the next year, if anything is to be arranged between us +it is time it were thought about. I should be very glad to see you on +the subject if you still remain in the same mind as when I saw you last. +It would perhaps be well if we did not meet either at Drury Lane or at +Covent Garden. Would you mind coming over here, or would you prefer our +meeting somewhere in town? This matter, for obvious reasons, had better +remain strictly _between ourselves_ for the present. + + "Yours very truly, + "(Signed) FREDERICK GYE. +"James Mapleson, Esq." + + * * * * * + +When I met Mr. Gye by appointment his first proposition was that we +should work together at either of the two theatres, the other one being +kept closed; and that I should take a quarter of the profits. + +I suggested, as a more equitable adjustment, an equal division of +profits; and to that Mr. Gye at last agreed. + +Articles of partnership were then drawn up binding us to remain together +for three years on the basis of half profits, and our agreement was to +be kept secret for the next six months. + +At the close of my engagement at Dublin, in the beginning of October, +1868, a great demonstration took place in honour of Mdlle. Titiens, it +being the last night of the season. Weber's opera of _Oberon_ was +performed, and after Titiens had sung the exacting air of the third act, +"Ocean, thou Mighty Monster," a most animated scene took place, many +requiring the great air to be repeated, whilst others called out the +names of different Irish songs. The uproar lasted upwards of fifteen +minutes before silence could be restored, when it was decided that "The +Last Rose of Summer" should be given. + +But the orchestra had no music and the conductor would not venture a +performance without it. Further delay and further uproar took place, +until at length Signor Bettini, who had undertaken the _rôle_ of +"Oberon," came from the wing, pulling on a cottage piano, whilst Titiens +helped the conductor to get out of the orchestra in order to accompany +her. As Bettini was turning the piano round, in consequence of the slope +of the stage it fell right over, causing an immense cheer from the gods, +when no less than five demons (who were to appear in the next scene of +_Oberon_) rushed from the wings to raise it up again on its legs. At +length order was restored, and such was the silence that when Mdlle. +Titiens was on the point of beginning the beautiful air I remember +taking a pin from my collar and dropping it on the stage in order to +give a practical and effective illustration of the old saying that you +"could hear a pin drop." + +No sooner had the singer finished the last verse than a roar of +admiration was heard, so loud, so overpowering, that I can only compare +it to the belching forth of huge pieces of artillery. At the close of +the opera a great crowd, composed of the public and the medical students +who habitually occupy the gallery (always without their coats, sometimes +without their waistcoats, occasionally without their shirts), was +awaiting the Queen of Song's departure. They had actually cut the traces +of her carriage, and from a ship chandler's opposite had got two long +coils of rope which they fastened to the vehicle. Titiens shortly +afterwards appeared, amidst deafening cheers, and the procession +started. No less than a dozen of the singer's most enthusiastic admirers +were on the roof letting off fireworks. All went on in something like +order until with our two long strings of volunteer horses we arrived at +Dawson Street, when, in consequence of no previous arrangement having +been made, one half of the team went up Dawson Street and the other half +down Nassau Street, the result being a violent collision against +Morrison's Hotel. It was not without considerable difficulty and delay +that things could be readjusted. + +On our arriving at Shelbourne Hotel the police found themselves +powerless to cope with the multitude. But we had been accompanied by a +young man, who, standing on the carriage step, had repeatedly addressed +Mdlle. Titiens both in German and in French, telling her that she had +"nothing to fear." On arriving at the door of the Shelbourne he gave a +shrill whistle as a call for volunteer special constables, when a +passage was at once cleared. It being a wet night the enthusiasts around +us made a carpet for Titiens to walk on by throwing their coats on to +the pavement. The crowd remained opposite the hotel for over an hour, +during which time repeated calls were made for a song. But the gas of +Mdlle. Titiens's sitting-room had been turned low, and the blinds being +drawn down she hoped it might appear that she had retired for the night. + +Shortly afterwards, however, a deputation came up accompanied by one of +the chief constables, stating that if madame could not disperse the +crowd the consequences would be very serious, as it refused to move. She +at last felt compelled to go to the window of her hotel, when, after +entreating for silence, she addressed the crowd in these words: "I will +sing you 'The Last Rose of Summer' provided you promise to go home +immediately afterwards like mice." + +And sure enough they did, for at the conclusion of the song the crowd +melted away in dead silence, not one person being left. + +The inspector afterwards remarked to Mdlle. Titiens that if ever a +revolution broke out in Ireland they would send over for her to quell +it. + +During the stay of my Opera Company at Dublin I allowed some of the +principal artists to sing in various churches for charitable purposes. +Mdlle. Titiens's services were sought for far and wide, and she was +always ready to devote her Sunday, which was the only day of rest she +had during the week, to the cause of charity. On one occasion I +recollect her singing in a poor neighbourhood near Thomas Street, when +many persons actually stooped to kiss the ground where she had trodden. +She was held in the highest esteem by the clergy. + +One Saturday evening, after the termination of the opera, several of my +Italian choristers were wending their way home when they were accosted +by some rowdy, good-natured Irishmen, who insisted upon having a drink +with them. They, not comprehending the language, thought the men were +robbers, and placed themselves in a position of defence, whereupon they +were boldly attacked by the sons of Erin, and a free fight ensued, in +which some two or three Irishmen got stabbed. About noon the following +day it was notified to me that some four or five of my choristers were +in prison on account of this serious affair, and would be kept there +until the wounded men, who were then in hospital, were sufficiently +recovered to appear against them. I at once sought Mdlle. Titiens's aid, +who went with me to one of the priests, with whom we afterwards visited +the prison where our choristers were. They insisted that it was only a +small affair, and that they had defended themselves against their +aggressors. + +They seemed also in great distress because the police authorities had +taken away their week's salary which they had in their pockets, together +with such pieces of jewellery or keys they had about them. By the advice +of the priest we afterwards visited the hospital, and I, accompanied by +the surgeon, inspected their wounds, which were triangular, as if caused +by an Italian stiletto. + +My clerical friend was very kind, and after a deal of whispering with +the hospital surgeons, and afterwards with the wounded men themselves, +he stated that they might have done it in accidentally falling down, but +that it was not their intention to appear against the choristers, who +were afterwards bailed out by Mdlle. Titiens. They duly appeared the +next morning at the police-court and were dismissed, no one appearing +against them. + +I omitted to inform the reader that on the conclusion of the partnership +agreement with Mr. Gye, which was to be kept a secret for the next six +months, I rented the Royal Italian Opera for the autumn of 1868 for this +double reason: first, that Her Majesty's Theatre was in ashes, and that +I had no place wherein to give my autumn performances; and secondly, +that my being seen about Covent Garden would in that case cause no +surprise, whilst it would enable me occasionally to meet Mr. Gye in +order to discuss our coming arrangements. + +During my autumn season at Covent Garden I discovered Mdlle. Scalchi, +the eminent contralto--then singing at a building which had been a +circus. Struck with the lovely quality of her voice I engaged her for +five years, events fully confirming my judgment on that occasion. About +this time I first brought to this country Miss Minnie Hauk, a young +singer about 18 years of age. She made her _début_ at Covent Garden as +"Amina" in _La Sonnambula_, her next part being that of "Cherubino" in +Mozart's _Nozze di Figaro_. + +After due discussion with Mr. Gye it was decided that our joint +enterprise should be carried on at the Royal Italian Opera pending the +rebuilding of my new theatre. + +As the time for opening the season approached Mr. Gye suggested that we +should ourselves make all engagements with the orchestra, instead of +leaving that duty, as heretofore at the Royal Italian Opera, to Mr. +Costa. This famous conductor was a despot, not only in the musical +direction of his orchestra, but in other ways. He made his own +engagements, and, leaving, of course, the manager to pay the appointed +salaries, took care to be always present on pay day; when, in the case +of any short-coming on the part of a musician, he would stop a portion +of the salary payable to him, if not the whole amount. It was his custom +to arrive at the theatre half-an-hour before the time fixed for the +beginning of the evening's performance. He then took up a position as if +of inspection, and, as he sat on the stage, the players passed him one +by one as if in order of review. I remember on one occasion a young +violinist arriving with mud on his boots, and in a frock coat. Costa +pulled him up short, and asked him how he could venture to present +himself in such a condition. The musician replied that he had just +arrived from the Crystal Palace, and had not had time to make his +toilet. + +"Go home instantly," said Costa, "and come back with clean boots and in +evening dress." + +By the time the violinist (who lived in some distant suburb) got back +the second act of the opera was nearly over; and when on pay-day the +offender presented himself for his monthly salary he was informed that +by reason of his absence on the occasion in question one week's salary +was stopped. This sort of treatment the musicians had to put up with, +or, as the only alternative, to accept their dismissal, which really +meant the loss of the provincial festivals and of the Sacred Harmonic +Society. + +It must be added in favour of Costa's despotic ways that he never +allowed any musician that he had engaged to be replaced by a substitute, +even at rehearsal; a practice which in orchestras less severely governed +has become only too frequent, to the great detriment of the +performances. + +Costa, meanwhile, by mere force of will, had gained so much authority at +the Royal Italian Opera that the manager feared him, and was most +anxious to be rid alike of his services and of his tyranny. + +When it was intimated to Costa that the joint managers proposed to +reserve to themselves the right of making direct engagements with the +musicians for the orchestra, he would not hear of such an arrangement, +and, much to Mr. Gye's satisfaction, resigned his post. + +In view of the new works we proposed to give, and of the large number of +rehearsals that would be required, two conductors were now engaged, +Arditi and Vianesi. + +Long before the theatre opened we had abundant signs of a prosperous +season, and as the event drew near money poured in from various sources. +We received in private subscriptions as much as £12,000. The +booksellers' subscriptions amounted to £29,000 more, and in the course +of the season the box-office sales alone brought in another £29,000. +Altogether, counting profits from the Floral Hall concerts and sums +received for the services of singers at public as well as private +concerts, we received during the season of 1869 a grand total of +£80,000. + +On the other hand, we paid away in artists' salaries £22,000; for +working expenses (including chorus), £13,000; orchestra, £7,500; sundry +charges, £2,000. + +Our whole expenditure came to £44,000, leaving us a clear profit of +about £36,000. + +Out of my half-share of this profit I had to pay for insurance and poor +rates £3,000. Against this Mr. Gye put the use of the theatre, which was +his property. + +By our articles of partnership Mr. Gye had stipulated that he should +"take no part in the management of the theatre unless he wished to do +so." This wish came upon him after about a fortnight. + +Our success during this season proved that though two rival Italian +Operas can scarcely be carried on without loss on both sides, one +Italian Opera can be made the source of very considerable profit. Even, +however, with a monopoly there are two things essential to success. The +operatic manager who would prosper must appeal to the public with a very +strong Company, and with new works. Such casts as we secured for some of +the recognized masterpieces of dramatic music could not fail to fill the +theatre. + +Among the new works or revivals produced at the Royal Italian Opera +during the season of 1869 may be mentioned: Fidelio, The Magic Flute, +Robert le Diable, Cherubini's Medea, Hamlet (first time in England), +with Nilsson as "Ophelia," and Don Bucefalo (also first time in +England). Medea had before been given at my own establishment with +Mdlle. Titiens in the tragic part of the heroine. In Le Prophète, +Titiens and Mongini appeared together, Titiens, of course, as "Fidès," +Mongini as "John of Leyden." Don Giovanni was played with Titiens as +"Donna Anna," Nilsson as "Donna Elvira," and Patti as "Zerlina;" while +the part of the dissolute hero was taken by Faure, and that of "Don +Ottavio" by Mario. + +About this time the secret oozed out that Mr. Jarrett, who had come with +me from Her Majesty's Theatre to the Royal Italian Opera, had made +engagements with Mongini, Ilma de Murska, Trebelli, Christine Nilsson, +Santley, Foli, Faure, and Arditi. Mr. Jarrett, who in after years became +known as the agent of Mdme. Nilsson, and especially of Mdlle. Sarah +Bernhardt, held at that time a post with vague duties attached to it at +the Royal Italian Opera, as previously at Her Majesty's Theatre, which +during the combination season of 1869 was being rebuilt. Jarrett also +acted as agent to Mongini, Ilma de Murska, Trebelli, and Bettini--Mdme. +Trebelli's husband. Many years before he had been in partnership with +Mr. George Wood, representing the firm of Cramer and Co., the well-known +music publishers, for the direction of an Opera Company, and had been +left by his associate in the lurch, Mr. Jarrett being called upon to +meet single-handed liabilities which would have been far too much even +for the partners combined. + +Nor was Jarrett particularly well disposed towards the manager of the +Royal Italian Opera, in whose orchestra he had once played the horn, and +who in one of those orchestral strikes so common in the history of +Opera-houses had taken a leading part as against the manager. Mr. Gye +had thereupon dismissed him; and he now objected to have in his +employment an agent receiving percentage on the salaries of his +singers. + +If, then, in the opposition he proposed to organize against the Royal +Italian Opera Jarrett injured Mr. Gye, he would not be sorry; while if +as a result of a failure at Drury Lane he injured Mr. Wood, he would be +very glad. Naturally, however, he worked chiefly with a view to his own +success. + +Whether Wood mistrusted Jarrett, or whether after entering into +partnership with him he mistrusted the success of the project, can never +be decided; but it is certain that after securing Drury Lane Theatre for +an operatic campaign, Mr. Wood repented of what he had done, and, +unknown to Jarrett, entered into negotiations with Mr. Gye. + +The advantages of an operatic monopoly were too obvious for Mr. Gye not +to be anxious once more to secure it. This he was prepared to do, even +at a considerable sacrifice; only it was I, his associate, not he +himself, who was to make it. He proposed to me that Mr. George Wood +should be taken into partnership, and that the profits for the season +should be thus divided: Half to Gye, one quarter to Mapleson, one +quarter to Wood. Mr. Gye was ready at that time to take in any number of +partners who seemed in a position to threaten his justly-cherished +monopoly, provided always that their share in the profits came to them +out of my half, not out of his. For me the smallest fraction was deemed +sufficient; he himself, however, could accept nothing less than a clear +moiety. + +After some amusing negotiations between Mr. Gye and myself, it was +arranged that Mr. Wood should be taken into the concern on a basis of +equal shares. Each, that is to say, was to receive one-third of the +profits. The seceding artists, whose services we could not wish to +lose--apart from the effect they might have in creating against us a +formidable opposition--had all signed with Mr. Wood; and by the new +arrangement these vocalists (Christine Nilsson, Mongini, Ilma de Murska, +Trebelli, Faure, Santley, etc., with Arditi) were all to form part of +the Royal Italian Opera Company. Our profits would still be large, +though both Gye and myself would have to cede a portion of our gains to +the new-comer. + +Mr. Gye, Mr. Wood, and myself were all seated round a table in Mr. Gye's +private room at Covent Garden Theatre, on the point of signing the +contract which was to bind us together for the season of 1870, when +suddenly a gentle tap at the door was heard, and, like "Edgardo" in the +contract scene of _Lucia_, Jarrett appeared. He had, as he afterwards +informed me, entirely lost sight of Mr. Wood, who was supposed to be out +of town, gone abroad, anywhere except in London; whence, however, he had +not stirred. Jarrett had not traced his slippery partner to the Royal +Italian Opera. He assured me that having no indications whatever to act +upon he had come there guided simply by instinct. He was a man whose +instinct seldom misled him. + +While Mr. Gye and myself were a little surprised at the sudden +apparition, Mr. Wood was lost in confusion. Jarrett meanwhile was +absolutely calm. Standing at the door, he took a pinch of snuff, and for +a few moments remained silent. Then, addressing his partner, he simply +said: "Mr. Wood, can I have a minute's conversation with you outside?" +Mr. Wood rose, and left the room, but returned in less than a minute, +when Gye whispered to me: "It is all right; he is sure to sign." But +when he was asked to put his name to the document which only awaited his +signature to constitute a perfect contract between him, Gye, and myself, +he hesitated, spoke of the necessity in which he found himself of first +consulting his friends, and finally did not sign. + +The conversation which had taken place outside the room, as it was +afterwards repeated to me by Jarrett, was short and simple. + +"The singers you have engaged," said Jarrett, "are under contract to +sing at Drury Lane, and nowhere else. If, then, you join Mapleson and +Gye they will not come to you at Covent Garden, and you will have to pay +their salaries whether you open at Drury Lane or not." + +Wood could only reply that he would not sign with Mapleson and Gye. + +There was no money made that season at the Royal Italian Opera; whilst +Mr. Wood's season at Drury Lane was simply disastrous. The moneyed +partner soon proposed to shut up; but Jarrett, to whom Mr. Wood was +bound, would not hear of this. + +"I have no more money," said Wood. + +"But you have a number of pianofortes," replied Jarrett. "You have music +shops here and in Scotland whose contents and goodwill can be sold." + +"You wish to ruin me?" asked Wood. + +"You did not mind ruining me in 1854," answered Jarrett, "when we +carried on Opera together and you left me to bear the burden of your +losses." + +It is bad enough for a manager to lose money, hoping night after night +that by some new and successful stroke, or some change of taste on the +part of the capricious public, the tide of luck may at last turn in his +favour. But Mr. Wood had no such sanguine delusions to maintain him in +his adversity; his losses were irretrievable. They increased as the +season went on without any chance of being even arrested; and in the end +anyone but a man of Mr. Wood's indomitable energy and courage would have +been ruined beyond hope of recovery. + +During the Wood season at Drury Lane many interesting performances were +given, including Wagner's _Flying Dutchman_, with Ilma de Murska as the +heroine and Santley as the hero; _Mignon_, with Mdme. Christine Nilsson; +also Weber's _Abu Hassan_, each for the first time in England. But the +enterprise could not stand against the superior attractions of the Royal +Italian Opera, while the Royal Italian Opera, on its side, suffered in +its receipts from the counter attraction presented by Drury Lane. + +Towards the end of the season, war having been declared between France +and Germany, Mdme. Pauline Lucca became anxious about her husband, who +was an officer in a Prussian cavalry regiment, and now under campaigning +orders. She was anxious, therefore, to see him before his departure with +the army moving towards the French frontier. Some weeks afterwards, at +the battle of Mars la Tour, a portion of the Prussian cavalry was +sacrificed in order to hold in check the French, who were seeking to +leave Metz in order to march towards Paris. Mdme. Lucca's husband, Baron +von Rhaden, was dangerously wounded in the charge; and the Baroness +received special permission to visit him in the field hospital, where he +was lying, outside Metz. Another officer of the same regiment, also +wounded, came in for a good share of her attentions; and afterwards, +being at that time in the United States, she applied in the New York +Courts for a divorce from Baron von Rhaden in order to marry Baron von +Wallhofen, the officer, who--as just mentioned--had, like Von Rhaden, +been severely wounded at Mars la Tour. The New York Tribunal granted the +divorce on Mdme. Lucca's simple affidavit; and before her husband (No. +1) had had time to reply by a counter affidavit from Berlin the second +marriage had been celebrated. Such being the case the decree of +divorce, so hastily pronounced, could not well be interfered with. So, +at least, said the judges to whom the matter was referred; and Mdme. +Pauline Lucca remained as she is now, Baroness von Wallhofen. + + + + +CHAPTER X. + + GYE'S FRATERNAL EMBRACE--LAW-SUITS INTERMINABLE--DISSOLUTION OF + PARTNERSHIP--RETURN TO DRURY LANE--ARRIVAL OF ALBANI--DÉBUT OF + CAMPANINI--THE ANNUAL ONSLAUGHTS OF MR. GYE. + + +I SOON found that Mr. Gye, on the principle of embracing _pour mieux +étrangler_, had taken me into partnership in order to stifle me at his +ease. + +In the early part of June, 1869, Mr. Gye suggested to me that it would +be very desirable to renew my lease of Her Majesty's Theatre in order to +get rid of a provision in the existing one, under which the Earl of +Dudley had the power to determine it in the month of February in any +year. Gye expressed his intention of seeing the Earl of Dudley on the +subject, and at this interview it was agreed that the Earl should grant +a new lease for seven, fourteen, or twenty-one years, Mr. Gye requesting +that it should be granted either to himself alone or to Gye and Mapleson +conjointly. The Earl decided the latter to be more desirable, requesting +that the new lease should be signed on or before the 1st September. In +due course we were informed that the lease was ready for signature. + +As the duration of my partnership with Mr. Gye was only for three years +(one of which had already nearly expired), I naturally desired to know +what my position would be at the expiration of the partnership if we +were joint managers of Her Majesty's Theatre for twenty-one years; as it +appeared to me that it would leave him in command of a monopoly at the +Royal Italian Opera, whilst I on my side, unable to perform Opera at Her +Majesty's Theatre, would be called upon to pay half the rent of the +building, which meantime would remain closed. I, therefore, took the +precaution, when the day arrived for approving the draft lease, to +append the following words:--"I am willing to execute the enclosed lease +in conjunction with Mr. Gye upon the understanding as between him and me +that our acceptance of the lease is not to affect in any way our +relative rights under the articles of partnership. We shall respectively +have the same rights under the proposed new lease as we now have or are +subject to in respect of the subsisting lease under the articles of +partnership, and on determination of our partnership this lease shall be +exclusively vested in me for the residue of the term, I indemnifying Mr. +Gye and his estate against any future liability for rent and covenants, +or obtaining his release from the same." + +This gave great umbrage to Mr. Gye, who thereupon refused to affix his +signature to the lease. + +In the meantime, the 1st of September (the date stipulated by the Earl +for signature) having passed, Mr. Gye contended that by attaching a +condition to my signing of the lease I had not accepted the lease at +all. Besides, therefore, refusing to sign the joint lease, he insisted +upon having a lease of Her Majesty's Theatre for himself alone. A deal +of correspondence and trouble took place about this time, which I will +not weary the reader with, and hundreds of letters passed between us and +our solicitors. It was threatened, in short, that the lease would be +granted by the Earl of Dudley to Mr. Gye alone, to my exclusion. I was, +therefore, compelled in my own defence to file a bill in Chancery, +making Mr. Gye and the Earl of Dudley defendants, to restrain them from +carrying out their plan. + +I ultimately, however, terminated our joint relations with more haste +than I perhaps should have shown in consequence of the abject +despondency, together with absolute physical prostration, into which Mr. +Gye had been thrown through the turn lately taken by operatic affairs. +As he lay exhausted on the sofa there seemed, indeed, but little chance +of his ever rising again to take part in the active business of life. He +could scarcely speak. He was pale, agitated, and such was his feverish +condition that it was necessary from time to time to apply wet bandages +to his forehead. In his state of exhaustion, combined with a certain +nervous irritability, it seemed cruel to delay the signature he so much +desired; and the effect of my putting pen to paper was, indeed, to cause +him instantaneous relief. Never before did I see such a change. His +despondency left him. He rose from the sofa, walked about with an +elastic step, a cheerful air, and had he been anything of a vocalist +would, I feel sure, have sung. + +By the terms now agreed to between Mr. Gye and myself I was freed from +all outstanding claims upon the theatre, and received a payment in +money. I at the same time agreed to withdraw the Chancery proceedings +against Dudley and Gye. + +Immediately afterwards I set about forming a Company for my provincial +operatic tour of 1870; also renting Covent Garden from Mr. Gye for the +autumn, as I found it impossible to obtain Her Majesty's, being informed +by Lord Dudley's solicitors that it had been let to Mr. Gye. The ensuing +spring I returned to my old quarters at Drury Lane, my first act being +to secure the services of Sir Michael Costa, who forthwith began forming +his orchestra, whilst I went to the Continent in quest of vocal talent. +I will not trouble the reader about my provincial opera tour, which, as +usual, was very successful indeed; nor with my spring concert tour of +1871, with Titiens, Trebelli, Santley, Foli, and other eminent artists. + +I opened my London season of 1871 under brilliant auspices, the Prince +of Wales having taken a box as well as all the leading supporters from +the old house. About this time I secured the services of Mdlle. Marimon, +who drew enormous receipts, but unfortunately fell sick after the third +night. It was only on rare intervals that she appeared again during the +season. I, however, got safely through; producing several standard +works, under the able direction of Sir Michael Costa, in addition to a +revival of _Robert the Devil_, also _Semiramide_, with Titiens and +Trebelli, who in this work always drew crowded houses. I also produced +_Anna Bolena_. The season finished up satisfactorily, and I was glad to +get a fortnight's well-earned rest prior to my autumn tour of opera, +which was pre-eminently successful. I returned to London to take up my +autumn season afterwards at the Royal Italian Opera, Covent Garden, +which terminated early in December, after which I gave a few concluding +operatic performances at Brighton. + +Early the following year I again started on my spring concert tour; +during which I gave 48 concerts in 48 cities in 48 days, followed by a +spring opera season at Edinburgh. + +I have omitted to state that prior to the opening of my successful Drury +Lane season of 1871, the Earl of Dudley became the plaintiff and Mr. Gye +the defendant with regard to Her Majesty's Theatre. Finding I was at +Drury Lane, and in open opposition to the Royal Italian Opera, Mr. Gye +did not seem to think it desirable that he should execute the lease; +whereupon Lord Dudley took proceedings against Gye for £7,500, as +arrears of rent for Her Majesty's Theatre. + +About this time Jarrett, in reply to my constant applications, informed +me that Mdlle. Nilsson was about to be married, and, in fact, that her +future husband had already arrived in America, but that he, Jarrett, had +succeeded in inducing her to give four performances the next season +prior to the marriage, which was to be postponed until the following +year. He explained in his letter that as her performances were to be +limited to four I was not to complain of the only terms he could get the +lady to assent to; namely, £200 for each representation. He explained +that £800 would be the total sum; "and what," he asked, "is that where +thousands are concerned, in addition to the prestige it will give to +your house, as well as the influence on the subscription list?" I +thereupon authorized him to close the matter for the season of 1872. + +About this time my attention was drawn by my friend Zimelli, the manager +of the theatre at Malta, to a most charming young soprano, who he +assured me was destined to take a very high rank; and about the same +time I received a letter from a regular subscriber to the house, a +distinguished officer, pointing out the excellence of this young lady. I +at once opened negotiations which ultimately led to favourable results. +Colonel McCray, I may add, had written to me from Florence on the same +subject. The name of the young singer was Emma Albani; and having, as I +thought, secured her services--positively promised in a letter written +to me by the lady--I found myself deprived of them by Mr. Gye; who I +find, now that I look back on the past, paid me an attention of this +kind--sometimes greater, sometimes less--regularly every year. + +On her arrival Mdlle. Albani was to sign the contract; and as soon as +she got to London she, with perfect good faith, drove to what she +believed to be my theatre. She had told the cab-man to take her to the +manager's office at the Italian Opera. She was conveyed to the Royal +Italian Opera, and, sending in her card to Mr. Gye, who had doubtless +heard of her, was at once received. On Mdlle. Albani's saying that she +had come to sign the contract which I had offered her, Mr. Gye, knowing +that I never made engagements but with artists of merit, gave her at +once the agreement she desired. + +To do Mr. Gye justice I must here mention that after the contract had +been signed he, in the frankest manner, avowed to Mdlle. Albani that he +was not Mr. Mapleson, for whom she had hitherto mistaken him. He +explained to her that there was a manager named Mapleson who rented an +establishment somewhere round the corner where operas and other things +were from time to time played; but _the_ opera, the permanent +institution known as such, was the one he had the honour of directing. +If, he concluded, Mdlle. Albani was sorry to have dealt with him she +might still consider herself free, and he would at once tear up the +contract. + +Mdlle. Albani, however, was so impressed by the emphatic manner in which +Mr. Gye dwelt on the superiority of his theatre to mine that she +declared herself satisfied, and kept to the contract she had signed. +Colonel McCray called on me soon afterwards to beg that out of +consideration for the lady I would give up the letter in which she +declared herself ready to sign with me. I assured him that I had no +intention of making any legal use of it, but that I should like to keep +it as a souvenir of the charming vocalist who had at one time shown +herself willing to be introduced to the London public under my auspices. + +Why, it may be asked, as a simple matter of business--indeed, as an act +of justice to myself--did I not take proceedings for an enforcement of +the agreement which Mdlle. Albani had virtually contracted? I, of +course, considered the advisability of doing so, and one reason for +which I took no steps in the matter was that Titiens, Nilsson, Murska, +and Marimon were members of my Company, and that even if Mdlle. Albani +had come to me I should have found it difficult to furnish her with +appropriate parts. + +The young lady duly appeared at Covent Garden about the beginning of +April in _La Sonnambula_, and at once achieved a remarkable success, +which caused me very much to regret the loss of her. She afterwards +appeared as "Elsa" in _Lohengrin_ in an Italian version, which had been +made for me by Signor Marchesi, husband of the well-known teacher of +operatic singing, and himself an accomplished musician. + +I had ordered from Signor Marchesi as long before as 1864 an Italian +version of _Tannhäuser_, which I duly announced in my prospectus for +that year, but which I was dissuaded by some critical friends, who did +not believe in Wagner, from presenting to the public. I had been +advised, and there was certainly reason in the advice, that if I had +quite decided to run such a risk as would be necessarily incurred +through the production of an opera by Wagner (whose _Tannhäuser_ had +three years previously been hissed and hooted from the stage of the +Paris Opera-house) I should at least begin with his most interesting and +most attractive work, the poetical _Lohengrin_. Accordingly, reserving +_Tannhäuser_ for a future occasion, I determined to begin my Wagnerian +operations with the beautiful legend of Elsa and the Knight of the Swan; +and I commissioned Signor Marchesi to execute such a version of +_Lohengrin_ as he had previously given me of _Tannhäuser_--a version, +that is to say, in which, without any departure from the meaning of the +words or from the forms of the original versification, the musical +accents should be uniformly observed. + +But in England the laws relating to dramatic property seem to have been +made for the advantage only of pirates and smugglers. I had printed the +Italian translation of _Lohengrin_ which Signor Marchesi had executed +for me, and for which I had paid him the sum of £150. But I had not +secured rights of representation in the work by going through the +necessary farce of a mock performance before a sham public; and anyone, +therefore, was at liberty to perform a translation which in any country +but England would have been regarded as my property. How Signor +Marchesi's translation of _Lohengrin_ got into Mr. Gye's hands I do not +know. But the version prepared for me at my cost was the one which Mr. +Gye produced, and which somehow found its way to all the Italian +theatres. + +It has amused me in glancing through the history of my operatic seasons +since 1861 to see how persistently Mr. Gye endeavoured by some +stroke--let us say of policy--to bring my career as operatic manager to +an abrupt end. + +In 1861, when at Adelina Patti's own suggestion I was engaging a Company +and taking a theatre with a view to her first appearance in England, he +entangled her in an engagement by means of a fifty-pound loan. + +In 1862, just when I was on the point of opening Her Majesty's Theatre, +the late Mr. Augustus Harris, Mr. Gye's stage manager and adviser on +many points, approached Mdlle. Titiens with an offer of a blank +engagement. + +In 1863 Mr. Gye's insidious but unsuccessful advances towards Mdlle. +Titiens were repeated. + +In 1864 Mr. Gye having, as he pretended, bought exclusive rights in +_Faust_ over my head, tried by means of an injunction, impossible under +the circumstances (since the right of representing Faust at my own +theatre had been duly purchased by me from the Paris publishers), to +prevent me from performing the most successful opera I had yet secured. + +In 1865 Mr. Gye did not renew his annual attack until my season was +almost at an end. But on the last night, or nearly so, just when I had +been promising good things for the ensuing season, he attempted to +spring a mine upon me in my own house. I was sitting calmly in my box +watching a particularly good performance of _Faust_, with Titiens, +Trebelli, Gardoni, Junca, and Santley in the principal parts, when the +old Duke of Leinster came in and said-- + +"Look here, Mapleson; what is the meaning of this?" + +He handed me a printed announcement which I found had been placed in +every seat in my theatre, and which I here reproduce with all possible +precision, not excepting the typographical peculiarities by which the +name of the "Right Hon. the Earl of Dudley" is made to appear in large +capitals, and that of Mr. Gye in larger capitals still. Here is the +astonishing document which if, on reflection, it filled me with mirth, +did also, I freely admit, cause me for a few moments considerable +surprise:-- + +=Mr. GYE= has the honour to announce that he has transferred the +proprietorship of THE ROYAL ITALIAN OPERA, COVENT GARDEN, to a +Public Company. + +=Mr. GYE= will occupy the position of General Manager. + +The Company has now made arrangements for purchasing of THE RIGHT +HON. THE EARL OF DUDLEY his Lordship's interest in HER MAJESTY'S +THEATRE, HAYMARKET. + +The Prospectus of the Company will be issued in a few days. + + ROYAL ITALIAN OPERA, + COVENT GARDEN, + JULY 29TH, 1865. + +On inquiry I found that an emissary from Covent Garden had bribed one of +my box keepers, who, for the small sum of one sovereign, had betrayed +his trust, and deluged my theatre with daring and mendacious +announcements from the opposition house. + +In 1866 Mr. Gye tried to carry out the arrangement with which he had +audaciously threatened me in my own theatre just as the season of 1865 +was terminating. I happened to hold a twenty-one years' lease of Her +Majesty's Theatre; and to purchase Lord Dudley's interest in the +establishment was a very different thing from purchasing mine. But what +at once put a stop to Mr. Gye's action in the matter was an injunction +obtained by Colonel Brownlow Knox to restrain Mr. Gye from dealing with +the Royal Italian Opera as his property until the seemingly interminable +case of Knox _v._ Gye had been decided. + +In 1867 Mr. Gye may have been nurturing I know not what deadly scheme +against my theatre. But this year a fatal accident came to his aid, and +he was spared the trouble of executing any hostile design. It was in +1867 that Her Majesty's Theatre was destroyed by fire. + +In 1868 came the proposition for partnership. Mr. Gye wished to grapple +with me at closer quarters. + +In 1869 Mr. Gye was intriguing with Lord Dudley to get Her Majesty's +Theatre into his hands. + +In 1870 Mr. Gye made his droll proposal to the effect that I should go +equal shares with him in paying the rent of Her Majesty's Theatre, I +binding myself not to open it. + +In 1872 Mr. Gye engaged Mdlle. Albani, already under contract to me, and +helped himself to my version of _Lohengrin_. + +In 1873 he offered an engagement to one of my two leading stars, Mdlle. +Nilsson; and I had myself to write explaining to him very clearly that +she was engaged to me. + +For two whole years Mr. Gye remained quiet as towards me. But in 1876, +when I was on the point of completing the capital necessary for carrying +out my grand National Opera project on the Thames Embankment, he wrote a +letter which somehow found its way into the _Times_, denouncing the +whole affair, and proving by an extraordinary manipulation of figures +that my rent would be something like £40,000 a year. + +In 1877 Mr. Gye, knowing that I had engaged Gayarré, and well assured +that I should not have done so had not Gayarré been a good artist, +offered him double what I was to pay him. Gayarré, with all the +innocence of a tenor, explained to me that the temptation presented to +him was irresistible. I brought an action against him all the same, and +obtained in the Italian Courts a judgment for £8,000, which I have not +yet been able to enforce by reason of his having no property in Italy. + + + + +CHAPTER XI. + + ADELINA'S SUCCESSOR--A PRIMA DONNA'S MARRIAGE NEGOTIATIONS--POUNDS + _V._ GUINEAS--NILSSON AND THE SHAH--PRODUCTION OF + "LOHENGRIN"--SALVINI'S PERFORMANCES AND PROFITS--MARGUERITE + CHAPUY--IRONY OF AN EARL. + + +HAVING relied upon Mdme. Nilsson's services for my Drury Lane season of +1871, I felt in a position of great difficulty. I thereupon set about +inquiring for a capable prima donna to supply her place. About two days +afterwards I received a letter from America informing me of a most +extraordinary singer, the writer further setting forth that his father +had, some twenty years previously, recommended me Adelina Patti, and +that he could equally endorse all that was now said of this coming star. +Without one moment's hesitation I accepted, feeling sure the "tip" must +be a good one, and in due course the lady arrived. She was of short +stature and remarkably stout, which I considered at once a drawback; but +so unbounded was my confidence in the recommendation that I persuaded +myself these defects would be of no consequence whatever in the general +result. + +At the conclusion of the first rehearsal Sir Michael Costa came down in +a most mysterious way, asking me if I was sure as to the prima donna's +talents. I told him he need be under no apprehension whatever on the +subject. + +At length the general rehearsal arrived, and a message came from Sir +Michael, begging me to ask the little lady to sing out, as up to the +present time nobody had heard her voice at any of the rehearsals. I came +on to the stage, but as our new _Diva_ was conducting herself with great +importance, and moreover seemed to be busy with the preparation of her +music, I told Sir Michael that he need labour under no misapprehension, +as she was guaranteed to take the town by storm. + +Evening came, and a more dismal _fiasco_ I do not recollect. Such +unbounded faith had I placed in my American friend's recommendation, +together with the laudatory notices which had appeared in the numerous +journals he had sent, that I confess I was on this occasion taken in. + +This is the only instance in the course of my lengthened career in which +an artist introduced by me has not been forthwith accepted by the +public, and I admit that the result in this particular case was entirely +due to my own neglect in not hearing her beforehand. + +It was rather hard lines on the "Faust" of the evening, M. Capoul, who +made his first appearance in England on this occasion; likewise on +Moriami, the favourite baritone, and Rives, a young French artist, who +sustained the _rôle_ of "Mephistopheles" with great credit. + +The following evening I produced _Robert le Diable_, in which Signor +Nicolini made his first appearance in England, enacting the _rôle_ of +"Roberto" to perfection. Belval, the first bass of the Paris opera, was +the "Bertramo," Mdme. Ilma de Murska the "Isabella," and Titiens the +"Alice." In the excellence of this performance my "Margherita" of the +previous evening was soon forgotten, and I booked her an early passage +back to America, where, strange to say, she still retained a first-class +position, and did so for many years afterwards. + +As matters were still unsettled between Lord Dudley and his would-be +tenant, Gye, I again secured Drury Lane for my season of 1872. Prior to +concluding Mdlle. Nilsson's engagement, as she was still unmarried, her +Paris agent, who advised her, called upon me, stating that in the event +of my requiring her services I had better notify to him that the +marriage must be postponed until the close of my proposed opera season. +To this I consented, and I attended at a meeting where I met the future +husband and the agent, when it was explained to the former that Mdlle. +Nilsson was ready and willing to perform her agreement to marry him, but +that in that case she would lose her London engagement, and would be +very angry; whereupon it was agreed the marriage should be further +postponed. Papers were drawn up, and the proper stamps affixed, whereby +Mdlle. Nilsson was to return to me for my season of 1872. + +On the 28th May she made her reappearance, after an absence of two +years, renewing her success as "La Traviata," followed by _Faust_, +_Trovatore_, etc. + +During this season I produced Cherubini's Water-carrier, in which +Titiens sang; also _Lucia di Lammermoor_, with Nilsson for the first +time as the heroine, which drew enormous houses; followed by the +_Marriage of Figaro_, in which Titiens and Kellogg appeared, Nilsson +acting the "saucy page" to perfection. A most successful season was the +result, and in lieu of appearing only four times Mdlle. Nilsson sang +never less than twice a week until the close. The terms I was paying her +caused a deal of trouble between Patti and Gye; for _la Diva_ had heard +of Nilsson's enormous salary. Gye had ultimately to give in; but £200 a +night would not satisfy Mdme. Patti, although previously she had been +contented with £80; and it was ultimately arranged that she should have +more than Nilsson. Gye managed this by paying her 200 guineas nightly, +whilst Nilsson had only 200 pounds. + +Some two or three weeks after the opening of the season I heard of a +desirable tenor in Italy, named Campanini, and at once endeavoured to +add him to my already strong Company. My agent reached Rome before Mr. +Gye, and secured the prize. I thereupon set to work to create all the +excitement I possibly could, knowing that unless this were done no +curiosity would be felt by the public as to his first appearance. I said +so much of him that general expectation was fully aroused. In the +meantime I was anxiously awaiting his arrival. One evening, about nine +o'clock, the hall-keeper brought me word that there was someone "from +Campini, or some such name." I immediately brightened up, and said, +"Send the messenger in," who accordingly entered. He had a coloured +flannel shirt on, no shirt collar, a beard of two or three days' growth, +and a little pot-hat. He, in fact, looked rather a rough customer. In +reply to my interrogation he informed me that Campanini had arrived, and +was in London. I replied, "Are you sure?" Thereupon he burst out +laughing, and said that he was Campanini. I felt as if I should go +through the floor. + +However, the night arrived for his first performance, which took place +on May 4th, when he appeared as "Gennaro" in _Lucrezia Borgia_, with +Titiens and Trebelli, and with Agnesi as the "Duke." The house was +crowded from floor to ceiling, and I must say the tenor fulfilled every +anticipation, and, in fact, surpassed my expectations. The salary I paid +him was not a large one, and I had engaged him for five years. After ten +or twelve days an agent arrived from America who had heard of his +success, and offered him £1,000 a month, which was five times what I was +to pay him. I need hardly say that this offer, coupled with his great +success, completely turned his head, and he became partially +unmanageable. Marie Roze, I may add, made her first appearance in +England during this season. + +At its close Mdlle. Christine Nilsson was married to M. Rouzaud at +Westminster Abbey, surrounded by a numerous circle of friends, the +ceremony being performed by Dean Stanley. The wedding party were +afterwards entertained by the Cavendish Bentincks at their splendid +mansion in Grafton Street, where a sumptuous _déjeuner_ was served. + +After two or three weeks' holiday at Aix-les-Bains, I started my autumn +tour, as usual, at Dublin, for which I engaged Titiens, Marimon, de +Murska, Trebelli, Scalchi, Agnesi, Campanini, Fancelli, Foli, etc. This +season of fourteen weeks, which carried us up to Christmas, was an +unbroken series of triumphs, the receipts being simply enormous; whilst +on the spare days when certain of my singers were not required I filled +in sometimes as much as £1,000 a week from concerts, without the regular +service of the tour being disturbed. We visited Dublin, Cork, Belfast, +Glasgow, Edinburgh, Manchester, Liverpool, Birmingham, Bristol, and +Brighton. This was followed by the usual spring concert tour of 1873, +when we did, as usual, our 60 or 70 towns, concluding with a spring +opera tour in the north. + +For my season of 1873, which again took place at Drury Lane--Her +Majesty's Theatre, although built, being still without furniture or +scenery--I re-engaged Mdme. Nilsson, paying her £200 per night, in +addition to my regular company, which, of course, included Titiens; also +Ilma de Murska, Marie Roze, Trebelli, etc., etc. I, moreover, introduced +Mdlle. Valleria, Mdlle. Macvitz, an excellent contralto; Aramburo, a +tenor possessing a marvellous voice, who has since achieved European +fame; Signor Del Puente, the eminent baritone, and many others. + +I likewise engaged Mdme. Ristori, who appeared in several of her +favourite characters alternately with the operatic performances. Her +success was striking, notably in the parts of "Medea," "Mary Stuart," +"Elizabeth," and "Marie Antoinette." In the latter impersonation she +moved the audience to tears nightly by her pathetic acting. + +During this season, early in the month of July, it was intimated to me +that His Majesty the Shah of Persia would honour the theatre with his +presence. I thereupon set about organizing a performance that would give +satisfaction both to my principal artists and to the Lord Chamberlain, +who had charge of the arrangements, and decided that the performance +should consist of the third act of La Favorita, Mdlle. Titiens enacting +the _rôle_ of "Leonora," the first act of _La Traviata_, and, after a +short ballet, the first act of _Mignon_, Mdme. Nilsson taking the title +_rôle_ in the two latter operas. Mdlle. Titiens, who rarely created +difficulties, took rather an exception to commencing the evening, and +said that it would be better to divide the two appearances of Nilsson by +placing the act of _La Favorita_ between them; Mdme. Nilsson, on the +other hand, objected to this arrangement. Two days before the +performance Mdme. Nilsson suddenly expressed her willingness to commence +the evening with the act of _La Traviata_, she having ascertained from +the Lord Chamberlain, or some other high personage (as I afterwards +discovered), that His Majesty the Shah could only be present from +half-past eight until half-past nine, being due at the grand ball given +by the Goldsmiths in the City at about ten o'clock. + +Mdme. Nilsson had ordered, at considerable expense, one of the most +sumptuous dresses I have ever seen, from Worth, in Paris, in order to +portray "Violetta" in the most appropriate style. On the evening of the +performance His Royal Highness the Prince of Wales arrived punctually at +half-past eight to assist in receiving the Shah, who did not put in an +appearance; and it was ten minutes to nine when Sir Michael Costa led +off the opera. I shall never forget the look the fair Swede cast upon +the empty royal box, and it was not until half-past nine, when the act +of _La Favorita_ had commenced, that His Majesty arrived. He was +particularly pleased with the ballet I had introduced in the _Favorita_. +The Prince of Wales, with his usual consideration and foresight, +suggested to me that it might smooth over the difficulty in which he saw +clearly I should be placed on the morrow in connection with Mdme. +Nilsson, if she were presented to the Shah prior to his departure. + +I thereupon crossed the stage and went to Mdme. Nilsson's room, +informing her of this. She at once objected, having already removed her +magnificent _Traviata_ toilette and attired herself for the character of +"Mignon," which consists of a torn old dress almost in rags, with hair +hanging dishevelled down the back, and naked feet. After explaining that +it was a command with which she must comply, I persuaded her to put a +bold face on the matter and follow me. I accompanied her to the +ante-room of the royal box, and before I could notify her arrival to His +Royal Highness, to the astonishment of all she had walked straight to +the farther end of the room, where His Majesty was then busily employed +eating peaches out of the palms of his hands. + +The look of astonishment on every Eastern face was worthy of the now +well-known picture on the Nabob pickles. Without a moment's delay Mdme. +Nilsson made straight for His Majesty, saying-- + +"Vous êtes un très mauvais Shah," gesticulating with her right hand. +"Tout à l'heure j'étais très riche, avec des costumes superbes, exprès +pour votre Majesté; à present je me trouve très pauvre et sans +souliers," at the same time raising her right foot within half an inch +of His Majesty's nose; who, with his spectacles, was looking to see what +she was pointing to. He was so struck with the originality of the fair +prima donna that he at once notified his attendants that he would not go +to the Goldsmiths' Ball for the present, but would remain to see this +extraordinary woman. + +His Majesty did not consequently reach the Goldsmiths' Hall until past +midnight. The Lord Mayor, the Prime Warden, the authorities, and guards +of honour had all been waiting since half-past nine. + +On the close of my London season of 1873 I had considerable difficulty +in obtaining a renewal of Mdme. Nilsson's contract for the ensuing year; +in fact, she declined altogether to discuss the matter with me. I was +fully aware that she was very jealous of the firm position which Mdlle. +Titiens enjoyed in the good opinion of the British public. This had +manifested itself on the occasion of Titiens's benefit, when _Nozze di +Figaro_ had been selected for the closing night of the season. Much +correspondence took place, in the course of which it was asserted that +M. Rouzand would not allow his wife to put on "Cherubino's" trunks, he +having decided that her legs should never again be seen by the public. +I, therefore, had to substitute Mdme. Trebelli, who, as an experienced +contralto, could make no objection on such points. + +Mdme. Nilsson's agent, Mr. Jarrett, succeeded at last in inducing her to +sign a contract, and he then explained to me that Mr. Gye had been +repeatedly making offers to her during the previous week, which, in +spite of his notorious friendship for Mr. Gye, he had the greatest +difficulty in making her refuse. + +Ultimately an engagement had been prepared, and Jarrett asked me to sign +it at the station just as Mdme. Nilsson was about to start for Paris. +Before doing so I requested permission at all events to glance it over, +when Mdme. Nilsson replied-- + +"The train is going. Either sign or leave it alone. I can make no +possible alteration." + +I mechanically appended my signature; the train started. + +On perusing the engagement I discovered that she had reserved for +herself the exclusive right of playing "Norma," "Lucrezia," "Fidelio," +"Donna Anna," "Semiramide," and "Valentine" in _Les Huguenots_. But +having omitted the words "during the season," and inasmuch as her +engagement for 1874 did not commence until the 29th day of May, I had a +clear period of eleven weeks during which another prima donna could play +the parts Mdme. Nilsson claimed without overstepping her stringent +condition. + +I, moreover, felt placed in great difficulty with regard to Mdlle. +Titiens, who was then at the Worcester Festival, and to whom it was, of +course, necessary to mention the matter. I decided to go to Worcester at +once and unbosom myself. + +The great prima donna, on hearing what I had to tell her, smiled and +said-- + +"By all means let her play the parts she wants; and, if the public +prefers her rendering of them to mine, by all means let her keep them. +But during the first eleven weeks they are open to other singers, and I +will repeat them one by one so that the public may have a fair +opportunity of judging between us." + +The great artist was, therefore, on her mettle during the early +performances of 1874, prior to Nilsson's arrival. + +The season opened with _Semiramide_, followed immediately by _Fidelio_, +_Norma_, _Huguenots_, _Lucrezia_, etc., which were played one after the +other until the arrival of Nilsson, who sang first in _Faust_, and +immediately afterwards in Balfe's _Talismano_, after which I called on +her to appear as "Lucrezia." + +The next morning I had a visit from her agent requesting me not to press +the matter, as she was not quite prepared. I thereupon said "Semiramide" +would do as well; to this he offered some objection; but at length, on +my urging "Fidelio," he explained to me that if I insisted upon her +playing any of those characters which she had expressly stipulated for +I should mortally offend her. I could not even induce her to appear as +"Donna Anna." Not one of those parts which she had reserved for her +exclusive use was she able to undertake. We, therefore, had to fall back +on _Faust_, alternated with _La Traviata_. + +Finally a compromise was made whereby Mdme. Nilsson undertook the _rôle_ +of "Donna Elvira" in _Don Giovanni_, Mdlle. Titiens retaining her great +impersonation of "Donna Anna," in which she was acknowledged throughout +the world of music to be unrivalled. This happy combination having been +brought about, the season concluded with my benefit, when _Don Giovanni_ +was given to some £1,200 receipts. + +During the autumn of 1873 I made my usual operatic tour, commencing in +Dublin about the middle of September, where we remained three weeks, +afterwards visiting Belfast, Glasgow, Edinburgh, Newcastle, Liverpool, +Manchester, Birmingham, Bristol, Bath, and Brighton, where we concluded +on the 20th December. + +Early in January, 1874, I again gave my usual forty-eight concerts in +the various cities, opening the Edinburgh opera season about the middle +of February. We afterwards visited other places, which brought us on to +the London season, when I again occupied Drury Lane Theatre. + +During this year I produced Auber's _Crown Diamonds_, and afterwards +Balfe's _Talismano_, in which Mdlle. Nilsson undertook the principal +_rôle_, Marie Roze appearing as the "Queen." Balfe's opera was very +successful, and this, coupled with the alternate appearances of Titiens +and Nilsson in other characters, followed by the revival of the _Magic +Flute_, in which the whole Company took part, brought the season to a +successful conclusion. + +In the autumn of 1874 I opened, as usual, at Dublin, with a very +powerful company, and continued out in the provinces until the latter +part of December. I then went on the Continent in search of talent for +the ensuing year, and returned in time to be present at my first +concert, which took place in Liverpool early in January, 1875. We +afterwards went through Ireland and the English provinces, commencing in +the beginning of March the regular Italian Opera season in the northern +capital, followed by Glasgow, Liverpool, &c. + +Ilma de Murska was punctual with a punctuality which put one out quite +as much as utter inability to keep an appointment would have done. She +was sure to turn up on the very evening, and at the very hour when she +was wanted for a representation. But she had a horror of rehearsals, and +never thought it worth while, when she was travelling from some distant +place on the Continent, to announce that she had started, or to give any +idea as to when she might really be expected. Her geographical +knowledge, too, was often at fault, and some of the routes--"short cuts" +she called them--by which she reached London from Vienna, were of the +most extraordinary kind. She had taken a dislike to the Railway Station +at Cologne, where she declared that a German officer had once spoken to +her without being introduced; and on one occasion, partly to avoid the +station of which she preserved so painful a recollection, partly in +order to get to London by a new and expeditious route, she travelled +from Vienna to St. Petersburg, and from St. Petersburg took boat to +Hull, where she arrived just in time to join my Opera Company at the +representations that I was then giving in Edinburgh. We had not heard of +her for weeks, and she came into the dressing-room to find Madame Van +Zandt already attired for the part Mdlle. de Murska was to have played, +that of "Lucia." She argued, with some truth, that she was in time for +the performance, and declared, moreover, that in entrusting the part of +"Lucia" to another singer she could see a desire on my part to get rid +of her. + +The prima donna has generally a parrot, a pet dog, or an ape, which she +loves to distraction, and carries with her wherever she goes. Ilma de +Murska, however, travelled with an entire menagerie. Her immense +Newfoundland, Pluto, dined with her every day. A cover was laid for him +as for her, and he had learned to eat a fowl from a plate without +dropping any of the meat or bones on the floor or even on the table +cloth. + +Pluto was a good-natured dog, or he would have made short work of the +monkey, the two parrots, and the Angora cat, who were his constant +associates. The intelligent animal hated travelling in the dog-truck, +and he would resort to any sort of device in order to join his mistress +in her first-class carriage, where he would, in spite of his immense +bulk, squeeze himself beneath the seat. Once I remember he sprang +through the closed window, cutting himself severely about the nose in +his daring leap. + +The other animals were simple nuisances. But I must do the monkey the +justice to say that he did his best to kill the cat, and a bare place on +Minette's back showed how badly she had once been clawed by her +mischievous tormentor. + +The most expensive of Mdlle. de Murska's pets were probably the parrots. +They flew about the room, perching everywhere and pecking at everything. +Once at the Queen's Hotel, Birmingham, they tore with their beaks the +kid off a valuable set of chairs, for which the hotel-keeper charged +£30. The hotel bill of this reckless prima donna was always of the most +alarming kind. She had the most extraordinary whims, and when Signor +Sinico, Mdme. Sinico's first husband, in order to show the effect of +parsley upon parrots, gave to one of Mdme. de Murska's birds enough +parsley to kill it, nothing would satisfy the disconsolate lady but to +have a post-mortem examination of the bird's remains. This was at +Glasgow, and the post-mortem was made by two very grave, and I have no +doubt very learned, Scotch practitioners. Finding in the parrot's maw +some green matter for which they could not satisfactorily account, they +came, after long deliberation, to the conclusion that the bird had been +eating the green wall-paper of the sitting room, and that the arsenic +contained in the colouring matter had caused its death. The cost of this +opinion was three guineas, which Mdlle. de Murska paid without a murmur. + +I again returned to Drury Lane for my London season of 1875. After +lengthy negotiations with a great Italian tragedian, engagements were +signed, and he duly arrived in London, and appeared the second night of +my season in the character of "Otello." I need scarcely say that this +tragedian was Salvini, who at once struck the public by his magnificent +delineation of Shakespeare's hero. I was now compelled to open my +theatre seven times every week (four for opera, three for tragedy), from +the early part of March until the latter end of July. I produced various +works, notably Wagner's _Lohengrin_, in which Mdlle. Titiens, who very +kindly undertook the _rôle_ of "Ortruda," really excelled herself. This, +with Mdlle. Christine Nilsson as "Elsa," Campanini as the "Knight of the +Swan," and Galassi as "Telramund," with an increased orchestra under Sir +Michael Costa's able direction, caused me to increase the prices of +admission; and even then it was impossible to get a seat during the +remainder of the season. + +About this time the usual annual proposals were made for Mdlle. +Titiens's services at a series of concerts to be given in the United +States of America, by which she was to receive £160 a night guaranteed, +and half the receipts beyond a certain amount. After some time I +consented to this arrangement. + +At the close of Salvini's engagement I handed him £8,000 for his +half-share of the profits, retaining a like amount for myself. + +In July, 1875, one of the most charming vocalists that it has been my +pleasure to know, a lady who as regards voice, talent, grace, and style +was alike perfect, and who was as estimable by her womanly qualities as +by her purely artistic ones, made her first appearance at my temporary +Operatic home, Drury Lane, as "Rosina," in _Il Barbiere_. This was +Mdlle. Marguerite Chapuy, and no sooner had the news of her success been +proclaimed than Adelina Patti came, not once, but twice running to hear +her. + +At the first performance Mdlle. Chapuy made such an impression on the +public that in the scene of the music lesson she was encored no less +than four times; particularly successful among the various pieces she +introduced being the "Aragonese" from Auber's _Domino Noir_, and the +waltz from Gounod's _Romeo and Juliet_. Sir Michael Costa hated +encores, but on this occasion he departed willingly from his usual rule. + +Marguerite Chapuy charmed everyone she came near; among others a young +French sergeant, a gentleman, that is to say, who had enlisted in the +French army, and was now a non-commissioned officer. Her parents, +however, did not look upon the young man as a fit husband for such a +prima donna as their daughter, and it was true that no vocalist on the +stage seemed to have a brighter future before her. Mdlle. Chapuy +remained meanwhile at Drury Lane, and the success of her first season +was fully renewed when in the second she appeared as "Violetta" in _La +Traviata_. A more refined impersonation of a character which requires +very delicate treatment, had never been seen. + +It struck me after a time that my new "Violetta" was not wasting away in +the fourth act of _La Traviata_ alone. She seemed to be really perishing +of some malady hard to understand; and when the most eminent physicians +in London were called in they all regarded the case as a difficult one +to deal with since there was nothing definite the matter with the +patient. Gradually, however, she was fading away. + +There could be no thought of her appearing now on the stage; and at her +own desire, as well as that of her father and mother, who were naturally +most anxious about her, she was removed to France. No signs of +improvement, however, manifested themselves. She got weaker and weaker, +and when she was seemingly on the point of death her hard-hearted +parents consented to her marriage with the young sergeant. My consent +had also to be given, and I naturally did not withhold it. + +Mdlle. Chapuy had signed an engagement with me for several years. But +everyone said that the unhappy vocalist was doomed; and such was beyond +doubt the belief of her parents, or they never would have consented to +her throwing herself away on an honourable young man who was serving his +country for something less than a franc a day, when she might so easily +have captured an aged banker or a ruined Count. + +Shortly afterwards I met her in Paris looking remarkably well. She told +me that her husband had received his commission soon after their +marriage, and that he now held some local command at Angoulême. As I had +not released her from her engagement, I suggested to her, and even +entreated, that she should fulfil it. Her husband, however, would not +hear of such a thing. He preferred that they should live quietly on the +£120 a year which he was now receiving from the Government. I offered as +much as £200 a night, but without effect. + +All I could get was a promise from Mdlle. Chapuy that in the event of +her returning to the stage she would give me her services in accordance +with the terms of the contract she had previously signed. Later on she +told me that she still sang once a year for charitable purposes; and I +still hope for her return to the lyric stage. + +I here append the letter she addressed to me just after her marriage:-- + + "Angoulême, 8 Decembre, 1876. +"CHER MONSIEUR MAPLESON, + +"Je vous remercie de votre bonne lettre et je m'empresse d'y répondre +pour vous assurer que je m'engage aussi formellement que vous pouvez le +désirer à ce que l'engagement que nous avions ensemble soit remis en +vigueur si jamais je reprends la carrière théâtrale: je vous promets +aussi que vous pourriez compter sur moi pour la grande saison de Londres +qui suivrait ma rentrée sur la scène. Vous avez été trop bon et trop +aimable pour moi, pour que j'hésite un instant à vous faire cette +promesse. Du reste, il me serait bien agréable, si je reprenais le +théâtre, de reparâitre sur la scène de Londres, car je n'ai pas oublié +combien le public Anglais a été bienveillant pour moi. + +"En attendant votre réponse veuillez agréer cher Monsieur Mapleson +l'assurance de mes sentiments dévoués. + + "MARGUERITE ANDRÉ-CHAPUY, +"Rue St. Gelais, 34. + +"Mon mari, ma grande-mère, et ma mère sont bien sensibles à votre +aimable souvenir et vous font tous leurs compliments." + + * * * * * + +There are two ways of judging a singer--by the vocalist's artistic +merits, and by the effect of his or her singing on the receipts. In the +first place I judge for myself by the former process. But when an +appearance has once been made I fall back, as every manager is bound to +do, on the commercial method of judgment, and calculate whether the +amount of money drawn by the singer is enough to justify the outlay I am +making for that singer's services. The latter was the favourite system +of the illustrious Barbaja, who, when he was asked his private opinion +as to this or that member of his Company, would say-- + +"I have not yet consulted my books. I must see what the receipts were, +and I will answer your question to-morrow." + +Referring to my books, I find with great satisfaction that the charming +artist, whom I admired quite as much before she had sung a note at my +theatre as I did afterwards, when she had fairly captivated the public, +drew at her first performance £488, and at her second £538; this in +addition to an average nightly subscription of £600. + +Thus Mdlle. Chapuy made her mark from the first. + +Other vocalists, even of the highest merit, have been less fortunate. +Thus Mdlle. Marimon, when she appeared at my theatre in 1871, drew at +her first performance (that of "Amina," in _La Sonnambula_) £73, at her +second £280, at her third £358, at her fourth £428. To these sums, as in +the case of Mdlle. Chapuy, the nightly proportion of the subscription +has, of course, to be added. + +As with singers, so with operas. I choose a work which, according to my +judgment, ought to succeed, and cast it as well as I possibly can. It +will not in any case please the public the first night; and I have +afterwards to decide whether I shall make sacrifices, as with _Faust_, +and run it at a loss in the hope of an ultimate success, or whether I +shall cut the matter short by dropping it, even after a vast outlay in +scenery, dresses, and properties, and after much time and energy +expended at rehearsals. + +When I brought out Cherubini's admirable _Deux Journées_ (otherwise _The +Water Carrier_) I was complimented by the very best judges on the beauty +of the work, and also (how little they knew!) on its success. I received +congratulations from Jenny Lind, from Benedict, from Hallé, from +Millais, from the Baroness Burdett-Coutts. But there was not more than +£97 that night in the treasury. Thereupon I made my calculation. It +would have cost me £1,200 to make the work go, and I could not at that +moment afford it. I was obliged, then, to drop it, and that after five +weeks' rehearsals! + +Some time afterwards I produced Rossini's _Otello_ with a magnificent +cast. Tamberlik was the "Otello," Faure the "Iago," Nilsson the +"Desdemona." The other parts were played by Foli, Carrion (an excellent +tenor from Spain), and others. All my friends were delighted to find +that I had made another great success. I listened to their flattering +words. But the treasury contained only £167 3s., for which reason +_Otello_ was not repeated. + +In rebuilding Her Majesty's Theatre Lord Dudley did not think it worth +while to consult me or any other operatic manager. He had the +opportunity of erecting the only isolated theatre in London, and the +most magnificent Opera-house in the world, for the shops in the Opera +Colonnade and the adjoining hotel in Charles Street might at that time +have been purchased for comparatively small sums. The Earl, however, as +he himself told me, cared only to comply with the terms of his lease, +which bound him to replace the theatre which had been destroyed by +another of no matter what description, provided only that it had four +long scenes and four short ones. + +Messrs. Lee and Paine, the architects entrusted with the duty of +covering the vacant site, acted after their own lights, and they +succeeded in replacing two good theatres by a single bad one. The old +Opera-house, despite its narrow stage, had a magnificent auditorium, and +the Bijou theatre, enclosed within its walls, possessed a value of its +own. It was let to Charles Mathews, when theatrical property possessed +less value than now, for £100 a week; and Jenny Lind sang in it to +houses of £1,400. + +When the new theatre had been quite finished Lord Dudley was shown over +it by the delighted architects. His lordship was a tall man, and his hat +suffered, I remember, by coming into collision with the ceiling of one +of the corridors. Turning to the senior partner, who was dying to catch +from his aristocratic patron some word of satisfaction, if not of +downright praise, the Earl thus addressed him-- + +"If narrow corridors and low ceilings constitute a fine theatre you have +erected one which is indeed magnificent." + +The architect, lost in confusion at being addressed in terms which he +thought from his lordship's finely ironical demeanour must be in the +highest degree complimentary, did nothing but bow his acknowledgments, +and it was not until a little later that some good-natured friends took +the trouble to explain to him what the Earl had really said. + + + + +CHAPTER XII. + + THE NATIONAL OPERA-HOUSE--FOUNDATION DIFFICULTIES--PRIMÆVAL + REMAINS--TITIENS LAYS THE FIRST BRICK--THE DUKE OF EDINBURGH THE + FIRST STONE--THE OPERA AND PARLIAMENT--OUR RECREATION ROOMS. + + +DURING all this time I was busily engaged selecting plans for the +construction of my new National Opera-house, which I then considered a +most desirable investment, inasmuch as Her Majesty's Theatre, which had +been hastily built, was ill-adapted for the requirements of Italian +Opera, whilst Covent Garden was heavily encumbered with liabilities. +Indeed, more than one negotiation had already taken place with the Duke +of Bedford with a view to its purchase and demolition. I, therefore, saw +that sooner or later London would be without a suitable Opera-house. In +order to expedite the works it was considered desirable that the +foundations should be proceeded with pending the final settlement of the +drawings, taking out the quantities, etc., and deciding who the +contractors should be. + +Mr. Webster, who constructed the best part of the Thames Embankment, was +deemed to be the fitting man, and I therefore had an interview with him +on the subject. In this interview he told me he would execute the whole +of the foundations up to the datum level for the sum of £5,000. + +On consulting with my architect he advised that it would be more +economical that this preliminary work should be paid for by measurement, +which Mr. Webster ultimately agreed to. No sooner had they dug to a +certain depth than it was discovered that no foundation could be +obtained. Afterwards screw piles were attempted and all other kinds of +contrivances to obviate the expense with which we were threatened in the +prosecution of the works. The digging proceeded to a depth of some 40 or +50 feet without discovering anything but running springs and quicksands, +covered by a large overlying mass of rubbish, being the accumulation of +several ages in the history of Westminster. Many relics of olden times +came to light, including the skulls and bones of wild elks and other +primitive animals that once roamed about the Thames Valley and were +hunted by ancient Britons in the days of the Druids. Various swords, +gold and inlaid, often richly-fashioned, told of the feuds of York and +Lancaster; while many other objects, concealed for centuries, now came +forth to throw a light on the faded scroll of the past. + +As the builders had got considerably below the depth of the Thames and +consequently that of the District Railway, the water began to pour in, +which necessitated some fifteen or twenty steam-pumping machines being +kept at work for several months. At length the London Clay was reached, +which necessitated various cuttings, some 16ft. wide, down which had to +be placed some 40ft. of concrete. + +At length the foundations were completed, and the sum I had to pay, +according to measurement, was not £5,000, but £33,000. This was really +one of the first blows to my enterprise. + +Early in September the first brick of my new National Opera-house, prior +to the commencement of the substructure, was laid. A number of friends +were on the ground at one o'clock, and in a short time a great throng of +spectators had assembled around the spot. Punctually at 1.30 Mdlle. +Titiens arrived, under the escort of Lord Alfred Paget, Mr. Fowler, the +Architect, and myself. The party passed along the wooden platform, and +descended a handsomely-carpeted staircase, which led to the foundation +of concrete upon which the "brick" was to rest. On reaching the bottom, +Mdlle. Titiens, as she leaned on the arm of Mr. Fowler, was presented +with an elaborately-engraved silver trowel by Mr. Webster, the +Contractor. The fair singer was then conducted to the spot, where a +thin, smooth layer of white mortar had been spread on the concrete. The +foreman of the masons placed a brick in the midst of this, and Mdlle. +Titiens then in a formal manner laid the first brick, using the +plumb-line to ascertain that the work had been properly done. Second, +third, and fourth bricks were afterwards laid by Mr. Fowler, Lord +Alfred Paget, and myself. Hearty cheers were then given for Mdlle. +Titiens by the 600 workmen congregated around, who wished the Queen of +Song success and happiness on her approaching Atlantic voyage. + +Prior to her departure, Mdlle. Titiens gave four farewell concerts in +Ireland; and it was with great difficulty after the last one, at Cork, +that she escaped from the concert room at all, so numerous were the +encores. The steamer having been signalled, she had to rush straight +from the concert room, in her concert dress, with all her jewellery on, +to catch the train leaving for Queenstown. + +In the autumn of 1875 Mdlle. Titiens was replaced on the provincial tour +by Madame Christine Nilsson; and the business again was highly +successful. The tour continued until Christmas. I came up to London on +the 16th December, to be present at the laying of the first stone of the +new Opera-house by H.R.H. the Duke of Edinburgh. + +The following was the programme of the ceremonial, which was duly +carried out:-- + + CEREMONY OF LAYING THE FIRST STONE + OF THE + GRAND NATIONAL OPERA-HOUSE, + _VICTORIA EMBANKMENT_. + _Holders of Cards of Invitation will not be admitted after 1.15_. + + "The bands of the Coldstream Guards and Honourable Artillery + Company will be in attendance, and a Guard of Honour will line the + entrance. + + "His Royal Highness the Duke of Edinburgh and suite will arrive at + the entrance on the Victoria Embankment at half-past one o'clock. + + "His Royal Highness will be received by Mr. W. H. Smith, M.P., Sir + James Hogg, Chairman of the Metropolitan Board of Works, Mr. F. H. + Fowler, the Architect, and Mr. J. H. Mapleson, the Director of the + National Opera. + + "On arrival at the platform an address will be read to the Duke of + Edinburgh in the name of the founders of the Grand National + Opera-house. + + "His Royal Highness the Duke of Edinburgh will then proceed to lay + the first stone. + + "The trowel will be handed to His Royal Highness by Mr. Mapleson, + the Director; the plumb-rule and level by Mr. F. H. Fowler, the + Architect; and the mallet by Mr. W. Webster, the Builder. + + "On the completion of the ceremony His Royal Highness will make a + brief reply to the address. + + "The Duke of Edinburgh will then be conducted to his carriage at + the entrance by which His Royal Highness arrived, and will drive to + the St. Stephen's Club. + + "16th December, 1875." + +The following address was then read by Sir James McGarel Hogg:-- + +"YOUR ROYAL HIGHNESS,-- + +"On behalf of the founders of the Grand National Opera-house, I have the +honour to present to your Royal Highness the following address in which +the objects of the undertaking are set forth:-- + +"The establishment of a National Opera-house in London has long been +contemplated, the obstacle to which, however, was the impossibility of +finding a suitable site, and it was not until that vast undertaking was +carried out by the Metropolitan Board of Works, which has resulted in +reclaiming from the Thames large tracts of land, and in throwing open +the great thoroughfare of the Victoria Embankment, that a site +sufficient to meet the requirements of a National Opera-house could be +obtained; and it is this building that your Royal Highness is graciously +pleased to inaugurate to-day. + +"The National Opera-house is to be devoted firstly to the representation +of Italian Opera, which will be confined as heretofore to the spring and +summer months; and, secondly, to the production of the works of English +composers, represented by English performers, both vocal and +instrumental. + +"It is intended, as far as possible, to connect the Grand National +Opera-house with the Royal Academy of Music, the National Training +School for Music, and other kindred institutions in the United Kingdom, +by affording to duly qualified students a field for the exercise of +their profession in all its branches. + +"The privilege, which it is the intention of the Director to grant to +the most promising of these students, of being allowed to hear the works +of the greatest masters performed by the most celebrated artists, will, +in itself, form an invaluable accessory to their general training. + +"Instead of being compelled to seek abroad further instruction when +their prescribed course at the various establishments is finished, they +will thus be able to obtain this at home, and more quickly and +efficiently profit by example. + +"In Paris, when sufficiently advanced, the students can make a short +step from the Conservatoire to the Grand Opera; so it is hoped that +English students will use the legitimate means now offered and afforded +for the first time in this country of perfecting their general training, +whether as singers, instrumentalists, or composers, according to their +just claims. + +"In conclusion I beg leave to invite your Royal Highness to proceed with +the ceremony of laying the first stone of the new Grand National +Opera-house. + + "Grand National Opera house, + Victoria Embankment, + 16th December, 1875." + +In designing this, I intended it to be the leading Opera-house of the +world; every provision had been made. The building was entirely +isolated; and a station had been built beneath the house in connection +with the District Railway, so that the audience on leaving had merely to +descend the stairs and enter the train. In the sub-basement +dressing-rooms, containing lockers, were provided for suburban visitors +who might wish to attend the opera. A subterranean passage, moreover, +led into the Houses of Parliament; and I had made arrangements by which +silent members, after listening to beautiful music instead of dull +debates, might return to the House on hearing the division-bell. The +Parliamentary support thus secured would alone have given an ample +source of revenue. + +Having plenty of surplus land, I had arranged with the Lyric Club to +lease one corner, whilst the Royal Academy of Music had agreed to take +another. The buildings, moreover, were to include a new concert room, +together with a large gallery for pictures not accepted by the Hanging +Committee of the Royal Academy, to be called the "Rejected Gallery." + +There were recreation rooms, too, for the principal artists, including +billiard tables, etc., besides two very large Turkish baths, which, it +was hoped, would be of service to the manager in cases of sore throat +and sudden indisposition generally. + +The throat doctors appointed to the establishment were Dr. Morell +Mackenzie and Mr. Lennox Brown. + +Sir John Humphreys had arranged for the purchase of a small steamer to +act as tug to a large house-boat which would, from time to time, take +the members of the Company down the river for rehearsals or recreation. +The steamer was being built by the Thorneycofts. The house-boat was of +unusually large dimensions, and contained a magnificent concert-room. + +The nautical arrangements had been confided to Admiral Sir George +Middleton, a member of my acting committee; or, in his absence, to Lord +Alfred Paget. + +When about £103,000 had been laid out on the building another £10,000 +was wanted for the roofing; after which a sum of £50,000, as already +arranged, could have been obtained on mortgage. For want of £10,000, +however, the building had to remain roofless. For backing or laying +against a horse, for starting a new sporting club or a new music-hall, +the money could have been found in a few hours. But for such an +enterprise as the National Opera-house it was impossible to obtain it; +and, after a time, in the interest of my stockholders (for there was a +ground rent to pay of £3,000), I consented to a sale. + +The purchasers were Messrs. Quilter, Morris, and Tod-Heatly, to whom the +building was made over, as it stood, for £29,000. + +Later on it was resold for £500; and the new buyers had to pay no less +than £3,000 in order to get the walls pulled down and broken up into +building materials. + +The site of what, with a little public spirit usefully applied, would +have been the finest theatre in the world, is now to serve for a new +police-station. With such solid foundations, the cells, if not +comfortable, will at least be dry. + + + + +CHAPTER XIII. + + FIRST VISIT TO AMERICA--MAKING MONEY OUT OF + SHAKESPEARE--CHATTERTON'S SECRET AGENTS--BIDDING FOR HER MAJESTY'S + THEATRE--ILLNESS OF TITIENS--GERSTER'S SUCCESS--PRODUCTION OF + "CARMEN." + + +AT the close of the year 1875 I was invited to spend the evening with +some friends to see the old year out and the new year in. Amongst the +visitors at the house I met an American gentleman who had seen many of +my performances; and he assured me that if I would but go to America I +should do a very fine business, but that prior to making arrangements I +either ought to send over a trusted agent or go myself. So fully did he +impress me by his conversation, that, although I had never contemplated +such a thing, I went home late that night, or rather early the next +morning, put a lot of traps together, and started the same afternoon for +America, reaching Queenstown early on the morning of the 2nd January in +time to catch the steamer. + +I shall never forget my first voyage. I knew no one on board: we were +six or seven passengers in all. Few care to leave for a long voyage on +New Year's Day. The vessel was not only small, although a Cunarder, but +very unsteady. She was known amongst nautical men as the "Jumping Java." +Our passage occupied 14 days, and we had to weather several very severe +gales. One day we only made 16 knots. + +However, I arrived on the other side in due course, and was forcibly +struck with the grand country I had entered. As I could remain there +only nine or ten days I hastened to visit Chicago, Philadelphia, Boston, +Cincinnati, and other places, in addition to New York. I, however, +"prospected" by carefully noting all I saw; and afterwards returned to +England to join my touring concert party during the latter part of the +month. It was then in the provinces. I felt myself fully master of what +I intended the following year to undertake; namely, a tour of Her +Majesty's Opera Company in America, which later on in these memoirs I +shall have occasion to describe. I also organized another tour in the +English provinces, with Salvini, who appeared afterwards in all the +principal provincial towns with immense success. + +In the middle of October, 1875, I had the honour of being invited by the +Duke of Edinburgh to Eastwell Park. Thinking the invitation was only for +the day, I took nothing with me but a small bag containing an evening +suit and a single shirt. When I arrived at Ashford station I was met by +two six-foot men in scarlet liveries, who had arrived with a fourgon, +drawn by two splendid horses, into which they proposed to put my +luggage. I noticed their efforts to restrain a smile when I handed to +them my little hand-bag. Another magnificent equipage had been sent for +me personally. + +I was received with the greatest possible kindness; and it will interest +many of my readers to know that just before dinner the Duchess took me +to a buffet on which was laid out caviare, smoked salmon, salt herring +(cut into small pieces), dried mushrooms, pickled cucumbers, and the +various appetizing delicacies which, with spirits or liqueurs, form the +preliminary repast known to the Russians as _zakuska_. + +I had the honour of taking the Duchess in to dinner, where we formed a +party of four: the Duke, the Duchess, the equerry in attendance, and +myself. After dinner we adjourned to the music-room, where I noticed +piles upon piles of music-books. I soon saw that the Duchess was an +excellent musician. The Duke, too, received evidence of this; for in +difficult passages he was pulled up and corrected again and again. +Smoking being permitted and even enjoined, I lighted a cigar and smoked +in silence on the sofa, listening with interest to the musical +performances, which were in the form of duets for violin and piano, or +violin solos with pianoforte accompaniment. + +The next morning we were up early, and I was taken over the estate. The +Duchess pointed out to me her own particular fish-pond, in which she +sometimes angles with a view to the table. + +Then I went out shooting with the Duke; a rather trying business, for I +had neither shooting-clothes nor, far worse, shooting-boots. Of course +it began to rain, and I was soon wet through to the skin, my ordinary +walking boots being soaked in such a manner that when I got back to the +house, by which time the leather had partially dried and contracted, I +had considerable difficulty in getting them off. The Duke was kind +enough to lend me an overcoat. + +At luncheon the Duchess asked for the key of the wine cellar, at which +the Duke expressed surprise and curiosity. He was reproached for his +inquisitiveness, but was not at the time enlightened as to the object +for which the keys were wanted. + +It appeared later on at dinner that the Duchess had been visiting a +curate at some eight miles distance, who was ill, and had been +recommended port wine. This, out of his meagre income, he would be +unable, she said, to afford. + +"With eighty pounds a year and five children, how," she asked, "can he +drink port wine and eat new-laid eggs?"--which the doctor had also +recommended. She had herself, therefore, driven over in the afternoon +through the pouring rain to take them to him. + +After lunch we had more shooting, the weather being now a trifle +better. We got home in good time for dinner, and in the evening played +at billiards. The Duke is an infinitely better player than I am; but by +a series of flukes I got ahead of him, and at last found myself within +two points of the game, and with the balls so left that it was most +difficult for me to avoid making a final cannon. I saw, however, from +the expression of the Duchess's countenance, that she had set her heart +upon her husband's defeating me; and I must now confess that if I +succeeded in not making that cannon, so difficult to miss, I did so +simply out of regard for Her Royal Highness's feelings. The Duchess +during the game acted as marker. + +It was the Duchess's birthday, and in the course of the evening a +courier from Russia, who had been anxiously expected all day, arrived +with innumerable presents of jewellery. To these offerings the Duchess +paid little or no attention. All she cared for was a letter she was +awaiting from her father, and, on receiving it, she was soon absorbed in +the perusal of its contents. + +A few months afterwards, when the Duchess was present at a performance +of _Fidelio_ given at Her Majesty's Opera, I had a new proof of Her +Royal Highness's musical knowledge and of her delicate ear. She arrived +before the beginning of the overture, and brought with her two huge +orchestral scores. The Duchess sat on the floor of the box reading one +of them, and turning of course very rapidly over the leaves during the +stretto of the "Leonora" overture. Suddenly she noticed an uncertain +note from the second horn, and exclaimed, as if to set the musician +right, "B flat!" After the act I asked Sir Michael Costa whether +something did not go wrong with one of the horns. "Yes," he said, "but +only a person with a very fine ear could have perceived it." I repeated +to Her Royal Highness Costa's remark precisely as he had made it. + +I opened my season again at Drury Lane early in 1876; but the lessee, +Mr. Chatterton, who had been secretly treating with Salvini, did not +think it right that in the great national theatre under his control I +should be making so much money out of Shakespeare. The only contract I +could now get from him had practically the effect of excluding Salvini, +and this was really the beginning of Chatterton's ruin. Although I was +to pay him the same amount of rental he insisted on retaining the +Wednesday and Friday evenings and Saturday mornings for himself. I had +therefore to rent another theatre wherein to place Salvini. Mr. +Chatterton brought over another Italian tragedian, Signor Rossi, and put +him to perform at Drury Lane in opposition to Salvini, whom I had to +present at the Queen's Theatre in Long Acre. The consequence was that +both of us dropped money, and Mr. Chatterton's losses during that time +were, I believe, considerable. + +To my Opera Company I had added M. Faure, while retaining all the +favourites of the previous year, including Titiens, Trebelli, Nilsson, +&c.; Sir Michael Costa remaining as conductor. + +At the close of 1876 I again visited the provinces, beginning my usual +Italian Opera season at Dublin, with Mdlle. Titiens, who had returned +fresh from her American triumphs, supported by Marie Roze, Valleria, +Ilma de Murska, Emma Abbot, Trebelli, etc., etc. The tour was indeed a +most prosperous one, and it terminated towards the latter part of the +December of that year. + +Early in 1877, when I applied for the renewal of my lease of the Theatre +Royal, Drury Lane, Mr. Chatterton showed much ill-will, which I +attributed to his jealousy at my previous success with Salvini, and to +my having declined to allow him to engage the Italian tragedian on his +own account. He insisted that I should have the theatre but three days a +week, and then only from ten in the morning till twelve at night. Not +only was I precluded from using the theatre on the other days, but I was +to finish my performance always by midnight and then hand him the key. +As my rehearsals invariably have to take place on the "off days," when +there is no opera, I should have been prevented by this arrangement from +rehearsing at all. In fact, I found nothing but impossible clauses and +conditions in the contract now offered. + +At this time Mr. Chatterton was very anxious to find out whether or not +the Earl of Dudley was prepared to let me Her Majesty's Theatre; and to +ascertain this the good offices of some highly attractive young ladies +performing in the pantomime were employed. Lord Dudley gave Mr. +Chatterton to understand that though he was willing to sell the theatre, +of which he saw no probability, he would not under any circumstances let +it to Mapleson or any other man. Hence Chatterton continued to insist on +his stringent conditions, although I had been his tenant for some eight +or nine years, paying a very large amount of rent in addition to +cleaning and carpeting his theatre every year, which was very much +required after the pantomime. + +On learning, in a direct manner, Lord Dudley's decision, I saw that it +was hopeless to approach him in the character of a tenant. A purchaser I +did not wish to be, as my new Opera-house, it was anticipated, would be +ready for opening the following spring. All I, for the present, desired +was a theatre where I could, unmolested, continue my season. I therefore +made offers to Lord Dudley with a view to purchase, at the same time +explaining to him my inability to pay the whole of the amount he then +demanded, namely, £30,000. All I could do was to give him a deposit of +£6,000 on account, and a further £6,000 in the following November, +leaving £18,000 still due, with a clause, in case of any default being +made in regard to the second instalment, by which the first was to be +forfeited. To this his lordship assented. I had been ready to pay him +£7,000 as rent for a single year, but this he would have refused. By +paying an instalment of £6,000 I saved £1,000, and equally obtained the +use of the theatre. In due course the matter was completed. + +During the month of February I entered into possession. There was not a +single seat in the house, not a particle of paper on the walls; neither +a bit of carpet, nor a chair, nor a table anywhere. I therefore had to +go and see Blundell Maple, the well-known upholsterer, who, out of +regard for me and the advertisement I promised him, consented to give me +a few things I required for the sum of £6,000. It involved the +furnishing of the whole of the dressing-rooms, the auditorium, and +corridors. + +About four miles of carpeting were required, there being so many +staircases and passages, all of which were luxuriously covered. New +amber satin curtains, the traditional colour of the house, had to be +manufactured specially. Stall chairs, appointments, fittings, and +looking-glasses were also, of course, required. A room had to be built +through solid masonry for the Prince of Wales, as a retiring-room. In +fact, it was a very heavy affair; and on my inviting a few friends and +members of the Press to a dinner I gave at my club some two days before +the opening, they confessed to having believed that the theatre could +not be opened for two months. Maple, in order to show what he could do +in a short space of time, had purposely left all to the last day, when +he sent in some 200 workmen and upholsterers, together with about 300 +girls and carpet-sewers, so that the effect was really like the magic of +Aladdin's Palace. The theatre, I need scarcely say, was finished in +time, and gave great satisfaction. + +The new theatre opened on 28th April, Titiens appearing as "Norma;" and +a grand performance it was. Sir Michael Costa directed the orchestra, +which went _à merveille_. + +The day following it became evident that the great prima donna was +suffering from a complaint which caused her the most serious +inconvenience. The next evening Mdlle. Salla appeared with some success +in _Il Trovatore_. On the succeeding Saturday, Mdme. Christine Nilsson +made her _rentrée_ in _La Traviata_; but immediately afterwards she too +fell ill. + +It seemed as if the new theatre was to bring nothing but bad luck, as it +since has done to all connected with it. Mdlle. Titiens, however, had to +make an effort, and she appeared again the next night as "Norma," and +the Saturday afterwards in the _Trovatore_. Meantime Mdme. Nilsson +recovered and reappeared on the following Thursday. Mdlle. Titiens was +sufficiently well to appear at St. James's Hall, for Mr. Austin's +benefit, at which she sang superbly, Mr. Austin, after the performance, +assuring me that he had never before heard such magnificent singing. +Mdlle. Titiens now informed me that she felt considerably better, and +would appear on the following Saturday, 19th May, as "Lucrezia Borgia," +which she in fact did. But, as the evening progressed she felt she could +hardly get through the opera. Her voice was in its fullest perfection; +but her bodily ailments caused her acute agony, and it was not until +some time after the conclusion of the opera that she was able to leave +the theatre. + +The best advice was sought for, and it was decided by the lady herself +that the operation, which ultimately caused her death, should be +performed. At the end of three weeks, having recovered from the effects +of the operation, as she thought, she expressed a wish to return to her +duties at the theatre. But, alas! that wish was never to be fulfilled, +and I had to go through the season with a loss, as it were, of my right +hand. + +She lived on in hopes of being able to recover, and she was even +announced to appear at the usual period in the following September. But +as time drew on it was clear that she was not long for this world. I +last saw her on the 29th day of September. Early on the morning of the +following Wednesday, October 3rd, she passed away. + +I continued the London season of 1877 as best I could without the +invaluable services of Mdlle. Titiens, although from time to time we had +formed hopes of her reappearing. I again brought Mdme. Nilsson to the +front, but found it incumbent on me to discover a new planet, as Mdme. +Nilsson, finding she was alone in the field, became somewhat exacting. +At last I found one; but, unfortunately, she was just on the point of +being married, and nothing could induce her future husband to defer the +ceremony. However, by dint of perseverance I succeeded in persuading +him, for a consideration, to postpone the honeymoon; and in addition to +this I was to pay a very large extra sum per night, while his wife's +appearances were strictly limited to two each week. + +About this time a great deal of intrigue was going on in order to +prevent the success of the new star. I, however, discovered the authors +of it, and worked accordingly. Thus I induced several members of the +Press to attend after they had been positively assured that she was not +worth listening to. Mdme. Gerster's success was really instantaneous, +and before her three or four nights were over I had succeeded in again +postponing the honeymoon--still for a consideration. Her success went on +increasing until the very close of the season, by which time her +receipts fairly balanced those of Mdme. Nilsson. + +The charges for postponing the honeymoon were put down under a separate +heading lest they should by any mistake be regarded as a portion of the +prima donna's salary and be used as a precedent in connection with +future engagements. At last, when several large payments had been made, +the season came to a close, and the young couple, after several months' +marriage, were at liberty to begin their honeymoon. + +After a journey through Italy and Germany in search of talent I returned +to England, when I found the great prima donna's case was hopeless. +Although it had been fully anticipated that she would make her +reappearance in Dublin, she being in fact announced to sing there, it +was, unhappily, decreed otherwise; and on the third night of our opening +I had to substitute Mdlle. Salla in _Il Trovatore_, in which Titiens had +been originally announced. I received early that day (October 3, 1887) a +telegram stating that she was no more. The Irish public on hearing the +sad news at once left the theatre. It cast a gloom over the entire city, +as it did throughout the musical world generally. A grand and gifted +artist, an estimable woman, had disappeared never to be replaced. + +After visiting several of the principal towns I returned to London and +reopened Her Majesty's Theatre, reviving various operas of repute, and +producing for the first time in this country _Ruy Blas_, which met with +considerable success. My season terminated on the 22nd of December. + +At Christmas time I reopened the theatre with an admirable ballet, +composed expressly by Mdme. Katti Lanner, in which none but the children +of my National Training School for Dancing took part. I afterwards +performed a series of English operas, which were successful, Sir Julius +Benedict conducting. Concurrently with this I continued my regular +spring concert tour, which did not terminate until the middle of March. + +The London season of 1878 opened inauspiciously, the loss of the great +prima donna causing a cloud to hang over the theatre. However, Mdme. +Nilsson duly arrived, likewise Mdme. Gerster, and each sang so as to +enhance her reputation. + +Prior to the commencement of the season I had heard Bizet's _Carmen_ in +Paris, which I contemplated giving; and my decision was at once taken on +hearing from Miss Minnie Hauk of the success she was then making in that +opera at Brussels. + +I therefore resolved upon engaging her to appear as "Carmen." In +distributing the parts I well recollect the difficulties I had to +encounter. On sending Campanini the _rôle_ of "Don José" (in which he +afterwards became so celebrated), he returned it to me stating he would +do anything to oblige, but could not think of undertaking a part in an +opera of that description where he had no romance and no love duet +except with the _seconda donna_. Shortly afterwards Del Puente, the +baritone, entered, informing me that the part of "Escamillo," which I +had sent him, must have been intended for one of the chorus, and that he +begged to decline it. + +In vain did Sir Michael Costa order the rehearsals. There was always +some trouble with the singers on account of the small parts I had given +them. Mdlle. Valleria suggested that I should entrust the part of +"Michaela" either to Bauermeister or to one of the chorus; as on no +account would she undertake it. + +This went on for some time, and I saw but little prospect of launching +my projected opera. At length, by force of persuasion, coupled with +threats, I induced the various singers, whether they accepted their +parts or not, to attend a general rehearsal, when they all began to take +a great fancy to the _rôles_ I had given them; and in due course the +opera was announced for the first representation, which took place on +the 22nd June. + +The receipts for the first two or three performances were most +miserable. It was, in fact, a repetition of what I had experienced on +the production of _Faust_ in 1863, and I frankly confess that I was +forced to resort to the same sort of expedients for securing an +enthusiastic reception and thus getting the music into the heads of the +British public, knowing that after a few nights the opera would be sure +to please. In this I was not mistaken, and I closed my season with +flying colours. + + + + +CHAPTER XIV. + + FIRST AMERICAN CAMPAIGN--DIFFICULTIES OF EMBARKATION--CONCERT ON + BOARD--DANGEROUS ILLNESS OF GERSTER--OPERA ON WHEELS--"THE + DRESSING-ROOM ROW"--A LEARNED THROAT DOCTOR--GERSTER SINGS BEFORE + HER JUDGE--THE PIANOFORTE WAR--OUR HURRIED DEPARTURE. + + +AT the end of the season I went abroad to complete my Company for the +first American tour, which was to begin about the middle of October. I +started my Opera Company from London on the 31st August on its way to +America, numbering some 140 persons, including Gerster, Minnie Hauk, +Trebelli, Valleria, Campanini, Frapolli, Galassi, Del Puente, Foli, +etc., with Arditi as conductor. This also comprised a magnificent chorus +of some 60 selected voices, together with the whole of the _corps de +ballet_ and principal dancers; and I had decided to give some three or +four weeks' performances in Ireland prior to sailing, in order to get +things in working order, as well as to recruit the exchequer for my +costly enterprise. Although immense success attended the appearance of +my new singers in the Irish capital, they were not sufficiently known to +draw the great houses more famous artists would have done. Etelka +Gerster almost drove the gods crazy with her magnificent singing; but as +she was totally unknown, never having been in Ireland before, the +receipts were not commensurate with her artistic success. Minnie Hauk, +again, had never appeared in that country; nor had the opera of _Carmen_ +been heard, its very name seeming to be unknown. However, the artistic +success was beyond measure, and the representations, moreover, served as +a kind of general rehearsal for my coming performances in America. On +reaching Cork I found the receipts were again below what they ought to +have been, and I began to realize that in lieu of increasing my +exchequer prior to starting for America I ran the chance of totally +exhausting it. + +I therefore telegraphed to my representative in New York for £2,000, in +order that I might straighten up my position, and pay the balance of our +passage money, the boat being then off Queenstown. + +I was really anxious on this occasion, and it was not until late in the +day that my cable arrived, notifying to me that the money was at my +credit in the Bank of Cork. With some difficulty, it being after banking +hours, I obtained admittance, when lo! the money was all payable in +Irish notes. These the singers pronounced to be useless for their +purpose in America. They absolutely refused to embark, and it was not +until towards evening that I was enabled with great difficulty to find +gold at the various hotels and shops in exchange for my Irish notes. + +At length we departed from Queenstown; though it was late in the evening +before I succeeded in getting the last squad on board. Some of the +Italian choristers had been assured by Irish humorists that the streets +of New York were infested by crocodiles and wild Indians; and these they +were most unwilling to encounter. We had a splendid passage across. The +day before our arrival in New York it was suggested to give a grand +concert in aid of the sufferers by the yellow fever then raging in New +Orleans. I recollect on the occasion of the concert the collection made +amongst the passengers amounted to some £3 or £4. One Western gentleman +asked me particularly, in the presence of the purser, if the money would +really be devoted to the relief of the sufferers. He, moreover, demanded +that Captain Brooks, the officer in command, should guarantee that the +money would reach them. The collection was made by those two charming +young pianists, Mdlles. Louise and Jeanne Douste, and by the equally +charming young dancer, Mdlle. Marie Muller; and at the conclusion of the +concert, in which he had encored every one of the pieces, the careful +amateur from the West gave the sum of sixpence. Gerster, Minnie Hauk, +Campanini, and the others were irate, at the result of their united +labours; and as they thought it might injure them on their arrival in +New York, were the public to know of it, they privately subscribed £20 +apiece all round to make the return look a little decent. + +On our arrival in New York we were met by thousands of people, +accompanied by military bands, etc., and although I had left, as it +were, a winter behind me, we landed in the midst of a glorious Indian +summer. + +I set about making my preparations for the opening of my season, which +was to commence on the 16th October, and to prepare the way for the +_début_ of Madame Etelka Gerster, who since our arrival had scarcely +been her usual self. This I attributed to the sea voyage. Two days +before the opening I gave a dinner, to which I invited several +influential friends including members of the New York Press. As I was +just about responding to the toast of the evening, wishing health to +Madame Gerster and success to the Opera, the waiter beckoned me to the +door, whispering that a gentleman wanted to speak to me for one moment. +I went out, when Dr. Jacobi, the New York physician, called me into an +adjoining room, where the eminent specialist, Dr. Lincoln, was waiting. +They had just visited Madame Gerster, and regretted to inform me that a +very bad attack of typhoid fever had developed itself, and that +consequently there would be no probability of her appearing the +following Wednesday, while it was even doubtful in their minds if she +would survive. She was in a very bad state. + +This was indeed a great blow to me; but I returned to the room, +continued my speech, and then went on with my dinner as if nothing had +happened. + +Making it a point never to think of business when I am not in my office, +I decided to turn matters over the following morning, which was the day +preceding the opening of the house. Being so far away, it would be +impossible to replace Mdme. Gerster. I thereupon persuaded Miss Minnie +Hauk to undertake her part in _La Traviata_, which she did with success. +Del Puente, our principal baritone, refused, however, to sing the part +of the father, in consequence, I presume, of this change. + +This was a most fortunate thing for the other baritone, Galassi, who +replaced Del Puente. It virtually made his fortune. He possessed the +ringing quality of voice the Americans are so fond of. He literally +brought down the house that evening. I cannot recall a greater success +at any time, and henceforth Galassi became one, as it were, of the idols +of the American public. + +I opened my theatre in London the following night with a very powerful +Company, Mdme. Pappenheim making her _début_ as "Fidelio"; for I was now +working concurrently the London and the New York Operas. This I did for +the whole of that season, closing Her Majesty's Theatre on the 21st +December, though the American "Academy" was kept open beyond. + +Costumes, properties, and even singers, were moved to and fro across the +ocean in accordance with my New York and London requirements. Franceso, +who was ballet-master on both sides of the Atlantic, made again and +again the voyage from New York to Liverpool, and from Liverpool to New +York. On one occasion the telegraph played me false. I had wired to my +acting-manager at Her Majesty's Theatre, with whom I was in daily +telegraphic communication, desiring him to send me over at once a "2nd +tenor." The message was inaccurately deciphered, and out came "2 +tenors;" one of whom was kneeling on the quay at New York returning +thanks for his safe arrival, when I requested him to re-embark at once, +as otherwise he would not be back at Her Majesty's Theatre by Monday +week in time to sing the part of "Arturo" in the _Lucia_, for which he +was already announced. + +I afterwards produced Carmen at the Academy of Music, which met with +very great success, as likewise did _Faust_, _Don Giovanni_, etc. It was +not till the 8th November that Mdme. Gerster was declared out of danger, +and I was in constant attendance upon her until the 18th November, when +she appeared as "Amina" in La _Sonnambula_. Her success was really +electric, the public going quite wild about her. + +I afterwards produced all the great operas I had been giving in London, +including the _Magic Flute_, _Talismano_, _Robert le Diable,_ etc., +etc., my season continuing without intermission some six months, during +which time I visited Boston, where public breakfasts and other +entertainments were given to my singers. A special train was fitted up +expressly for my large Company, and all the carriages elegantly +decorated. I had also placed at my disposal by the Railroad Company a +carriage containing writing-room, drawing-room, bedrooms, and kitchen +stocked with wines and provisions, under the direction of a _chef_. + +Whilst at Boston I had the honour of making the acquaintance of +Longfellow, who, being anxious to hear Mdme. Gerster, occupied my box +one evening, the attention of the audience being very much divided +between its occupant and Mdme. Gerster, who on that occasion was singing +"Elvira" in _I Puritani_. He likewise attended the final morning +performance, which took place on the last Saturday of our engagement, +when Gerster's receipts for "Lucia" reached no less than £1,400. We left +that evening for Chicago, a distance of some 1,100 miles, arriving in +that city just in time to commence the opera the following Monday, when +Gerster appeared and created an excitement only equalled by that of +Jenny Lind. I recollect, by-the-bye, an amusing incident that occurred +the second night, on the occasion of the performance of _Le Nozze di +Figaro_. + +On the right and left-hand sides of the proscenium were two +dressing-rooms alike in every respect. Madame Gerster, however, selected +the one on the right-hand side, which at once gave the room the +appellation of the prima donna's room. On the following evening _Le +Nozze di Figaro_ was to be performed, in which Marie Roze was to take +the part of "Susanna," and Minnie Hauk that of "Cherubino." In order to +secure the prima donna's room Minnie Hauk went to the theatre with her +maid as early as three o'clock in the afternoon and placed her dresses +in it, also her theatrical trunk. + +At four o'clock Marie Roze's maid, thinking to be the first in the +field, arrived for the purpose of placing Marie Roze's dresses and +theatre trunks in the coveted apartment. Finding the room already +occupied, she mentioned it to Marie's husband, who with a couple of +stage men speedily removed the trunks and dresses, put them in the room +opposite, and replaced them by Marie's. He then went back to his hotel, +desiring Marie to be at the theatre as early as six o'clock. + +At about 5.30 Minnie Hauk's agent passed by to see if all was in order +and found Marie Roze's theatrical box and costumes where Minnie Hauk's +were supposed to be. He consequently ordered the removal of Marie Roze's +dresses and trunk, replaced those of Minnie Hauk, and affixed to the +door a padlock which he had brought with him. + +Punctually at six o'clock Marie Roze arrived, and found the door locked. +By the aid of a locksmith the door was again opened, and Minnie Hauk's +things again removed to the opposite room, whilst Marie Roze proceeded +to dress herself in the "prima donna's room." + +At 6.30 Minnie Hauk, wishing to steal a march on her rival, came to +dress, and found the room occupied. She immediately returned to Palmer +House, where she resided, declaring she would not sing that evening. + +All persuasion was useless. I therefore had to commence the opera minus +"Cherubino;" and it was not until the middle of the second act, after +considerable persuasion by my lawyers, that Minnie Hauk appeared on the +stage. This incident was taken up throughout the whole of America, and +correspondence about it extended over several weeks. Pictures were +published, also diagrams, setting forth fully the position of the trunks +and the dressing-rooms. The affair is known to this day as "The great +dressing-room disturbance." + +During all this visit to Chicago there was one unbroken line of +intending buyers waiting to secure tickets at the box office; and +frequently I had to pay as much as twenty dollars for wood consumed +during the night to keep the purchasers warm. + +About the middle of the second week I produced Bellini's _Puritani_, +with Gerster as "Elvira," Campanini as "Arturo," Galassi as "Riccardo," +and Foli as "Giorgio." On this occasion the house was so crowded that +the outer walls began to crack, and in the managerial room, in which I +was working, I could put my hand through one of the corners where the +two walls met. I communicated with Carter Harrison, who was then Mayor. +He at once proceeded to the theatre, and, without creating any alarm, +and under the pretext that the house was too full, caused upwards of a +thousand people to leave the building. So pleased were they with the +performance that they all refused to have their money returned. + +We terminated one of the most successful Chicago seasons on record, and +the Company started the following morning for St. Louis. As I was +suffering from a sharp attack of gout I had to be left behind, and but +for the kindness of Lord Algernon Lennox (who had acted as my +aide-de-camp at one of our Easter sham-fights) and Colonel Vivian I do +not know what I should have done. Both these gentlemen remained in the +hotel with me, interrupting their journey to do me this act of kindness, +for which I felt very grateful. + +On the Company's arriving at St. Louis, Mdme. Gerster declared her +inability to sing the opera of _Lucia_ that evening. My son Henry, who +had charge of the Company until I could rejoin it, explained to madame +that it would be necessary to have a medical certificate to place before +the public. Mdme. Gerster replied she was too honourable an artist to +require such a thing, and that when she said she was ill, she was ill. +My son, however, brought in a doctor, who insisted upon seeing her +tongue. She merely, in derision, said, "There!"--rapidly putting it out +as she left the room. The doctor immediately put on his spectacles, and +proceeded to write his certificate, saying that there was a little +irritation in the epiglottis, that the uvula was contracted, together +with the muscles of the throat, and that the tonsils were inflamed. On +Mdme. Gerster's husband showing the certificate to his wife she got so +angry that she insisted upon singing--just to show what an "ass" the +doctor was. Of course, this answered my purpose very well, and my large +receipts were saved. + +On leaving the hotel at the end of that week the eminent physician +presented Mdme. Gerster with a bill of $60 for medical attendance. This, +of course, she resisted; and she gave bonds for her appearance when +called upon, in order to save her trunks from seizure, which the M.D. +had threatened. + +Whilst I am on this subject, I may as well inform the reader that two +years afterwards when we visited St. Louis the matter was brought before +the Court. Feeling sure that this attempt at extortion would not be +allowed, and that the Court proceedings would be of very short duration, +I attended at nine o'clock, the hour set down for trial, leaving word +that I should be home at about half-past ten to breakfast. It was not +until eleven that I was called up to the witness-stand. On my +mentioning to my counsel that I felt very faint, as I had not yet eaten +anything, he repeated it to the judge, who at once adjourned the Court +in order that I might have my breakfast. He enjoined me not to lose too +much time in "mastication," and ordered the reassembly of the Court at +half-past eleven. On my return my evidence was duly given; but when the +defendant, Etelka Gerster, was summoned, the call-boy from the theatre +appeared, stating to the judge that as she had to sing "Lucia" that +night, and was not very well, it would jeopardize the whole performance +if she left the hotel. + +His honour, thereupon, considerately ordered the Court to adjourn to +Mdme. Gerster's rooms at the Lindell House, where the trial could be +resumed. On our arrival there counsel and others amused themselves by +looking at various pictures until the prima donna appeared, accompanied +by her two dogs, her birds, etc., when the judge entered into +conversation with her on musical matters. Later on his honour solicited +Mdme. Gerster to kindly sing him a song, especially the "Last Rose of +Summer," which he was very partial to, being from the Emerald Isle. At +the close of the performance he thought it was useless troubling Mdme. +Gerster to go further into the case, which was at once decided in her +favour. + +Talking of law, I may mention another lawsuit in which I was concerned. + +Whilst in Boston in January, 1879, Mdme. Parodi, who lived in an hotel +close by the theatre, had need of medical attendance, and the theatrical +doctor, who had the _entrée_ to the house, was naturally selected to see +what the matter was. He prescribed a gargle for Mdme. Parodi; and Mdlle. +Lido, who had been attending on the patient, having shown the doctor her +tongue as he went out, he merely said "You want a little +Friedrichshall," and left the room. + +Nothing more was heard of the matter until January, 1880, when, as I was +seated at the breakfast table in the hotel with my wife and family, two +Deputy-Sheriffs forced their way unannounced into the room to arrest me +for the sum of 30 dollars, which the doctor claimed as his fee. This was +the first intimation I had had of any kind, and it was afterwards shown +in evidence that the doctor had debited Parodi and Lido in his day-book +separately with the amount which he also charged to them collectively. +Finding that both ladies had left the city he thought it better to +charge the attendance to me. Rather than be arrested, I of course paid +the money, but under protest. + +The next day I commenced proceedings against the doctor, as well as the +Sheriff, for the return of my money, which I contended had been handed +over under duress, and was not a voluntary payment on my part. The +doctor's counsel contended on the other hand--first, that I had derived +benefit from the treatment he had given these ladies; secondly, that I +was liable. In due course the matter went to trial, and was heard by +Judge Parmenter in the Municipal Civil Court at Boston. It was proved +that the doctor was the regular physician to the Boston Theatre, and +that in consideration of free entrance he attended without fee members +of the Company who played there. The Judge, after commenting on the +testimony, decided the matter in my favour. I was, however, baulked of +both money and costs; for the same afternoon the doctor went home and +died. + +On my return to New York for the spring opera season I produced +_Dinorah_, in which Mdme. Gerster again achieved a triumph. The business +went on increasing. About this time a meeting of the stockholders of the +Academy of Music was convened, and I ultimately signed a new lease for +three more years, commencing October 20th following. + +During my first sojourn in America I gave 164 performances of opera, +likewise 47 concerts. Concurrently with this I gave 135 operatic +performances and 48 concerts in England. The season in New York extended +from October 16th to December 28th, 1878, also from February 29th to +April 5th, 1879. At Boston the season lasted from December 30th, 1878, +to January 11th, 1879; at Chicago from January 13th to 25th; at St. +Louis from January 27th to February 1st; at Cincinnati from February 3rd +to 8th; at Philadelphia 10th to 18th, at Baltimore and Washington 19th +to 25th. During this period _Lucia_ was performed twenty times, +_Sonnambula_ nineteen times, _Carmen_ twenty-six times, _Faust_ sixteen +times, _Trovatore_ nine times, _Flauto Magico_ eight times, _Puritani_ +eight times, _Nozze di Figaro_ seven times, _Rigoletto_ five times, _Don +Giovanni_ five times, _Traviata_ four times, _Lohengrin_ ten times, +_Barbiere_ twice, _Ruy Blas_ twice, _Dinorah_ twice, _Talismano_ ten +times, _Robert le Diable_ twice, _Huguenots_ six times, _Freischutz_ +three times; making altogether twenty-four morning performances and one +hundred and forty evening performances. + +About this time the disastrous floods took place at Szegedin, in +Hungary. This being Mdme. Gerster's birth-place I proposed a grand +benefit concert for the sufferers, in which my prima donna at once +joined. By our united efforts we raised about £800, which was remitted +by cable to the place of disaster within five days of its occurrence, +much (I need scarcely add) to the relief of many of the sufferers. + +My benefit, which was fixed for the last night of the season, took place +on Friday, April 4th. At quite an early hour crowds collected right down +Fourteenth Street and Irving Place, and within a very short time every +square inch of available room in the house was occupied. The enthusiasm +of the auditors was immeasurable, and they began to show it as soon as +the performance opened. The representation consisted of the third act of +the _Talisman_, with Mdme. Gerster as "Edith Plantaganet," and +Campanini as "Sir Kenneth;" followed by the fourth act of _Favorita_, in +which Mdme. Marie Roze undertook the _rôle_ of "Leonora;" and concluding +with an act of _La Traviata_, with Mdme. Gerster as "Violetta." Mdme. +Gerster's performance was listened to with the deepest attention, and +rewarded at the end with enthusiastic cheers. Mdme. Gerster afterwards +came out three times, but her courtesies were of no avail in quieting +the multitude. It was necessary, at the demand of the public, to raise +the curtain and repeat the entire act. Then nothing would satisfy the +audience but my appearance on the stage; when I thanked the ladies and +gentlemen present for their support, notifying, moreover, that, +encouraged by my success, I should return to them the next autumn. This +little speech was vehemently applauded, especially the references I made +to the singers and to the conductor, who, I promised, would come back +with me. + +During our stay in New York we were supplied with pianos both for the +artists individually as well as for use at the theatre by Messrs. +Steinway and Sons; and before we left the following flattering but just +letter of compliment and of thanks was addressed to the firm:-- + + "Academy of Music, New York, + "December 28, 1878. + +"GENTLEMEN, + +"Having used your pianos in public and private during the present Opera +season we desire to express our unqualified admiration of their +sonority, evenness, richness, and astonishing duration of tone, most +beautifully blending with and supporting the voice. These matchless +qualities, together with the precision of action, in our opinion, render +the Steinway pianos, above all others, the most desirable instruments +for the public generally. + + "(Signed) ETELKA GERSTER, MARIE ROZE, + MINNIE HAUK, C. SINICO, + CAMPANINI, FRAPOLLI, GALASSI, FOLI, + DEL PUENTE, ARDITI." + +Messrs. Steinway now offered and undertook to supply each leading member +of the Company with pianos in whatever town we might visit throughout +the United States. + +On our arrival in Philadelphia I was surprised to find that every artist +in the Company had had a magnificent Steinway placed in his or her +bedroom; this in addition to the pianos required at the theatre. But +while the Company were dining, a rival pianoforte maker, who had shown +himself keenly desirous of the honour of supplying us with instruments, +invaded the different bedrooms and placed the Steinway pianos outside +the doors, substituting for them pianos made by his own firm--that of +Weber and Co. The Webers, however, were ultimately put outside and the +Steinways replaced. + +Shortly afterwards a pitched battle took place in the corridors between +the men employed by the rival firms, when the Weber men, being a more +sturdy lot, entirely defeated the Steinway men and ejected them bodily +from the hotel. The weapons used on this occasion were piano legs, +unscrewed from the bodies of the instruments. + +Not only did physical force triumph, but the superior strength exhibited +by the Weber side was afterwards supplemented by cunning. That very +night Weber gave a grand supper to the whole of my Company, and I was at +once astonished and amused the next day to find that a new certificate +had been signed by them all stating that Weber's pianos were the best +they had ever known. A paper to that effect had been passed round after +sundry bottles of "Extra Dry," and signatures appended as a matter of +course. + +Such was the impartiality of my singers that they afterwards signed on +behalf of yet a third pianoforte maker, named Haines. + +In accordance with numerous solicitations, I agreed to give a Farewell +_matinée_ the next day. But the steamer had to sail for Europe at two +o'clock in the afternoon; and this rendered it necessary that my morning +performance should commence at half-past eleven, the box-office opening +at eight. In the course of a couple of hours every seat was sold. +Towards the close of the performance, Arditi, the conductor, got very +anxious, and kept looking up at my box. It was now half-past one, Madame +Gerster's _rondo finale_ in _La Sonnambula_ had absolutely to be +repeated, or there would have been a riot; and we were some three miles +distant from the steamer which was to convey us all to Europe. + +At length, to my relief, the curtain fell; but the noise increased, and +I had again to show myself, while Arditi and the principal singers and +chorus took their departure, Signor Foli, with his long strides, +arriving first. I afterwards hastened down in a carriage I had expressly +retained. As the chorus had scarcely time to change their dresses, many +of them rushed down as best they could in their theatrical attire, +followed by a good portion of the audience, who were anxious to get a +last glimpse of us all. + +Arriving on board the Inman steamer _City of Chester_, I found it +crowded with personal friends, many of whom had been there at least an +hour. Hearty embraces were exchanged by the men as well as the women, +and numerous bottles of champagne were emptied to fill the parting cups. +The cabins of the steamer were literally piled up with flowers. Trunks +and boxes containing the wardrobe of the morning performance were lugged +on board. + +"All ashore!" shouted the captain. Prior to my arrival, the bell had +rung for the seventh and positively last time. The steamer's officers +now urged all but passengers to get on shore, and hinted at the +probability of some of them being inadvertently carried over to Europe. +The women hurried back to escape that dreadful fate. + +Ole Bull, whom I had invited to go to Europe with me, darted across the +gang-plank carrying his fiddle in a box. The whistle then blew, and the +bell rang for the eighth and now absolutely last time. At length the +steamer took her departure. A band of music on the wharf had been +playing lively airs, to which my chorus responded by singing the grand +prayer from _I Lombardi_. + +To my dismay, I discovered that the prima donna had been left behind; +also the property-master, the ladies' costumier, one of the ballet, and +five of the chorus. The latter had nothing with them but the theatrical +costumes they carried on their bodies. They had previously sent all +their worldly belongings on board the ship, and we now saw them +gesticulating wildly on the quay as we passed down the bay. They were +treated very kindly after our departure; ordinary day clothes were +provided for them, and they were sent over by the next steamer. + +On entering my cabin I found a silver épergne, a diamond collar-stud, +any quantity of literature, several boxes of cigars, bottles of brandy, +etc., which had been left anonymously; also an immense basket of fruit. +There were, moreover, two large set-pieces of flowers in the form of +horse-shoes that had been sent me from Boston, likewise a basket of +rose-buds, lilies, and violets, and an embroidered table-cover. + +A few minutes later, a tug carrying a large American flag at the side of +an English one steamed up to the pier and took on board a number of +ladies and gentlemen who, accompanied by an orchestra, followed the +steamer down the bay, giving the Company a farewell ovation of cheering +as the vessel passed the Narrows and got out to sea. + + + + +CHAPTER XV. + + RECEPTION OF A TENOR--BELOCCA AND LADY SPENCER--MARIMON'S + SUPERSTITIONS--HER LOVESICK MAID--AN ENCOURAGING TELEGRAM--MARIMON + IN THE CATHEDRAL--DISAPPEARANCE OF A TENOR + + +FOR my London season of 1879, in addition to Gerster, who was already a +prime favourite, Marie van Zandt, Clara Louise Kellogg, Minnie Hauk, +Ambré, Marie Roze, Caroline Salla, Hélène Crosmond, Trebelli, Nilsson, +etc., I engaged Fancelli, Brignoli, Frapolli, and Campanini. I moreover +concluded an engagement with Signor Masini, the renowned tenor, who +shortly afterwards arrived in London. I was informed the following +morning by his agent that he felt very much hurt that I myself, Sir +Michael Costa, and some of the leading artists of the theatre had not +met him at the station; the agent kindly adding that "If I would come +round to his hotel with Costa he might put the thing straight." + +I told him we were too busy to do anything of the kind, but that I +should expect Signor Masini to call on me, when I would present him to +Sir Michael Costa. + +We were within two days of his announced appearance, and I had not yet +seen him. That afternoon the agent, who was very anxious to keep things +pleasant, rushed in to tell me that Masini was passing along the +colonnade outside the theatre smoking a cigar, and that if I went out +quickly with Costa we might meet him, and so put an end to all +difficulties. I told him I was too busy, and that he had better bring +Masini into my office. The signor at length appeared, and in very few +words asked me in what opera he was to make his _début_. I told him he +had already been announced to appear as "Faust," in accordance with his +engagement; to which he replied that he should like to know who the +other singers were to be. I told him that Christine Nilsson would be +"Margherita," Trebelli "Siebel," and Faure "Mephistopheles," and that I +trusted this distribution of parts would suit him. He was good enough to +say that he would have no objection to sing with the artists I had +named. He then left. + +A few minutes afterwards Sir Michael Costa entered the room, and I told +him what had happened. He ordered a rehearsal for the following morning +at twelve o'clock for all the artists. Nilsson, Faure, and Trebelli were +punctually at the theatre, but not Masini; and just as the rehearsal was +being dismissed in consequence of the tenor's non-attendance his agent +appeared with the suggestion that a rehearsal was not necessary. If Sir +Michael Costa would step round to the hotel Masini, said the envoy, +would show him the _tempi_ he wished to be observed in his performance +of the part of "Faust." Sir Michael Costa left the room, and never +afterwards made the least reference to this audacious proposition. + +On going round to Masini's hotel the next morning to see how he was +getting on--for he was to perform that evening--I was informed that the +previous night he had taken flight, and that he was now on his way back +to Italy. + +I afterwards heard that an influential friend of Masini's at the Italian +Embassy had frightened him by saying that Sir Michael Costa was a man of +considerable importance, who was not to be trifled with, and who would +probably resent such liberties as Masini had attempted to take with him. + +Masini's flight put me to considerable inconvenience. I followed him up +on the Continent, harassing him in every city where he attempted to +play; though I ultimately let him off on his paying my costs, which came +to some £200. + +The fact of Signor Masini's asking Sir Michael Costa to come round to +his hotel in order to hear the _tempi_ at which the arrogant tenor liked +his airs to be accompanied, must have taken my readers by surprise. But +in Italy, I regret to say, the practice is only too common for singers +to treat conductors as though they were not their directors, but their +subordinates. A popular tenor or prima donna receives a much larger +salary than an ordinary conductor--or for that matter a first-rate one; +and a favourite vocalist at the end of the season often makes a present +to the _maestro_ to reward him for not having objected to some effective +note or cadenza which is out of place, but which the "artist" is in the +habit of introducing with a view to some special effect. In his own +country it would have been nothing extraordinary for a tenor so eminent +as Signor Masini to ask the conductor to step in and learn from him how +the different _tempi_ should be taken. + +On one occasion a renowned prima donna about to make her first +appearance in England took the liberty of enclosing to Sir Michael Costa +with her compliments a hundred-pound note. The meaning of this was that +she wished to be on good terms with the conductor in order that he might +not cut her short in any little embellishments, any slackening or +hastening of the time, in which she might think fit to indulge. On +receiving the note Sir Michael Costa requested the manager to return it +to the singer, and at the same time declared that he or the offending +vocalist must leave the Company. Needless to say that it was not the +conductor who left. + +Another remark as to Signor Masini's having expected that Sir Michael +Costa, myself, and all the leading members of the Company would meet him +at the railway station on his arrival in London. This sort of thing is +not uncommon with artists of rank, and when Mdme. Patti comes to London +a regular "call" is sent to the various members of the Company directing +them, as a matter of duty, to be at the station at such an hour. + +A good many artists, on the other hand, have a strong preference for not +being met at the station. They travel third-class and in costumes by no +means fair to see. + +Costa would have been horrified at the way in which operatic enterprises +are now too frequently conducted--especially, I mean, in a musical point +of view; works hurriedly produced, and in some cases without a single +complete rehearsal. Often, no doubt, the prima donna (if sufficiently +distinguished to be allowed to give herself airs) is in fault for the +insufficient rehearsals or for rehearsals being altogether dispensed +with. When such singers as Mdme. Patti and Mdme. Nilsson stipulate that +"the utility of rehearsing" shall be left to their judgment--which means +that they shall never be called to any sort of rehearsal--all idea of a +perfect _ensemble_ must, in their case, be abandoned. Sir Michael would, +I am sure, have protested against the acceptance of such conditions. +Nothing would satisfy him but to go on rehearsing a work until +everything, and especially until the _ensemble_ pieces, were perfect. +Then he would have one final rehearsal in order to assure himself that +this perfection was maintained; and the opera could be played the night +afterwards. Costa was born with the spirit of discipline strong within +him. As a singer he would never have made his mark. In his original +occupation, that of second tenor, his remarkable qualities were lost. As +a conductor, on the other hand, his love of order, punctuality, +regularity in everything, stood him in excellent part. + +At many operatic theatres the performance begins some five or ten +minutes after the time announced; at no theatre where Sir Michael Costa +conducted did it ever begin a minute late. The model orchestral chief +arrived with a chronometer in each of his waistcoat pockets; and when, +after consulting his timepieces, he saw that the moment for beginning +had arrived, he raised his _bâton_, and the performance began. He did +not even take the trouble to see that the musicians were all in their +places. He knew that, with the discipline he maintained, they must be +there. + +Among other difficulties which an operatic manager has often to deal +with is one arising from questions of precedence between the singers. +Who is to have the best dressing-room at the theatre? Who the best suite +of apartments at the hotel? Naturally the prima donna. But suppose there +is more than one prima donna in the Company, or that the contralto +claims to be an artist of greater eminence than the principal soprano? + +I remember once arriving at Dublin with a Company which included among +its members Mdlle. Salla, who played leading soprano parts, and Mdlle. +Anna de Belocca, a Russian lady, who played and sang with distinction +the most important parts written for the contralto voice. Mdlle. Belocca +and Mdlle. Salla entered at the same time the best suite of apartments +in the hotel; upon which each of them exclaimed: "These rooms will do +for me." + +"For you?" said Mdlle. Salla. "The prima donna has, surely, the right of +choice, and I have said that I wish to have them." + +"Prima donna!" exclaimed Belocca, with a laugh. "There are but two prime +donne: _moi et_ Patti." + +"You will not have these rooms all the same," continued the soprano. + +"We will see about that," returned the contralto. I was in despair, for +it was now a matter of personal dignity. Neither lady would give way to +the other. Leaving them for a time together I went downstairs to the +hotel-keeper, Mr. Maple, and said to him-- + +"Have you not another suite of rooms as good, or nearly so, as the one +for which these ladies are disputing?" + +"I have a very good suite of rooms on the second floor," said Maple; +"quite as good, I think, as those on the first floor." These rooms had +already been pointed out to Mdlle. de Belocca through the window. But +nothing, she said, would induce her to go upstairs, were it only a step. + +"Come with me, then," I said to Maple. "Mind you don't contradict me; +and to begin with, it must be understood that these rooms on the second +floor have been specially retained by Lady Spencer"--Lord Spencer was at +that time Viceroy of Ireland--"and cannot on any account, or under any +circumstances, be assigned even for a brief time to anyone else." + +Maple seized my idea, and followed me upstairs. + +"What is the meaning of this?" I said to him, when we were together, in +the presence of the two excited vocalists. "Are these the only rooms you +have to offer us? They will do for one of these ladies; but whichever +accepts them the other must be provided with a set of apartments at +least as good." + +"I simply have not got them," replied Maple. "There is a charming set of +apartments on the floor above, but they are specially retained for the +Countess Spencer, and it would be more than my business is worth to let +anyone else take possession of them." + +At these words Belocca opened her beautiful eyes, and seemed to be +struck with an idea. + +"At least we could see them?" I suggested. + +"You could see them," returned Maple, "but that is all." + +"Let us go and have a look at them," I said. + +Maple and myself walked upstairs. Belocca silently followed us. We +pretended not to see her, but as soon as the door of the apartments +reserved for the Countess Spencer was thrown open the passionate young +Muscovite rushed into them, shut the door, and locked it, declaring that +Lady Spencer must be provided for elsewhere. + +On the conclusion of my London season of 1879 I immediately started for +the Continent in search of talent for my next New York and London +seasons, which both commenced on the 18th October. + +On the issue of my New York prospectus, every box, together with +three-fourths of the _parquet_, likewise the first two rows of balcony, +were sold out for the season; so good an impression had my performances +left the previous spring. + +I must here mention a circumstance which greatly inconvenienced me. On +the day of sailing from Liverpool I received notice that Mdme. Gerster +was in a delicate condition, which was confirmed afterwards by a cable +which reached me on my arrival in New York. I replied, entreating the +lady to come over, if only for a couple of months, when she could +afterwards return. All my proposals failed, though it was not until I +received five doctors' certificates from Italy sealed by the Prefetto +and viséd by the Consuls that I gave up begging her to appear. + +I was really at my wits' ends, for there was no possibility of replacing +the favourite artist. I, however, engaged Mdlle. Valleria, also Mdlle. +Ambré, a Moorish prima donna of some ability and possessing great +personal charms. + +Despite all I could do, the Press and the public became excited about +the absence of Gerster; and either she or Lucca or Nilsson, or someone +of equal calibre, was urgently wanted. It was too late for either of +these distinguished ladies to entertain my proposals. I, therefore, +addressed Mdlle. Marimon, who was then in Paris. + +About this time the members of my orchestra, who all belonged to the +Musical Union, struck for a ten per cent. increase of pay in consequence +of the success I had met with the previous year. I flatly refused to +comply with their demand, whereupon the main body of the players +informed me that they would not enter the orchestra on my opening night, +unless their terms were conceded. I explained that the previous year I +had paid them no less than 50,000 dollars, being more than double the +price of my London orchestra, but it was all to no avail. However, I +induced them to play at my opening performance, leaving the matter to be +decided at a conference to be held in the course of a few days. + +To return to Mdlle. Marimon; time being of importance, all our +correspondence had to be carried on by cable, I having to pay the +answers. As at the time I speak of the price was some fifty cents or two +shillings a word, and as the correspondence went on for over a +fortnight, I found at last that I had spent over £160 in cables alone. +The lady insisting that the money should be deposited beforehand at +Rothschild's, in Paris, this, too, had to be transmitted by cable. + +At length a day was fixed for her departure, and I awaited with +impatience her arrival. Some four days later I received a cable from my +agent, Jarrett, who had gone over at my request to Paris, informing me +that Marimon had not started and that a new element of trouble had +arisen. + +Mdlle. Marimon having lost her mother some time before in the foundering +of the _Pacific_ steamship was nervous about going to sea, and would not +start unless accompanied by her maid. The maid, however, objected to go +with her mistress to America on a visit which might last some months. +She was attached at the time to an actor at the Gymnase, and preferred +remaining in Paris. She knew her mistress to be very superstitious, and, +in order to avoid starting, resolved to play on her weak point. +Pretending, therefore, to be ignorant of Marimon's intentions, she +imparted to that lady the secret of a terrible dream with which she had +been visited three nights in succession, to the effect that she and her +mistress had embarked in a big ship for a long voyage, and that upon the +third day at sea the vessel had collided with another and both had gone +to the bottom. This fable had the desired effect. With blanched cheeks +the frightened Marimon, who was still in Paris, informed Jarrett that +it was impossible for her to go, and that she wished to have her +engagement cancelled. To this I refused to accede, the engagement being +complete and the money having been paid. + +Volumes of cable messages were now again commenced. Here is a copy of +one of my replies:-- + +"Tranquil sea. Charming public. Elegant city. Luxurious living. For +Heaven's sake come, and duplicate your Drury Lane triumphs.--MAPLESON." + +At length tact and diplomacy overcame her terrors, and she started in +the _City of Richmond_ the following day. + +I was expecting her with the greatest anxiety, for several days had now +passed beyond the ordinary time, when on the morning of November 24th I +read in the morning papers the following telegram from Halifax:-- + +"The steamer _Circassia_ of the Anchor Line, with the American mail, +came into port this morning, having picked up the disabled ship the +_City of Richmond_, encountering heavy weather, with a broken shaft, off +Sable Island, 180 miles from Halifax, the second officer having been +washed overboard and lost. Amongst the saloon passengers were Mdlle. +Marimon and her maid." + +I thereupon despatched messengers to Halifax, and in due course Mdlle. +Marimon reached New York. + +On her arrival she immediately insisted on going to the Catholic +Cathedral, in Fiftieth Street, to offer up thanks and a candle for her +narrow escape. Despite all my entreaty to cease praying, in consequence +of the extreme cold in the vast Cathedral--it was now near the close of +November--madame remained prostrate for another half-hour, during which +time my rehearsal was waiting. I had hoped to get her to attend by +inviting her to have a look at the interior of the theatre where she was +to perform. + +The result, meanwhile, of her devotions was that she caught a violent +cold and was obliged to lie in bed for a week afterwards. + +I was next much troubled by a renewed outbreak in the orchestra, the +occasion being the first performance of _Linda di Chamouni_, when to my +astonishment more than half the musicians were absent. I was too +perplexed with other matters to worry beyond appealing to the public, +who sympathized with me. + +A kind of operatic duel was now going on betwixt my two tenors, +Campanini and Aramburo. The latter, with his magnificent voice, had +quite conquered New York. Being a Spaniard, his own countrymen supported +him nightly by their presence in large numbers. But the tenor was +displeased at sundry hisses which came from unknown quarters of the +gallery, whilst two or three newspapers attacked him without any reason. +It was the eve of his performance in _Rigoletto_ when I was informed +that Senor Aramburo and the Gilda, Mdme. Adini (at that time his wife), +had suddenly sailed for Europe. The last I could trace of them was that +that very day they had both been seen in the city at five o'clock. Early +that morning Aramburo had come to me wanting to borrow 300 dollars. At +first I refused, but he pressed me, saying that he had property "in +Spain," and that he really needed money to close up certain business +transactions. I gave him the sum, and this was the last I saw of him. At +5.30, however, in the afternoon, I received a note from him, in which he +said that he would like five nice seats for that evening's performance, +as he wished to oblige some friends. I sent him the tickets, but by the +time they reached his address he must have packed up and gone. + +At length the day for Mdlle. Marimon's appearance arrived. It was not +until Wednesday, 3rd December, that she made her _début_ in _La +Sonnambula_, when she was supported by Campanini as "Elvino," Del Puente +as "Conte Rodolfo," and Mdme. Lablache as the mother. Mdlle. Marimon +scored a positive success, and the ovations she received were something +unprecedented. I at once forgot all my troubles, for I now plainly +foresaw that she would replace Mdme. Gerster until the following year. +Anything like her success had not been witnessed since Gerster's. At one +bound, as it were, she leaped into the highest favour and esteem of the +music lovers of New York. I announced her reappearance for the following +Monday. + +But the reaction consequent on the agitation caused to her by the perils +of the sea voyage now began to manifest itself. The nervousness from +which she had suffered at sea, in the belief that her maid's dream was +about to be verified, had caused such a disturbance to her nervous +system that this, coupled with the subsequent excitement due to her +brilliant success, caused the fingers of both her hands to be drawn up +as if with cramp. She found it impossible to reappear for several days; +and it was not until the 15th, some twelve days later, that she was able +to give her second performance. She afterwards sang the part of the +"Queen of Night," in _Flauto Magico_, which terminated the New York +season. + +We afterwards left for Boston, where on the opening night Mdlle. +Marimon's success was again most marked; and from the beginning until +the end of the engagement there her receipts equalled those of Mdme. +Gerster. During the tour we visited Philadelphia, Chicago, St. Louis, +Detroit, and Cleveland. We afterwards made a second visit to +Philadelphia, the season concluding about the middle of March, 1880, +when we returned to Europe. + +During our stay in Philadelphia Mdlle. Marimon, who had met with such +great success two evenings previously, was announced to appear as +"Dinorah." About six o'clock in the afternoon she sent word that she +would be unable to sing. All persuasion on my part was useless. However, +as I was descending the staircase of the hotel I met Brignoli, who on +hearing of my trouble declared that he had a remedy and that he felt +sure he could induce Mdlle. Marimon to sing. He made it a condition, +however, that in case of success I should re-engage him for the +approaching London season. To this I readily consented, and I was +greatly surprised at hearing within half an hour that Mdlle. Marimon and +her maid had gone on to the theatre. This was indeed a relief to me, as +nearly every seat in the theatre had been sold, Meyerbeer's romantic +opera not having been performed in Philadelphia for some twenty years. + +On the rising of the curtain Mdlle. Marimon's voice was inaudible. She +was very warmly greeted, and went through all the gestures of the part; +played it, in short, pantomimically. At the close of the act I went +before the curtain, and announced that Mdlle. Marimon's voice, instead +of recovering itself, was going gradually from bad to worse; and that +the shadow scene in the second act would have to be omitted; but that, +to compensate the public for the disappointment, Signor Campanini, who +was then present in one of the boxes, had kindly consented, together +with Miss Cary, to give the concluding acts of _Il Trovatore_. This at +once restored the depressed spirits of the audience. + +Miss Cary surprised everyone by the dramatic force of her "Azucena." +Galassi was equally effective in the _rôle_ of the "Count di Luna." But +Campanini, in _Di quella pira_, met with more than a success: it was a +triumph. The house broke into rapturous applause, and cheered the singer +to the echo. At the conclusion he was loaded with flowers. Thus I +avoided the misfortune of having to close the theatre. + +On returning home to supper I discovered the "remedy" Brignoli had +employed, which was this: He presented himself on leaving me to Mdlle. +Marimon, and informed her that he understood Mapleson meant to close up +the Opera-house that evening, and charge her the value of the receipts, +then estimated at nearly £1,000. He, therefore, advised her to go to the +theatre, even if she walked through the part. + +One or two newspapers the following morning insisted on regarding my +speech of the previous evening as a melancholy joke. I had announced +that Mdlle. Marimon was physically unable to fulfil the demands of her +_rôle_, and that she would omit the shadow song. But, said the papers, +her efforts throughout the evening had all been shadow songs, the little +lady having been absolutely voiceless. + +Mdlle. Marimon, however, in settling up the account some weeks +afterwards, charged me £120 for this performance, arguing that she had +appeared and done her best under the circumstances. + + + + +CHAPTER XVI. + + SIR MICHAEL AND HIS CHEQUE--SIX MINUTES' BANKRUPTCY--SUCCESS OF + "LOHENGRIN"--PRODUCTION OF "MEFISTOFELE"--RETURN TO NEW + YORK--"LOHENGRIN" UNDER DIFFICULTIES--ELSA'S TAILS--CINCINNATI + OPERA FESTIVAL. + + +I BEGAN my London season of 1880 a few days after my return from the +United States, Mdme. Christine Nilsson appearing as "Margherita" in +_Faust_ on the opening night, followed by _La Sonnambula_, _Carmen_, +_Aida_, etc., also _Lohengrin_, for which I had specially entered into +an engagement with Richter, who after some fifteen rehearsals declared +the work ready for presentation. He at the same time informed me that on +looking through the orchestral parts he had discovered no less than 430 +mistakes which had been passed over by his predecessor, Sir Michael +Costa, and which he had corrected. + +About this time law proceedings were pretty hot between myself and Sir +Michael Costa, and as they led to my becoming a bankrupt for about six +minutes, I may as well explain to the reader how this occurred. + +My engagement with Sir Michael Costa was for a season of three months in +each year, for which I was to give him £1,500--£500 each month, payable +in advance. My season of 1875 was fixed to open on the 24th April, and +to terminate on the 24th July, which it actually did; but having at that +time secured the services of the great tragedian Salvini, I thought it +desirable to open the theatre about a fortnight earlier, giving opera +only twice or three times a week, and utilizing the other nights for the +appearances of Salvini. I mentioned my idea to Costa, who said I had +better pay him his regular cheque as from the commencement of the +season, and that the few extra nights could be settled for apart. + +On the 10th July Sir Michael Costa asked for his usual monthly cheque in +advance. I reminded him of our conversation on the subject, and pointed +out to him that I had already made him the three payments as agreed. He +told me that he wanted particularly to have the cheque, as he desired to +show it to H.R.H.; adding with a mysterious air: "You will be pleased!" +From his manner he led me to believe that he would return me the cheque +after it had been shown. I, therefore, gave it to him; and, hearing no +more of it for five years, thought he had destroyed it. However, prior +to my announcing my season of 1880, application was made for the +payment of this cheque. Sir Michael declined, in fact, to wield the +_bâton_ unless the old cheque were paid. He seemed quite determined on +the subject; and I, on my part, was equally determined to resist the +demand. I made various propositions for an equitable adjustment, as also +did several influential friends; but all to no purpose. Sir Michael +Costa, like Shylock, insisted on his bond; and the law was allowed to +take its course. In the end the "blue paper" was signed by Mr. Registrar +Hazlitt constituting me a bankrupt, and I left the Court in a state of +depression quite unusual to me. + +We had scarcely got outside when a happy thought struck my solicitor, +who, hurrying back with me to the Registrar, addressed him as follows:-- + +"Pending the appointment of a trustee, which may take some eight or nine +days, your honour is, in fact, the manager of Her Majesty's Theatre, and +my client thinks it only right to take your honour's orders as to the +production of _Lohengrin_ on Saturday. Some new skirts, moreover, which +might be of calico, but which your honour would, perhaps, prefer of +silk, are wanted for the ballet in _Il Trovatore_ next Monday. But the +_Lohengrin_ matter is the more pressing of the two, and we should be +glad if you would meet Herr Richter, who, though unwilling to tamper +with the score of so great a composer as Wagner, thinks some cuts, +already on another occasion authorized by the master, might be ventured +upon in the long duet between "Elsa" and "Ortrud." There is an obstinate +tenor, moreover, whom your honour, by adopting a decided tone towards +him, might perhaps bring to reason." + +Mr. Registrar Hazlitt was amazed, and in tones of something like dismay +declared that he had trouble enough where he was, and could not +undertake the management of an Opera-house. He had not considered that, +he continued, when he signed the paper. He rang for a messenger, caused +the paper to be brought to him, and at once tore it up; thus putting an +end to my six minutes of bankruptcy. + +_Lohengrin_ met with very great success, and we ran it alternately with +_Carmen_, _Don Giovanni_, _Faust_, and several other operas, in which +Mdlle. Gerster maintained her pre-eminence. During all this time we were +busily rehearsing Boito's _Mefistofele_, which I was unable to produce +until the early part of July. The following was the cast:-- + + "Margherita" and "Helen of Troy" ... Mdme. Christine Nilsson. + "Martha" and "Pantalis" ... Mdme. Trebelli. + "Mefistofele" ... Signor Nannetti. + "Faust" ... Signor Campanini. + +The rehearsals were under the immediate personal superintendence of the +composer Boito, and the scenic department under that of the celebrated +scene-painter Magnani. The greatest pains were taken to give such a +representation of this opera as would be worthy of the composer's high +reputation. + +At last the day arrived, the 6th July; but not the properties, which +were expected in large cases from Italy, but could not be heard of and +were nowhere to be found. I went to all the likely places in London, +telegraphed to Boulogne and to Calais, but in vain. Finally, however, at +half-past six in the evening, they were brought to the stage door. + +The reader cannot, of course, understand the enormous difficulty which +arose in unpacking these hundreds of various properties, each one done +up in separate paper. At last shields, armour, spears, serpents, +goblets, torches, demon's wigs, etc., etc., were all piled up on the +stage. The supernumeraries and chorus were ready dressed, and were left +to help themselves, the supers, who were all guardsmen, picking out the +prettiest properties they could find; and it was with immense difficulty +that, with Boito's aid, we could distribute the most necessary for the +performance. The success of this opera is doubtless fresh in the minds +of most lovers of music. I look upon it as one of the most memorable on +record. It went without a hitch. Madame Nilsson as "Margherita" +impressed me by her singing and acting in the prison scene as she had +never done before. The opera was repeated every other night until the +close of the season, the receipts continually increasing. + +At the close of my London season I again went to the Continent in quest +of talent, and paid a visit to Mdme. Gerster at her elegant villa near +Bologna. She received me with every expression of delight, and we +concluded forthwith our arrangements for her return to America, she +making it a condition that the baby should accompany her. I now made +great preparations to ensure a brilliant season. Great improvements were +made by the Directors in the auditorium of the Academy of Music in New +York, and new carpet was everywhere laid down. At my suggestion, too, a +few feet were cut from the front of the stage, which improved the +proscenium boxes, and gave me two extra rows of stalls or _parquet_ +seats, numbering sixty in all. These were immediately let at high +premiums for the whole of my season. Preparations were afterwards made +for the production of Boito's _Mefistofele_, which had been such a great +success during my past London season. + +As I found it desirable not to leave myself entirely in the hands of one +principal tenor, I concluded arrangements whereby Signor Ravelli was to +form part of my Company. Ravelli made his _début_ as "Edgardo" in _Lucia +di Lammermoor_ on the opening night, when Mdme. Gerster made her +_rentrée_, after an absence of a year, as "Lucia." The house was crowded +from floor to ceiling, Mdme. Gerster receiving more than her usual +ovations. + +The following night Campanini made his re-appearance as "Fernando" in +_La Favorita_, Miss Annie Louise Cary undertaking her unrivalled +impersonation of "Leonora." + +Wishing to do all in my power to make the production of _Mefistofele_ a +representation of the first class in every respect, I caused to be +removed from each end of the orchestra some five-and-twenty parquet +seats in order that it might be enlarged, and I engaged some twenty-five +extra musicians of ability so that the _ensemble_ of my orchestra might +be equal to that of London. Arditi was indefatigable with his +rehearsals, of which he had several, in order to obtain every possible +perfection in the execution of the music, to secure even the minutest +_nuances_ in the necessary light and shade. The cast included Signor +Campanini as "Faust," Annie Louise Gary as "Martha" and "Pantalis," a +new-comer, Signor Novara, as "Mefistofele," whilst Alwina Valleria +undertook the _rôle_ of "Margherita"--and right well did the little lady +fulfil the task she had undertaken. She had moments at which she showed +herself quite equal to Mdme. Nilsson, especially in the prison scene. + +In the newspapers the following morning no mention whatever was made +either of the increase in my orchestra or of its performance; the +critics at that time being less discerning than they are now. This +greatly mortified Arditi, who had been working like a slave for so long +a time before the production. + +We shortly afterwards produced _Mignon_, when Arditi said one rehearsal +would do, as sure enough it did; and this time we met with great praise. +On my returning for the following spring season I dispensed with the +services of my twenty-five extra musicians; and the excellence of the +orchestra was now fully commented upon. + +About this time I remounted _Aida_ in grand style, with new properties, +scenery, and dresses, Mdme. Gerster shortly afterwards appearing as +"Elsa" in _Lohengrin_. This reminds me of an interesting occurrence. + +The fatigues incident to the continued rehearsals of Lohengrin had +rather unnerved Mdme. Gerster, who, however, made her appearance in the +_rôle_ of "Elsa" on the night for which the opera had been originally +announced. Her success, though great, was not what she desired, and the +next day she complained of indisposition, though she at the same time +insisted upon further rehearsals. I therefore closed the theatre at +great loss, in order that her desires might be complied with. + +At length the time for the second performance arrived. I had spent a +fatiguing day, and had finished up with directing the difficult +machinery of the scene in which the swan disappears to be replaced by +the missing child, while the dove comes down from heaven to draw the +boat which, as "Elsa" embraces her long-lost brother, bears "Lohengrin" +away. + +Feeling sure that all was in order, I went home for a short time, not +having tasted anything since early morn. I sat down to my dinner, and +ordered my servant to bring me a pint of champagne. I had hardly taken +the knife and fork into my hand when Dr. Gardini, Mdme. Gerster's +husband, put his head through the door, beckoning to me, and saying that +he wanted me for one "second" only. On my getting into the vestibule he +entreated me to come over a moment to the Everett House, where his wife +was residing, it being then about a quarter to seven (my opera was to +commence at eight). On my reaching the Everett House her maid, her +brother, and her sister-in-law desired me to step a moment into her +bedroom. On entering I smelt a powerful odour of chloroform, and on +inquiry found that her brother, who was a medical man of some standing +in New York, had been prescribing chloroform to allay a tooth-ache, or +some other ailment she was suffering from; but in the nervous condition +she was in it had acted rather too violently upon her general system, +and there she lay speechless. + +I was beside myself, and I am afraid rather rude at the moment to those +in attendance. However, I insisted upon taking the matter entirely into +my own hands. I commenced by opening the tops of the windows so as to +let the odour out, and dispatched the sister to get me a bottle of +soda-water, together with some sal-volatile, also a bottle of strong +smelling salts. By raising Mdme. Gerster's head I got her to take the +soda-water and sal-volatile, and at each respiration I took good care to +place the smelling-bottle to her nose, but all to no effect. She was in +a state of semi-unconsciousness. + +I, however, insisted upon raising her (it being then a quarter past +seven), and by the aid of the maid I put a large shawl over her, and +carried her off in my arms to the carriage, which I had ordered to be at +the door, and took her over to the Academy, where I seated her on a +chair. She now swooned on to the dressing-table. + +Whilst I continued to apply the smelling-bottle I gave directions to the +theatrical hair-dresser to be careful to come gently in and comb out her +back hair and plait in the little tails which are sometimes added by +prime donne. It was about twenty minutes to eight when Arditi came into +the room, accompanied by the call-boy, and both looked upon the matter +as hopeless. I, however, begged the maestro to go into the orchestra, +and to leave the rest to me. + +I got her to stand upright; but when I suggested the idea of singing +"Elsa" she sighed, and said-- + +"It is utterly useless. It is just eight o'clock, and the tails are not +in my hair." + +I thereupon informed her that during her unconscious state I had +carefully had the tails combed in. This brought a faint smile to her +face, and I at once saw that there was still a chance of my opera going. +I led her to the entrance, when she went on accompanied by her +attendant maidens. I then drew a long breath and went back to finish my +dinner, knowing now that the opera would continue. + +Long before the first act was completed Mdme. Gerster's energies had +returned. She was in full possession of her marvellous vocal powers, and +a triumphant evening was the result of my labours. + +About this time I commenced autumn Sunday evening concerts, in which the +whole of my singers took part, the first portion of the evening +beginning, as a rule, with a fine performance of Rossini's _Stabat +Mater_, Valleria, Cary, Campanini, Galassi, and Novara singing the music +very effectively. The houses were invariably crowded to the roof. + +About this time, I settled a grand opera festival for Cincinnati the +ensuing spring, in conjunction with the College of Music, and for that +purpose organized a chorus of some 400 extra voices, and an orchestra of +some 150 musicians; after which I left for Chicago to confer with +Colonel George Nichols as to the arrangements. + +We afterwards visited Boston, where our performances met with the +greatest possible success, each week's receipts averaging no less than +35,000 dollars, the reappearance of Mdme. Etelka Gerster creating +immense excitement. At the _matinée_ given on January 1st, at which she +appeared, upwards of 100 ladies' odd india-rubber overshoes were picked +up on the family circle staircase lost in the rush after the opening of +the doors, there being a heavy snowstorm raging at the time. The +receipts were over £1,200 notwithstanding. _Aida, Mefistofele, Carmen, +Don Giovanni_, and _Puritani_ completed the week's _répertoire_. We +afterwards left for Philadelphia, followed by Baltimore, Washington, +Pittsburg, Indianapolis, Chicago, and St. Louis, the Opera being a +signal success all along the line. We closed up on the Saturday night at +St. Louis, leaving by special train at 1 a.m., shortly after the +conclusion of the night's representation, for Cincinnati. The soloists, +choristers, and orchestra arrived at about three o'clock on the Sunday +afternoon, rather tired; and they spent this afternoon in hunting up +hotels and boarding-houses. In the evening we had a stage rehearsal of +_Lohengrin_, with chorus and part of the orchestra. My own chorus was on +hand, together with the Cincinnati contingent some 350 strong--all +present without a single absentee. But large as the stage was there was +plenty of room for all and to spare. The beautiful _Lohengrin_ choruses +were finely rendered, and the volume of tone resounding through the vast +building was truly grand. The rehearsal was afterwards dismissed, and +everyone retired to rest. + +Early the following morning the final rehearsal was called, which +terminated at twelve o'clock; and that same evening the first great +Opera Festival was inaugurated--undoubtedly the most daring musical +enterprise ever attempted in America or any other country. The sight of +the audience from the private boxes was worth a journey to see. It was +one sea of faces. Everything looked auspicious for the success of the +festival. The weather was pleasant, the crowds were large and +enthusiastic, and the singers were _en rapport_ with the audience, +whilst the chorus did its very best. + +The orchestra, also, was the finest ever heard in Cincinnati, composed +of 150 first-class musicians, who did their work splendidly. In fact, +the _ensemble_ was complete. + +The scene outside the hall was one of bewildering confusion. Myriads of +elegant carriages darting round corners, pedestrians jostling against +each other to arrive before the doors were closed, an immense rabble +outside, who had gone to catch only a glimpse of the handsomely-dressed +ladies as they went in; such was the scene, which, I must add, was +illuminated by the newly-invented electric light. In spite of the most +stringent police regulations the streets were blocked, and it is not +surprising that there were several horrible accidents. Notwithstanding +four wide exits it was an hour and a half after the performance was over +before the last carriage could get off. + +The toilettes of the ladies, for which Cincinnati is so famous, were +most elegant. Our grand performance of _Lohengrin_ was followed by +Mozart's _Magic Flute_, Mdme. Gerster singing the _rôle_ of the "Queen +of Night." The third opera was Boito's _Mefistofele_, for which 8,000 +reserved seats were sold. The fourth night we had _Lucia di Lammermoor_, +followed by an act from _Moses in Egypt_; the extreme back of the stage +representing a burning sun, and the whole 400 choristers joining +together with the principals in the grand prayer, "Dal tuo stellato +soglio," which terminates the opera. On the fifth night Verdi's _Aida_ +was given with entirely new scenery, painted for the occasion, together +with new dresses and properties. + +A morning performance, _La Sonnambula_, was given next day, with +Gerster. The audience, like all the previous ones, was immense. Every +seat was occupied, whilst 2,000 people who had paid two dollars apiece +were standing up. The toilettes of the ladies were simply magnificent, +baffling all description. The audience went wild over Gerster, encores +were demanded and re-demanded, people hurrahed and waved their +handkerchiefs, whilst the most expensive bouquets and flowers were +pelted on the prima donna, who at last was embowered in roses. + +On the last evening Gounod's _Faust_ was performed. The end was as +glorious as the beginning. By seven o'clock the big hall was again +filled, and at half-past seven, when Arditi took up the _bâton_, the +house was packed and jammed from the top-most part of the gallery. + +The audiences throughout the week were most brilliant. Before separating +a Committee meeting was held; and it was resolved that the festival +should be renewed the following year, when Mdme. Patti and Mdme. Albani +should, if possible, be added to the list of vocalists. + +This was followed by a grand banquet at the club, where amongst others I +had the honour of making the acquaintance of Mr. Reuben Springer, the +donor of the magnificent hall in which the festival had been held. + +The profits of the week reached 50,000 dollars. We afterwards visited +Detroit, Syracuse, and Albany, returning to New York in the early part +of March. + +On the 25th March a morning performance was given of _Lucia di +Lammermoor_, when the Academy was fairly packed from _parquet_ to +gallery by a most fashionable audience, not so much to hear _Lucia_ as +to hear Mdme. Gerster. At the rush at the opening of the doors the +ticket-taker discovered a forged free pass purporting to bear my name. +On his own responsibility he handed over to the police the two men who +had come in with the ticket, and they were taken off to the +police-station, where I was immediately sent for. + +The forgery being proved they were both committed for trial, the +magistrate at the same time notifying that if we took them up at once in +an elevated train to Ninety-second Street the assizes would be on, and +their case could be at once decided. + +They were duly taken on, and the matter gone into. One of the men was +committed to prison for a year, and the other one was placed under the +care of the Commissioners of Charities and Corrections for two years on +Randall's Island. + +I got back to the Academy in time to hear the mad scene. + +On returning the following year I made inquiry as to the man who had +been sent to the Reformatory, and was informed that he had died only the +day before. So also had the judge of the Assize Court: a remarkable +coincidence. + +We remained in New York until the 9th April, when we were again called +to Boston to give six performances, each of which averaged $5,000. After +a _matinée_ on the Saturday we returned to New York by special train, in +order to give a Sunday concert, when over 4,000 dollars were taken at +the doors. We then gave six more extra farewell performances in New +York, sailing for Europe immediately on the conclusion of the last one, +and arriving in London about six days prior to the opening of my season. + +Early in the spring of 1881 I received a communication from Messrs. +Ricordi, of Milan, the publishers and proprietors of Boito's +_Mefistofele_, in which they solicited me to allow Signor Nannetti, the +basso, who was then performing the title _rôle_ at the Scala, to delay +his engagement with me for the period of a fortnight, in order that the +successful run of the work might not be interrupted; in exchange for +which they offered me the services of the musical director, Signor +Faccio. To this I consented, and the eminent conductor was duly +announced in my prospectus. But instead of keeping Nannetti two weeks in +Milan they kept him five, during which time my season had opened and +Mdme. Nilsson had arrived in London in order that I might take up the +successful run of _Mefistofele_ which had been interrupted only by the +close of the previous season. Mdme. Nilsson, however, refused to appear +until Nannetti came; and it was not until the 23rd June that I could +reproduce Boito's _Mefistofele_. Faccio never turned up at all. + + + + +CHAPTER XVII. + + PRODUCTION OF "IL RINNEGATO"--RAVELLI'S OPERATIC + THEORY--NEGOTIATIONS WITH COVENT GARDEN "LIMITED"--A SEARCH FOR A + PRIMA DONNA--FAILURE OF PATTI'S CONCERTS--CINCINNATI OPERA FESTIVAL + OF '82--PATTI'S INDISPOSITION. + + +MY London season of 1881 commenced at Her Majesty's Theatre, on the 7th +May. Nothing of note took place prior to the arrival of Mdme. Christine +Nilsson, who appeared on the 28th as "Margherita" in _Faust_, which +character she repeated, together with "Mignon," until the 23rd June, +when, after two postponements, we were enabled to reproduce Boito's +_Mefistofele_. The attraction of this opera had, however, considerably +diminished, possibly on account of its having been produced so late in +the previous season, when a few performances were given, and afterwards +interrupted for a period of nearly ten months. During this time +negotiations were entered into between Baron Bodog Orczy and myself for +the production of an opera composed by the Baron on a Hungarian +subject, and entitled _The Renegade_; in Italian _Il Rinnegato_. + +Baron Orczy, friend and pupil of Liszt, and a fervent admirer of +Wagner's works, had been the Intendant of the Royal Theatre at Pesth, +where he at once gave a proof of keen musical discernment by engaging +Richter as his orchestral conductor. Report said that he had given up +his important post by reason of representations made to him on the +subject of his excessive devotion to Wagnerian music. However that may +be, the Baron had shown himself by several excerpts from his opera, +performed at St. James's Hall and at the Crystal Palace, to be a +composer of no mean ability. He handled the orchestra with skill and +power, and if his opera did not prove so successful with the general +public as his friends must have desired, that result may partly be +accounted for by the over-elaboration of the score, and the importance +attached by the composer to the instrumental portions of his work. + +Composed to a Hungarian libretto, _The Renegade_, of which the subject +was derived from an historical romance by a popular Hungarian novelist, +had, with a view to production at my theatre, been translated into +Italian; and two of the leading parts had been assigned to Ravelli the +tenor, and Galassi the baritone. + +Ravelli had not long been a member of my Company; he was one of my +chance discoveries. One evening, as so often happened, I was at the +last moment in want of a tenor. The hall porter, finding that I was +sending about London in quest of a possibly suitable vocalist, told me +that a dark little man with a tenor voice had been hanging about the +stage-door, and the Colonnade in front of the theatre, for some ten days +past, and that he was sure to be somewhere in the neighbourhood. The +artist in question was found. I asked him whether he could really sing. +His answer may be guessed; and when I further questioned him as to +whether he knew the part of "Edgardo" he replied that he did, and in +some measure verified his assertion by singing portions of it. He showed +himself the possessor of a fine, clear, resonant voice; and if he +sometimes sang without true dramatic expression, and without the grace +which springs from perfect art, he at least knew how to thrill the +public with a high note effectively thrown in. + +It is not my purpose, however, for good or ill, to criticize the singing +of Signor Ravelli. I am now dealing with him only in so far as he was +connected with the opera of _Il Rinnegato_. In the second act of that +work the tenor and baritone fight a duel. In this there was no novelty. +But instead of the tenor killing the baritone, the baritone puts the +tenor to death, and this struck Signor Ravelli as far too new. He +appealed to operatic traditions and asked in an excited manner whether +such a thing was heard of before. "No!" he exclaimed, answering with +vigour his own question; and he added that though he was quite ready to +take part in the duel, he would do so on condition that not he but his +antagonist should be slain. It was useless to explain to him that in the +story upon which the opera was based the character represented by the +tenor perished, while the baritone lived on. This, he said, was just +what he complained of. "Why," he indignantly demanded, "should the +tenor's part in the opera be thus cut short? But why, above all, should +the habitual impersonator of heroes fall beneath the sword of one who +was accustomed only to play a villain's part?" + +It was impossible to get the infatuated man to hear reason on the +subject. He cried, screamed, uttered oaths, and at one time threatened +to kill with his dagger, not only his natural enemy, the baritone, but +everyone around him. "I will kill them all!" he shrieked. + +After a time, by humouring him and agreeing with him that in a +well-ordered operatic duel the tenor ought, of course, to kill the +baritone, I got him to listen to me; and I at last contrived to make him +understand that there were exceptions to all rules, and that it would be +generous on his part to overlook the species of indignity to which he +was asked to submit, the affront offered to him not having been intended +as such, either by the librettist or, above all, by the amiable +composer. It was settled then that Ravelli was to be killed. But what, +he wished to know, was to be done with his body after death? The proper +thing would be, he said, for six attendants to enter, raise the corpse, +and carry it solemnly away to a place of repose. + +It mattered little to me whether the body of Ravelli was borne from off +the stage by six, eight, or a dozen attendants. But according to the +plan of the opera he had to lie where he had fallen while the soprano, +whom in his character of tenor he had passionately loved, sang a lament +over his much-loved form. I told Ravelli that it was a great compliment +thus to be treated by a despondent prima donna. But he could not see it, +and he calculated that the soprano's air, with the orchestral strains +introducing it, would keep him in what he considered an ignominious +position for something like ten minutes. It was absolutely necessary to +promise Ravelli that his mortal remains should be removed from the stage +to some quieter resting-place by six corpse bearers, the number on which +he had set his heart; and he was honoured, if I remember rightly, with +the funeral he had stipulated for at the last rehearsal. Baron Orczy had +protested against this arrangement; but I assured him that there was +nothing else to be done, and that everything should take place according +to book at the public representation. + +On the night of performance Ravelli was, of course, left recumbent on +the stage. He must have thought more than once, as he lay writhing with +shame and anger on the boards, of rising and rushing off. But he feared +too much the laughter and derision of the public, and he had to remain +passive while the orchestral introduction was being played, and while +the prima donna's soliloquy was being sung. Many of us thought the +strain would be too much for him, and that he would go raving mad. But +when he found himself once more a free agent behind the scenes he +stabbed no one, struck no one, and, strange to say, seemed perfectly +quiet. The humiliation to which he had been subjected had somehow calmed +him down. + +If Ravelli was wild and passionate, Galassi, his associate, was a +reasonable man whose presence of mind had possibly the effect of saving +my theatre from being burned a second time. There was a good deal of +fire in _Il Rinnegato_, and in one scene the green lights surrounding an +apparition starting from a well caught some gauze, so that the well +itself burst into flames, the result being such a blaze that but for +Galassi's promptitude in dealing with it the conflagration might have +proved fatal to the building. + +While the baritone was smothering the fire with his cloak and with some +canvas on which the grass was painted--at the same time trampling the +burning embers under foot--a portion of the audience had taken alarm and +was already hurrying to the doors. At this critical moment I could not +but admire the calm air of dignity with which Baron Orczy, who was +conducting his work, continued to mark the time and to direct the +performance generally as though nothing at all extraordinary were taking +place. I feel sure that this determined attitude of the composer in the +presence of what, for a few seconds, seemed likely to lead to a terrible +calamity, had a considerable effect in allaying the general excitement. +"How can there be danger," many must have asked themselves, "when that +gentleman who is conducting the orchestra, and who is so much nearer the +supposed fire than we are, does not evince the least alarm?" + +Towards the close of this season, negotiations were again opened by the +Messrs. Gye towards purchasing my lease, goodwill, and interest, +together with a certain portion of my costumes and scenery, with a view +to an operatic monopoly. Ultimately terms were arranged, and an +agreement concluded, which was not to come into force until the shares +of the projected Company had been taken up; and it was only in August, +1882, that I was notified that sufficient shares had been placed to +justify the Company starting, and my agreement coming into force. In the +meantime I had been left to sustain the burden of the current expenses, +rates, taxes, etc., of my own theatre, until the transfer could be made. +The arrangement entered into was that I should have so much cash, and so +many shares, together with an engagement for a period of three years, at +a salary of £1,000 per annum, besides 50 per cent. of the profits made +in America, where I was to have sole control of the business. + +In the early part of October, 1881, I started with my party for New +York. The season opened on October 17th, with a performance of +_Lohengrin_ by Campanini, Galassi, Novara, Anna de Belocca, and Minnie +Hauk, which gave great satisfaction. This was followed by a performance +of _Carmen_, in which Minnie Hauk, Campanini, Del Puente, and Valleria +resumed their original parts. + +A few days prior to the sailing of the Company for America I visited +Paris, where I heard a young vocalist, Mdlle. Vachot, sing; and at once +negotiated with her for an engagement. She did not like the idea of +crossing the ocean; but she was overruled by her father, a small farmer +at Varreds. + +Being in a hurry to conclude the engagement I called upon her the next +day, with a contract in my pocket, when the servant informed me that she +and her father had gone to Varreds to consult some relatives. On +learning the name of the place I went to the station, and there heard +the manager of the Grand Opera asking the ticket-seller how to get to +Varreds. Luckily, he decided not to take that train. Thereupon I entered +it; though being desperately hungry I was sorely tempted to lunch before +doing so. + +The nearest place on the railroad was Meaux. I got there in a pelting +rain-storm to find that I had to travel nine miles across country to +Varreds. I managed to get a trap, but we had not gone more than half way +before one of the traces broke, which, after some delay, I got repaired. + +Finally I reached a clump of mud hovels; and this, I was told, was +Varreds. I asked a cowboy whom I met if he had seen Mdlle. Vachot. He +replied that he did not know her. He had seen two strangers, a lady and +a gentleman, walking towards the "hotel," which I found to be a mud hut, +with accommodation for men, women, and chickens, more especially the +latter, which were walking all over the parlour floor. Nothing was known +at this hotel, except that two strangers who had recently arrived, after +leaving a bundle of shawls, had been seen going towards the cemetery. + +On arriving at the cemetery I found the gate locked. I then went to the +curé, who said he knew nothing of Mdlle. Vachot. Finally I met a +blacksmith who knew her, and he pointed out where she was. I found her +at table with six or seven country cousins. As I was hungry, I was glad +to take pot-luck with them. + +With some difficulty I afterwards got my contract signed, and started +back for Paris. On my way to Meaux Station I met the manager of the +Grand Opera driving over towards Varreds. + +I afterwards secured a tenor of the name of Prévost, who had a +phenomenal voice, and was then singing with success at the Théâtre du +Château d'Eau. He seemed especially adapted to the _rôle_ of "Arnold" +in _William Tell_. After signing with him I left for Italy, where I +ordered new and magnificent costumes, including enough for an extra +chorus of 90 male voices which I afterwards employed for the Gathering +of the Cantons in Rossini's masterpiece. + +From there I went to Parma, where the eminent _scenografo_ of the +theatre, with some persuasion, undertook to paint the scenery, which on +its arrival in New York was pronounced by all connoisseurs simply +superb. + +About this time the director of the Leipsic State Theatre proposed the +production of Wagner's _Ring des Nibelungen_ at Her Majesty's Theatre, +with a very powerful cast of characters and a magnificent orchestra +under the direction of Richter, the great master himself to superintend +personally its production. But of this "more anon." + +Mdlle. Vachot duly appeared in the early part of November as "Rosina" in +_Il Barbiere di Siviglia_. The house was crowded in every part, and +Vachot was found to have a charming personality, a beautiful voice with +a good method, together with no little dramatic talent. She was warmly +received for her pretty appearance, and heartily applauded at frequent +intervals for her delightful singing. From a good beginning she went on +to a gratifying success, fairly establishing herself before the evening +was over in the favour of her new public. + +Things were progressing favourably when about this time Mdme. Adelina +Patti arrived in New York on a speculation of her own, after an absence +of some 22 years. A great deal of excitement was thereby created, and as +Mdme. Patti's concerts were to take place within three doors of the +Academy of Music, I began to fear as to the results of my season then +progressing. Mdme. Patti's visit, however, turned out to be a most +ill-advised one. Her concerts had not been properly announced, and she +came with a very weak Company, believing that the magical name of Patti +would alone crowd the hall. Her first concert realized scarcely 3,000 +dollars, whilst the second dropped down to 1,000 only. Few people went +to see her, and she at once understood what a mistake had been made. The +charge, moreover, she demanded was ten dollars per seat! The public, +therefore, universally agreed to stay away. The paltry receipts of the +second concert proved conclusively to Patti's manager, and to herself as +well, that something had to be done to lift the sinking enterprise. + +I may mention that I gave a gentle hint to Patti that her removal to the +Academy would be most desirable by sending her a bouquet which cost some +£30, with these words on it: "To Adelina Patti, Queen of the Lyric +Stage." Two days afterwards I called to see _la Diva_ at the Fifth +Avenue Hotel, and after some negotiation was on the point of concluding +arrangements which would have been a fortune to me as well as to Mdme. +Patti herself, when at this critical moment Mr. Abbey came between us, +offering her a concert tour in which, beyond receiving a fixed salary, +she was to participate in his profits. + +Abbey's admirable handling of Bernhardt being fresh in everyone's +recollection, Patti had no reason to suppose that he would fail in her +case to obtain similar results. + +During my season at the Academy the production of Rossini's _chef +d'oeuvre_, _Guillaume Tell_, made a prodigious success, and crowded +the theatre nightly. The tenor Prévost possessed the voice of +exceptional quality necessary for the difficult _rôle_ of "Arnoldo." +Signor Galassi's "Tell" was a noble impersonation, marked by great +dignity of action, and sung in the broad and grand style of which he is +so complete a master; whilst the part of "Mathilde" was undertaken with +success by Mdlle. Dotti, who displayed remarkable ability. + +Shortly afterwards I reproduced Verdi's _Aida_, for which I discovered a +most capable soprano in the person of Mdlle. Paolina Rossini, whose +success went on increasing nightly; and who later on appeared in the +difficult _rôle_ of "Valentina" in _Les Huguenots_, at once taking a +firm hold on the public. + +We were now approaching the second great Cincinnati Opera Festival. I +will, therefore, take the reader once more with me to that city. + +The Opera Festival of 1882 opened on February 13th with immense success +by a grand performance of Meyerbeer's _Huguenots_, the audience, an +immense and distinguished gathering, numbering over 5,000 persons, the +representatives of the wealth, the beauty, and the culture of the city. + +As early as six o'clock people began to assemble outside the Music Hall, +the scene of so many previous triumphs, and long before the commencement +of the opera every seat was occupied, and every available inch of +standing room likewise. + +At a quarter to eight the opera began, a band composed of 150 selected +professors occupying the orchestra under the veteran Arditi. The opera +was a signal success, and went smoothly throughout; the grand +"Bénédiction des Poignards" being executed marvellously by a chorus +composed of 400 trained voices. The acoustic properties of the hall were +simply perfect. Even in the extreme rear of the gallery, from where the +artists on the stage appeared the size of Liliputians, the softest tones +could be distinctly heard. + +At the close of the performance, however, an unfortunate accident +occurred, which deprived me of my prima donna for the remainder of my +tour. + +Just as the curtain fell, when "Marcel," "Raoul," and "Valentine" were +shot by the Catholic Guards, the guns were pointed too near Mdlle. +Rossini, who got touched in the face, and was further hurt whilst +falling. She had, therefore, to be carried home. + +I omitted to tell the reader that some weeks before I had succeeded in +engaging Mdme. Patti to take part in this Festival, for which I paid her +£1,600 a night, being the largest amount this invaluable lady has ever +received in the shape of salary. + +She was announced to appear on the second evening of the festival in a +concert, followed by the fourth act of _Il Trovatore._ On arriving home, +flushed with the success of the opening night, but deeply concerned +about Mdlle. Rossini, whom I had just left, I received a letter from +Mdme. Patti's agent, informing me that she was suffering from a severe +cold, so that it was feared she would be unable to appear the following +evening. + +I at once sought Colonel Nichols, and informed him of this, desiring him +kindly to accompany me to Mdme. Patti's with the leading physician of +the city, who found the unwelcome tidings to be perfectly true. No +alternative was left but to issue an explicit announcement to the +public, postponing Mdme. Patti's appearance until the following Thursday +afternoon at two o'clock. I therefore substituted the opera _Faust_ the +following evening, refunding their money to purchasers, or exchanging +their tickets for the night on which Mdme. Patti was to appear. This, of +course, needed a great deal of care and attention, and occupied me the +greater portion of the night on account of the vast number of tickets to +be provided for in the exchanges. I am happy to say that there was no +confusion; and the public eventually became satisfied with the +arrangement made. + +On the Wednesday afternoon the opera of _Carmen_ was given, with +Campanini, Del Puente, Dotti, and Minnie Hauk in the principal +characters. In the evening _Fidelio_ was produced with a powerful cast, +and with 300 extra voices added for the celebrated Chorus of Prisoners, +the receipts reaching their maximum on that occasion. + +Mdme. Patti, unfortunately, made but slow progress towards recovery, and +it was consequently decided to further postpone her appearance until the +following Saturday night, it being again necessary to inform the public +as to the cause. + +Various conflicting rumours at once got into circulation as to the Patti +trouble. After it had been announced that the capricious Diva could not +sing many refused flatly to believe in the reason assigned, namely, that +she had a sore throat. Others declared that Patti was a little stubborn, +self-willed person, and had done this expressly "to spite Mapleson." +Inquiries were set about in all directions. + +Newspapers sent their reporters hundreds of miles to discover the state +of Patti's health before she had quitted Detroit to come on to the +Festival. Malicious people even went so far as to say that Patti, like +Rip Van Winkle, was fond of "schnapps," on the insufficient ground that, +prior to starting, she had purchased a bottle of Mumm's "extra dry." +Even this turned out to be a mistake, for, in reply to an inquiry made, +a special despatch was received from Detroit by the _Cincinnati +Gazette_, stating that "the bills of Patti at the Detroit Hotel show +that during her entire stay in that city only two quarts of wine were +consumed, and the hotel waiters state they think Nicolini drank the most +of it. Further, the landlord stated that none of the party were +noticeably intoxicated during their stay in his hotel, showing there +could be no truth whatever in the statement that Patti was under the +influence of liquor." + +An evening paper published the following:--"The explanation that Patti +caught cold whilst driving in this city is strengthened by the fact that +she at least had a good opportunity for doing so, as she was driving +most of the time during the previous day. On our reporter inquiring at +the stables, he ascertained that her carriage bill for her drive +amounted to 55 dollars." Dr. J. D. Buck, who attended her, informed the +newspaper reporter that "Mdme. Patti was undoubtedly ill of a cold, but +she was rapidly improving." + +Meanwhile Dr. F. Forchheimer, physician to the College of Music, was +also sent to inspect the larynx of the prima donna, and he confirmed +what the previous doctor had said. + +The ticket speculators, however, lost nothing by the affair, the city +being very famous for _matinée_ performances, and as the ladies came +forward in great numbers at five dollars apiece for the purpose of +showing their new toilettes, very few returned after once entering the +doors. Each of the audiences for _Carmen_ and _Fidelio_ numbered 8,000 +people. + +On Friday evening I produced Mozart's _Magic Flute_; and on Saturday a +magnificent representation with complete scenic effects was given of +_William Tell_, where again my increased chorus of 400 did very +effective work, the voices coming out with full freshness and vigour. So +good a chorus had never been heard on the operatic stage before. The +orchestra, too, particularly distinguished itself. The overture, which +musically embodies the whole opera, was given with such precision, +correctness of tempo, and delicacy of colour that it called forth at +once an encore. + +On the Saturday morning a grand performance of _Lohengrin_ was given, +and in the evening Mdme. Patti was enabled to appear, the first part +being devoted to a concert, while the second was composed of the fourth +act of _Trovatore_. + +As the success of the Festival kept on increasing we resolved to give an +extra performance, for which purpose an engagement was entered into with +Mdme. Patti for the following Monday, when she appeared as "Margherita" +in _Faust_. + +I afterwards visited Detroit, Buffalo, Cleveland, Syracuse, and Albany, +returning to New York for the usual spring season, and there performing +_Fidelio_, _Huguenots_, _Lohengrin_, _Carmen_, _William Tell_, and +_Faust_. + +In the meanwhile I had put in rehearsal Meyerbeer's _Africaine_, which +was placed on the stage at considerable expense, all the costumes, +scenery, dresses, and armour being entirely new, and the stage being +occupied by some 400 persons. The gorgeous revival of _l'Africaine_ +proved an extraordinary success. The audience fairly packed the large +house nightly, the fine spectacle presented in the third and fourth acts +causing great enthusiasm. Miss Hauk undertook the part of "Selika," and +was particularly successful from a dramatic point of view, whilst Signor +Galassi and Campanini found great opportunities for the display of their +vocal abilities. The great ship scene of the third act created a perfect +furore. So anxious was I that the acting of the Indians on boarding the +ship should create a sensation, that I went to Union Square and from the +various agencies engaged some 12 or 15 actors, who were then out of +employment, and whose make-up with the tattoo marks and their realistic +fighting made such an impression that on the conclusion of the scene the +curtain had to be raised. + +The grand march, too, in the fourth act created a sensation, equally +with the magnificent spectacle and the gorgeous palanquin in which +"Selika" enters accompanied by "Nelusko." I had requested Bradwell to +design for me a full-sized elephant with a palanquin on its back, in +which people were seated, the interior of the elephant being occupied +and kept firm by two stalwart policemen. + +The scenery was of the most gorgeous description, specially painted for +me by Magnani, who surpassed even his previous efforts. _L'Africaine_ +was repeated for five or six consecutive nights to crowded houses. + +On one occasion we had to perform _L'Africaine_ on consecutive nights in +New York and Philadelphia, which entailed the removal of the whole of +the scenery and dresses, likewise the transport of the whole of the +supernumeraries, ballet, etc., numbering altogether 400 persons; and we +had, moreover, to return the same evening after the performance to New +York, in which city the work was to be repeated the following night. + +The supernumeraries, with their blackened faces, and the Indians with +their tattoo marks, caused a great sensation at the railway station on +the return journey, as there was no time to think of washing them. We +only reached New York the next morning at six o'clock, when again the +early morning public were startled by the arrival of these sable gentry +under a blazing sun. + +We remained in New York for further representations, when I revived +Verdi's _Ernani_, _Don Giovanni_, _Huguenots_, etc. + + + + +CHAPTER XVIII. + + I ENGAGE PATTI--MY MILITARY EXPERIENCE--INFLUENCING + ELECTORS--OPERATIC JOINT STOCK COMPANY--OBJECTIONS TO ENGLISH + MONOPOLY--PATTI IN NEW YORK. + + +ABOUT this time I set to work for the purpose of engaging Adelina Patti +for my ensuing season, and sent a letter to all the 200 stockholders of +the Academy (who occupied free seats) to know what amount they would +contribute towards the accomplishment of my object. Mr. Pierre Lorillard +wrote to me that in case I should be short he would donate 1,000 dollars +beyond the amount he then contributed should Patti sing at the Academy +the next winter. I replied that I simply required each stockholder to +contribute three dollars a seat for the Patti nights in order to aid me +in carrying out this much-desired engagement. + +I regret to say that many of the stockholders sent me no response +whatever. Others destroyed the value of their consent by adding that it +was only to be given if all the other shareholders agreed to do the +same. + +Another great difficulty presented itself. I was called upon to deposit +no less than £11,000 at Belmont's bank as caution money on the signing +of the contract. This difficulty I ultimately got over through the +kindness of August Belmont, who guaranteed Mdme. Patti's deposit, I at +the same time assigning to Mr. Belmont the whole of my subscriptions. +The agreement with Mdme. Patti was, therefore, duly signed. + +The conclusion of this contract made a great sensation. When it became +known that Mdme. Patti was to return the following season, numbers of +applications were made for subscriptions, although it was six months +before the opening. + +About this time the building of the new Metropolitan Opera-house had +been resumed in earnest, in order that it might be completed by the +following spring. + +The season shortly afterwards closed with the benefits of the various +singers, I taking the last night, when I gave acts of four different +operas, namely, _Faust_, _Daughter of the Regiment_, _Ruy Blas_, and +_Africaine_, with a new ballet. + +Having secured Mdme. Patti for the ensuing season, I endeavoured to +effect an engagement also with Mdme. Gerster, who was then in New York, +having returned from New Orleans, and being now on her way to England. I +only succeeded, however, in securing her services for the following +morning, when an early _matinée_ had to be given prior to the departure +of the Company for Europe in the afternoon, the receipts on that +occasion reaching no less than 9,000 dollars. + +This year the Americans paid me the compliment of making me an honorary +member of the 22nd Regiment, with rank corresponding to my own actual +rank in the English volunteers. But beyond attending a couple of balls +and some competition drills in the uniform of the regiment I had never +time enough to profit by the privileges extended to me in so friendly a +manner. + +I must not forget among my volunteering reminiscences a rather dramatic +incident which occurred at Her Majesty's Theatre in the year 1860, when +I had just joined the Honorable Artillery Company, and, as yet but +little instructed in the mysteries of drill, was anxious to qualify +myself as soon as possible for admission into line. With this view I +spent every spare moment in practice, sometimes with the Scots Guards at +St. George's Barracks, Trafalgar Square, and often in the evening, when +some operatic representation was actually going on, at Her Majesty's +Theatre, where I utilized the services of the guard of honour in +attendance. The first time I carried out what had struck me as rather a +happy idea I was putting the squad of guardsmen through the bayonet +exercise in the Ballet practice room. I had just given the orders, +"Advance, advance, point!" when the door opened, and Lewis, the +treasurer, appeared, bearing in his hand a bag which held the receipts +of the evening. The word "point!" brought the bayonets of the guardsmen +almost into contact with the breast of the startled official, who, +uttering a shriek and dropping the money-bags, turned and fled. + +So scared was he that not until some time afterwards did he quite +recover himself. Had he fancied in his terror that the guard had +suddenly invaded the theatre and prepared an ambuscade in order to rob +the treasurer of the night's receipts? He could give no explanation on +the subject. The sight of the red-coats, the authoritative cry of +"Point!" and the rapid presentation of the bayonets, which all but +pierced him, had the effect of depriving him for a time of his wits. No +other account could poor Lewis give of the matter. + +In these degenerate times it is considered enough at one of the Royal +Theatres to station outside during the performance a sergeant's guard; +and Mr. Augustus Harris is modest enough to consider a corporal's guard +sufficient. In former days, however, Her Majesty's Theatre was almost +always during a performance under the care of a captain's guard, the +officers being provided for inside, where the captain, the lieutenant, +and the ensign occupied stalls one, two, and three, specially reserved +for them. + +Three other stalls used, at this time, to be reserved for the Captain +of the Body-Guard, the Exon in Waiting, and the Clerk of the Cheque. + +To show that my military studies and military labours of the last +twenty-eight years have not been altogether in vain, I may here append a +few letters from various commanding officers and adjutants with whom I +have at various times done duty. + +During my English provincial tours I have for many years, thanks to the +kindness of H.R.H. the Commander-in-Chief, been enabled to do duty with +a number of different regular regiments, whose officers have done me, +moreover, the honour of making me free of their mess. Sometimes, too, +the Colonel of the regiment has been good enough to place his troops +under my command. I have the pleasantest recollections of having, in the +course of my various provincial tours, worked and dined with the +officers of, I can scarcely say how many regiments. Here are some of the +letters which, on my taking leave, I received from the commanding +officers or adjutants of those corps:-- + + "Richmond Barracks, Dublin, + "Dec. 14, 1869. + +"I certify that Lieutenant-Colonel Mapleson, 6th Tower Hamlets Rifles, +has drilled regularly under my supervision from the 4th of September, +1869, until the 9th of October, 1869. During this period he went +regularly through company drill, and for the last fortnight took command +of the Battalion; he on joining being well up to his work and +thoroughly acquainted with the theory of drill. On leaving I considered +him well qualified to take command of a regiment in the field. He took +the greatest interest in his work, and went in for mastering the minutiæ +of drill with great perseverance. + + "C. J. BURNETT, + "Captain and Adjutant 2/15 Regiment." + +* * * + + "Salford Barracks, Manchester, + "May 6, 1870. + +"I hereby testify to the capabilities of Lieutenant-Colonel Mapleson in +drill during the time I had command of the 100th Regiment at Manchester. +He drilled the Battalion several times, and from the report of the +Adjutant I have no hesitation in stating that few officers are superior +to him in the knowledge of battalion manoeuvres. + + "H. COOKE, + "Major Commanding 100th Regiment." + +* * * + + "Gallowgate Barracks, Glasgow, + "May 26, 1870. + +"I certify that Colonel J. H. Mapleson, Honble. Artillery Company, was +drilling with the 2nd Battalion 5th Fusiliers, then under my command, +and that he showed considerable proficiency in company and battalion +drill. + + "GEORGE CARDEN, + "Major 2nd Battalion 5th Fusiliers." + +* * * + + "Junior United Service Club, + "November 1, 1871. + +"I have much pleasure in testifying as to Colonel Mapleson's thorough +knowledge of the 'Field Exercise Book,' etc., etc., and I feel convinced +from what I saw of him whilst attached to my regiment that he could +handle it under any circumstances. + + "J. CLOWES HINDS, + "Major 40th Regiment." + +* * * + + "Beggars' Bush Barracks, Dublin, + "January 13, 1871. + +"Lieutenant-Colonel Mapleson drilled with the 1st Battalion Scots +Fusilier Guards during the autumn of 1870. He was thoroughly up in +company and battalion drill, more especially the latter, and is +perfectly able to drill the Battalion. + + "J. W. WALKER, + "Captain and Adjutant + "1st Battalion Scots Fusilier Guards." + +* * * + + "Glasgow, October 30, 1871. + +"Lieutenant-Colonel Mapleson has during the last month frequently +attended the parades of my regiment. He has both taken command of a +company at battalion drill and has also manoeuvred the Battalion +himself, in both situations, showing a thorough knowledge of the +Infantry Field Exercise. + + "J. C. RATTRAY, + "Colonel Commanding 90th Light Infantry." + +* * * + + "Edinburgh Castle, + "May 21, 1873. + +"Certified that Colonel James H. Mapleson was attached to the 93rd +Highlanders for drill. I consider him able to drill a squad, company, or +battalion according to the Field Exercise, and fully impart instruction +therein. + + "FITZROY MACPHERSON, + "Adjutant 93rd Sutherland Highlanders." + +* * * + + "Infantry Barracks, Windsor, + "July 7, 1873. + +"This is to certify that Colonel Mapleson was attached for drill to the +1st Battalion Scots Guards during the winter months; that he is +thoroughly acquainted with battalion drill, and perfectly competent to +drill the Battalion either singly or in brigade. + + "J. W. WALKER, + + "Captain and Adjutant 1st Battalion Scots + Guards." + +* * * + + "Edinburgh Castle, N.B., + "April 10, 1875. + +"I certify that during the stay of Colonel Mapleson at Edinburgh he +attended regularly all parades of the 90th Light Infantry, and +manifested thorough knowledge of company and battalion drill. He has a +good 'word of command,' and nothing could exceed his zeal for military +information, which he is fully in possession of. + + "H. W. PALMER, +"Major Commanding 90th Light Infantry." + +* * * + + "Wellington Barracks, + "January 10, 1874. + +"We certify that Lieutenant-Colonel Mapleson, of the Tower Hamlets Rifle +Brigade, is conversant with the drill of a company and of a battalion, +and able to give instruction in the same. + +"That he can command a battalion in brigade. + +"That he is competent to superintend instruction in aiming and position +drill, and to superintend blank firing and ball practice. + +"That he is acquainted with the proper mode of route marching and the +duties of guards. + +"Also that he can ride. + +"Also that he is acquainted with the mode of posting picquets and their +sentries and the duties of orderly officer. + + "L. E. PHILLIPS, + + "Colonel 2nd Battalion Grenadier Guards. + + "E. ANTROBUS, + + "Captain and Adjutant 2nd Battalion Grenadier Guards. + + "Approved + + "EDWARD SAXE WEIMAR, + + "Major-General Commanding Home District." + +Among my experiences of exercise and drill I remember an incident in +connection with a Scottish regiment which, though I cannot very well +narrate it in minute detail, I can say enough to make the whole story +intelligible to those who have worn a kilt. At Edinburgh, in 1873, the +93rd Highlanders were one morning placed under my orders in the Queen's +Park by the Commanding Officer, at that time Colonel Burroughs. The +regiment was on the slope of a hill looking downwards. I gave the word +to fire a volley at a distance of 500 yards, and my military readers are +aware that at a distance beyond 200 yards the position for firing is the +kneeling one. + +A great number of persons were looking on. Suddenly an adjutant rode up +to me, and pointing to the crowd exclaimed-- + +"For heaven's sake give the word, 'As you were!'" + + * * * * * + +Friends have often asked me how, occupied, absorbed, distracted as I +must have been by the affairs of a great operatic establishment, I could +nevertheless find time, leisure, and even strong inclination for +military pursuits. The simple explanation is that I needed diversion +from my ordinary labours, and that I found this in the active duties of +a volunteer officer. Frequently at the end of a long rehearsal I have, +without finding time to dine, had to put on my uniform, get on +horseback, and hurry to take the command of my regiment in the Regent's +or in Hyde Park. The entire change of occupation was, I am convinced, +the best possible relaxation I could have. I never could have recruited +my energies by simple idleness, which, besides being in my case +intolerable, is apt to lead one into scrapes. + +Many years ago, at the beginning of the volunteer movement, at which +time I was still associated with Mr. E. T. Smith, I qualified myself for +the duties of sergeant, and used to receive half-a-guinea a time from +the corps for drilling recruits, who came to us, naturally under the +circumstances, in the rawest condition. My reflection (not, perhaps, a +particularly new one) as to the perils of idleness was forcibly +illustrated when, a short time afterwards, I found myself at +Walton-on-the-Naze doing duty with a battery. Anything more hopelessly +dull than that place when drill was once at an end, can scarcely be +imagined. At last I could stand it no longer, and was obliged to devise +some means of diversion, which if culpable was, I hope, original. + +The people of the place told me that, though Walton was dull and +desolate, there were plenty of farmers in the neighbourhood who had +buxom wives and pretty daughters, and that when anything really worth +seeing was going on whole families would flock in, and render the place +quite lively with their presence. + +What would attract them? I put the question to myself as an impresario +just beginning his career, but already accustomed to consider such +questions. Our artillery drill was evidently not enough. The great +sensation of the moment with the British public was Blondin and his +tight-rope performances. + +Would Blondin fetch them? I asked myself; and, Blondin himself being out +of the question, would public announcements to the effect that Blondin +would appear on a certain day have the desired result? + +A day or two afterwards the walls of Walton-on-the-Naze as well as +Colchester were covered with placards setting forth that on a fixed day +Blondin would appear and walk on the tight-rope from the end of the pier +to the top of the hotel in which we were staying. + +On the day appointed the sun shone brightly, and long before the time at +which Blondin was expected an army of holiday folks from the surrounding +country came in with as many pretty girls as one could wish to see in +the somewhat similar scene of the "statute fair" in the opera of +_Martha_. + +There was no room for the carts in the stables of the place, and they +had to be packed close together on the beach. + +The regimental band played on the pier, and the holiday folk had, I am +sure, an agreeable time. Some disappointment may have been caused when +telegrams in _fac-simile_ were posted on the walls with the information +that Blondin from indisposition would be unable to appear. But this was +atoned for by an announcement that in lieu of the tight-rope +performance there would be a grand display of fireworks; and the +pyrotechnics, which the organizers of the hoax paid for, went off most +brilliantly. + +At one time, moreover, I used to find solace from my managerial cares in +the pursuit of politics, and, with or without justification, I nourish +the hope that I did something towards securing the return of Mr. W. H. +Smith for Westminster. I was an active member of his committee, both in +connection with the elections which went against him and the subsequent +one which brought him triumphantly in. After his second failure I +remember the late Mr. Lionel Lawson saying to me-- + +"The thing is impossible; I would not mind giving you a written promise +to pay you £10,000 if ever he gets in." + +Lists were at that time in the hands of the registration committees, +showing on which side each elector gave his vote. It seemed useless to +interfere with those who were marked "L," as voting firmly on the +Liberal side. But among the Westminster shop-keepers there were numbers +who were marked "LC," who apparently did not care on which side they +voted, and who generally divided their vote between a Liberal and a +Conservative candidate. With these undecided men there was evidently +something to be done; and I gave them to understand that, having strong +Conservative sympathies, I should feel it my duty to place on my free +list those of the undecided who could bring themselves to support that +side. + +As the ballot system had just been introduced when Mr. W. H. Smith was +for the first time returned, I cannot, of course, say to what extent my +advocacy and aid may have benefited him. But I hope, as before observed, +that I did something towards securing his presence in Parliament. + +On my arrival in London I was notified that the Royal Italian Opera, +Covent Garden, Limited, had not yet been floated. But this result was +daily expected. I was precluded then from taking further steps towards +opening my London season of 1882, fearing that the Company might be +floated just as I started, in which case I should have to close up +again. + +In the meantime, fire insurances, poor rates, and taxes generally kept +on accumulating, and although I notified that I was ready to hand over +possession of the theatre, I still could get no reply. The consequence +was that I had to pay all sorts of arrears whilst an action for +ejectment was brought against me for having been a few days late in +paying the fire insurance. My landlord, in order to keep his superior +lease straight with the Woods and Forests, had also paid it, so that the +Company received the money twice over. Considerable battles hereupon +commenced in the law courts with a view of ejecting me from my theatre, +and it was not till late in the season that the long-expected +notification came that the Company had been floated. + +The consideration I was to receive consisted of a payment of £2,500 in +cash and 1,000 fully paid up £10 shares in the new Company. I need +hardly inform the reader that I never saw one of the shares, and could +never get them; whilst all the cash that I received was consumed in +paying off the arrears of ground rent of Her Majesty's Theatre, +insurance, etc., whilst I was waiting for the Company to be floated. + +The main object of the Gyes and of the new Royal Italian Opera, Covent +Garden, Limited, was to obtain possession of the new Metropolitan +Opera-house, New York, which was then approaching completion. By the +terms of my agreement with the Academy of Music in New York I was +prohibited from parting with or assigning my interest or any part +thereof in that building during the remaining portion of my tenancy, +which still had two years to run. The agreement in reference to my +services for the next season at the Academy had to be drawn so as to +make it appear that I had not in any way parted with my interest or any +portion thereof; although by another agreement it was stipulated that I +ran no pecuniary risks whatever in connection with the approaching +season, simply receiving my personal expenses, my salary of £1,000 a +year, and my 50 per cent. of the profits, while retaining, as hitherto, +the sole direction of the whole concern. + +On starting from Europe, the Royal Italian Opera Company, Limited, gave +me a financial secretary to accompany me; and I was also assisted by +Commander Gye as treasurer. I formed, as I considered, a most brilliant +Company, which included Mdme. Adelina Patti, Mdlle. Savio, a new singer +whom I had heard in Italy, Mdlle. Rossini, Mdlle. Minnie Hauk, Mdme. +Fursch-Madi, Mdlle. Dotti, Mdlle. Valleria, Mdlle. Zagury, Mdme. +Scalchi, Signori Mierzwinski, Ravelli, Campanini, Nicolini, Galassi, Del +Puente, and Durat, a Parisian baritone of some note. I augmented the +strength of the chorus, and when on the point of publishing my +prospectus I found that the general manager in London had added a Mdlle. +Berghi, without my knowledge, who on her appearance later on made +probably the greatest _fiasco_ ever known in America. He also, however, +added his wife, Mdme. Albani, whose brilliant talents added lustre to +the season. We began, therefore, in grand style, and had an enormous +subscription. + +The opera troupe arrived in New York early in October, and was met in +the usual way by steamers and bands of music up the bay. These +accompanied us to the wharf, where the party landed amidst great +cheering. + +Whilst on board I organized a grand opera concert, in which the whole of +the principal singers and chorus took part, under the direction of +Arditi, in aid of the Liverpool Sailors' Orphanage. The saloon was +elegantly decorated for the occasion, and, without exception, every +passenger aided the scheme by attendance and contributions. I directed +the musical arrangements, whilst the prince of American orators, the +Hon. Daniel Dogherty, presided. Over £50 was realized for the charity. + +It was now announced by the Royal Italian Opera Company, Limited, that +on the completion of the new Metropolitan Opera-house, which Gye felt so +sure of obtaining, the Academy would be closed, so that a monopoly of +Italian Opera would thus be established in New York. + +The papers took the idea up warmly, but in a hostile spirit; the +_Herald_ declaring in a leading article that if the Royal Italian Opera, +Covent Garden, Limited, of London, ever expected to monopolize opera in +America it was very much mistaken. The people in America, it stated, +would heartily encourage them in all efforts to establish and maintain a +first-class Opera in New York; but when they talked of repeating the +London proceeding by closing up either one of the existing Opera-houses +for the purpose of monopolizing the business, they might as well +understand that they were proposing a scheme which the American public +would readily defeat. It was contended that New York was large enough +for two Italian Opera-houses, and, if the performances in both were +meritorious, both would be well supported. + +Of course all the attention of the public was concentrated on the +expected arrival of Patti, which in due course took place. There was the +usual crowd on the wharf all night awaiting the ship's arrival. I had +left orders for a telegram to be sent to me as soon as the vessel passed +Fire Island in order that I might be in time to dress and go down to one +of the specially chartered steamers with Signor Franchi, Patti's agent, +Commander Herbert Gye, and a party of artists and reporters, accompanied +by military bands, fireworks, etc. The _Servia_ was out in the middle of +the stream, and we steamed up alongside, when we saw Patti, who had been +up since half-past four in the morning, in feverish anxiety to reach +_terra firma_. + +Our band struck up "God Save the Queen" and everyone bared his head; the +Englishmen partly from traditional reverence, but most of those present +from admiration of the lyric queen who had come for another reign to the +delighted people of New York. Handshaking and greetings followed. + +After we had got the Patti through the Custom House she was placed in a +carriage and taken to the Windsor Hotel, the room being piled up with +telegrams, cards, and bouquets. There was also a large set piece with +the word "Welcome!" embroidered on it in roses. In the evening there was +a midnight serenade in front of the Windsor Hotel, and ultimately _la +Diva_ had to appear at the window, when orchestra and chorus, who were +outside, performed the grand prayer from _I Lombardi_. After three +hearty cheers for Adelina Patti people went home, and she was left in +peace. + +Mdme. Patti made her _début_ a few days afterwards as "Lucia di +Lammermoor," followed by the _Traviata_, etc. To describe in detail her +success would be to repeat an oft-told tale. + +Amongst the numberless inquiries at the box-office several were made as +to how long Mdme. Patti remained on the stage in each of the different +operas; and the newspapers busied themselves as to the number of notes +she sang in each particular work; larger demands for seats being made on +those evenings when she sang more notes. _La Traviata_ generally carried +off the palm, perhaps because one journal had calculated the interest of +the money accruing on her diamonds, whilst she was singing in that work. + +A party of amateurs would buy a ticket between them, each one taking 20 +minutes of the ticket and returning with the pass-out check to the next. +Lots were drawn to decide who was to go in first; and in the event of +anyone overstaying his 20 minutes he had to pay for the whole ticket; +correctness of time being the essence of the arrangement. + + + + +CHAPTER XIX. + + NON-ARRIVAL OF SCALCHI--GENERAL INDISPOSITION--KING KALAKAUA + ENNOBLES PATTI--RAVELLI CONSULTS HIS DOG--THE COMPANY + VACCINATED--PATTI EATEN BY MICE--ARRIVAL OF ALBANI--CINCINNATI + OPERA FESTIVAL OF '83--FREEDOM OF THE CITY. + + +I was getting very anxious about the arrival of Scalchi, who had never +yet appeared in New York, and who had lately been singing in Rio Janeiro +and at Buenos Ayres. It was not until the 20th November that I received +notice of the sighting of her ship, the _Plato_, from Rio Janeiro, which +at length arrived on the 24th, after a tempestuous voyage of twenty-two +days. The vessel had been laden with coffee, hundreds of boxes of which +had been thrown overboard to lighten it. Provisions running short, the +passengers had mostly to live on biscuit and coffee, so that Mdme. +Scalchi on her arrival was in a very feeble state; and in lieu of going +down to the Academy to rehearsal, as I proposed, took to her bed and +remained there for nearly a month. I was almost daily in attendance upon +her. + +Early in December I was within a very close shave of closing the +theatre. The opera announced for the evening in question was _William +Tell_. At about four o'clock I received a doctor's certificate from +Mdlle. Dotti, who performed the principal female character, notifying me +that she had been attacked with diphtheria. I therefore had to set about +to find a substitute, having decided to give the opera anyhow. Shortly +after a notification came from Mierzwinski, the tenor, who was also +indisposed, though after a deal of trouble he promised to go on and do +his best. + +I was, however, compelled to change the opera to _Lucia di Lammermoor_, +as the lady who had undertaken to replace the prima donna in _William +Tell_ was in such a nervous state. There was no time for a rehearsal; I +therefore decided to give _Lucia_ instead. On the notice being sent to +Mdlle. Laura Zagury, the soprano, she informed me that although _Lucia_ +was in the _répertoire_ she furnished me on her engagement she had never +sung that _rôle_. The opera therefore had to be changed to _Aida_. +Orders had just been given to the various departments as to the scenery, +dresses, music, etc., when the news came that Mdlle. Rossini, whom I had +counted upon for the principal part, was lying ill at her house in Fifth +Avenue. + +I now changed the opera to _Rigoletto_; but Mdme. Zagury was not ready +with the part of "Gilda," and absolutely refused to appear. _Les +Huguenots_ was next announced, it being now half-past five. Everything +was set in motion for the production of that opera, when Mdme. +Fursch-Madi declared her inability to assume the part of the heroine, as +she had taken some medicine, believing that her services would not be +required until the early part of the following week. Thereupon an attack +was made on Mdme. Savio, who, however, regretted that she was unable to +appear as "Valentine." + +Nothing was left but to try _La Favorita_; but Signor Ravelli, who had +just finished a _Carmen_ rehearsal, declared it would be utterly +impossible for him to sing the _rôle_ of "Fernando." Then Minnie Hauk +was sought for; but she was saving herself for her appearance in +Brooklyn on the morrow, and distinctly declined. + +I now took a decision either to perform _La Favorita_, or to close up, +as it was already 6.30 p.m. I at length persuaded Signor Clodio, one of +the tenors, to assume the part of "Fernando." But a new difficulty +arose, as, being a very portly gentleman, there were no costumes in the +house to fit him. The tailors were then set to work, who promised to +have the dress ready in time. At this juncture word came from Mdme. +Galassi, who was to have taken the part of "Leonora," that she was in +bed suffering, and that it would be impossible for her to appear. I +immediately went off to Mdme. Galassi myself. She assured me of her +willingness to do her best; but she had two large boils under her right +arm which caused her acute agony. At that moment she nearly swooned from +the pain. To fetch Dr. Mott, our talented theatrical surgeon, was the +work of a moment. We raised her up and the boils were lanced, which at +once gave her relief, and I got her down to the theatre just at five +minutes to eight. She had time to dress, as "Leonora" does not appear +until the second act. The performance went off successfully; I had got +out of another serious difficulty after changing the opera seven times. + +In the midst of my trouble a deputation arrived from Kalakaua I., King +of the Sandwich Islands, informing me that they were commanded by his +Majesty the King of Hawaii to confer on Mdme. Patti the Royal Order of +Kapirlani. They had the diploma and jewels with them, and they were +accompanied by the King's Chamberlain. I had to entreat them to wait "a +moment" while I got through my troubles. That moment must have been +nearly two hours. + +At length we all went off to Patti's hotel, when the Order was conferred +upon her in the presence of some intimate friends. The Order consisted +of a jewelled star, suspended by a red and white striped ribbon, +accompanied by the following parchment document:-- + +"Kalakaua I., King of the Hawaiian Islands, to all who shall see these +presents greeting, know that we have appointed and commissioned, and by +these presents we appoint and commission, Mdme. Patti to be a Knight +Companion of our Royal Order of Kapirlani, to exercise and enjoy all the +rights, pre-eminences, and privileges to the same of right appertaining, +and to wear the insignia as by decree created. + +"In testimony whereof we have caused these letters to be made patent, +and the seal of the Order to be hereunto affixed. + +"Given under our hand, at our palace at Honolulu, this 8th day of +November, in the year of our Lord 1882. + + "KALAKAUA REX. + +"By the King, the Chancellor of the Royal Order of Kapirlani. + + "(Signed) CHARLES H. JUDD." + +The season continued, and _Lohengrin_, _Africaine_, _Huguenots_ and +other important operas were produced. The unfortunate illness of Scalchi +had long delayed me from producing _Semiramide_, which, however, was at +length brought out on the 20th December, being the last night but two of +the season. Never shall I forget the enthusiasm of the crowded and +fashionable audience of that evening. Mdme. Patti's exquisite purity of +intonation and her breadth of phrasing filled the large audience +assembled with delight. At length Mdme. Scalchi appeared, and she at +once proved herself an artist of extraordinary excellence, and a true +dramatic singer, with a contralto of unusual richness, volume, and +compass. The enormous success achieved by Scalchi inspired _la Diva_, +and it was generally pronounced that her singing on this occasion was +the best she had ever given in America, being, indeed, the perfection of +vocal art. The whole performance was beyond criticism. + +For the morning of the following Saturday, the 23rd, I announced the +opera of _Carmen_. This was to be the closing _matinée_ of the regular +winter season, and the announcement drew one of the largest assemblages +of ladies, there being very few gentlemen, to the doors of the Academy. + +It was about three-quarters of an hour before the opening of the doors +when Ravelli sent word that he could not sing. It was then too late to +change the opera. I therefore rushed off to his hotel, leaving word that +the doors were on no account to be opened until I returned. + +I found him in bed. Hearing me enter he slunk under the clothes, and I +could not get him to answer my questions. I approached the bed to remove +the sheets, when a dog sprang out at me, Ravelli's favourite dog +Niagara. + +"Laissez moi dormir!" muttered the sluggard, as he turned over on the +other side. + +"Get up," I exclaimed; "don't you understand that you are imperilling my +enterprise by lying in bed and refusing to sing when there is nothing +the matter with you?" + +He told me that he was very tired, that he was quite out of sorts, that +his voice was not in good order, and so on. + +With the aid of his wife, I succeeded in making him get up. He dressed +himself. Then taking him to the piano I tried his voice, and found that +there was nothing whatever the matter with it. He could sing perfectly +well. + +Ravelli, however, for some minutes still hesitated. In his difficulty he +determined to consult Niagara. Appealing to an animal whose superior +intelligence he recognized, Ravelli said in the French language-- + +"Est ce que ton mâitre doit chanter?" + +The dog growled, and Ravelli interpreted this oracular response as an +order not to sing. He tore his clothes off, sprang hurriedly into bed, +and left me to my own resources. + +In London I had raised poor Volpini almost from the dead to make him +sing the part of _Faust_, when but for his services I should have had to +close my theatre. I had induced George Bolton (of whom I knew nothing at +the time, except that he had a tenor voice, and that I had nearly run +over him in a cab) to undertake literally at a moment's notice the part +of "Lionel" in _Martha_, of which he knew nothing until I coached him, +except one air. But neither a Bolton nor a Volpini was now to be found, +and thanks to my lazy, superstitious, dog-ridden tenor, I had to close +my theatre and send away one of the most brilliant audiences that New +York could produce. + +I wrote a hurried notice which was put up in manuscript just as I had +scribbled it down, to the effect that in consequence of Ravelli's +refusing without explanation to sing, the theatre was closed for that +morning. + +The excitement outside was prodigious. Everyone, of course, said that it +was through my fault the doors were shut. + +"It is all that Mapleson," one charming lady was heard to exclaim. +"Wouldn't I scratch his face if I had him here!" + +Worst of all, the "scalpers" went off with the money they had received +for tickets sold outside the theatre. + +Let me here explain what "scalper" means. I am afraid that in America +our excellent librarians who do so much for the support of the Opera +would be called "scalpers;" a scalper meaning simply one who buys +tickets at the theatre to sell them at an advance elsewhere. The +ferocious name bestowed upon these gentry shows, however, that their +dealings are not quite so honourable as those of our "booksellers." For +when they had disposed of their tickets, and the performance changed, or +the theatre by some accident closed, they would walk off without any +thought of restoring the money they had received for tickets now +unavailable. At times, too, I have caught them exhibiting a gallery +diagram, and selling gallery places as orchestra stalls. They are now +obliged, by a just law, to take out licenses, and register their places +of abode. Nor do managers allow any one of them to buy more than four +tickets for each representation. + +Meanwhile the New York fall season of 1882 finished up grandly with +_Semiramide_, the receipts reaching 14,000 dollars, and the public mad +with enthusiasm. + +I afterwards started with the Company for Baltimore, where we opened +with rather less than our usual success, on account of the small-pox +which was raging all over the city. Very few notices were given of the +opera in consequence of three and four columns a day being occupied with +the crusade undertaken against the small-pox by Mayor White, who had +telegraphed for a large number of vaccination physicians from various +States, determined as he was to stamp out the disease. + +The whole of the twenty wards of the city had been placed under properly +constituted medical authorities, and there everyone had to be +vaccinated, including the whole of my Company. Prima donnas had to be +vaccinated on the legs, whilst ballet-girls were vaccinated on the arms; +in fact the theatre at one time became quite a hospital. + +However, we managed to get through our engagement with success, though +Mdme. Patti remained over at Philadelphia, being afraid to enter the +city of Baltimore. + +The production of _L'Africaine_, which was new to Baltimore, was a +marked success. On terminating our engagement we went over to +Philadelphia, where Patti made a splendid opening in _La Traviata_, the +vast theatre being crowded from floor to ceiling. + +The next night we produced _Aida_, the Directors of the Academy of Music +having caused to be painted specially for the occasion some of the most +gorgeous Egyptian scenery I have ever seen. + +At five o'clock Mdme. Scalchi sent me word that she was very ill, and +unable to sing. I thereupon went for the physician, whom I conducted +forthwith to her hotel. On our arriving at the door of her apartment I +saw a waiter going in with some lobsters, salad, and roast duck. I +immediately asked for whom he was catering, and he replied: "Mdme. +Scalchi." I waited a few minutes in order to give her time to begin +operations on the duck and the lobsters; and she was recounting some +amusing story which ended in loud laughter, when I took this as my cue +for entering. + +Mdme. Scalchi could no longer plead indisposition, and in due time she +came to the theatre. + +_Aida_ was a great success. At two o'clock the following afternoon we +performed _Lucia_ with Adelina Patti to a house containing over 14,000 +dollars. In the evening we gave _L'Africaine_, magnificently placed on +the vast stage, to receipts not far inferior to those of the morning. + +Prior to the close of our very successful engagement sad alarm was +created all over the city by a report in some of the leading morning +papers that Mdme. Patti the preceding night had been devoured by mice. +Several persons had already applied at the box office for the return of +their money on the ground that _la Diva_ had ceased to breathe. + +On inquiry it turned out that Mdme. Patti had been bitten by a mouse on +the left ear. I had better tell the story in the _Diva's_ own words, as +given to the reporter of the _Philadelphia Press_. + +"'So you were bitten by rats last evening?' the reporter said. + +"'Oh, no, it was not so bad as that,' replied Patti, laughing heartily +as she recalled the adventure. 'I hardly, however, like to mention it at +all, for I am really so comfortable in this hotel. They do all they can +to please me. When I went to bed last evening my maid turned the clothes +over for me to get in, when out jumped six mice--a complete family, in +fact; nice fat little fellows. I was not frightened; at least, I was +only astonished. I took my bon-bon box and scattered some sweetmeats on +the carpet so that the tiny intruders should have some supper, and I +went to sleep without any apprehension. In the middle of the night, +however, something disagreeable occurred, and I was awakened by a sharp +pain in my ear. I put my hand to my head when a mouse jumped to the +floor, and I felt blood trickling on the side of my cheek. I got up and +called my maid, and examination showed a bite on my left ear. It bled a +good deal, and to-day my ear is much swollen. I shall not put any +bon-bons down to-night,' continued Mdme. Patti, 'and when I sleep in the +day time I shall place my maid to act as sentry.'" + +The reporter, feeling that he had passed one of the most delightful +quarters of an hour in his life, now left the apartment. + +When the news got about that Patti had been bitten by a mouse, +enterprising makers and patentees of mousetraps approached her from all +sides with specimens of their various mouse-catching contrivances. Some +of these were very curious. One was prompt and severe in its action, +despatching the mouse at the moment of capture by a single cutting blow. +Another was apparently the work of some member of the Society for the +Prevention of Cruelty to Animals. Far from killing the mouse, it +provided the little creature with a wheel, which, as long as it was +allowed to live, it could amuse itself by turning. + +About this time two "sensations" occurred. One was connected with +Commander Gye, who was leaving the city at an early hour, when he was +robbed of his black leather travelling-bag, containing money, pins, +rings, Roman coins, cigarette boxes, a cheque book, a cheque for 4,400 +dollars, which I had signed for Mdme. Patti's previous night's salary, +with other documents of less value, including Nilsson's broken contract. + +The reports of this robbery, as usual, were considerably enlarged, and +it afterwards got into circulation that amongst the things lost were +Mdme. Albani's jewels, worth several thousands of pounds. This cost +Captain Gye a deal of inconvenience, for it brought down the Inland +Revenue authorities on him. He was accused of having smuggled in the +diamonds from abroad, and some considerable time passed before all the +excitement subsided. + +The other "sensation" was the invasion of the basso Monti's room while +he was in bed and the theft of 400 dollars worth of jewellery belonging +to him. This, too, caused a deal of talk in the papers. + +Our last night was, indeed, a gala night. The most brilliant audience of +the whole season filled every corner of the theatre, so great was the +curiosity of the public to see Mdme. Patti and Mdme. Scalchi together in +the same opera. About five o'clock the crowd outside the Academy was +already immense, and it was not until seven that we opened the doors. + +The rush was great, and a sad incident now took place. A lady in the +crowd who had purchased her ticket beforehand was taken up from the +bottom of the staircase to the top, though she died before reaching the +first landing from disease of the heart, rendered fatal by the +excitement. Borne upwards by the dense crowd she did not fall till she +reached the gallery. Fearing the alarm this occurrence might cause, the +servants, in order that I should not hear of it, had placed the lady on +the floor of a little top private box, where she remained during the +whole of the performance; her body not being removed by her friends +until the next morning. + +After leaving Philadelphia we visited Chicago, where the advance sale of +seats prior to our opening reached the enormous sum of 16,000 dollars. + +On the evening of our arrival I received a telegram from Mdme. Albani +stating that she would arrive early the following morning. I met her at +the station. She was accompanied by her husband, Mr. Ernest Gye, and his +brother, Commander Gye. She had just returned from some concerts which I +had arranged in Albany and in New York, where she had met with the most +enthusiastic reception. + +She appeared on the fifth evening of my first week in _I Puritani_, when +the cold weather did not deter the holders of tickets from claiming +their places in the theatre. At an early hour, and long before the +curtain ran up for the first act, there was absolutely not a vacant spot +in the theatre. Albani was welcomed with an enthusiasm that even Patti +might have been proud of. She was queen in the hearts of all who were +present that evening. + +On leaving Chicago we went to St. Louis, where our triumphs were again +repeated; Mdme. Albani, Mdme. Patti, and Scalchi all contributing to the +immense success. + +About this time several of my songbirds began to take cold, the weather +having suddenly changed. Mdme. Patti had to remain at home, Mdme. +Scalchi took to her bed, as also did Mdme. Fursch-Madi and Mdme. Albani. +The duty, therefore, of singing fell to Mdlle. Dotti, who for three +nights in succession sustained the prima donna duties, giving much +satisfaction under the circumstances. + +Patti, however, was able to resume work the following night in _La +Traviata_; Mdme. Albani singing "Lohengrin" at the morning performance +of the next day, whilst Mdlle. Dotti closed the season by singing +"Margherita" in _Faust_ the same evening. + +I was naturally very anxious about my singers. We had to leave by +special train at one o'clock in the morning in order to reach +Cincinnati; and as it was now some 40 degrees below freezing point, I +left the ballet, chorus, and orchestra to sleep in the railway +carriages, which were shunted up a siding. Those who went to the hotel +had the greatest difficulty in reaching it. + +On ascertaining that nearly every place had been sold for the whole of +the Festival week, I entered at once into arrangements for giving two +additional nights in the succeeding week, on which I arranged that Patti +should sing "Aida" and Albani "Margherita" in _Faust_. + +The first performance at the great Festival was _La Traviata_, followed +by _L'Africaine_, magnificently placed upon the stage. On the Wednesday +afternoon Mdme. Albani appeared as "Amina" in _La Sonnambula_, and in +the evening _William Tell_ was given, with Mierzwinski, Galassi, and +Dotti. This drew the largest number of people of any night during the +week, the great choruses of the Gathering of the Cantons eliciting the +loudest expressions of admiration. On the Thursday evening we performed +Rossini's _Semiramide_, Patti and Scalchi surpassing themselves. On the +following evening Wagner's _Flying Dutchman_ was produced, with Ravelli, +Galassi, and Albani. The next morning came _Don Giovanni_; with +Fursch-Madi as "Donna Anna;" Dotti as "Elvira;" and Patti as "Zerlina." +The first week was brought to a fitting close by a splendid performance +of _Lohengrin_; Mierzwinski performing the "Knight of the Swan;" +Galassi, "Telramund;" Monti, the "King;" Scalchi, "Ortruda;" and Albani, +"Elsa." + +This Festival, without going into details, surpassed the two preceding +ones. + +Everyone, I believe, made money. All the spring fashions were introduced +in the leading stores of the city, whilst visitors came in from many +hundreds of miles. The hotels were crowded, and people were sleeping +even in the corridors. The railways were making money, and the cabmen +making fortunes, from the high charges they taxed the public with. + +The Music Hall was nightly crowded to its utmost limit, there being +never less than 7,000 people present; and one representation surpassed +the other till all ended in one great excitement. The newspapers in the +city were taken up almost exclusively with the Festival. Nothing was +thought of but the Festival, and all business appeared to be suspended. +The toilettes of the ladies were something to be remembered. + +On February 18, 1882, prior to my leaving Cincinnati, a meeting was held +at the Mayor's Office, when my attendance was requested. To my +astonishment and delight the highest possible compliment was now paid +me; for I was presented with the freedom of the city, which was given to +me in a valuable casket, Mayor Means explaining that since the history +of the city no similar compliment had been paid even to one of their own +citizens, much less to an Englishman. This was followed by a grand +banquet at the Club, where, amongst others, I had the honour of making +the acquaintance of Mr. Reuben Springer, the donor of the magnificent +hall in which the Festival had been held. + +I omitted, however, to mention that my friend Abbey was determined, if +possible, to injure this Festival, for which purpose he brought Madame +Nilsson into the town, and kept her there during the whole of the week, +with a Company of artists, who sang at some small theatre. I need hardly +say that no harm whatever was done to the receipts, which totalled up to +40,000 dollars more than any of the preceding Festivals had brought. + + + + +CHAPTER XX. + + GALASSI DISTINGUISHES HIMSELF--POLITENESS OF PRIME DONNE--ENGLISH + WELCOME IN CANADA--CONCERT AT THE WHITE HOUSE--VALUE OF PATTI'S + NOTES--PHANTOM SHIP WRECKED--NILSSON'S CONTRACT--PATTI'S + CONTRACT--RETURN TO ENGLAND. + + +THE Company now left for Detroit. Our season opened with Albani as +"Lucia;" and for the following night _Semiramide_ was announced, with +Adelina Patti and Scalchi. Unfortunately Mdme. Patti had taken cold, and +was unable to sing. It appeared that on arriving at the station she had +had to walk through piles of snow for some distance in order to reach +her carriage. + +At one time the public threatened to demolish the building, so +disappointed were they; especially as Mdme. Patti had also failed to +appear in that same city the previous year. + +It was at once put down (as these things generally are) to caprice on +the part of the prima donna, or a trick on that of the operatic manager. +I, therefore, at once sought Dr. Brodie, an eminent physician of +Detroit, and he furnished a certificate as to the _Diva'_ illness. + +Despite the change of the bill, a good-sized audience remained for +Verdi's tragic opera of _Il Trovatore_. + +On the closing night we performed _Guillaume Tell_, in which Signor +Galassi particularly distinguished himself. According to one of the +journals, which appeared the following morning, so dexterously did he +shoot the apple off his son's head that he might always be sure of a +warm welcome whenever he returned to that city. + +Rival prime donne--those, at least, who have the habits of polite +society--are very particular in calling on one another, though these +visits are sometimes of a highly formal kind. During my American season +of 1883 I was associated with Mr. Gye; and it so happened that Nicolini +and Patti, Ernest Gye and Albani (Mrs. Ernest Gye) were staying at +Detroit in the same hotel where I also had put up. Patti and Nicolini +having just gone for a drive, Madame Albani, seeing them pass beneath +her window, called out to her husband-- + +"Ernest, they have gone out. We had better leave cards on them at once." + +On returning home Madame Patti duly received the cards; and an hour or +two afterwards, when Albani and Mr. Gye had just gone to the theatre, +where there was to be a rehearsal, said to Nicolini-- + +"Ernest" (his name, also, was Ernest), "they have gone to the theatre. +Now is the time for returning their visit." + +As Madame Patti was still suffering from a very severe cold, I thought +it prudent to leave her behind at Detroit, for the purpose not only of +re-establishing herself, but of assuring the public that she was really +ill. She remained there some four or five days after we had left. + +The whole Company, except Madame Patti, had to muster at the station +about 2 a.m. to start for Canada. By some mismanagement on the part of +the railway company, there being two competing lines, with but one set +of rails running into the joint station, the artists were kept waiting +at this station for over a couple of hours, the wind bitterly cold, and +the thermometer some fifty degrees below freezing point. At length, to +the joy of all, our special was drawn up alongside the platform, and we +were enabled to make a start, arriving at Toronto the following +afternoon. + +The next morning the musicians all came to me in great despair, the +Canadian Custom House authorities having seized the whole of their +instruments as liable to duty. The same difficulty occurred with the +wardrobes and properties; and it was not until very late in the day, by +going through a course of red-tape, which reminded one of the old +country, that they could be released, I giving an undertaking that the +troupe should leave Canada within two days. + +A right royal English welcome did our Company receive there. Prior to +the performance I requested Arditi to play the National Anthem. The +whole of the audience stood up, and, on its conclusion, gave three +hearty cheers. Nearly all the private box, dress circle, and stall +ticket-holders arrived in open sleighs, the snow being very thick. + +The opening performance was _Il Trovatore_, in which Mierzwinski, +Galassi, Scalchi, and Fursch-Madi appeared, giving great satisfaction. +The excellence of the representation was quite a revelation to the +public, as it were. + +On the following night Madame Albani appeared as "Lucia," when the +_parquette_, balconies, and boxes were crowded with the _élite_ of the +city, the Lieutenant-Governor occupying the gubernatorial box. + +The galleries were likewise crowded to their fullest capacity, standing +room even being at a premium. Albani was welcomed with vociferous +cheers, and her performance throughout received the warmest approbation. + +Immediately after the conclusion of our grand two-night season in Canada +our special train was put in motion towards Buffalo, where we performed +the following evening, leaving again after the performance at 2 a.m. for +Pittsburg, at which place Mdme. Patti had arrived the previous day. + +At Pittsburg the season opened most auspiciously with _La Traviata_. +The theatre itself was not only crowded to the ceiling, but we charged +five dollars a head for standing room on the window sills. + +The following night Mdme. Albani appeared as "Margherita" in _Faust_, +supported by Ravelli, Scalchi, etc. + +A matinée was given the next day of _Il Trovatore_, followed by a +splendid performance the same evening of _William Tell_. On each +occasion the house was crammed. + +The Company had again to muster at 2 a.m. after the performance to start +for Washington, at which place we arrived the following evening, Mdme. +Albani opening the next day as "Margherita" in _Faust_. + +The next evening I had to change the performance, _la Diva_ having +contracted a sore throat during the journey. I substituted _William +Tell_, postponing Mdme. Patti's _début_ until the following night, when +she and Scalchi captivated the audience with _Semiramide_. In a letter +to the papers the following morning a mathematician stated that by +carefully counting the notes in the part of _Semiramide_, and dividing +the result by the sum paid nightly to Patti for singing that part, he +discovered that she received exactly 42 5/8 cents for each of the notes +that issued from her throat. This was found to be just 7 1/10 cents per +note more than Rossini got for writing the whole opera. + +On the following Friday President Arthur gave a private concert at the +White House. I here append the programme:-- + + PART I. + + Duetto--"Sull'aria" (Nozze di Figaro) _Mozart._ + Mdme. Fursch-Madi and Mdlle. Dotti. + + Romanza--"Angelo Casto" (Duca d'Alba) posthumous opera + by _Donizetti_. Signor Frapolli. + + Cavatina--Tacca la notte (Trovatore) _Verdi._ + Mdme. Fursch-Madi. + + Aria Buffa--Miei rampolli (Cenerentola) _Rossini._ + Signor Corsini. + + Air--Voi che sapete (Nozze di Figaro) _Mozart._ + Mdlle. Dotti. + + An Interval of Half an Hour. + + PART II. + + Trio--Qual Volutta (Lombardi) _Verdi._ + Mdme. Fursch-Madi, Signor Frapolli, and Signor Galassi. + + Cavatina--"Nobil Signor" (Huguenots) _Meyerbeer._ + Mdme. Scalchi. + + Romanza--O tu bel astro (Tannhäuser) _Wagner._ + Signor Galassi. + + a{Air--"Pur dicesti" _Lotti._ + b{Song--"Robin Adair" ---- + Madame Albani. + + The White House. + February 28, 1883. + +At the conclusion of the concert a splendid supper was served in the +banqueting hall. As I had to attend upon no less than five ladies, the +President observed at the close of the feast that I had had nothing to +eat myself. He, therefore, gave orders that on the departure of the +guests another supper should be served, at which he occupied the chair. +The repast was really of the first order. It was interspersed with +excellent Veuve Clicquot, and the President afterwards ordered in cigars +and related to me some most interesting anecdotes of his earlier career. +He also gave me an account of the alarm felt at New York when one Sunday +the _Merrimac_ was expected to come up the bay in order to levy +contributions on the city; there being no powder in the forts and but +few cannon balls, all of the wrong calibre. Fortunately she met the +_Monitor_, who soon gave a good account of her. + +We gave a grand _matinée_ the following day, with Patti as "La +Traviata," when people paid even for standing in the passages, where +they could only occasionally hear sounds. + +At the close of the morning performance our special train started for +Boston, where we arrived late the next day. + +Here further calculations were made in the daily papers as to the value +of Patti's notes, _Semiramide_ showing 30 cents. for every note she +sang, whilst in "Lucia" the rate of 42 1/2 cents. per note was reached. + +We afterwards performed _Faust_ with Albani, and some of the grand +operas, such as _L'Africaine_, _Les Huguenots_, _Lohengrin_, and _Aida_. +Towards the close of our engagement Wagner's _Flying Dutchman_ was given +for the first time on the Italian stage at Boston. + +A rather startling event occurred during the first act on the arrival of +the Phantom Ship, which, after sweeping gracefully round, broadside to +the audience, suddenly capsized, casting the Dutchman and his crew +promiscuously on to the stage, the masts going straight across the +occupants of the stalls and the sails covering Arditi, who was then at +the desk. + +At this juncture loud screams were heard. They came from the wife of the +principal baritone, who, witnessing the accident, had fears for her +husband's safety. The choristers, who were thrown pell-mell into the +water, and on to their stomachs, began with a great deal of tact to +strike out as if swimming, until--as soon as possible--the curtain was +lowered. The ship was soon set on its keel again, but nothing could +induce Galassi to board the vessel. + +At the close of the Boston engagement, which was highly successful, we +returned to New York, where we remained some five weeks, performing a +different opera almost nightly. + +About this time I learned that the Washington and Lee University for +promoting higher education in the South was in great need of funds. I, +therefore, notified General Lilly, of Virginia, who had been interested +in that institution for years, my willingness to assist by giving a +miscellaneous performance for that purpose. A committee of distinguished +ladies was formed to superintend the distribution of the tickets, +including Mrs. General Dix, Mrs. Franklin Edson, Mrs. August Belmont, +Mrs. G. Rives, Mrs. Livingstone, Mrs. Jay, Mrs. Pierre Lorillard, Mrs. +Frederick Kernochan, Mrs. Henry Clewes, Mrs. Pryor, Mrs. General +Hancock, Mrs. Barton French, Mrs. W. C. Whitney, Mrs. Vanderbilt, +Baroness de Thomsen, Mrs. Bowdoin, Mrs. Alonzo B. Cornell, Mrs. Benjamin +Willis, Mrs. F. B. Thurber, etc., etc. + +The appearance of the Academy, on this occasion filled by a most +brilliant audience, was a thing long to be remembered. The evening +commenced with an act of _Trovatore_, which was followed by the +appearance of Mdme. Albani in the first act of _Norma_. A more beautiful +rendering of the lovely cavatina "Casta Diva" could not have been heard, +Mdme. Albani's vocalization being really the perfection of art. She was +recalled several times, and covered with flowers. An act from +Meyerbeer's _Dinorah_ came next, with Mdme. Patti and Scalchi. Both left +the stage loaded with flowers, Patti coming forward at the close and +afterwards good-naturedly singing in front of the drop curtain "Home, +Sweet Home." + +A scene then followed not put down in the programme, in the shape of a +presentation to myself of two large and handsome silk flags, one English +and the other American, the gift of the ladies of the committee; each of +the white stars on the blue ground of the American flag having been +inserted by a member of this committee. + +I thanked the ladies in a grateful speech, shouldered my lofty flags, +and left the stage amidst loud cheering. The receipts amounted to some +£1,800. About a fortnight afterwards I was informed by General Lilley +that a chair of English literature had been established at the +University bearing my name. + +The following Saturday morning _La Traviata_ was again given, the house +being even more crowded than usual. The bank having closed prior to the +termination of the performance, the monies were all placed in the iron +safe. + +Early the following morning I was informed that one of the doors leading +to the treasury had been forced open, the floor of which was strewn with +tickets and furniture. Worse still, the iron safe had been opened and +rifled of its contents; over 21,500 dollars having been carried off. +Fortunately this amount was for the most part in cheques, which I +succeeded in stopping at the bank; but the loss in hard cash exceeded +£1,600. + +About this time further rumours were in circulation as to Mr. Abbey +trying to take away several of my best singers, notably both Patti and +Galassi. + +During the New York season I sent Mdme. Albani to sing in a concert at +Montreal, the railway directors providing a special car for her. On her +arrival she was received by the Mayor and Aldermen of the city; also by +a guard of honour of 200 men in uniform, besides the members of four +snow-shoe clubs in their beautiful and picturesque costumes. + +A reception was afterwards held at the Hôtel de Ville, when a formal +address was handed to Mdme. Albani on a beautifully illuminated scroll. +All the tickets being instantly sold out, two more concerts had to be +given; and Mdme. Albani returned to New York in time to sing the +following Friday, having netted for the treasury 16,000 dollars by her +three days' visit to Montreal. + +Shortly afterwards I gave a combined performance for the benefit of the +New York Exchange for Woman's Work. Again I had a ladies' committee to +work with, including the charming Mrs. F. B. Thurber, who acted as +secretary, the president being Mrs. W. G. Choate, while the +vice-presidents consisted of some forty leading ladies of New York. The +entertainment consisted of a concert in which Mdme. Adelina Patti, Mdme. +Albani, Mdme. Scalchi, Nicolini, and others of the Company appeared. + +I append the programme, in which will be found several features of +interest, including, in particular, the singing of Mozart's delightful +duet by Patti and Albani. + + PART I. + + Overture--"Egmont" _Beethoven_ + Orchestra. + + Romanza--"O lieti, di" (Etoile du Nord) _Meyerbeer_ + Monsieur Durat. + + Aria--"Nobil Signor" (Huguenots) _Meyerbeer_ + Madame Scalchi. + + Ballade et Polonaise _Vieuxtemps_ + Herr Brandt. + + Cavatina--"Qui la voce" (Puritani) _Bellini_ + Madame Albani. + + Romanza--"Vien, vien m'e noto" (Velleda) _Lenepreu_ + Signor Nicolini. + + Valse--"Nell' ebrezza" (Romeo e Giulietta) _Gounod_ + Madame Adelina Patti. + + Ballet, Silvia _Delibes_ + Orchestra. + + PART II. + + L'invitation a la Valse _Weber_ + Orchestra. + + Ballade--"Ouvre ta porte" _Grieg_ + Signor Ravelli. + + Hungarian Fantaisie _Liszt_ + (With orchestra) + Herr Rafael Joseffy. + + Duetto, "Sull aria" (Nozze di Figaro) _Mozart_ + Madame Adelina Patti and Madame Albani. + + Gavotte--"In veder l'amata stanza" (Mignon) _Thomas_ + Madame Scalchi. + + Romanza--"M'appari" (Martha) _Flotow_ + Signor Ravelli. + + Rakoczy March _Berlioz_ + Orchestra. + +After the concert the ladies presented me on the stage with a +magnificent gold badge, bearing the English arms on one side, surmounted +with diamonds and rubies, and the American arms on the other; also an +elegant walking cane with a massive gold top, crowned by a very large +uncut sapphire of great value. + +The next morning Mr. Gye came to me with the alarming intelligence that +the lease of the new Metropolitan Opera-house had been given to Mr. +Abbey. He complained bitterly of the treatment he had received at the +hands of its Directors after the trouble he had taken in furnishing +them with the interior plans and workings of Covent Garden Theatre, in +order to assist the architect to get as complete a building as possible. +He had been negotiating with the Directors on behalf of the Royal +Italian Opera Company, Covent Garden, Limited, and, in fact, those +negotiations had never been broken off. He was still awaiting an answer +from the Committee, to whom the matter had been referred. + +Mr. Abbey having announced that he would open the New Metropolitan +Opera-house with Madame Nilsson, Mr. Gye informed me that she was under +contract to sing with our Company, and showed me the following +engagement:-- + + "London, 2nd May, 1882. + +"Madame Christine Nilsson agrees to accept an engagement with Mr. Gye to +sing either for him or for the Royal Italian Opera Company, Limited, in +London, during the season of 1883, at a salary of £200 per night. Madame +Nilsson also agrees to accept an engagement for America for the season +of 1883-1884, for fifty or sixty representations, operas, concerts, or +oratorios, at a salary of £300 per night, this to include all hotel +expenses, but not travelling. Madame Nilsson agrees also to sing for +five or six nights at Covent Garden during next July, the répertoire for +Madame Nilsson being _Mignon_, _Lohengrin_, _Don Giovanni_, +_Mefistofele_, and _Faust_ if possible, which Mr. Gye agrees to do his +best to obtain for her in London, 1883, and in America, her répertoire +to be the same, and other operas by common consent. No opera is to +belong to Madame Nilsson exclusively, except one opera that she may +create, and that for one season. Should Madame Nilsson wish to remain in +America in the summer of 1884 she is to be at liberty to do so, and +should she wish to return to England, Mr. Gye engages himself for her to +sing in London during the London season on the same conditions. Mr. Gye +binds himself to accept the engagement now in preparation. + + "(Signed) CHRISTINE NILSSON ROUZAUD." + +Despite this, however, Madame Nilsson signed with Mr. Abbey, receiving a +sum considerably in excess of the one stipulated for in the Gye +engagement. + +In the meantime further rumours were getting circulated with regard to +Mr. Abbey's razzia on my singers, and the daily papers were full of our +disputes and recriminations; with which I will not trouble the reader +just now. On the conclusion of our New York season we again returned to +Philadelphia, in consequence of the success of our previous visit, +opening there with the _Flying Dutchman_. The next night _l'Etoile du +Nord_ was performed with the peerless Adelina, followed by Lohengrin +with the charming "Elsa" of Albani. Thus we continued our triumphant +career. + +Mr. Abbey had begun his intrigues with Campanini, to whom he offered +1,000 dollars (£200) a night. He now proposed a similar amount to +Scalchi and a considerable sum to Valleria, whilst his _employés_ were +hard at work round the stage-door taking away my choruses, wardrobe +keepers, and even the stage-manager. All my people, in short, were +offered three or four times their usual salaries, merely for the sake of +injuring me, without Mr. Abbey's benefiting himself in any way. I +described him, to an interviewer, as a _guastomestiere_; a word which +sorely puzzled him, and caused him to consult his solicitor. + +I now endeavoured to make sure of Patti, and she eventually consented to +make a small reduction in her terms and to accept 4,000 dollars a night. + +In due course her contract had been prepared by her agent and a day +fixed for executing it, which happened to be a Thursday. Being much +occupied that day at the theatre in consequence of troubles of various +sorts I found it too late to get up to Mdme. Patti's hotel, but went the +following morning early. Nicolini explained to me that Mdme. Patti never +did anything on a Friday, and that I had better call the next day. The +day afterwards he informed me that, soon after I had left, Mr. Abbey had +come to Mdme. Patti saying that he could offer her a minimum of 5,000 +dollars (£1,000) a night, payment to be made on the morning of each +performance, and 50,000 deposited in the bank as payment for the last +ten nights of the engagement, and that Mr. W. H. Vanderbilt would sign +the contract and give her the requisite guarantees. + +This was not the only inducement he offered her if she would link her +fortunes with the new Metropolitan Opera-house the following season. She +was further to have a special private drawing-room and sleeping car, the +like of which had never yet been run on rails, to be specially built for +her, fitted with a conservatory, fernery, &c. + +There was no reason, however, why these propositions should interfere +with the formal acceptance of a contract already drawn up and verbally +agreed to. The next day, then, about 11 o'clock, I was going in joyously +to sign my contract when I was met by Signor Nicolini at the door, who +told me that a very dreadful thing had happened since he last saw me. On +my inquiring what it was he informed me that Mr. Abbey's visit had quite +upset Mdme. Patti, who was ill in her room. She had not even spoken to +the parrot, which was a sad sign. He then communicated to me Mr. Abbey's +proposition, as above. + +Nicolini, however, assured me that Mdme. Patti held me in the highest +esteem, and would on no account throw me over, considering that my +engagement with her would be just as good as Mr. Vanderbilt's. If I +would call later in the day, after luncheon, he hoped to get the matter +concluded. He, at the same time, gave me to understand that no +reduction could be made in the terms which had been offered by +Vanderbilt through Abbey. + +On leaving I at once consulted with Mr. Gye, the General Manager of the +Royal Italian Opera Company, Covent Garden, Limited, and he fully agreed +with me that there was no alternative but to accede to the terms, the +sum demanded being but a trifle more than Patti had been receiving +throughout the season then about to close. Gye telegraphed the +particulars to his London Directors. + +I accordingly went round in the afternoon and signed the contract. The +visit of Mr. Abbey to Mdme. Patti on the previous day had meanwhile +caused a rise of no less than 50,000 dollars (£10,000) in her demands. + +Next day Mdme. Patti sailed for Europe on the _Arizona_, Signor Franchi, +her agent, remaining behind to complete the details of the new +engagement. + +About this time Mdme. Cavalazzi, my daughter-in-law, informed me that +she had had an offer from Abbey's agent of double the amount I was +paying her. I at once told her to accept it, and that I would keep her +place open for her, when she could return the following season, by which +time Abbey would be closed up. The following season she duly returned, +Mr. Abbey, as I shall afterwards relate, having duly come to grief. + +Prior to my departure I was entertained by a number of my friends and +supporters at the Manhattan Club. The dinner was arranged partly as a +farewell to me and partly in acknowledgment of the aid I had given to +young American artists essaying an operatic career. Judge J. R. Brady +presided, and the company included the Mayor Edson, the Reverend Dr. +Hoffman, Recorder Smyth, Judge Abraham R. Lawrence, Chief Justice Noah +Davis, Judge W. H. Arnoux, the British Consul General Booker, Chief +Justice C. P. Daly, General de Cesnola, Chief Justice Shea, General +Stewart L. Woodford, General Hancock, Commissioner J. S. Coleman, Mr. +John H. Starin, Mr. F. B. Thurber, Mr. Aaron Vanderpoel, Professor Henry +Drisler, Mr. Wm. Steinway, the Reverend Professor Seabury, Professor A. +Charlier, Mr. Oscar S. Strauss, and many others. + +On the removal of the cloth Judge Brady gave the toast, "The guest of +the evening," to which I replied. Other toasts followed, and the +entertainment passed off merrily enough. Signor Clodio, Signor Ravelli, +and Signor Ronconi came in with the cigars, and pleasantly varied the +latter portion of the evening by a choice selection of operatic arias. + +At the close of the entertainment it was unanimously resolved to charter +a special steamer to accompany me the following morning down the bay +conveying those who were present at the dinner. Mr. Starin, who was +sitting at the table, offered to place one of his magnificent steamers +at their disposal, which was to leave Pier 41, North River, at a quarter +to nine the following morning. After singing "Auld Lang Syne" and "He's +a jolly good fellow" the company separated. Just prior to my departure +the following morning my friends appeared on the chartered steamer, +which followed us down the bay with a band of music, accompanied by +hearty cheers until we were out of sight. + +END OF VOL. I. + +(note of etext transcriber:) + +scarely=scarcely + +Italian verson=Italian version + +singing in Rio Janiero=singing in Rio Janeiro + +be promised to go on=he promised to go on + + + + + +End of Project Gutenberg's The Mapleson Memoirs, vol I, by James H. Mapleson + +*** END OF THIS PROJECT GUTENBERG EBOOK THE MAPLESON MEMOIRS, VOL I *** + +***** This file should be named 36143-8.txt or 36143-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/6/1/4/36143/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images available by The Internet Archive) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/36143-8.zip b/36143-8.zip Binary files differnew file mode 100644 index 0000000..c585b59 --- /dev/null +++ b/36143-8.zip diff --git a/36143-h.zip b/36143-h.zip Binary files differnew file mode 100644 index 0000000..acefa75 --- /dev/null +++ b/36143-h.zip diff --git a/36143-h/36143-h.htm b/36143-h/36143-h.htm new file mode 100644 index 0000000..c202106 --- /dev/null +++ b/36143-h/36143-h.htm @@ -0,0 +1,10066 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" +"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> + <head> +<meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> +<title> + The Project Gutenberg eBook of The Mapleson Memoirs, vol I, by James H. Mapleson. +</title> +<style type="text/css"> + p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:2%;} + +.c {text-align:center;text-indent:0%;} + +.cb {text-align:center;text-indent:0%;font-weight:bold;} + +.hang {text-indent:-2%;margin-left:2%;} + +.ind4 {text-indent:4%;} + +.letra {font-size:125%;margin-left:4%;font-weight:bold;} + +.nind {text-indent:0%;} + +.r {text-align:right;margin-right:5%;} + + h1,h3 {margin-top:15%;text-align:center;clear:both;} + + hr.full {width:100%;margin:5% auto 5% auto;border:4px double gray;} + +sub {font-size:65%;} + +sup {font-size:65%;} + + table {margin-left:auto;margin-right:auto;border:none;text-align:left;} + + body{margin-left:2%;margin-right:2%;background:#fdfdfd;color:black;font-family:"Times New Roman", serif;font-size:medium;} + +a:link {background-color:#ffffff;color:blue;text-decoration:none;} + + link {background-color:#ffffff;color:blue;text-decoration:none;} + +a:visited {background-color:#ffffff;color:purple;text-decoration:none;} + +a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;} + + img {border:none;} + +.blockquot {margin:5% 10% 5% 10%;font-size:80%;font-weight:bold;} + +.blockquot1 {margin:5% 10% 5% 10%;font-size:100%;} + +.figcenter {margin:auto;text-align:center;} + +.poel {margin-left:25%;white-space:nowrap;text-indent:0%;} +</style> + </head> +<body> + + +<pre> + +Project Gutenberg's The Mapleson Memoirs, vol I, by James H. Mapleson + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Mapleson Memoirs, vol I + 1848-1888 + +Author: James H. Mapleson + +Release Date: May 18, 2011 [EBook #36143] +[Last updated: September 20, 2011] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE MAPLESON MEMOIRS, VOL I *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images available by The Internet Archive) + + + + + + +</pre> + +<hr class="full" /> + +<div class="figcenter" style="width: 354px;"> +<a href="images/cover_lg.jpg"> +<img src="images/cover.jpg" width="354" height="550" alt="image of the book's cover" title="image of the book's cover" /></a> +</div> + +<p> +<br /> +<br /> +</p> + +<p class="cb">THE MAPLESON MEMOIRS<br /><br /> +VOL. I.</p> + +<p> +<br /> +<br /> +</p> + +<div class="figcenter" style="width: 396px;"> +<a href="images/ill_mapleson_lg.jpg"> +<img src="images/ill_mapleson.jpg" width="396" height="550" alt="J H Mapleson" title="J H Mapleson" /></a> +</div> + +<h1>THE MAPLESON MEMOIRS</h1> + +<p class="cb">1848-1888</p> + +<p> +<br /> +</p> + +<p class="cb">IN TWO VOLUMES</p> + +<p> +<br /> +</p> + +<p class="cb">WITH PORTRAIT OF THE AUTHOR</p> + +<p> +<br /> +</p> + +<p class="cb">VOL I</p> + +<p> +<br /> +</p> + +<p class="cb">CHICAGO, NEW YORK, AND SAN FRANCISCO<br /> +BELFORD, CLARKE & CO.,<br /> +P<small>UBLISHERS</small>.<br /> +1888<br /> +[<i>All rights reserved</i>].</p> + +<p> +<br /> +</p> + +<p class="c">C<small>OPYRIGHT, 1888, by<br /> +JAMES H. MAPLESON</small></p> + +<p> +<br /> +</p> + +<p class="c"><small>TROW'S<br /> +PRINTING AND BOOKBINDING COMPANY,<br /> +NEW YORK.</small></p> + +<p> +<br /> +</p> + +<h3><a name="PREFACE" id="PREFACE"></a>PREFACE.</h3> + +<p class="nind">H<small>AVING</small> been repeatedly urged by numerous friends on both sides of the +Atlantic to set forth a few of the difficulties attending the career of +an <i>impresario</i>, who, during the last thirty years, has fought many +operatic battles, I have undertaken the task, having at the present +moment for the first time in my recollection a few weeks of comparative +repose before again renewing my lyrical campaigns.</p> + +<p>I willingly sat down to the work, trusting that an account of the few +partial defeats and the many brilliant victories incident to my life may +be found interesting.</p> + +<p>This being my first appearance as an author, I am naturally unpractised +in the artifices of style familiar to more experienced hands.</p> + +<p>Some of my plain statements of facts will not, I fear, be fully +appreciated by the personages to whom they refer; and in case they +should feel offended by my frankness, I ask their pardon beforehand, +convinced that they will readily accord it.</p> + +<p class="r">J. H. M<small>APLESON.</small></p> + +<p><i>Junior Carlton Club,</i><br /> +<span style="margin-left: 4em;"><i>21st September, 1888.</i></span><br /> +</p> + +<p> +<br /> +</p> + +<h3><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h3> + +<table border="0" cellpadding="0" cellspacing="0" summary="contents"> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_I">CHAPTER I.</a></td></tr> + +<tr><td><p class="hang">Qualifications for the Career of Impresario—My First Appearance +as Violinist—<i>Début</i> as a Vocalist—Difficulties as a +Critic—Engaged at Lodi and Verona—Radical Operation +on my Throat—I start as Musical Agent—Meeting with +Mr. E. T. Smith—Management of Drury Lane</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_001">pp. 1-12</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_II">CHAPTER II.</a></td></tr> + +<tr><td><p class="hang">Injunction against the Birds on the Trees—Drury Lane Season +of 1859—<i>Débuts</i> of Victoire Balfe, Mongini, and Guarducci—My +Contralto Marries a Duke—The Duke and +Duchess at Naples </p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_013">pp. 13-22</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_III">CHAPTER III.</a></td></tr> + +<tr><td><p class="hang">Nocturnal Negotiations—Reopening of Her Majesty's Theatre—Sayers +and Heenan Patronize the Opera—English and +Italian Opera Combined—Smith and his Speculations—Discovery +of Adelina Patti—My Management of +the Lyceum</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_023">pp. 23-39</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_IV">CHAPTER IV.</a></td></tr> + +<tr><td><p class="hang">At Her Majesty's Theatre—Verdi's Cantata—Ginglini at the +Seaside—Pollio and the Drum-stick—An Operatic Conspiracy—Confusion +of the Conspirators</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_040">pp. 40-57</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_V">CHAPTER V.</a></td></tr> + +<tr><td><p class="hang">Running over a Tenor—Titiens in Italy—Cashing a Cheque at +Naples—A Neapolitan Ball—Approaching a Minister—Return +to London</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_058">pp. 58-65</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_VI">CHAPTER VI.</a></td></tr> + +<tr><td><p class="hang">Production of Gounod's <i>Faust</i>—Apathy of the British Public—A +Managerial Device—Damask Crumb Cloth and Chintz +Hangings—Heroic Attitude of a Dying Tenor—Prayers to +a Portmanteau</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_066">pp. 66-80</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_VII">CHAPTER VII.</a></td></tr> + +<tr><td><p class="hang">Garibaldi Visits the Opera—Giuglini's Trouble at St. Petersburg—Giuglini +Visited by Titiens—Alarm of Fire—Production +of <i>Medea</i>—Grisi's Last Appearance—An +Enraged Tenor</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_081">pp. 81-98</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_VIII">CHAPTER VIII.</a></td></tr> + +<tr><td><p class="hang">Payment after Performance—Discovery of Madge Robertson—Mario +and the Sheriff—Generosity of the Great Tenor—<i>Début</i> +of Christine Nilsson—Destruction of Her Majesty's +Theatre—A Great Philanthropist</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_099">pp. 99-117</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_IX">CHAPTER IX.</a></td></tr> + +<tr><td><p class="hang">Proposal for an Operatic Union—Titiens in Dublin—Her +Services as a Pacificator—Autumn Season at Covent +Garden—The Combination Season—Immense Success—Costa's +Despotism—An Operatic Conspiracy—Lucca and +her Husbands</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_118">pp. 118-135</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_X">CHAPTER X.</a></td></tr> + +<tr><td><p class="hang">Gye's Fraternal Embrace—Law-suits Interminable—Dissolution +of Partnership—Return to Drury Lane—Arrival of +Albani—<i>Début</i> of Cainpanini—The Annual Onslaughts +of Mr. Gye</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_136">pp. 136-149</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XI">CHAPTER XI.</a></td></tr> + +<tr><td><p class="hang">Adelina's Successor—A Prima Donna's Marriage Negotiations—Pounds +<i>v.</i> Guineas—Nilsson and the Shah—Production +of <i>Lohengrin</i>—Salvini's Performances and Profits—Marguerite +Chapuy—Irony of an Earl</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_150">pp. 150-174</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XII">CHAPTER XII.</a></td></tr> + +<tr><td><p class="hang">The National Opera-house—Foundation Difficulties—Primæval +Remains—Titiens Lays the First Brick—The Duke of +Edinburgh the First Stone—The Opera and Parliament—Our +Recreation Rooms</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_175">pp. 175-183</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XIII">CHAPTER XIII.</a></td></tr> + +<tr><td><p class="hang">First Visit to America—Making Money out of Shakespeare—Chatterton's +Secret Agents—Bidding for Her Majesty's +Theatre—Illness of Titiens—Gerster's Success—Production +of <i>Carmen</i></p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_184">pp. 184-198</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XIV">CHAPTER XIV.</a></td></tr> + +<tr><td><p class="hang">First American Campaign—Difficulties of Embarkation—Concert +on Board—Dangerous Illness of Gerster—Opera +on Wheels—The "Dressing-room Row"—A Learned +Throat Doctor—Gerster Sings before her Judge—The +Pianoforte War—Our Hurried Departure</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_199">pp. 199-219</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XV">CHAPTER XV.</a></td></tr> + +<tr><td><p class="hang">Reception of a Tenor—Belocca and Lady Spencer—Marimon's +Superstitions—Her Lovesick Maid—An Encouraging +Telegram—Marimon in the Cathedral—Disappearance of +a Tenor</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_220">pp. 220-236</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XVI">CHAPTER XVI.</a></td></tr> + +<tr><td><p class="hang">Sir Michael and his Cheque—Six Minutes' Bankruptcy—Success +of <i>Lohengrin</i>—Production of <i>Mefistofele</i>—Return +to New York—<i>Lohengrin</i> under Difficulties—Elsa's Tails—Cincinnati +Opera Festival</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_237">pp. 237-253</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XVII">CHAPTER XVII.</a></td></tr> + +<tr><td><p class="hang">Production of <i>Il Rinnegato</i>—Ravelli's Operatic Theory +Negotiations with Covent Garden, "Limited"—A Search +for a Prima Donna—Failure of Patti's Concerts—Cincinnati +Opera Festival of '82—Patti's Indisposition</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_254">pp. 254-272</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XVIII">CHAPTER XVIII.</a></td></tr> + +<tr><td><p class="hang">I Engage Patti—My Military Experience—Influencing Electors—Operatic +Joint Stock Company—Objections to English +Monopoly—Patti in New York</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_273">pp. 273-291</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XIX">CHAPTER XIX.</a></td></tr> + +<tr><td><p class="hang">Non-Arrival of Scalchi—General Indisposition—King Kalakau +Ennobles Patti—Ravelli Consults his Dog—The Company +Vaccinated—Patti Eaten by Mice—Arrival of Albani—Cincinnati +Opera Festival of '83—Freedom of the +City</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_292">pp. 292-308</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XX">CHAPTER XX.</a></td></tr> + +<tr><td><p class="hang">Galassi Distinguishes Himself—Politeness of Prime Donne—English +Welcome to Canada—Concert at the White +House—Value of Patti's Notes—Phantom Ship Wrecked—Nilsson's +Contract—Patti's Contract—Return to +England</p></td><td align="right" valign="bottom" style="white-space:nowrap;"><a href="#page_309">pp. 309-327</a></td></tr> + +<tr><td align="center" colspan="2"><a href="#INDEX">Index to Volumes I and II</a></td></tr> +</table> + +<p><a name="page_001" id="page_001"></a></p> + +<h3><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.</h3> + +<div class="blockquot"><p class="hang">QUALIFICATIONS FOR THE CAREER OF IMPRESARIO—MY FIRST APPEARANCE AS +VIOLINIST—DÉBUT AS A VOCALIST—DIFFICULTIES AS A CRITIC—ENGAGED +AT LODI AND VERONA—RADICAL OPERATION ON MY THROAT—I START AS +MUSICAL AGENT—MEETING WITH MR. E. T. SMITH—MANAGEMENT OF DRURY +LANE.</p></div> + +<p class="nind">B<small>EFORE</small> beginning my thirty years' career as an operatic manager, I had +already had a large and varied experience of music in the character of +student, critic, violinist, vocalist, composer, concert director, and +musical agent. At the age of fourteen I entered the Royal Academy of +Music, where the Principal was at that time Cipriani Potter. I took as +my first study the violin, my professor being Watson, under whom I made +good progress. Harmony I studied under Lucas. My compositions are +limited to two pianoforte pieces and a song, which I published soon +after leaving the Academy, where I remained about two years.</p> + +<p>I made my first public appearance among the first violins at Her +Majesty's Theatre, where, during<a name="page_002" id="page_002"></a> the Jenny Lind seasons of 1848 and a +portion of 1849, I played from the same desk as Remenyi, the famous +Hungarian violinist. Remenyi, too, shared my rooms, and often kept me up +at night by his loud and passionate declamations on the subject of +Hungarian independence, and of liberty generally. He had taken part in +the revolutionary movement of 1848, and on its collapse had fled for his +life to foreign parts. Fortunately, he had his violin to depend upon; +and it was in London, I believe, that he first turned his remarkable +talent to practical and pecuniary account.</p> + +<p>Mr. [afterwards Sir Michael] Costa had left Her Majesty's Theatre two +years previously to take part in establishing the Royal Italian Opera at +Covent Garden, and the new conductor at Her Majesty's Theatre was our +eminent composer M. W. Balfe. It had already occurred to me to quit the +comparative obscurity of the orchestra for a brilliant position on the +stage; and this idea was encouraged by Balfe, who, during the intervals +of operatic business, gave me singing lessons. I also received +instruction from Gardoni, the tenor, and Belletti, the baritone. As I +had a tenor voice, Gardoni's lessons were particularly useful to me; and +I was led to believe by each of my distinguished professors that I had +in me the making of a primo tenore.</p> + +<p>Long before I had completed my studies as a vocalist, an opportunity, +indeed a necessity, for<a name="page_003" id="page_003"></a> making my first appearance as a singer +presented itself. Not to remain idle during the long months separating +one opera season from another, I took out in the English Provinces in +1849 a company in which were included Sontag, Calzolari, Belletti, +Lablache, and the famous pianist Thalberg. On one occasion, after giving +a concert at Salisbury, the whole party paid a visit to Stonehenge, +where Sontag sang "Casta diva," and Lablache a portion of Oroveso's solo +music among the Druidical remains, so suggestive of the opera of +<i>Norma</i>. I have now before me a handsome little clock which Madame +Sontag presented to me at the end of the tour. It is inscribed: "To J. +H. Mapleson from Madame Sontag (Countess Rossi)." I may mention in +connection with this charming vocalist, whose good nature and good +temper were on a par with her talent, a peculiarity which will perhaps +astonish some of the concert singers of the present day. Instead of +avoiding, according to the modern practice, the task of either beginning +or ending a concert, she was ready and even anxious to sing both the +first piece and the last. "If I do not begin the concert people will not +come in time," she would say; "and if I do not end it they will go away +before it is over."</p> + +<p>In the autumn of 1850 I took on tour a company which included Roger and +Madame Viardot, the famous representatives of "John of Leyden" and +"Fidès" in <i>Le Prophète</i>. Meyerbeer was in constant<a name="page_004" id="page_004"></a> correspondence with +them. To avoid the expense of postage, he used to send his music written +on such fine paper that to be able to read it with any ease it was +necessary to place it on a back-ground of ordinary writing paper.</p> + +<p>In a subsequent tour my leading tenor was one night for some reason or +other not forthcoming. There was no one to replace him, and as I was +myself a tenor I plunged boldly into the gap. I sang with success, but +it occurred to me even as I was singing that I had need of further +instruction. On my return to London I called on Sims Reeves, and sang to +him; when he at once recommended me to go to Milan, and place myself +under Signor Mazzucato, director and principal professor of singing at +the celebrated Conservatorio. Reeves was kind enough to give me a letter +to Mazzucato, under whom he had himself studied, with results which need +not here be set forth.</p> + +<p>Before taking farewell of England in order to go through a three years' +course of training in Italy I did a little work as musical critic for a +journal called the <i>Atlas</i>, which for years past has ceased to exist, +but which, at the time I speak of, enjoyed a good reputation, especially +in connection with literary and artistic matters. The proprietor, and +ostensible editor, was a well-known journalist, Mr. George Francis, +author of "The Orators of the Age," a series of papers which made some +stir when, before appearing in book-form, they were<a name="page_005" id="page_005"></a> published in the +pages of <i>Frazer's Magazine</i>. Mr. Francis had, I believe, gained his +experience of our British orators in the gallery of the House of +Commons, where he was for many years one of the principal reporters of +the <i>Times</i> staff. Mr. Francis was also a brilliant foreign +correspondent, and it afterwards became a speciality of his to assist +and preside at the birth of new journals. His fee as accoucheur on these +occasions was, I believe, a considerable one. After a time nothing would +satisfy him but to have a paper of his own. He bought the <i>Atlas</i>, and +while entrusting most of the editorial work to a Mr. Joyce, who was my +immediate chief, appropriated to himself all free admissions that +reached the office. Accordingly, when it became my duty to write an +account of the first production of <i>Le Prophète</i> at the Royal Italian +Opera, I received instructions from my editor about sending in "copy," +but was not furnished with a stall. I was to manage, somehow or other, +to hear the opera, and I was in any case to send in a notice of it. I +endeavoured to buy a ticket, but everything was sold.</p> + +<p>In my despair I chanced to meet the American philanthropist, Mr George +Peabody, well known by his charitable deeds, and who hastened on this +occasion to perform a good work towards me. He assured me that the +difficulty which troubled me was not so great as I imagined. It was now +late in the afternoon. The performance was to take<a name="page_006" id="page_006"></a> place that evening, +and Mr. Peabody suggested that first of all the best thing I could do +was to dine with him at the "Hummums." Thence, after finishing a bottle +of excellent port, we walked quietly to the gallery entrance of the +opera—at that time under the piazza, next door to the Bedford +Hotel—bought our tickets, and found places in the very front row.</p> + +<p>Soon, however, I was to start for Milan, where, studying constantly with +Professor Mazzucato, I spent nearly three years. Then an engagement was +offered to me at Lodi, where I was to make my first appearance on any +stage as "Carlo" in <i>Linda di Chamouni</i>.</p> + +<p>Manners and customs at the Lodi Opera-house were at that time rather +peculiar. Refreshments of all kinds used to be served in the audience +department between the acts. Every box was furnished with a little +kitchen for cooking macaroni, baking or frying pastry, and so on. The +wine of the country was drunk freely, not out of glasses, but in +classical fashion from bowls. Attired in the brilliant uniform of my +part I was in the middle of the pit draining one of these bowls, when +suddenly the signal was given for the rising of the curtain. All seemed +lost. But I hurried back to the stage, and fortunately was not very late +for my entry.</p> + +<p>My success in Lodi was such that I was offered four pounds a month to +sing at Verona. Here my first duty was to replace Bettini (not the +husband of<a name="page_007" id="page_007"></a> Madame Trebelli Bettini, but the dramatic tenor of that +name) in the important part of "Manrico." <i>Il Trovatore</i> had but lately +been brought out, and was then in the first period of its success. I had +never heard the work, but the tenor part had been sent to me, and I had +to master it in four days, my final study being made in the diligence, +with no musical instrument to aid me except a tuning-fork. I studied the +part all day and, by the light of a candle, all night, and before I +reached Verona knew it perfectly. The prima donna of the cast was Mdlle. +Lotti, afterwards known in London and elsewhere as Madame Lotti Della +Santa, the second part of her name being derived from her husband, +Signor Della Santa, who, during my stay at Verona, played the part of +the "Count di Luna" to the "Leonora" of his future wife. Bettini married +a sister of Max Maretzek, afterwards well known as conductor and +impresario in the United States. I made a sufficiently good impression +at Verona to cause Signor Bettini, who on my arrival was seriously ill, +to get perfectly well after I had made but two appearances.</p> + +<p>Returning to London early in 1854, I gave a grand concert with the +following eminent artists:—Mdme. Clara Novello, Miss Dolby, Mr. Sims +Reeves, Herr Formes, and Mdme. Arabella Goddard. I also took part in it. +My throat, however, had become affected, and after I had been very +thoroughly operated upon by Dr.<a name="page_008" id="page_008"></a> Billing, I found myself deprived alike +of tonsils, uvula, and voice.</p> + +<p>My path had now been marked out for me. For the future I might be a +musical agent, a concert director, or an impresario; but not a vocalist.</p> + +<p>In 1855 the two principal members of the touring party I was directing +were Miss Hayes and Mdme. Gassier.</p> + +<p>In the year 1856 I started a musical agency in the Haymarket, the first +established in London. Both Mr. Lumley and Mr. Gye applied to me for +singers. As I was well known in Italy, numbers of artists inscribed +their names on my books. I did a good business, and was making a large +income. My business relations bound me more particularly to Mr. Lumley, +the manager of Her Majesty's Theatre, and he had enough confidence in me +to entrust me with the work of adapting Balfe's <i>Bohemian Girl</i> to the +Italian stage. This was about the time of the gala performances in +honour of the marriage of the Crown Prince of Prussia (late Emperor of +Germany) to the Princess Victoria of England, when a number of +Shakespearian representations were given at Her Majesty's Theatre, with +Mr. Phelps in the principal parts.</p> + +<p>No Italian version of Balfe's work existed previously, and I received +for mine the sum of £50. Operatic translations are often severely +judged, but it is no easy matter to adapt the words of a song so that, +while other more obvious requirements are<a name="page_009" id="page_009"></a> duly fulfilled, the accents +shall fall in exact accordance with the composer's music.</p> + +<p>In the early part of this year (1858) the late E. T. Smith, then lessee +of the Theatre Royal, Drury Lane, called upon me at my office, in the +Haymarket, requesting me to aid him in the formation of an Italian Opera +Company, which he wished to secure for his theatre during the coming +summer months. He had so many enterprises on hand that he asked me to +undertake the superintendence and management of the Italian Opera season +he had in view. I explained to him that the business I was then carrying +on required all my care and attention, and that it was far more +profitable than any interest he could offer me in his contemplated +enterprise.</p> + +<p>But won over by his solicitations, and influenced by my love of the +divine art, I consented, and found myself at once drawn into the +artistic vortex. My knowledge and experience fitted me well enough for +the conduct of the undertaking, which, however, I considered rather a +hazardous one.</p> + +<p>On the one hand would be ranged against me Her Majesty's Theatre, under +the late Mr. Lumley's able management, with such artists as Piccolomini, +Alboni, Giuglini, and the new and successful Thérèse Titiens, who had +already fully captured London; and on the other hand the Royal Italian +Opera, Covent Garden, newly rebuilt, under the skilful direction of Mr. +Gye, with Grisi, Mario, Costa, and a host of celebrities. I felt the +great<a name="page_010" id="page_010"></a> responsibility of the position I had undertaken. I, however, set +to work and engaged the services of Salvini-Donatelli, Viardot, +Persiani, Naudin, Badiali, Marini, Rovere, Charles Braham and other +tried artists.</p> + +<p>My first object was to secure an able conductor. I discovered Signor +Vianesi (afterwards of the Royal Italian Opera, and now of the Grand +Opera, Paris), and appointed him to the post at a salary of £8 a month. +Much trouble was experienced in forming an efficient orchestra on +account of the two great Italian Operas, and still more in obtaining a +stage military band. This latter difficulty I surmounted when one day in +Leicester Square I lighted upon a very excellent one composed of +itinerant Italian musicians performing in the open street.</p> + +<p>The season opened in due course, and the public gave ample support to +the undertaking. I will not fatigue the reader by entering into details +with respect to that season, which I began five days before the opening +of the new Royal Italian Opera, Covent Garden, just rebuilt, in order +that the singers might at all events give two public performances before +the whole attention of the town would be centred on the new theatre.</p> + +<p>On one occasion I encountered a slight difficulty, when the opera of <i>La +Traviata</i> had, in consequence of the illness of one of the singers, to +be suddenly substituted for the work originally announced. It<a name="page_011" id="page_011"></a> was +already half-past seven o'clock at night, and we were without a stage +band.</p> + +<p>I sent the call-boy down all the likely thoroughfares where my Italian +wanderers might be playing, and I myself started to look for them in +another direction. I ultimately traced them to a small restaurant in +Soho, where they were eating macaroni. I gave them orders to come on +immediately to the theatre to perform behind the scenes in <i>La +Traviata</i>, and hurried back to the theatre. On arriving there I found +the call-boy had brought another street band, which now refused to quit +the stage. At one time things looked very serious, as the Italians of +the opposing bands, with their stilettos drawn, vowed vengeance on one +another. Ultimately all was satisfactorily arranged.</p> + +<p>The interest of this first season was kept up until its close, in the +latter part of July. The only other incident here worth mentioning was +the performance, on the 17th July, of Mozart's <i>Don Giovanni</i> with the +following powerful cast:—</p> + +<table border="0" cellpadding="0" cellspacing="0" summary=""> +<tr><td align="left">"Donna Anna"</td><td align="left">Madame Pauline Viardot.</td></tr> +<tr><td align="left">"Donna Elvira"</td><td align="left">Madame Rudersdorff.</td></tr> +<tr><td align="left">"Zerlina"</td><td align="left">Madame Persiani.</td></tr> +<tr><td align="left">"Don Giovanni"</td><td align="left">Signor Badiali.</td></tr> +<tr><td align="left">"Leporello"</td><td align="left">Signor Rovere.</td></tr> +<tr><td align="left">"Commendatore" </td><td align="left">Signor Marini.</td></tr> +<tr><td align="left">"Masetto"</td><td align="left">Signor Insom.</td></tr> +<tr><td align="left">"Ottavio"</td><td align="left">Signor Naudin.</td></tr> +</table> + +<p>The evening prior to its performance I met Mr. E. T. Smith, who +horrified me by saying that in<a name="page_012" id="page_012"></a> order to "strengthen up the bill," it +being his benefit, he had added <i>The Waterman</i>, in which Charles Braham +would play "Tom Tug," and moreover, introduce into the piece a new song +dedicated by Mr. E. T. Smith to the Metropolitan Board of Works, who, +said Smith, with a knowing wink, were "a most useful body."</p> + +<p>I paid no attention to this at the time, thinking it was only a joke; +but on looking at the <i>Times</i> newspaper on the day of the performance, I +found that the announcement, as communicated to me by Mr. E. T. Smith, +had really been made. The performance, too, of the <i>Waterman</i>, with the +introduced song, was really given.</p> + +<p>I waited with interest to see what the newspapers would say as to my +closing representation. Only one paper mentioned the performance; and it +confined itself to stating that <i>Don Giovanni</i> had been played the +previous evening "by a body of singers whose united ages amounted to +nearly 500 years."</p> + +<p>Mr. E. T. Smith, the manager, had made money by our season; and he +remunerated me very handsomely for my labours. In the meantime, +notwithstanding the phenomenal success of Mdlle. Titiens at Her +Majesty's Theatre, Mr. Lumley's difficulties had been constantly +increasing; and Her Majesty's Theatre now closed, never to open again +under his management.<a name="page_013" id="page_013"></a></p> + +<h3><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.</h3> + +<div class="blockquot"><p class="hang">INJUNCTION AGAINST THE BIRDS ON THE TREES—DRURY LANE SEASON OF +1859—DÉBUTS OF VICTOIRE BALFE, MONGINI, AND GUARDUCCI—MY +CONTRALTO MARRIES A DUKE—THE DUKE AND DUCHESS AT NAPLES.</p></div> + +<p class="nind">E<small>FFORTS</small> were now made to obtain the lease of Her Majesty's theatre, but +it was so entangled with legal difficulties that it was resolved, on my +advice to remain another year at Drury Lane. I therefore set to work to +secure a very powerful company for the London season of 1859.</p> + +<p>During the latter part of 1858 the baritone Graziani had called +repeatedly upon me, stating that as Mr. Gye had not renewed his +engagement, and as there were some arrears outstanding, he was very +desirous that I should engage him for the forthcoming season. After +lengthy negotiations, some time during the month of March, 1859, I +signed with him, and added him to the list of artists in the official +programme.</p> + +<p>On the prospectus being issued, law proceedings<a name="page_014" id="page_014"></a> were immediately +commenced by Mr. Gye, who asked for an injunction to restrain Graziani +from appearing at Drury Lane.</p> + +<p>Application was made before Vice-Chancellor Wood, and the most eminent +counsel were engaged on both sides. Mr. Gye retained Rolt, Giffard, +Martindale, etc., whilst Mr. E. T. Smith was represented by Sir Hugh +Cairns, Hawkins, Swanstone, Serjeant Ballantine, Cottrell, Daniel, &c. +The case was heard on the 11th and 12th May, 1859, when an injunction +was granted. At this I felt somewhat astonished, inasmuch as Graziani's +engagement had never been renewed by Mr. Gye, although in a period of +more than eight months the eminent baritone had made more than a dozen +applications for a renewal; neither had his salary been paid him.</p> + +<p>I have repeatedly failed to obtain injunctions against my singers, both +here and in America, though the engagements which they had broken were +in every respect perfectly in order. I recollect a case in which one of +my principal singers was announced to appear at the Crystal Palace in a +concert, notwithstanding a written engagement whereby he contracted that +I should have his exclusive services, and that he would sing nowhere +without my written consent. No salary was owing to him, and I felt +perfectly sure of obtaining an injunction, for which I duly applied, in +order to restrain him from committing the contemplated breach of +engagement.<a name="page_015" id="page_015"></a></p> + +<p>A formal injunction was, in fact, granted; but the case was immediately +afterwards brought before the Lords Justices for a full hearing. As I +was very much occupied at the theatre with rehearsals, and felt sure the +injunction would be confirmed, and, moreover, that the case would occupy +but a few minutes, I did not attend; but at the end of my day's labours, +feeling a little curious, I called on my solicitor on my way home, when +I was informed by his clerk that he was still in Court and that my case +was not concluded. I went there. Sure enough, there were the counsel +still arguing. Two attendants were busily employed handing in law-books +every minute or two, with pieces of paper between the leaves indicating +pages for reference. The counsel on the other side was forcibly +explaining the case by supposing a similar one between a vendor and a +purchaser of sacks of flour. I could not believe that it was my case +they were proceeding with.</p> + +<p>Later on "—— <i>v.</i> ——, page ——," was quoted, and now sacks of corn +and of linseed were brought in. The candles of the Court were burnt low +down in the sockets, and the three Lords Justices were evidently very +tired, when one of them spoke thus—</p> + +<p>"I cannot conceive how Mr. Mapleson could expect to retain the exclusive +services of any vocalist. In my opinion, sweet musical sounds should be +for the benefit of everybody, and Mr.<a name="page_016" id="page_016"></a> Mapleson might just as well apply +for an injunction to restrain the birds from singing on the trees."</p> + +<p>The other Justices concurred in the view that a singer must be free to +sing where he liked.</p> + +<p>In the United States I have been invariably unsuccessful in my +applications for an injunction, or of even getting the Courts to define +the meaning of a singer's engagement. The legal mind cannot grasp the +idea. Were it a contract for the erection of buildings or machinery, or +the sale of goods, or the exclusive manufacture of a piece of cotton +printing, the matter would be clear enough. But no evidence on the part +of musical experts is ever by any chance understood by the Court.</p> + +<p>The Drury Lane season of 1859 opened on the 25th April with <i>La +Sonnambula</i>, when I was fortunate enough to introduce two new singers, +who both met with unequivocal success. One was Mdlle. Victoire Balfe +(afterwards Lady Crampton, and subsequently Duchess de Frias), who +appeared as "Amina;" the other, Signor Mongini, whose triumph was +instantaneous in the part of "Elvino." This was his first appearance in +England.</p> + +<p>For this season two conductors had been engaged, Signor Arditi and Mr. +(afterwards Sir Julius) Benedict. Both were excellent, but neither +wished to be mistaken for the other. Both, moreover, were bald, and I +remember on one occasion, when a grand combined performance was to take +place, Benedict going into the prima donna's <a name="page_017" id="page_017"></a>dressing-room, taking up a +brush, and carefully arranging his scanty hair so as to cover as much as +possible of his denuded cranium.</p> + +<p>"What are you about, Benedict?" I asked.</p> + +<p>"Nothing particular," he replied; "only I don't want, whilst wielding +the baton, to be mistaken for Arditi."</p> + +<p>Soon afterwards Arditi appeared, and with a couple of brushes began +operating on his hair so as to leave as much as possible of his bare +skull exposed to view. He explained his action by exclaiming—</p> + +<p>"I don't want to be mistaken for Benedict."</p> + +<p>On the following night I brought forward Mdlle. Guarducci, who appeared +as "Leonora" in <i>La Favorita</i>, with Giuglini as "Fernando." Guarducci's +success was instantaneous, her lovely voice being the object of +universal admiration.</p> + +<p>A very strange thing occurred in connection with Guarducci's <i>début</i>. +She had arrived in London only two days before, in the belief that she +would have two or three weeks to prepare the part which she had +undertaken to perform. By a careful process of cramming we got her +through; and she made one of the most marked successes London had +witnessed for many years. I thereupon announced the opera for repetition +four days afterwards, when to my great astonishment Guarducci informed +me that she did not know a note of her part, and it took ten days' +rehearsals for her to learn it in systematic style.<a name="page_018" id="page_018"></a></p> + +<p>Later on I produced Mercadante's Giuramento, which, however, met with +indifferent success. Mdlle. Titiens shortly afterwards appeared as +"Lucrezia Borgia," when her phenomenal voice attracted such a house as +had rarely been seen. Her performances throughout the remainder of the +season were a series of triumphs never to be forgotten.</p> + +<p>Arrangements were afterwards made for an operatic tour in the provinces, +which we commenced in Dublin.</p> + +<p>About this time the attentions of an Italian nobleman towards Mdlle. +Guarducci became rather conspicuous, and at Mdlle. Titiens' suggestion I +resolved to ask him what his intentions towards her really were. As no +satisfactory answer could be obtained, Mdlle. Titiens took Guarducci +entirely under her charge, and all communication with the Italian +nobleman was put an end to.</p> + +<p>Shortly afterwards he visited me, assuring me his intentions were most +honourable, and begging me to intercede so that he might again meet +Guarducci. Mdlle. Titiens' reply was—</p> + +<p>"Yes, as her husband, not otherwise;" and to this ultimatum he +consented.</p> + +<p>In the course of a few days preparations were made for the marriage, but +many difficulties presented themselves. The duke's father would have to +be consulted, together with the Neapolitan Government, the Pope, and a +few other powers.</p> + +<p>About this time Mr. E. T. Smith appeared on<a name="page_019" id="page_019"></a> the scene, and he assured +the priests that of his certain knowledge the proposed marriage would be +most agreeable to the duke's father; whilst I, on my side, induced the +Consul of the then King of Naples and of the Two Sicilies to affix the +Government stamp to the contract. I also had a marriage settlement +drawn, whereby it was stipulated that if Mdlle. Guarducci at any time +after the marriage should feel disposed she should have liberty to +resume the exercise of her profession, and take the whole of the +benefits she might derive therefrom for her own use; the duke engaging, +moreover, that on the day he succeeded to his father's property and +title he would assign to her £50,000 for her sole and separate use. The +marriage was celebrated in the Metropolitan Church of Dublin, with full +choral service, in which Piccolomini, Titiens, Aldighieri, Giuglini, and +others took part. The scene was most impressive.</p> + +<p>Within a week afterwards the marriage had made such a stir in Italy that +the new duchess had to leave me, and, accompanied by the duke, take her +departure for Italy.</p> + +<p>I did not meet them afterwards until the year 1863, when at my hotel in +Naples a gorgeous equipage drove up, in which were the Duke and Duchess +di Cirilla, with a beautiful little child. It appeared that he had +succeeded to his titles and estates, that he had already handed over the +large sum of money promised in the settlement, and that<a name="page_020" id="page_020"></a> they were the +happiest couple in the world. They insisted upon my spending several +days with them at their palace; and as it was the closing day of the +Carnival we amused ourselves from the balcony of the Palazzo by throwing +the most gorgeous sweetmeats, dolls, and other things at the heads of +the populace. I was afterwards invited by the duke to a wild-boar hunt. +He had charge of all the King's preserves at Caserta, and by his +hospitable attentions he enabled me to pass the time most pleasantly.</p> + +<p>Looking over my papers I find, what had really escaped my memory, that +in order to ensure, so far as we could, the execution of the Duke's +promise in regard to the settlement on his wife, Mr. E. T. Smith and +myself made him sign a bond by which he bound himself, should he fail to +fulfil his pledge, to pay to each of us the sum of £5,000.</p> + +<p>Here is an exact copy of the deed; the like of which could scarcely be +found in the archives of any Opera House in the world:—</p> + +<p>"Know all Men by these Presents that I Alfonso Catalano Gonzaga de Duchi +de Cirella formerly of Naples but now stopping at Gresham Hotel Dublin +am held and firmly bound unto Edward Tyrrel Smith of Pensylvania Castle +Dorset England and Lessee of the Theatre Royal Drury Lane London but now +stopping at Gresham Hotel Dublin and James Henry Mapleson of 12 +Haymarket London Gentleman but now stopping at Gresham Hotel<a name="page_021" id="page_021"></a> Dublin in +the sum of Ten thousand pounds sterling good and lawful money of the +United Kingdom of Great Britain and Ireland to be paid to the said +Edward Tyrrel Smith and James Henry Mapleson or their lawful Attorney +Executors Administrators or assigns to the which payment to be made I do +bind myself my heirs executors and administrators firmly by these +presents Sealed with my seal and dated the eighth day of August in the +year of our Lord one thousand eight hundred and fifty-nine.</p> + +<p>The Condition of the above obligation is such that if the above bound +Alfonso Catalano Gonzaga de Duchi de Cirella his heirs executors or +administrators shall and do well and truly pay or cause to be paid unto +the above named Edward Tyrrel Smith and James Henry Mapleson their +executors administrators or assigns the just and full sum of Five +thousand pounds sterling of good and lawful money of the United Kingdom +of Great Britain and Ireland according to the covenant on his part +contained in a certain Indenture of Settlement bearing even date +herewith and made between Carolina Guarducci of the first part the said +Alfonso Catalano Gonzaga de Duchi de Cirella of the second part and the +said Edward Tyrrel Smith and James Henry Mapleson of the third part and +shall also fully perform all and singular the other covenants and +agreements on the part of him the said Alfonso Catalano Gonzaga +contained in the aforesaid Settlement without fraud or further delay +that<a name="page_022" id="page_022"></a> then the above obligation is to be void and of none effect or else +to stand and remain in full force and virtue in law</p> + +<p class="c"> +A<small>LFONSO</small> C<small>ATALANO</small> G<small>ONZAGA<br /> +DE</small> D<small>UCHI DE</small> C<small>IRELLA</small></p> + +<p>Signed sealed and delivered in the presence of by Alfonso Catalano +Gonzaga de Duchi de Cirella the same having been first truly read +explained and interpreted to him by J H Mapleson</p> + +<p class="c"> +T<small>HOMAS</small> F<small>ITZ</small>G<small>ERALD</small><br /> +Solicitor 20 Saint Andrew St Dublin<br /> +T<small>HOS</small> S<small>NOWE</small><br /> +Neapolitan Vice Consul<br /> +</p> + +<p>I hereby certify that the within named James Henry Mapleson took a +solemn oath administered by me that he had truly read explained and +interpreted the true contents of the annexed Bond to the within named +Carolina Guarducci and Alfonso Catalano Gonzaga de Duchi de Cirella</p> + +<p class="poel"> +<span style="margin-left: 2em;">Neapolitan Vice Consulate</span><br /> +<span style="margin-left: 4em;">Dublin 10th August 1859 (nine)</span><br /> +<span style="margin-left: 6em;">T<small>HOS</small> S<small>NOWE</small></span><br /> +<span style="margin-left: 8em;">V Consul"</span><br /> +</p> + +<p><img src="images/seal.png" +width="75" +height="74" +alt="SEAL." +/> +<a name="page_023" id="page_023"></a></p> + +<h3><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.</h3> + +<div class="blockquot"><p class="hang">NOCTURNAL NEGOTIATIONS—REOPENING OF HER MAJESTY'S THEATRE—SAYERS +AND HEENAN PATRONIZE THE OPERA—ENGLISH AND ITALIAN OPERA +COMBINED—SMITH AND HIS SPECULATIONS—DISCOVERY OF ADELINA +PATTI—MY MANAGEMENT OF THE LYCEUM.</p></div> + +<p class="nind">E<small>ARLY</small> in the spring of 1860 I opened negotiations again with Lord +Dudley, on behalf of Mr. Smith, to obtain the lease of Her Majesty's +Theatre. After spending two days at Witley Court with his lordship I +returned to London with the lease, and loaded with game.</p> + +<p>The next step was to secure the services of Mdlle. Titiens, Giuglini, +and others who still were bound to Mr. Lumley; and for that purpose Mr. +Smith and myself started for the Continent. Mr. Lumley met us at +Boulogne; the Channel, as in the previous year, being still too breezy +for him to cross.</p> + +<p>On our arrival we found that Mr. Lumley had prepared a sumptuous +banquet. Every kind of expensive wine was on the table, together with +the<a name="page_024" id="page_024"></a> most famous liqueurs. The Bordeaux, the Burgundy, the Champagne, +the Chartreuse, the Curaçao, and the Cognac were for us; whilst Mr. +Lumley, like a clever diplomatist, confined himself to spring water. +After I had made several attempts to broach the subject of our visit, +which Lumley pretended not to understand, he showed himself quite +astonished when he heard that Mr. Smith contemplated engaging his +artists. To me fell the duty of conducting the negotiations between +these two wily gentlemen; and it was not until about three or four +o'clock the following morning that things began to get into focus. Mr. +Lumley, in the meantime, had kept ordering innumerable syphons and +<i>fines champagnes</i> for Mr. Smith, before whom the bottles were +perpetually empty. As Mr. Smith warmed up, he wanted extensions for the +following autumn, to which Lumley, reluctantly, of course, agreed. In +the end the transfer was to cost some £16,000—I having obtained a +reduction of £3,000 or £4,000 from the original price insisted on by +Lumley. I afterwards had to draw an engagement that would prove +satisfactory to both parties; a matter which was not finally settled +until nearly six o'clock in the morning.</p> + +<p>Mr. Smith having observed that he would see to the financial part being +promptly carried out, Mr. Lumley replied that he would prefer to have +bills drawn and handed over to him at once, payable at different dates, +for the whole of the amount. He<a name="page_025" id="page_025"></a> feared, he said, that some hostile +creditor might attach any moneys in Smith's hands payable to him. Smith +regretted that in France they could not purchase bill stamps, otherwise +he would have been delighted to meet Mr. Lumley's views. Mr. Lumley, +however, in getting a brush from his little hand-bag found some papers +he could not account for, but which had somehow got in there; and these, +to the astonishment of both Lumley and Smith, proved to be bill stamps. +The next thing was to draw the various bills; and Smith remarked before +leaving the banqueting-room that it would be better to finish the +remains of the bottle then before him, lest the hotel servants should do +so and get drunk. Mr. Lumley, instead of going to bed, went back to +Paris by the early morning train, while Smith and myself returned to +London.</p> + +<p>The company for the season of 1860 was a marvellously attractive one.</p> + +<p>Admirable, too, were the works produced.</p> + +<p>Mr. Smith about this time had acquired various restaurants in London, +besides the Alhambra, Cremorne Gardens, Drury Lane, and a variety of +other establishments. The management of the opera was, therefore, left +entirely to me, except that I received occasional visits at the most +unseasonable hours from Mr. Smith, who arrived with the strangest +suggestions. About this time the celebrated fight for the championship +took place between Sayers and Heenan, and as the Covent<a name="page_026" id="page_026"></a> Garden people +were getting rather ahead of us, Mr. Smith, with a view to increased +receipts, insisted on my announcing that Messrs. Sayers and Heenan, who +had fought the day previously, would attend the opera in their bruised +state. It was with the greatest difficulty that I afterwards got the +announcement withdrawn from the papers. Both men appeared, nevertheless, +that evening—one worse-looking than the other—in a private box which +Smith had prepared specially for them on the grand tier; one corner +being filled with brandies and sodas, and the other with bottles of +champagne. Both men were so fatigued with their business of the previous +day that before the end of the first act they went home, much to my +relief.</p> + +<p>Shortly afterwards Smith proposed that the Champion's belt (which had +been divided in two) should be presented on the stage between the acts +of the opera. This, too, I overruled, and the ceremony ultimately took +place at the Alhambra.</p> + +<p>On another occasion Mr. Smith suggested to me an idea that had occurred +to him for closing up Covent Garden, by giving a grand double +performance of <i>Il Trovatore</i> without any increase of prices. He +proposed dividing the stage into two floors, as in the opera of <i>Aida</i>, +with the occupants as follows:—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary=""> + +<tr><td colspan="2"> </td><td>Top floor.</td><td colspan="1"> </td><td> Bottom floor.</td></tr> +<tr><td>"Manrico"</td><td>... </td><td> Mongini </td><td> ... </td><td> Giuglini.</td></tr> +<tr><td>"Conte di Luna" </td><td> ... </td><td> Aldighieri </td><td> ... </td><td> Everardi.</td></tr> +<tr><td>"Azucena" </td><td> ... </td><td> Alboni </td><td> ... </td><td> Borghi-Mamo.</td></tr> +<tr><td>"Leonora" </td><td> ... </td><td> Grisi </td><td> ... </td><td> Titiens.</td></tr> +</table> + +<p><a name="page_027" id="page_027"></a></p> + +<p>The singers were alarmed, as the matter became serious. This project, +however, like previous ones, I ultimately succeeded in setting aside. I +pleaded that the preparations for the production of Oberon, now resolved +upon, needed all my attention. Benedict, the favourite pupil of Weber, +had undertaken to adapt the famous opera for the Italian stage by +introducing recitative and excerpts from some of Weber's other works, +whilst Planché, the author of the libretto, undertook the <i>mise en +scène</i>. A really grand performance took place, with the following cast +of characters:—</p> + +<p class="c"> + "Sir Huon," Mongini; "Scerasmin," Everardi; "Oberon,"<br /> + Belart; "Fatima," Alboni; "Rezia," Titiens.</p> + +<p>Despite the artistic successes of the season, matters, as usual with +operatic managers, did not go well in a financial sense. This, in a +great measure, was to be accounted for by the drain on our exchequer +caused by Mr. Smith's numerous outside speculations; for the receipts +from the various establishments were all lumped into one banking +account.</p> + +<p>On one occasion I recollect having a deal of difficulty with the +Sheriff's officers, who had got possession of the wardrobes. We were on +the point of producing the <i>Huguenots</i>, and the whole of the dresses for +that opera were under ban. One afternoon Smith came in; and after some +little time it appeared that the officers had agreed not to take<a name="page_028" id="page_028"></a> the +<i>Huguenots</i> until we had had two performances out of it.</p> + +<p>In fact, there was always some trouble going on, and it was with the +greatest difficulty that we got through the season.</p> + +<p>In the Boulogne contracts Lumley's artists were ceded not only for a +summer, but also for an autumn season at Her Majesty's. As, however, +they were to sing but three times a week, it occurred to me that English +opera might be tried with advantage on the alternate nights. +Arrangements were accordingly entered into, through the kindness of Mr. +Thomas Chappell, with Mrs. L. Sherrington, Mr. Sims Reeves, and Mr. +Santley. Charles Hallé was at the same time engaged as conductor.</p> + +<p>Negotiations were also entered into with Macfarren for the production of +an English work entitled <i>Robin Hood</i>, the libretto by Oxenford. The +opera met with very great success, so much so that the chief attentions +of the public were directed to the evenings on which <i>Robin Hood</i> was +performed. I then opened negotiations with Vincent Wallace to prepare an +opera to follow, entitled the <i>Amber Witch</i>, libretto by Chorley, in +which Mr. Sims Reeves, Mrs. L. Sherrington, Santley, Patey, and others +appeared.</p> + +<p>But again the war cloud seemed to hover over the establishment, and +again the Sheriff's officers appeared in force. It was thought advisable +to transfer the <i>Amber Witch</i> to Drury Lane, leaving<a name="page_029" id="page_029"></a> the myrmidons of +the law in possession of the theatre and its belongings. The <i>Amber +Witch</i> wardrobe (which somehow had fallen off the portico of the theatre +early one Sunday morning) found its way to the other theatre. Here the +part of the "Amber Witch" was undertaken by Madame Parepa, <i>vice</i> +Sherrington.</p> + +<p> +<br /> +</p> + +<p>Mr. Edward Tyrrel Smith, with whom I had business relations for some +three or four years, was an extraordinary personage, whose like could +only be met with in our own time, and in such capitals as London or +Paris, where the population in general has certainly not the faintest +idea how some small part of that population lives. Mr. E. T. Smith had +made up his mind early in life to be the possessor, or at least the +handler, of considerable sums of money; and he at one time found it +worth his while, so as never to be without funds, to hire daily, at the +rate of £1 a day, a thousand-pound note, which was obligingly entrusted +to him by a money-lender of the period, one Sam Genese.</p> + +<p>There are not many persons to whom such a loan would be worth the +thirty-six and a half per cent. interest which Mr. E. T. Smith paid for +it. He was an adept, however, at all kinds of business, and his +thousand-pound note enabled him to make purchases on credit, which, +without deposit money, he would have been unable to effect. Attending +sales he would buy whatever happened to suit him, with<a name="page_030" id="page_030"></a> a view to +immediate resale, offering his thousand-pound note as a deposit, to +discover, as a matter of course, that it could not be changed, and have +the article for which he had bid marked down to him all the same. Then +he would resell it, and pocket the difference.</p> + +<p>The mere exhibition of the thousand-pound note secured him a certain +amount of credit, and he was not likely ever to meet with an auctioneer +able to change it. Before offering his (or rather Mr. Genese's) note he +took care to write his name on the back of it. Afterwards his usurious +friend would replace the note that had been endorsed by a brand new one, +and occasions presented themselves in which it was a distinct advantage +for E. T. Smith to be known as a gentleman who, in the course of a +comparatively short space of time, had inscribed his name on several +bank-notes, each for a thousand pounds.</p> + +<p>Once, when St. Dunstan's Villa, in the Regent's Park, was knocked down +to Smith for ten thousand pounds, the thousand-pound note which he had, +as usual, in his waistcoat pocket was just what was wanted to satisfy +the auctioneer's immediate demands. Smith handed up the note with the +observation that he would turn the place into a second Cremorne Gardens, +in which character it could not fail to attract thousands of people and +bring in lots of money. At this announcement the auctioneer drew back +and informed the apparently<a name="page_031" id="page_031"></a> eager purchaser that the house could be +converted to no such purpose.</p> + +<p>One day, when I had run down to Brighton with Mr. Smith, then associated +with me in the management of Drury Lane, we missed, by about half a +minute, the return train we had intended to catch; and we had now two +hours to wait. Smith could not remain idle, and strolling with me along +the Parade his attention was attracted by a corner house which was for +sale, and which, it at once struck him, might be turned to profitable +account as a milliner's shop. He inquired as to the rent and other +conditions, bought the house there and then, and at once ordered that +the windows on the ground floor should be replaced by much larger ones +of plate glass.</p> + +<p>That night he started for Paris, and in the Passage du Saumon, where +bonnets of almost the latest fashion can be purchased for moderate +prices, laid in a stock of millinery for his Brighton "<i>magasin des +modes</i>." While making his purchases in Paris he secured the services of +two eligible young women, who were brought over to direct the Brighton +establishment. This, within a very short time, he duly opened under the +name of "Clémentine," and the house of Clémentine did such good business +that a few weeks afterwards its spirited proprietor was able to sell it +at seven hundred pounds' profit.</p> + +<p>On the occasion of a melancholy event which compelled all the London +managers to close their theatres, Mr. E. T. Smith saw in this day of<a name="page_032" id="page_032"></a> +national gloom a tempting opportunity for a masked ball. It was to be +given at Her Majesty's Theatre, and earnestly as I sought to divert him +from his project he insisted on carrying it out. I had no right of veto +in the matter, and the masked ball took place. The sum of one guinea +entitled a ticket-holder to entrance and supper, and a day or two before +the entertainment fires were lighted in the property-room, the +painting-room, and the wardrobes, in order to cook some hundreds of +fowls which had been purchased in the market, after ordinary market +hours, at a very cheap rate.</p> + +<p>Wine would be an extra charge. In order to suit the tastes of +connoisseurs, Mr. Smith made large purchases of Heidsieck, Pommery +Greno, Perrier Jouet, and other favourite brands somewhere in +Whitechapel, where they can be secured at a much less cost than at +Epernay or Rheims. When the wine came in he showed it to me with a look +of pride, and opened a bottle of someone's <i>cuvée réservée</i> in order to +have my opinion. I told him frankly that the bottles, labels, and the +names branded on the corks seemed all that could be desired, and that I +found nothing bad except the wine. This he seemed to look upon as an +unimportant detail, and the Whitechapel champagne was sold to infatuated +dancers at ten and twelve shillings a bottle.</p> + +<p>About this time I chanced to hear of an extraordinary young vocalist, +who had been charming the Americans, and, although hardly nineteen, +seemed<a name="page_033" id="page_033"></a> to have obtained a firm hold on the sympathy and admiration of +their public. I opened negotiations at once, in order to secure her +services for the forthcoming season at Her Majesty's, and a contract was +duly entered into on behalf of Mr. Smith, whereby the little lady +undertook to sing four nights on approval, when, in case of success, she +was to have a salary of £10 a week. I likewise concluded an engagement +with Mario, whose term had expired at Covent Garden, and with Madame +Grisi; while Costa undertook to join the following year on the +expiration of his existing contract with Mr. Gye.</p> + +<p>In fact, all looked very promising for the year 1861. But, as the time +approached, I found more difficulty than ever in communicating with Mr. +Smith, who seemed to be out of the way. I then accidentally learned that +owing to the extreme financial difficulty in which he was placed through +his numerous outside speculations he had been compelled to accept an +offer from Mr. Gye of £4,000 on condition of his not opening.</p> + +<p>In accordance with this arrangement Her Majesty's Theatre remained +closed.</p> + +<p>Some time in the month of April the little lady from America arrived and +sent me up her card, bearing the name of Adelina Patti. She was +accompanied by Maurice Strakosch, her brother-in-law. They wished to +know when Mr. Smith's season was likely to begin. I could give them no +information beyond the current report which they had already heard<a name="page_034" id="page_034"></a> +themselves. The little lady, who was then seated on a sofa at the +Arundel Hotel, at the bottom of Norfolk Street, Strand, suggested that I +should try the speculation myself, as she felt sure she would draw +money. I thereupon asked her to let me hear her, that I might judge as +to the quality of her voice, to which she responded by singing "Home, +Sweet Home." I saw that I had secured a diamond of the first water, and +immediately set about endeavouring to get Her Majesty's Theatre. But +this was a hopeless business, as Smith, who still held the lease, was +nowhere to be found. Shortly afterwards, however, I met Smith by chance, +and proposed renting Drury Lane from him, without saying what for.</p> + +<p>Two days later he brought me an agreement which he requested me to sign. +I said that I should like first to glance over it. He pointed out to me +that I might give operas, dramas, pantomimes, ballets, in fact +everything; and that I should have no difficulty in making a very fine +season. But on the top of the page overleaf my eye caught sight of a +parenthesis, within which were the words "Italian Opera excepted." I +thereupon put down the pen, raised some question about the deposit, and +afterwards kept clear of Mr. Smith.</p> + +<p>But many years after he had ceased to be connected with theatres I one +day received a letter from him, in which he told me he was in the metal +trade, and asked me to send him a couple of stalls for<a name="page_035" id="page_035"></a> himself and his +"old woman." The heading of the letter announced the character of his +new business, and he added in a postscript: "Do you ever want any tin?"</p> + +<p>Nothing now remained but to secure the Lyceum; the only other theatre +available. This I did. It having been occupied but two or three years +previously by the Royal Italian Opera, I considered the locale would be +perfectly suited for my purpose. I thereupon started off to Paris to +find Mr. Lumley, from whom I now wished to secure for myself the singers +still engaged to him. Mr. Lumley had unfortunately left for Marseilles. +I myself started for Marseilles, but in passing Avignon I thought I saw +black whiskers in the passing train resembling those of Mr. Lumley. But +I was not sure. I therefore continued my journey.</p> + +<p>"Mr. Lumley, est parti," I was told on my arrival. I returned to Paris, +and was informed that he had gone to England, which I knew was not +possible, except on a Sunday. This being Saturday, I determined to stop +at Boulogne and make inquiries; and in the same hotel where I had +conducted the negotiations some two or three years previously I found +him. I soon completed my arrangements, undertaking to give him half my +total gross nightly receipts in exchange for Titiens and Giuglini. I +undertook to provide the whole of the expenses, with Alboni, Patti, and +others among my other singers. I returned joyfully to London, and at<a name="page_036" id="page_036"></a> +once went to the Arundel Hotel to inform Miss Patti and Strakosch of my +good luck. They did not seem overjoyed, or in any way to participate in +my exuberant delight.</p> + +<p>Maurice Strakosch told me that as their last £5 note had been spent he +had been obliged to borrow £50 of Mr. Gye, which intelligence at once +reduced my height by at least two inches; and after a deal of difficulty +I ascertained that he had signed a receipt for the said loan in a form +which really constituted an engagement for the Royal Italian Opera, +Covent Garden.</p> + +<p>In short, I found myself manager of the Lyceum Theatre, with an +expensive Company, and with Mdlle. Patti opposed to me in the immediate +vicinity at Covent Garden.</p> + +<p>My season opened at the Lyceum on Saturday, the 8th June, 1861, the +opera being <i>Il Trovatore</i>, "Manrico," Signor Giuglini; "Il Conte di +Luna," Signor delle Sedie, the eminent baritone, who made his first +appearance in England; "Ferrando," Signor Gassier; whilst "Azucena" was +Mdme. Alboni, and "Leonora," Mdlle. Titiens; Arditi conducting the +orchestra, which was composed of the members of the Philharmonic Society +and Her Majesty's private band. On the second night I gave <i>Lucrezia +Borgia</i>, with Giuglini, Gassier, Alboni, and Titiens in leading parts.</p> + +<p>In the meanwhile I placed Verdi's new opera, <i>Un Ballo in Maschera</i>, in +rehearsal in order that I might<a name="page_037" id="page_037"></a> have the honour of representing it for +the first time in this country; and by dint of almost superhuman effort +on the part of Arditi and the principal artists, I produced it some few +days before Covent Garden, although it had been in rehearsal there for +over six weeks. I well recollect how, after a fatiguing performance of +such an opera as <i>Les Huguenots</i>, <i>Lucrezia Borgia</i>, or <i>Norma</i>, Mdlle. +Titiens, Giuglini, and other artists would go in the direction of Eaton +Square to take supper with Signor Arditi, and at about half-past one in +the morning begin rehearsing. The rehearsals terminated, the full blaze +of the sun would accompany us on our way home to bed. This was done +night after night.</p> + +<p>But our efforts were rewarded by the immense success the opera achieved +at its first performance.</p> + +<p>During the first weeks of my management I had a strong +counter-attraction operating against me in the shape of a large fire +raging in Tooley Street, which it seemed to be the fashionable thing to +go and see. Thousands attended it every evening.</p> + +<p>Before the close of the season I gave a grand combined performance +composed of excerpts from various operas—a kind of representation never +popular with the British public; but, this being the last night of my +season, the house was crowded from top to bottom. During the evening the +choristers had banded together, threatening to refuse their services +unless I complied with an exorbitant<a name="page_038" id="page_038"></a> claim which I considered they had +no right to make.</p> + +<p>Prior to the curtain rising for the final section of the +performance—the entire fourth act of the <i>Huguenots</i>—I was sent for. +All reasoning with the chorus singers was useless. I therefore left the +room, telling them to remain until I returned, which they promised to +do. I then instructed Mdlle. Titiens and Giuglini that the +"Conspirators' Chorus" ("Bénédiction des Poignards") would be left out, +and that the act must commence, as it was now very late, with the entry +of "Raoul" and "Valentine" for the grand duet, whereby I dispensed with +the services of the chorus altogether.</p> + +<p>No sooner did they hear that the opera was proceeding than they one and +all surrendered. I, however, had the pleasure of telling them that I +should never require one of them again—and I never did.</p> + +<p>This really was the origin, now common at both Opera-houses, of the +introduction of choristers from Italy. I may mention that the members of +my refractory chorus were people who had been some thirty or forty +years, or even longer, at the Opera-houses and other theatres in London, +and it was really an excellent opportunity for dispensing with their +services.</p> + +<p>At the close of the opera season, on balancing my accounts, I found +myself a loser of some £1,800. Thereupon, I resolved to carry on the +Opera again<a name="page_039" id="page_039"></a> in a larger locale next year in order that I might get +straight; vowing, as the Monte Carlo gambler constantly does, that as +soon as I got quite straight I would stop, and never play again. I have +been endeavouring during the last thirty years to get straight, and +still hope to do so.<a name="page_040" id="page_040"></a></p> + +<h3><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.</h3> + +<div class="blockquot"><p class="hang">AT HER MAJESTY'S THEATRE—VERDI'S CANTATA—GIUGLINI AT THE +SEASIDE—POLLIO AND THE DRUM-STICK—AN OPERATIC +CONSPIRACY—CONFUSION OF THE CONSPIRATORS.</p></div> + +<p class="nind">E<small>ARLY</small> in the following spring, I succeeded in securing a promise of the +lease of Her Majesty's Theatre for 21 years, for which I deposited +£4,000 pending its preparation. I hastened to make public announcement +of the fact. Lord Dudley, however, kept varying the conditions of +payment, which I understood originally to have been a deposit of £4,000 +to remain as security for the payment of the rent throughout the +tenancy. His lordship contended, however, that the sum deposited was in +part payment of the first year's rent, and that another £4,000 must be +paid before I could obtain possession.</p> + +<p>This was indeed a terrible set-back to me, and I was at my wits' end +what to do. However, through the kindness of my friend Mitchell, who +subscribed largely, together with various members of the trade,<a name="page_041" id="page_041"></a> I +secured the remainder; and on the first day of April—ominous day!—I +passed through the stage door with the key of the Opera in one pocket +and £2—my sole remaining balance—in the other. I stood in the middle +of the stage contemplating my position. I was encouraged by the +celebrated black cat of Her Majesty's; which, whether in good faith or +bad, rubbed herself in the most friendly manner against my knees.</p> + +<p>Prior to the opening of my season of 1862 I made an increase in the +number of stalls from seven to ten rows, my predecessor having increased +them from four to seven. This removed the Duke of Wellington, who was an +old supporter of the house, much farther from the stage, it having +always been his custom to occupy the last number. Thus in Mr. Lumley's +time he occupied No. 82, in Mr. Smith's time 163, whilst this increase +of mine sent back His Grace to 280. Nothing but the last stall would +satisfy him; he did not care where it was.</p> + +<p>Prior to my opening the most tempting offers were made by Mr. Gye to my +great prima donna Titiens. Her name, which closed my list of artists, +was mentioned in my prospectus with the subjoined prefatory remarks: +"The Director feels that with the following list of artists nothing more +need be said. Of one, however, a special word may not be out of place, +since she may without exaggeration be said to constitute the last link +of that chain of glorious prime donne commencing with<a name="page_042" id="page_042"></a> Catalani. It is +seldom that Nature lavishes on one person all the gifts which are needed +to form a great soprano: a voice whose register entitles it to claim +this rank is of the rarest order. Melodious quality and power, which are +not less essential than extended register, are equally scarce. Musical +knowledge, executive finish, and perfect intonation are indispensable, +and to these the prima donna should add dramatic force and adaptability, +together with a large amount of personal grace. Even these rare +endowments will not suffice unless they are illumined by the fire of +genius. By one only of living artists has this high ideal been +reached—by Mdlle. Titiens."</p> + +<p>The subscriptions began pouring in, and all appeared <i>couleur de rose</i>, +when Mr. Gye's envoy, the late Augustus Harris, again appeared, Titiens +not having yet signed her contract with me; and he produced a contract +signed by Mr. Gye with the amount she was to receive in blank. She was +to fill in anything she chose. It was indeed a trying moment, and +various members of her family urged her to give consideration to this +extraordinary proposal. She, however, replied in few words: "I have +given my promise to Mr. Mapleson, which is better than all contracts." +My season, therefore, commenced in due course.</p> + +<p>I had got together a magnificent company, and as the public found that +the performances given merited their support and confidence, the +receipts gradually<a name="page_043" id="page_043"></a> began to justify all expectations, and within a +short time I found myself with a very handsome balance at my bankers. +This may be accounted for by the very large influx of strangers who came +to London to visit the Exhibition of 1862. One day, about this time, in +coming from my house at St. John's Wood, I met Verdi, who explained to +me that he was very much disappointed at the treatment he had received +at the hands of the Royal Commissioners, who had rejected the cantata he +had written for the opening of the Exhibition. I at once cheered him up +by telling him I would perform it at Her Majesty's Theatre if he would +superintend its direction, Mdlle. Titiens undertaking the solo soprano +part. The cantata was duly performed, and the composer was called some +half-dozen times before the curtain. At the same time the work was +purchased by a London publisher, who paid a handsome price for it. Verdi +appeared very grateful, and promised me many advantages for the future.</p> + +<p>Early in the season I produced the opera of <i>Semiramide</i>, in which the +sisters Marchisio appeared with distinction. Afterwards came Weber's +romantic opera of <i>Oberon</i>; J. R. Planché, the author of the libretto, +and Mr. Benedict, Weber's favourite pupil, taking part in its +reproduction.</p> + +<p>This was followed by the remounting of Meyerbeer's <i>Robert le Diable</i>, +with Titiens in the part of "Alice," the whole of the scenery and +dresses being entirely new. Mdlle. (now Mdme.) Trebelli<a name="page_044" id="page_044"></a> shortly +afterwards arrived, and on May 4th appeared with brilliant success as +"Maffio Orsini" in <i>Lucrezia Borgia</i>, her second appearance taking place +four days afterwards in the part of "Azucena" (<i>Trovatore</i>), when her +permanent reputation seemed to be already ensured, as it in fact was.</p> + +<p>About this time I had a great deal of difficulty with the tenor, +Giuglini, who, like a spoilt child, did not seem to know what he really +required. He went down to Brighton accompanied by a certain notorious +lady, and all persuasion to induce him to return proved useless. He said +he had the "migraine." Thereupon I hit upon a device for making him +return, which succeeded perfectly.</p> + +<p>On the day of my visit I announced the <i>Trovatore</i> for performance, with +Naudin, the tenor whom I had introduced some two years previously to +London, in the principal <i>rôle</i>. I spoke to a friendly critic, who +promised, in the event of Naudin's meeting with the success which I +anticipated, to make a point of recording the fact; and on the following +morning at Brighton, as I was accidentally walking with Giuglini, I +purchased the paper in which my friend wrote and handed it to the lady +who was absorbing all Giuglini's attention. I casually observed that +Giuglini might now remain at Brighton for a lengthened period. In the +course of an hour the tenor was on his way to London, volunteering to +sing the same evening if necessary; adding, however, a condition which +really caused me some inconvenience.<a name="page_045" id="page_045"></a></p> + +<p>He now informed me that he had written a better cantata than Verdi's, +and that unless I performed it I could no longer rely upon his services; +if, however, his work were given he would remain faithful to me for the +future. The work was duly delivered, in which I remember there was a +lugubrious character destined for Mdlle. Titiens, called "Una madre +Italiana." Giuglini further required 120 windows on the stage, from each +of which, at a given signal, the Italian flag was to appear; and no +smaller number than 120 would satisfy him. We were at our wits' end. But +the difficulty was met by arranging the scene in perspective; grown-up +people being at the windows nearest the public, then children at those +farther removed, until in the far distance little dolls were used.</p> + +<p>At a given signal, when the orchestra struck up the Garibaldi hymn, +these were all to appear. I need scarcely say that the cantata was given +but for one night. Poor Arthur Bacon, of the Ship Hotel, backed up +Giuglini's own opinion when he declared it to be "a fine work."</p> + +<p>The business meanwhile kept on increasing. In fact, I kept the theatre +open on and off until nearly Christmas time, and always to crowded +houses.</p> + +<p>During my autumn provincial tour of 1862 I had much trouble in finding a +substitute for my contralto, at that time Mdlle. Borchardt, who was +suffering from a sudden attack of "grippe;" an illness which, at least +in the artistic world, includes influenza, low fever, and other maladies +hard to<a name="page_046" id="page_046"></a> define. The opera announced was <i>Lucrezia Borgia</i>, and my +difficulty was to find a lady capable of singing the part of "Maffio +Orsini." I improvised a substitute who possessed good will, but was +without knowledge of music and had scarcely a voice. In an apology to +the public I stated that Mdlle. Borchardt being indisposed, another +artist had at a moment's notice kindly consented to sing the part of +"Maffio Orsini," but that "with the permission of the audience she would +omit the brindisi of the third act."</p> + +<p>This seemed little enough to ask, though the part of "Maffio Orsini" +without the famous drinking song, "Il segreto per esser felice," was +only too much like the celebrated performance of <i>Hamlet</i> with the part +of the Crown Prince of Denmark left out.</p> + +<p>It being quite understood, however, that the brindisi was to be omitted, +the singer left out on her own account and by my special directions +(scarcely necessary, it must be admitted) the legend of the opening +scene. Cut out the legend and drinking song, and nothing of the part of +"Maffio Orsini" remains except the few bars of defiance which this +personage has to address to "Lucrezia Borgia" in the finale of the first +act. These, however, can be sung by some other artist, and an audience +unacquainted with the opera will probably not complain if they are not +sung at all. The brindisi of the banqueting scene could not, of course, +have been omitted without explanation. But the<a name="page_047" id="page_047"></a> necessary apology having +been frankly made there was nothing more to be said about the matter.</p> + +<p>I hoped that Mdlle. Borchardt would be sufficiently recovered to +undertake next evening the part of "Azucena" in <i>Il Trovatore</i>. But "la +grippe" still held her in its clutches. She would have sung had it been +possible to do so, but all power of singing had for the time left her, +and it was absolutely necessary to replace her in the part which she was +advertised to play.</p> + +<p>In the first act of <i>Il Trovatore</i> "Azucena" does not appear, and I had +reason to believe, or at least to hope, that before the curtain rose for +the second act I should succeed in persuading my <i>seconda donna</i> to +assume in the second and succeeding acts—in which "Leonora's" confidant +is not wanted—the character of "Azucena."</p> + +<p>At the last moment my eloquence prevailed, and the <i>seconda donna</i> +declared herself ready to undertake the part of the gipsy. As for +singing the music, that was a different question. Already instructed by +me, she was to get through the part as well as she could without +troubling herself to sing.</p> + +<p>Meanwhile I had desired Titiens, Giuglini, and Aldighieri to exert +themselves to the utmost in the first act; and it was not until after +they had gained a great success in the trio which concludes this act +that I ventured to put forward an apology for my new and more than +inexperienced "Azucena."</p> + +<p>It was necessary first of all to see to her "make<a name="page_048" id="page_048"></a> up," and as soon as +the requisite permission had been given, I myself covered her face—and +covered it thickly—with red ochre. Unfortunately, in my haste and +anxiety I forgot to paint more than her face and the front part of her +neck. The back part of her neck, together with her hands and arms, +remained as nearly as possible a pure white. I had told my new "Azucena" +to sit on the sofa, resting her head upon her hands, and this, at the +risk of bringing into too great contrast the red ochre and the pearl +white, she obligingly did.</p> + +<p>I had arranged that after the anvil chorus, the opening scene of the +second act should terminate; the duet between "Manrico" and "Azucena" +being thus left out. We passed at once to the "Count di Luna's" famous +solo, "Il balen," and so on to the finale of this act. In the third act +"Azucena" was simply brought before the Count and at once condemned to +imprisonment. In the fourth act she had been strictly enjoined to go to +sleep quietly on the ground, and not to wake up until "Manrico" was +decapitated.</p> + +<p>Thus treated, the part of "Azucena" is not a difficult one to play; and +how else is it to be dealt with when the contralto of the Company is +ill, and no adequate substitute for her can possibly be found?</p> + +<p>The devices, however, that I have set forth are obviously of a kind that +can only be resorted to once in a way under stress of difficulties +otherwise insurmountable.</p> + +<p>Accordingly, when the third day came and Mdlle.<a name="page_049" id="page_049"></a> Borchardt was still too +unwell to sing, there was nothing left for me but to announce an opera +which contained no contralto part. The one I selected was <i>Norma</i>, a +work for which our principal tenor, Signor Giuglini, had conceived a +special hatred and in which he had sworn by the Holy Virgin and Madame +Puzzi never to sing again. I must here break off for a moment to explain +the origin of this peculiar detestation.</p> + +<p>About a year before Giuglini had been playing the part of "Pollio" to +the "Norma" of Mdlle. Titiens; and in the scene where the Druid +priestess summons by the sound of the gong an assembly which will have +to decide as to the punishment to be inflicted upon a guilty person +unnamed, Mdlle. Titiens, on the point of administering to the gong an +unusually forcible blow, threw back the drum-stick with such effect, +that coming into violent contact with the nose of Signor Giuglini, who +was close behind her, it drew from it if not torrents of blood, at least +blood in sufficient quantity to make the sensitive tenor tremble for his +life. He thought his last hour had come, and even when he found that he +was not mortally wounded still nourished such a hatred against the +offending drum-stick that he uttered the solemn combination oath already +cited, and required, moreover, that the drum-stick should never more be +brought into his presence. If not destroyed, it was at least to be kept +carefully locked up.<a name="page_050" id="page_050"></a></p> + +<p>Mdme. Puzzi had been to Giuglini more than a mother. Frequently, indeed, +this lady helped him out of scrapes in which a mother would probably not +have cared to interfere. She rescued him, for instance, more than once +from enterprising young women, who, by dint of personal fascinations, of +flattery, and sometimes of downright effrontery, had got the +impressionable singer beneath their influence. When things were at their +worst, Giuglini would write or telegraph to "Mamma Puzzi," as he called +her; and his adopted mother, to do her justice, always came to his +relief, and by ingenuity and strength of will freed him from the tyranny +of whatever siren might for the time have got hold of him.</p> + +<p>When, therefore, he swore by Madame Puzzi he was serious, and when he +pronounced his grand combination oath, "By the Holy Virgin and Madame +Puzzi," it was understood that he had spoken his last word, and that +nothing could ever move him from the determination arrived at under such +holy influences.</p> + +<p>Giuglini was in many things a child. So, indeed, are most members of the +artistic tribe, and it is only by treating them and humouring them as +children that one can get them to work at all.</p> + +<p>The only two things Giuglini really delighted in were kites and +fireworks. Give him kites to fly by day and rockets, roman candles, or +even humble squibs and crackers to let off at night, and he was +perfectly<a name="page_051" id="page_051"></a> happy. Often in the Brompton Road, at the risk of being +crushed to death by omnibuses, he has been seen lost in admiration of +the kite he was flying, until at last the omnibus men came to know him, +and from sympathy, or more probably from pity for the joy he took in +childish pleasures, would drive carefully as they came near him.</p> + +<p>His fireworks proved to him more than once a source of serious danger. +On one occasion, in Dublin, for instance, when he was coming home from +the theatre in company with Mademoiselle Titiens, who had just achieved +a triumph of more than usual brilliancy, the carriage, already stuffed +full of fireworks, was surrounded by a number of enthusiastic persons +who, heedless of the mine beneath them, smoked cigars and pipes as they +at the same time leaned forward and cheered.</p> + +<p>Let us now return to the doings of Signor Giuglini in connection with +the opera of <i>Norma</i>, in which he had sworn his great oath never again +to appear.</p> + +<p>I have said that the artist is often child-like; but with this +childishness a good deal of cunning is sometimes mixed up. The one thing +he cannot endure is life under regular conditions. Exciting incidents of +some kind he must have in order to keep his nerves in a due state of +tension, his blood in full circulation. It annoys him even to have his +salary paid regularly at the appointed time. He would rather have an +extra sum one day and nothing<a name="page_052" id="page_052"></a> at all another. The gratuity will give +him unexpected pleasure, while the non-payment of money justly due to +him will give him something to quarrel about.</p> + +<p>The artist is often suspicious, and in every Opera Company there are a +certain number of conspirators who are always plotting mischief and +trying to bring about misunderstandings between the manager on the one +hand, and on the other the vocalists, musicians, and even the minor +officials of the establishment.</p> + +<p>Needless to say that the singer on the night he sings, his nerves +vibrating with music, cannot at the end of the performance go to bed and +get quietly to sleep; and on one occasion, at Edinburgh, I passed on my +way to my bed the room in which Signor Giuglini was reposing, with a +cigar in his mouth, between the sheets and listening to the tales, the +gossip, the scandal, and the malicious suggestions poured into his ears +by the <i>camorristi</i> of whom I have above spoken.</p> + +<p>All I heard was, uttered in exciting tones, such words as "extra +performance," "almanac," "imposition," "Mapleson," and so on.</p> + +<p>I knew that some plot was being hatched against me, but what it could be +I was unable to divine; nor, to tell the truth, did I trouble myself +much about it.</p> + +<p>Meanwhile I had spoken to Mr. Wyndham, manager of the Edinburgh Theatre, +about the necessity, should Mademoiselle Borchardt still<a name="page_053" id="page_053"></a> remain ill, of +performing some opera in which there was no part for a contralto. He saw +the necessity of what I suggested, and agreed with me that <i>Norma</i> would +be the best work to play. I, at the same time, informed him that +Giuglini had sworn "by the Holy Virgin and Madame Puzzi" never more to +appear in that work, and I had no reason for believing that he had +forgotten either his impressive oath or his bruised nose.</p> + +<p>It was resolved, therefore, to announce Signor Corsi for the part of +"Pollio." This might have suited Giuglini, from the superstitious point +of view; but it put him out in the project which, prompted by the +<i>camorristi</i>, he had formed for extorting from me a certain sum of +money. He was engaged to play sixteen times a month at the rate of sixty +pounds a performance. I had wished to have his services four times a +week; and in signing for sixteen performances a month it did not occur +to me that now and then in the course of the year the tenor might be +called upon to give a seventeenth. This was the point which he and his +fellow-conspirators had been discussing in his bedroom on the night when +it had struck me that some sort of dark scheme was being prepared for my +confusion.</p> + +<p>It had been pointed out to Giuglini that if he sang on the 31st of the +month, as I originally intended him to do, he would be singing once too +often—once more than had been stipulated for in his engagement; and +thereupon he would be in a position<a name="page_054" id="page_054"></a> to enforce from me whatever penalty +be might choose to impose. This he deigned to fix at the moderate sum of +£160; and his claim was sent in to me just before—in consequence of the +continued illness of Mdlle. Borchardt—I had decided to change the +opera, and out of respect for Signor Giuglini's own feelings, to assign +the tenor part in <i>Norma</i> not to him, but to an artist who was not bound +to keep clear of this opera either by a peculiarly solemn oath or by +painful recollections of a dab on the nose from a vigorously-handled +drum-stick.</p> + +<p>The opera, then, was announced with Signor Corsi in the part of +"Pollio;" and there seemed to be no reason why the performance should +not go off successfully. I noticed, however, some ominous signs, and, +for one reason or another, it seemed to me that the carefully-laid mine, +if it exploded at all, would burst that evening.</p> + +<p>Giuglini was in a very excited condition, and I knew that whenever he +felt unduly agitated he sent for "Mamma Puzzi" to come and soothe his +irritated nerves. I did not know where Mdme. Puzzi was; but I <i>did</i> know +that she might at any moment arrive, and I therefore gave orders that +she was not, under any circumstances, to be admitted. The stage door was +closed absolutely against her. With or without explanations, she was not +to be let in.</p> + +<p>When the night for the performance arrived I took care to see that +Signor Corsi, at the proper<a name="page_055" id="page_055"></a> time, was fitly attired for the character +of "Pollio." He had often played the part before in company with Mdlle. +Titiens, and I saw no reason for believing that his performance would +not on this, as on previous occasions, be thoroughly satisfactory. The +house was crowded. "Oroveso" had sung his air, and was being warmly +applauded. I stood at the wing close to the first entrance and waited +for Corsi to appear. The music in announcement of "Pollio's" entry was +played; but no "Pollio" was to be seen. I motioned to Arditi, and the +introductory strains were heard again. Still no "Pollio."</p> + +<p>I rushed to Corsi's room in order to find out the meaning of the delay, +when, to my consternation and horror, I saw Corsi seated in a chair with +Mdme. Puzzi—Mdme. Puzzi, to whom all access to the theatre had been so +strictly forbidden!—pulling off his fleshings (she had already divested +him of his upper garments) while Giuglini was hurriedly taking off his +costume of ordinary life in order to put on the uniform of the Roman +soldier.</p> + +<p>Giuglini, I found, had some days before telegraphed to Mdme. Puzzi at +Turin begging his "mamma" to hurry to Edinburgh, where her child was in +a terrible difficulty; and to Edinburgh she had come.</p> + +<p>Mdme. Puzzi, refused admission at the stage door, had before the raising +of the curtain gone round to the pit entrance, paid for her place, +climbed over into the stalls, and then clambered from the stalls to the +orchestra, and—most difficult of all these gymnastic<a name="page_056" id="page_056"></a> +performances—from the orchestra to the stage. She had then made her way +to the dressing-rooms, and, finding Corsi already costumed for the part, +had by persuasion or force induced him to change clothes with the +excited tenor, who, by the very lady who was now helping him to break +his vow, had sworn never to play the part he was on the point of +undertaking.</p> + +<p>The curtain, meantime, had been lowered, amidst deafening protests from +the audience; and it was difficult to know what to do, until Giuglini, +having, with due assistance from his "mamma," completed his toilette, +declared himself ready to sing the part of "Pollio" provided one hundred +pounds were stopped out of the receipts to pay him for his extra +performance!</p> + +<p>On my afterwards taunting Giuglini with having broken his vow, he +declared that Mdme. Puzzi possessed the power to liberate him from it.</p> + +<p>When the audience were informed that the part of "Pollio" would be +played by Signor Giuglini, they were naturally delighted. The +performance was begun again from the beginning. The drum-stick, however, +in accordance with Giuglini's earnest prayer, was kept in the +property-room under lock and key, and Mdlle. Titiens struck the gong +with her hand.</p> + +<p>Afterwards Giuglini showed himself a little ashamed of his conduct; and +of the hundred pounds paid to him for the extra performance he<a name="page_057" id="page_057"></a> +presented fifty to Mrs. Wyndham, with a request that she would expend +the money in the purchase of a shawl. Mrs. Wyndham, however, would do +nothing of the kind. She considered that I had been very badly treated, +and made over the sum to me.</p> + +<p>The remaining fifty pounds had to be shared between Giuglini and the +conspirators who had put him up to the trick, each of them having +bargained beforehand for a share in such plunder as might be obtained.</p> + +<p>Then a claim was put in by Mdme. Puzzi for her travelling expenses from +Turin. This her affectionate child was not prepared to allow, and some +violent language was exchanged between him and his "mamma." How the +delicate matter was ultimately arranged I forget; but in the end, when +he had satisfied all demands made upon him, Giuglini could scarcely have +gained much by his too elaborate stratagem.<a name="page_058" id="page_058"></a></p> + +<h3><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.</h3> + +<div class="blockquot"><p class="hang">RUNNING OVER A TENOR—TITIENS IN ITALY—CASHING A CHEQUE AT +NAPLES—A NEAPOLITAN BALL—APPROACHING A MINISTER—RETURN TO +LONDON.</p></div> + +<p class="nind">O<small>NE</small> afternoon about four o'clock, during the month of November, 1862, +Giuglini sent word that he would be unable to sing the part of "Lionel" +in <i>Martha</i> that evening, having had some dispute at home. All my +persuasion was useless; nothing would induce him, and as at that period +of the year there were no tenors to be found in London, I was at my +wits' ends to know what to do, and I ultimately decided to close the +theatre, having no alternative. I therefore got into a hansom and drove +off to inform Mdme. Trebelli, also Mdlle. Titiens, who was dining at her +house, that there would be no need of their coming down.</p> + +<p>On turning the corner of the Haymarket, Piccadilly, the horse's head +struck a gentleman and forced him back on to the pavement. The cab was +stopped, and a policeman came up. The gentleman<a name="page_059" id="page_059"></a> was not, however, +injured, and to my great astonishment he turned out to be an English +tenor, who had been lately in Italy. On learning this I politely took +him into my cab and inquired what had brought him back to England. He +said that he had been performing at various Italian theatres, and that +he was now very desirous of obtaining a <i>début</i> in this country.</p> + +<p>I at once informed him that nothing could be easier, and that it would +be best for him to make his appearance immediately, without any further +preparation, for thus he would have no time to reflect and get nervous. +I then quite casually, as we were going along, asked him if he knew the +opera of <i>Martha</i>, to which he replied that he knew nothing of the music +and had never seen the work. This for the moment wrecked all my hopes as +to saving my receipts that evening, the booking for which exceeded £600.</p> + +<p>My impulse was to stop the cab and put him out; but first I sang to him +a few bars of <i>M'appari</i>. This romance he said he knew, having +occasionally sung it at concerts, but always with the English words. I +thought no more of ejecting him from the cab, and continued my drive up +to St. John's Wood.</p> + +<p>On my relating to Mdlle. Titiens and Mdme. Trebelli how by good luck I +had nearly run over a tenor they both said it was useless to think of +attempting any performance.<a name="page_060" id="page_060"></a></p> + +<p>I assured, however, my newly-caught tenor that if he would only be +guided by me and appear forthwith he would make a great success. I at +once set to work and showed him the stage business in the drawing-room, +requesting Mdme. Trebelli to go through the acting of the part of +"Nancy," and Mdlle. Titiens through that of "Martha." I explained to the +tenor that on entering he merely had to come on with his friend +"Plunkett," go to the inn table, seat himself, drink as much beer as he +liked, and at a given signal hand over the shilling to enlist the +services of "Martha" at the Richmond Fair, after which he would drive +her away in a cart. This would complete Act I.</p> + +<p>In Act II. he simply had to enter the cottage leading "Martha," and +afterwards to attempt to spin (two drawing-room chairs served as +spinning wheels), until at last the wheels would be taken away by the +two ladies. When the spinning quartet began he was merely to laugh +heartily and appear joyous. In the third act I explained that he might +sing his song provided always that he confined himself to Italian words. +It did not much matter, in view of the public, what he sang if he only +kept clear of English; and I advised him to keep repeating <i>M'appari</i> as +often as he felt inclined. This he did, and in consequence of a printed +apology which I had previously circulated in the theatre, to the effect +that Signor Giuglini had refused his services without assigning any<a name="page_061" id="page_061"></a> +reason, my new tenor was warmly applauded, receiving for his principal +air a double encore, and afterwards a recall. In the last act there was, +of course, nothing for him to do, and the newspapers of the next morning +were unanimous in his praise.</p> + +<p>The singer who rendered me these services was Mr. George Bolton, who +some years later (his voice having by that time become a baritone) +played with great success the part of "Petruchio" to Minnie Hauk's +"Katherine" in Goetz's <i>Taming of the Shrew</i>.</p> + +<p>In the course of the season, which ended about the 18th December, I had +accepted an engagement for Mdlle. Titiens to sing at the San Carlo of +Naples. The contract was made direct with the Prefect, at the +recommendation of the "Commissione." The leading soprano engaged by the +manager had not given satisfaction, and the "Commissione" had the power, +before handing over the subvention, of insisting on the engagement of a +capable artist so as to restore the fortunes of the establishment.</p> + +<p>Naturally, then, on my arrival with the great prima donna every possible +difficulty was thrown in our way. At length the <i>début</i> took place, when +Titiens appeared as "Lucrezia Borgia." The vast theatre was crowded from +floor to ceiling, the first four rows of stalls being occupied by the +most critical "cognoscenti," who literally watched every breath and +every phrase, ready in case of need to<a name="page_062" id="page_062"></a> express hostile opinions. At +length the boat came on, and "Lucrezia" stepped on to the stage amidst +the most solemn silence; and it was not until the close of the +<i>cabaletta</i>, of the first aria that the public manifested its +approbation, when it seemed as if a revolution were taking place. Mdlle. +Titiens' success went on increasing nightly, and the theatre was +proportionately crowded.</p> + +<p>I recollect on one occasion after I had made four or five applications +to the Prefect for the money payable for the lady's services he handed +me a cheque the size of a sheet of foolscap paper. The amount was £800 +for her first eight nights' services. On presenting myself at the bank I +was referred from one desk to another, until I was told that I must see +the chief cashier, who had gone out to smoke a cigar, and would not +return that day. I went again the following day, and after waiting a +considerable time at length saw him, when he told me to go to a certain +counter in the bank where I should be paid.</p> + +<p>I endorsed the cheque in the presence of the cashier, who told me, +however, that he could not hand me the money for it unless my signature +was verified by the British Consul. On going to the British Consul I +found that he had gone to Rome, and would not be back for a couple of +days. At length I obtained the official verification of the signature, +and presented myself for the seventh time at the bank, when I was +invited by the cashier<a name="page_063" id="page_063"></a> to go down into the cellars, where a man told me +off the amount in bags of silver ducats, which he drew from a large iron +grating. He did not count the sacks he was giving me, but only those +remaining behind; which left me one bag short. This he did not care for; +he only wanted his own remainder to be right.</p> + +<p>Eventually the manager of the bank insisted on my having the amount +stated in the cheque, and I was then left to myself, surrounded by my +bags, with no porters to move them for me.</p> + +<p>On my returning to the manager, who was very polite, and telling him +that I wished for the money in gold napoleons, he said it would be very +difficult, and that in the first place I must hire men to carry the bags +of silver up into the gold department. Thereupon I bargained with four +ill-looking individuals who were brought in out of the streets, and who +moved the bags at my risk to the gold department, when a vast premium +had to be paid. On my leaving the bank with the gold I saw my four +lazzaroni who had helped to move the silver, with hundreds of others, +all extending their hands and following me.</p> + +<p>I drove with difficulty to the British Consul, who happened to be a +banker, followed by this vast multitude; for such a sum of money had not +been seen for a long time in or about Naples. I had now to pay another +large premium to get a bill on London for my gold, and this concluded +the matter,<a name="page_064" id="page_064"></a> which had occupied me altogether seven days and a half.</p> + +<p>After the next payment had become due I went three or four times to the +Prefect, but could never find him. One day, however, about twelve +o'clock, I was told he was within, but that he had a headache, and could +not see anyone. I nevertheless insisted on the necessity of his +receiving me, saying that otherwise the night's performance at the San +Carlo might be jeopardized. I was invited upstairs, where his Excellency +was eating macaroni in the grand ball-room, lying on a sofa, which had +served as a bed, he having returned home too late to mount the stairs, +whilst about eighty Bersaglieri were rehearsing a selection from +<i>Rigoletto</i> for a ball he was going to give that evening. The sound was +deafening.</p> + +<p>The Prefect was very polite, and gave me another of those large cheques, +which with a little manipulation I induced the British Consul to change, +and get me a bill for it. The Prefect invited me very courteously to the +ball he was giving, at which over 2,000 persons were present. It was a +most magnificent affair, the four angles of the large room being +occupied by wild boars roasted whole (with sundry fruits, wines, etc.), +to which the guests after every dance or two helped themselves, and then +continued their dancing.</p> + +<p>At that time I was very anxious to secure the lease of the San Carlo +Opera-house, and by the aid<a name="page_065" id="page_065"></a> of my friend the Prefect so far advanced +the matter, that it wanted but the sanction of the Minister at Turin to +complete it. The pay-sheet of the orchestra contained over 150 names, +but as the salaries varied from six to eight shillings a week I made no +objection to this. The heaviest salary was that of the conductor +Mercadante (composer of <i>Il Giuramento</i>, &c.), who received £5 a week.</p> + +<p>On leaving Naples I went to Turin to present myself to the Marquis +Braham, but before I could get my card forwarded, even to the first +room, I was obliged to make a monetary advance. On reaching the second +room I was referred to another room on the entresol. It was impossible +to gain entrance, or even get my card sent further, without the help of +a napoleon. On going into the fourth room another tax was laid upon me, +and it being evening I thought it better to go home and reserve my money +offerings towards meeting the Marquis Braham until the next day. I +returned, armed with sundry five-franc pieces and napoleons; but it was +not until the fourth day, when I gave an extra douceur, that I could +approach him at all. It then appeared that someone had anticipated me, +and I was recommended to wait another year. I left for England, and the +matter dropped.<a name="page_066" id="page_066"></a></p> + +<h3><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.</h3> + +<div class="blockquot"><p class="hang">PRODUCTION OF GOUNOD'S "FAUST"—APATHY OF THE BRITISH PUBLIC—A +MANAGERIAL DEVICE—DAMASK CRUMB CLOTH AND CHINTZ HANGINGS—HEROIC +ATTITUDE OF A DYING TENOR—PRAYERS TO A PORTMANTEAU.</p></div> + +<p class="nind">O<small>N</small> my return from Italy I set to work preparing for my grand London +season of 1863, and entered into several important engagements. About +this time I was told of an opera well worthy of my attention which was +being performed at the Théâtre Lyrique of Paris. I started to see it, +and at once decided that Gounod's <i>Faust</i>—the work in +question—possessed all the qualities necessary for a success in this +country. On inquiry I found that Mr. Thomas Chappell, the well-known +music publisher, had acquired the opera for England. The late Mr. Frank +Chappell, on the part of his brother, but acting in some measure on his +own responsibility, had bought the Faust music for reproduction in +England from M. Choudens, of Paris; and I have heard not only that he +acquired this privilege for<a name="page_067" id="page_067"></a> the small sum of £40 (1,000 francs), but +moreover that he was remonstrated with on his return home for making so +poor a purchase.</p> + +<p>The music of an opera is worth nothing until the opera itself has become +known, and Messrs. Chappell opened negotiations with Mr. Frederick Gye +for the production of <i>Faust</i> at the Royal Italian Opera. The work, +however, had not made much impression at the Théâtre Lyrique, and Mr. +Gye, after going to Paris specially to hear it, assured his stage +manager, the late Mr. Augustus Harris, who had formed a better opinion +of Gounod's music than was entertained by his chief, that there was +nothing in it except the "Chorus of Soldiers." After due consideration +Mr. Gye refused to have anything to do with <i>Faust</i>, and the prospect of +this opera's being performed in London was not improved by the fact +that, in the Italian version, it had failed at Milan.</p> + +<p>Meanwhile I had heard Faust at the Théâtre Lyrique, and, much struck by +the beauty of the music, felt convinced that the work had only to be +fitly presented to achieve forthwith an immense success in London. Mr. +Chappell was ready to give £200 towards the cost of its production, and +he further agreed to pay me £200 more after four representations, +besides a further payment after ten representations.</p> + +<p>Certain that I had secured a treasure, I went to Paris and bought from +M. Choudens a copy of the score, the orchestral parts, and the right for +myself<a name="page_068" id="page_068"></a> personally of performing the work whenever I might think fit in +England. I then visited Gounod, who for £100 agreed to come over and +superintend the production of what he justly declared to be his +masterpiece.</p> + +<p>I was at that time (as indeed I always was when anything important had +to be done) my own stage manager. My orchestral conductor was Arditi; +Titiens undertook the part of "Margherita;" Giuglini that of "Faust;" +Trebelli was "Siebel;" Gassier "Mephistopheles;" and Santley +"Valentine."</p> + +<p>Far from carrying out his agreement as to superintending the production +of the work, Gounod did not arrive in London until nearly seven o'clock +on the night of production; and all I heard from him was that he wanted +a good pit box in the centre of the house. With this, for reasons which +I will at once explain, I had no difficulty whatever in providing him.</p> + +<p>One afternoon, a few days before the day fixed for the production of the +opera, I looked in upon Mr. Nugent at the box-office and asked how the +sale of places was going on.</p> + +<p>"Very badly indeed," he replied.</p> + +<p>Only thirty pounds' worth of seats had been taken.</p> + +<p>This presaged a dismal failure, and I had set my mind upon a brilliant +success. I told Mr. Nugent in the first place that I had decided to +announce Faust for four nights in succession. He thought I must be mad, +and assured me that one night's performance<a name="page_069" id="page_069"></a> would be more than enough, +and that to persist in offering to the public a work in which it took no +interest was surely a deplorable mistake.</p> + +<p>I told him that not only should the opera be played for four nights in +succession, but that for the first three out of these four not one place +was to be sold beyond those already disposed of. That there might be no +mistake about the matter, I had all the remaining tickets for the three +nights in question collected and put away in several carpet bags, which +I took home with me that I might distribute them far and wide throughout +the Metropolis and the Metropolitan suburbs. At last, after a prodigious +outlay in envelopes, and above all postage stamps, nearly the whole mass +of tickets for the three nights had been carefully given away.</p> + +<p>I at the same time advertised in the <i>Times</i> that in consequence of a +death in the family, two stalls secured for the first representation of +<i>Faust</i>—the opera which was exciting so much interest that all places +for the first three representations had been bought up—could be had at +twenty-five shillings each, being but a small advance on the box-office +prices. The stalls thus liberally offered were on sale at the shop of +Mr. Phillips, the jeweller, in Cockspur Street, and I told Mr. Phillips +that if he succeeded in selling them I would present him with three for +the use of his own family. Mr. Phillips sold them three times over, and +a like success was<a name="page_070" id="page_070"></a> achieved by Mr. Baxter, the stationer, also in +Cockspur Street.</p> + +<p>Meanwhile demands had been made at the box-office for places, and when +the would-be purchasers were told that "everything had gone," they went +away and repeated it to their friends, who, in their turn, came to see +whether it was quite impossible to obtain seats for the first +performance of an opera which was now beginning to be seriously talked +about. As the day of production approached the inquiries became more and +more numerous.</p> + +<p>"If not for the first night, there must surely be places somewhere for +the second," was the cry.</p> + +<p>Mr. Nugent and his assistants had, however, but one answer, "Everything +had been sold, not only for the first night, but also for the two +following ones."</p> + +<p>The first representation took place on June 11th, and the work was +received with applause, if not with enthusiasm. I had arranged for +Gounod to be recalled; and he appeared several times on the stage, much, +I think, to the annoyance of Arditi, to whom the credit of a good +<i>ensemble</i> and a fine performance generally was justly due. The opinions +expressed by several distinguished amateurs as to the merits of Gounod's +admirable work were rather amusing. The late Lord Dudley said that the +only striking pieces in the opera were the "Old Men's Chorus" and the +"Soldiers' March;" which was going a step beyond Mr. Gye, who had seen +nothing in the work but the "Soldiers' Chorus."<a name="page_071" id="page_071"></a></p> + +<p>Another noble lord, when I asked him what he thought of <i>Faust</i>, +replied—</p> + +<p>"This demand is most premature. How am I to answer you until I have +talked to my friends and read the criticisms in the morning papers?"</p> + +<p>The paucity of measured tunes in the opera—which is melodious from +beginning to end—caused many persons to say that it was wanting in +melody.</p> + +<p>The second night <i>Faust</i> was received more warmly than on the first, and +at each succeeding representation it gained additional favour, until +after the third performance the paying public, burning with desire to +see a work from which they had hitherto been debarred, filled the +theatre night after night. No further device was necessary for +stimulating its curiosity; and the work was now to please and delight +successive audiences by its own incontestable merit. It was given for +ten nights in succession, and was constantly repeated until the +termination of the season.</p> + +<p>So successful was <i>Faust</i> at Her Majesty's Theatre that Mr. Gye resolved +to produce it at once; and he succeeded in getting it out by July 2nd.</p> + +<p>The following was the cast of the work at the Royal Italian +Opera:—"Margherita," Miolan-Carvalho (the creator of the part at the +Théâtre Lyrique); "Siebel," Nantier Didiée; "Mephistopheles," Faure; +"Valentine," Graziani; "Faust," Tamberlik.</p> + +<p>The success of <i>Faust</i> at the Royal Italian Opera was so great that it +enabled the manager to keep<a name="page_072" id="page_072"></a> his theatre open until long beyond the +usual period. On the 15th May of the following year <i>Faust</i> was +reproduced with Mdlle. Pauline Lucca and Signor Mario in place of Madame +Miolan-Carvalho and Signor Tamberlik. Three weeks afterwards, June 7th, +the part of "Margherita" was assumed for the first time by Adelina +Patti.</p> + +<p>Mr. Gye, who had purchased of M. Gounod "exclusive rights" over the +work, sent to inform me that he did not wish to interfere with my +arrangements during the season already begun, but that for each +performance given at Her Majesty's Theatre he should expect in future to +be paid, and that meanwhile he had a claim against me of £800 for +performance of the work given in London and the provinces during 1863 +and 1864. I, of course, resisted this extraordinary pretention on the +part of Mr. Gye; for, as the reader has already been informed, I had, +before producing <i>Faust</i>, purchased from the Paris publishers the right +of performing it wherever I personally might think fit. Mr. Gye brought +his action, of which the result was to establish the fact, painful +enough for M. Gounod, that, owing to some defect in regard to +registration, no exclusive rights of performance could be secured for +<i>Faust</i> in England by anyone.</p> + +<p>After the close of the season of 1863 I made a concert tour in the +autumn, a recital of <i>Faust</i> being the chief attraction. The company +comprised Mdlle. Titiens, Mdme. Trebelli, Mdlle. Volpini, Signor<a name="page_073" id="page_073"></a> +Bettini—who had just married Trebelli—and Signor Volpini. After we had +been out about two or three weeks Signor Volpini became very ill, and +whilst at Birmingham sent for a leading physician, who, on examining +him, said he would require a deal of attention, but that he hoped to +bring him round in about a couple of weeks. The patient replied that on +no account would he separate himself from his wife, who had to travel to +some fresh city daily, but that the doctor must do what he could for him +until he left the following morning with the Company. This he insisted +upon doing.</p> + +<p>From Birmingham we went to Bristol, and on arriving the sick tenor was +at once put to bed and the leading physician sent for, who, on examining +him, asked who had been attending him. On the name of the Birmingham +physician being mentioned, the Bristol physician rejoined: "A very able +man. One of the very first in the profession." The patient had been in +good hands.</p> + +<p>But on seeing the last prescription the doctor was astonished that his +predecessor should have written such a thing; in fact, he could scarcely +believe it, and it was fortunate for the patient he had left Birmingham +and come to place himself under his care.</p> + +<p>The patient informed the physician that on no account could he part from +his wife, and that he would have to move off with the Company the +following morning to Exeter.<a name="page_074" id="page_074"></a></p> + +<p>From Exeter we went to Plymouth, from Plymouth to Bath, from Bath to +Oxford, and so on during a space of some two or three weeks, the sick +tenor being carried from the hotel to the railway and from the railway +to the hotel, and each medical man of eminence making the same +observations with regard to his esteemed colleague in the previous town; +each one exclaiming that had Volpini remained in the previous city he +must have died. He was carried to London, and there he remained, as all +thought, on his death-bed, at the Hôtel Previtali, Panton Square. He was +not yet, however, destined to die, and, as I am about to relate, it was +a miracle that saved his life.</p> + +<p>About this time I had engaged Sims Reeves to sing the <i>rôle</i> of "Faust" +on certain evenings at Her Majesty's Theatre, and one day received a +telegram from the eminent tenor, dated "Crewe," expressing his +astonishment that I had announced him for that evening, when the +engagement was for the following one.</p> + +<p>I at once went off to Sims Reeves's house, and learned from the butler +that his dinner had been ordered for half-past seven o'clock. I +thereupon informed the man that the orders had been changed, and that +the dinner was to be served at twelve o'clock instead of the time +originally fixed. I ascertained that Mr. Reeves was to arrive at Euston +Station, and there met him, accompanied by Mrs. Sims Reeves.<a name="page_075" id="page_075"></a></p> + +<p>While she was busying herself about the general arrangements, I got the +tenor to myself and told him the difficulty I was in, to which he +replied that it was quite impossible for him to sing that evening, as he +had ordered his dinner at home. I at once explained that I had postponed +it for a few hours, and that a light dinner was being prepared for him +in his dressing-room at the theatre.</p> + +<p>The suddenness of my proposition seemed rather to amuse him, as he +laughed; and I was delighted to get a kind of half-promise from him +that, provided I mentioned the matter to his wife, he would consent.</p> + +<p>At this moment she appeared, asking me what I was talking about to her +husband. One of us began to state what the object in view was, when she +exclaimed—</p> + +<p>"It's all nonsense; but I can well understand. Mapleson is an +impresario, and wants to ruin you by making you sing."</p> + +<p>She then asked me how I could possibly think of such a thing when the +chintz and the crumbcloth of his dressing-room had not been fixed?</p> + +<p>It was the custom of Mrs. Reeves to hang the walls with new chintz and +place a fresh-mangled white damask cloth on the floor the nights her +husband sang; and on this occasion the sacred hangings had gone to the +wash.</p> + +<p>I explained that I had provided other chintz, but to no effect. Reeves +was hurried to his brougham<a name="page_076" id="page_076"></a> and driven away, his wife remarking as she +looked scornfully at me: "He's only a manager!"</p> + +<p>It being now half-past six I was in a nice state of mind as to how I +could possibly replace the great tenor in <i>Faust</i>. Signor Bettini, it +was true, had on the concert tour sung portions of the garden scene and +the duet of the prison scene in the recital of <i>Faust</i> which we had +given throughout the provinces. Signor Volpini, moreover—only he was on +his death bed—knew the introduction and the trio of the duel scene. +Putting all this together I decided on my course of action.</p> + +<p>First I called on Signor Bettini, requesting him to oblige me by going +to the theatre.</p> + +<p>I next presented myself at Volpini's hotel, when I was informed that I +must step very quietly and say but few words. On entering I was told by +the invalid in a faint whisper that it was very kind of me to call upon +him; and he wished to know whether I had really come to spend the +evening with him. I told him that I had been informed on entering that +my visit must be a short one.</p> + +<p>He asked me again and again what could possibly be done to save his +life, as he had tried all the doctors, but in vain. I said I would give +him my advice if he would only follow it. I then assured him that he had +but one chance of recovery. He must first allow me to mix him a pint of +Château Lafite and a couple of raw eggs, beaten up with powdered sugar, +and come down with me to the theatre, where,<a name="page_077" id="page_077"></a> after drinking it, if he +was to die, he could die like a man before the footlights.</p> + +<p>A faint smile came over his pallid countenance. Of course he thought I +was joking. But in due course the Château Lafite appeared, and the eggs +were beaten up, and I managed to make him swallow the stimulating +beverage. I put him on his flannel dressing-gown, took the blankets off +the bed, and, wrapping him up in them, carried him myself in a +four-wheeler down to the theatre.</p> + +<p>I explained to him that he would have very little to do, beginning +simply with the few bars of the introduction; after that nothing but the +music he had been in the habit of singing on the concert tour. I +explained to him that although "Mephistopheles," the Prince of Darkness, +would in the eyes of the public transform him from an old man into a +young one, there would be no difficulty about this inasmuch as Bettini +would continue the part. Later on he could sing the trio in the duel +scene, where with his lovely voice a great effect would be produced.</p> + +<p>The long and short of it was I induced him to dress; and all now seemed +in good order. I explained the matter to Titiens, Trebelli, and Arditi; +and as I had not touched a particle of food since nine o'clock that +morning, I went next door to Epitaux's, where I ordered a very small +repast, pending the commencement of the opera.</p> + +<p>I had hardly seated myself at the table when my<a name="page_078" id="page_078"></a> servant rushed in, +stating that there was a general row going on amongst the artists, and +that they were all going home. The doors of the theatre had been opened, +and the apology for the absence of Sims Reeves, which I had posted on +the outer doors, had been accepted by the public. This was evident from +the fact that over £650 of money was now in the house. The audience must +be already a little irritated by the disappointment, and I knew that any +further one might be attended with serious consequences. I believed that +there would be a riot unless the representation took place.</p> + +<p>On entering the stage-door I met Mdlle. Titiens, who was about to step +into her carriage, going home. She told me it was useless to think of +performing. This was at ten minutes past eight. I begged her to remain. +I gave orders to the hall-keeper not to let anyone out of the place, and +to get two policemen to assist him. I then crossed the stage to the +dressing-room, where high words were going on—first between the two +tenors, and afterwards between their two pretty wives. Mdme. Volpini's +voice was uppermost, and I heard her say to Trebelli—</p> + +<p>"Of course you will rejoice! My poor sick husband brought out at the +risk of his life, and then simply to undertake an old man's part, with +grey hair and beard concealing his beauty; whilst your husband is to +come on and make all the love in the garden scene, and get all the +applause."<a name="page_079" id="page_079"></a></p> + +<p>Mdme. Trebelli responded by snapping her fingers at Mdme. Volpini, and +taking her husband, despite my entreaties, from the theatre. All this +excitement tended to work Volpini up; and, like a true artist, he said +he would do his best—even if he had to walk through the scenes in which +he was unacquainted with the music—rather than let me be disappointed.</p> + +<p>It was now half-past eight, and the opera was on the point of +commencing. This I had ordered should be done punctually. Meanwhile I +had followed Mdme. Trebelli to her apartments in Regent Street. The +excitement had made her quite ill, and she was totally unable to appear +in consequence. I appealed forcibly to her husband, begging him if he +would not sing "Faust" to help me by taking the part of "Siebel." He was +a very good musician, and as at this time he never quitted his wife's +side I knew that he must be intimately acquainted with the music. I +thereupon got him down to the theatre in time for the garden scene, had +his moustache taken off, and put him into his wife's clothes. Everything +went off brilliantly, the male "Siebel" and the dying "Faust" sharing +with the admirable "Margherita" the applause of the evening.</p> + +<p>The sudden exertion, the unwonted excitement, had really the effect of +saving Volpini's life; and he lived happily for many years afterwards.</p> + +<p>During the worst stage of poor Volpini's illness,<a name="page_080" id="page_080"></a> when, as already set +forth, he persisted in being moved from town to town, wherever his +charming wife had to go, they were both astonished one night to find +that their little girl, a child of three or four years of age, had got +out of bed, and apparently was praying to a large travelling trunk which +accompanied them on all their journeys. Kneeling before the huge box, +the little thing was heard to say: "And make my dear papa well again, or +I will believe in you no more."</p> + +<p>The explanation of this touching mystery was that the little girl had +been in the habit of saying her prayers before an image of the Holy +Virgin, which the family carried with them from town to town. The image, +or picture, was now enclosed within the travelling trunk which had not +yet been unpacked, and the affectionate child addressed it where she +knew it to be.<a name="page_081" id="page_081"></a></p> + +<h3><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.</h3> + +<div class="blockquot"><p class="hang">GARIBALDI VISITS THE OPERA—GIUGLINI'S TROUBLE AT ST +PETERSBURG—GIUGLINI VISITED BY TITIENS—ALARM OF FIRE—PRODUCTION +OF "MEDEA"—GRISI'S LAST APPEARANCE—AN ENRAGED TENOR.</p></div> + +<p class="nind">I<small>N</small> 1864 my season opened brilliantly, and on the fifth night I induced +Garibaldi, who was then in this country, to visit the theatre; which +filled it to overflowing. On that evening Titiens and Giuglini really +surpassed themselves; and at the close of the opera Garibaldi told me he +had never witnessed such a spirited performance, and that he had been +quite carried away by the admirable singing of the two eminent artists. +The opera was <i>Lucrezia Borgia</i>.</p> + +<p>Some few nights afterwards I placed Nicolai's opera, the <i>Merry Wives of +Windsor</i>, before the public, under the name of <i>Falstaff</i>, introducing a +charming contralto named Bettelheim; who undertook the <i>rôle</i> of "Mrs. +Page," whilst Titiens impersonated "Mrs. Ford," Giuglini "Fenton," +Bettini "Slender," Gassier "Mr. Page," Santley "Mr.<a name="page_082" id="page_082"></a> Ford," &c., &c. The +magnificent new scenery was by Telbin. The opera met with most +unequivocal success, and was repeated for several consecutive nights. +But, as with so many other operas, the public were so slow in expressing +their approbation that it gradually had to drop out of the <i>répertoire</i>. +Shortly afterwards I produced, remounted, Beethoven's <i>Fidelio</i>, with +Titiens as the heroine, which was given some seven or eight nights in +succession to the most crowded houses. In the winter I gave my usual +extra performances in the provinces and in London.</p> + +<p>Prior to the close of the London season of 1864 Giuglini signed an +engagement for St. Petersburg, receiving a very large honorarium for his +services. Regarding himself as the only representative of "Faust," he +had not taken the precaution of stipulating for his appearance in this, +or, indeed, any other part in his <i>répertoire</i>. On his arrival he was +much mortified to find the Covent Garden artists, of whom there were +several, always working and intriguing together; and to Giuglini's great +dismay the part of "Faust" was assigned to Signor Tamberlik; Patti being +the "Margherita" and Nantier Didiée the "Siebel." Now passed some two or +three weeks before Giuglini could obtain a <i>début</i>. One afternoon, about +three o'clock, he was informed by the intendant that he was called upon +to perform the <i>rôle</i> of "Faust," Tamberlik being taken suddenly ill. +This was indeed good news, and he set about<a name="page_083" id="page_083"></a> arranging his costumes and +looking over the music. Towards six o'clock he heard it rumoured that +Madame Patti would be too indisposed to sing the <i>rôle</i> of "Margherita," +and that he would have to appear with some <i>débutante</i>.</p> + +<p>This thoroughly unnerved him, and he himself became indisposed, which he +at once notified to the intendant. At the advice of some friends he was +induced to take a walk, and pay a visit to some acquaintances to spend +the evening.</p> + +<p>About ten o'clock the door was rudely opened without any warning, and an +<i>employé</i> entered, accompanied by two officials, one of whom politely +raised his hat and said, "Signor Giuglini, I believe?" to which the +Signor replied that he was Giuglini. They thereupon immediately left. +Nothing more was heard of this matter until about a fortnight +afterwards. It being pay day for the principal artists, that afternoon +the Imperial Treasurer called at Giuglini's house with a roll of rouble +notes, requesting him to sign the receipt for his month's pay, which +Giuglini at once did. But on leaving, the treasurer begged to draw his +attention to the notes, as a deduction of £150 had been made from his +monthly stipend in consequence of his having left the house on the day +he was reported to be indisposed. He got into a towering fit of rage, +requesting the balance to be handed to him, as he was allowed certain +days of indisposition according to the terms of his contract. The +treasurer replied<a name="page_084" id="page_084"></a> that according to the provisions of that clause he +should have remained at home in his house on the day of his reported +illness. The arguments became very warm, and Giuglini, in a fit of rage, +threw the whole bundle of rouble notes into the stove, which was then +burning; and from that moment his reason seemed to have left him.</p> + +<p>On the termination of my spring concert tour in 1865 we began a season +of opera in the beginning of March at Dublin, Giuglini promising to join +us at the conclusion of his St. Petersburg engagement, which ended about +that time.</p> + +<p>One morning at breakfast I received a telegram from London: "Come on at +once. Giuglini arrived." I was indeed delighted, and, having notified +the good news to the Dublin press, left immediately for London. On my +arrival at Giuglini's house in Welbeck Street I was told that he was +very much indisposed in consequence of the fatigues of the journey, and +that his mind did not seem quite right. I went upstairs to him at once. +He was very pleased to see me, but to my astonishment he had no trousers +on. Otherwise he was all right.</p> + +<p>I talked with him some time, and advised him to put on the necessary +garment, so that we might start that evening for Dublin. By force of +persuasion I at last obtained his consent to let me put his trousers on +for him, and in the course of an hour succeeded in getting one leg in. I +then ordered some oysters for him, and talked to him<a name="page_085" id="page_085"></a> whilst I was +coaxing in the other leg. This I at length managed to do, when to my +horror I found the first leg had come out again. After wasting the whole +of the day I found myself too late to catch the Irish mail, and the +Signor still with one leg only in his pantaloons.</p> + +<p>Whilst Giuglini was sleeping I inquired as to the full particulars of +his condition, and was informed that he had arrived from St. Petersburg +in charge of a hired courier, who simply wanted a receipt for him. At +the same time his magnificent fur coats and other costly clothing were +all missing. He had made the journey in second-class, wearing a summer +suit although it was the depth of winter; and on examining his jewel +case I found that the stones had been taken out of everything he +possessed, although the articles themselves were there. It was indeed a +sad affair. I was advised to place him for a short time under the care +of Dr. Tuke, and I had then to hurry back to Ireland.</p> + +<p>On my return to London I went to pay Giuglini a visit at Chiswick, +Mdlle. Titiens insisting on accompanying me. We waited some time during +which we were particularly cautioned not to approach him. At length he +entered; he was delighted to see us and talked quite rationally. We +persuaded the doctor to allow us to take him for a drive, the signor at +the same time expressing a wish to be driven to the Star and Garter, at +Richmond, to dine. To this the keeper, who was on the box alongside<a name="page_086" id="page_086"></a> the +coachman, objected, promising Giuglini that if he would return to the +doctor's he should have a nice large plate of meat, which seemed greatly +to please him. Giuglini had previously complained to me that he was made +to drink sherry, a wine which he particularly disliked, his ordinary +drink being claret or claret and water. He afterwards sang us "Spirto +gentil" from the <i>Favorita</i>, followed by "M'appari" from <i>Martha</i>, +singing both airs divinely. The only thing peculiar was that his tongue +was drawn very much to the right, and that he had to stop after every +ninth or tenth bar to straighten it.</p> + +<p>When we got back to the doctor's Mdlle. Titiens and myself stayed to +dinner. During the repast Giuglini, who had been looking forward to his +plate of meat, came into the room exhibiting on a very small plate a +very small piece of meat.</p> + +<p>"Look what they have given me, Thérèse," he said to Titiens. "I am +afraid to eat it," he added, in a tone of irony; "it might give me an +indigestion."</p> + +<p>My firm belief is that if I could have got both Giuglini's legs into his +trousers the day that he arrived in London I should have saved him. +Living something like his ordinary life, among his old companions, he +would have had at least a chance of getting well.</p> + +<p>Thus matters went on until the London season of 1865 opened, which took +place on the Saturday night of the Easter week. I had made a series of<a name="page_087" id="page_087"></a> +improvements throughout the theatre, by reducing considerably the number +of the private boxes, and enlarging those I retained. I likewise removed +the twelve proscenium boxes, ten each side of the stage, thereby +advancing the drop curtain some 16 feet nearer the public. This gave me +much more room behind the scenes.</p> + +<p>Amongst the new singers I introduced was Miss Laura Harris, who +afterwards, as Mdme. Zagury, achieved brilliant success throughout the +whole of Europe; also Mdlle. Ilma de Murska, a lady who at once took +high rank from her phenomenal vocal qualities. I also presented Signor +Foli, a young artist, who was engaged at the Italian Opera in Paris, and +who soon became a public favourite; likewise Signor Rokitanski, another +eminent basso. Despite the blow I had received in the loss of Giuglini I +went to work with renewed energies, and presented to the public +Beethoven's <i>Fidelio</i>, with a magnificent cast, including Titiens, the +incomparable "Leonora." I, moreover, mounted in great style Mozart's +<i>Flauto Magico</i>, Titiens being the "Pamina," Ilma de Murska the "Queen +of Night," Sinico the "Papagena," and Santley the "Papageno;" whilst the +subordinate parts were all undertaken by principal artists.</p> + +<p>During the last act an accident occurred, which might have been very +serious, inasmuch as the house was crowded from the stalls right up to +the back of the gallery. In preparing for the final scene some<a name="page_088" id="page_088"></a> of the +gauze, which had been used for clouds during the evening, caught fire +over the gas battens. Instantly the alarm was given, when one of the +flymen, at the risk of his neck, flung himself across the stage, +balancing himself on a "batten" (a narrow strip of wood, some forty feet +long), while he cut the ropes with his knife, causing the burning gauze +to fall down on to the stage, where it was extinguished by the firemen. +Mr. Santley, who was undertaking the <i>rôle</i> of the "Bird-catcher," +remained on the stage unmoved. He walked forward to the audience, and +addressed them in these eloquent words—</p> + +<p>"Don't act like a lot of fools. It's nothing."</p> + +<p>This speech had an immediate effect; and Santley continued his song as +if nothing had happened. But for his presence of mind the loss of life +would have been most serious.</p> + +<p>I likewise produced Cherubini's tragic opera, <i>Medea</i>; a work considered +by musical amateurs one of the finest dramatic compositions ever +written. No musician ever exercised more influence on his art than +Cherubini. His compositions are of the first authority, so that no +musical library, whether of the professor or the amateur, can claim to +be considered complete without them. The part of "Medea" was represented +by Mdlle. Titiens. In assuming this <i>rôle</i> Mdlle. Titiens certainly +added the final touch of lustre to her lyric crown. I need scarcely say +the opera was magnificently mounted,<a name="page_089" id="page_089"></a> even to the smallest detail. It +was particularly successful, and still retains its place in the +<i>répertoire</i>. I was interested to find in what large numbers the +relatives and descendants of Cherubini were attracted to my theatre by +the announcement of his Medea. Naturally they all expected free +admissions, even to great-grandchildren and third cousins.</p> + +<p>The season was a very successful one. In the autumn I started the +regular provincial opera tour, Mario being my principal tenor, vice +Giuglini. We commenced in Manchester, where Mario's unrivalled +performances in <i>Faust, Rigoletto, Martha, Ballo in Maschera</i>, and <i>Don +Giovanni</i> attracted crowded houses. We afterwards visited Dublin, +proceeding thence to Belfast, Liverpool, etc., terminating, as usual, +about Christmas.</p> + +<p>In the early part of January, 1866, I made a very successful concert +tour, giving no less than one hundred and twenty concerts in some +seventy cities in sixty successive days, with two very strong parties: +Titiens, Trebelli, Santley, Stagno, and Bossi in one; and Grisi, +Lablache, Mario, Foli, and Arditi in the other; ending up with a +brilliant series of operas with casts combined from the two parties in +the northern capital and at Glasgow, where Mdme. Grisi distinguished +herself in the <i>rôles</i> of "Lucrezia Borgia," "Norma," "Donna Anna," etc.</p> + +<p>Thus matters went on until the London season. On each occasion when I +visited Giuglini I found no improvement, and it was ultimately decided +that<a name="page_090" id="page_090"></a> a sea trip might benefit him. He, therefore, left London in a +sailing ship for Italy. I never saw him afterwards. I need scarcely add +that his loss was irreparable.</p> + +<p>I opened my London season of 1866 early in April, for which I engaged a +very powerful Company, including Mdme. Grisi. I announced her engagement +in the following terms:—</p> + +<p>"Mr. Mapleson has the gratification to announce that he has prevailed on +Mdme. Grisi to revisit the scene of her early triumphs, and again to +appear at the Theatre, her previous connection with which formed one of +the most brilliant epochs in operatic history. Mdme. Grisi will once +more undertake some of the parts which she created, and in her +impersonations of which will be revived the traditions obtained direct +from Rossini, Donizetti, and Bellini. These representations can only +extend for a few nights, and they will derive additional interest from +the fact that Mdlle. Titiens has consented to take part in them as a +mark of respect to one who for so many years reigned absolutely without +a rival on the lyric stage."</p> + +<p>I was justified in making this announcement in consequence of the +magnificent style in which Mdme. Grisi had been singing during our +spring opera tour.</p> + +<p>Grisi seemed interested and affected by her return to the old house of +which she had taken leave twenty years previously. The old <i>habitués</i> +came in<a name="page_091" id="page_091"></a> large numbers to see her, to hear her, and naturally to support +her with their applause on her first (which proved also to be her last) +appearance. This took place on the evening of May 5, 1866. The Prince +and Princess of Wales were both present.</p> + +<p>When the gondola came down, from which, in the first act of <i>Lucrezia +Borgia</i>, the heroine makes her entry, there was breathless attention +throughout the house. The great vocalist had the command of all her +resources, and sang the two verses of "Com'è bello" admirably, omitting, +according to her custom, the <i>cabaletta</i>, which Titiens and all other +"Lucrezias" made a point of giving.</p> + +<p>Well as she sang, I noticed some signs of nervousness. She had been +visited by misgivings before the performance began. I had done my best, +however, to reassure her, and was under the impression, judging from the +apparent result, that I had succeeded. But her hands, I remember, just +as she was going on, were extremely cold. I took them in my own, and +found that they were like stone.</p> + +<p>At the end of the first act, on the conclusion of the scene in which +"Lucrezia" is taunted and reproached by her victims and their friends, +Mdme. Grisi, accustomed to the stage of the Royal Italian Opera, +remained too far in front, though at a point where, at Covent Garden, +the curtain would have fallen between her and the audience. It was +otherwise at Her Majesty's Theatre (I refer, of course, to the old +building), where the stage advanced far into<a name="page_092" id="page_092"></a> the audience department; +and when the curtain came down the "Lucrezia" of the evening found +herself kneeling on the ground (in which attitude she had defied the +conspirators) and cut off by the curtain from the stage behind. This +placed the unfortunate singer in a ludicrous and, indeed, painful +position; for she had a stiffness in one of her knees, and was unable on +this occasion to rise without the help of the stage attendants.</p> + +<p>Mdme. Grisi was, of course, much distressed by this <i>contretemps</i>. She +had recourse, however, to the homeopathic remedies which she always +carried with her, and after a time was herself again. These remedies +were for the most part in the form of stimulants, which, however, Mdme. +Grisi took only in the smallest quantities. Her medicine-chest contained +a dozen half-pint wicker-covered bottles, which held, besides orgeat and +other syrups, brandy, whisky, hollands, port-wine, and bottled stout.</p> + +<p>In the second act Mdme. Grisi got on very well, especially in the scene +with the bass preceding the famous trio. In the passionate duet with the +tenor, just when the Duke, after administering the poison to "Gennaro," +has gone away, she made an unsuccessful attempt to reach the A natural; +and the failure caused her much confusion. She got through the +performance; but she ran up to me immediately the curtain fell and +exclaimed that it was all over with her, and that she never could appear +again.<a name="page_093" id="page_093"></a></p> + +<p>The notices next morning were sufficiently favourable; but it was +evident that the career of the great vocalist was now, indeed, at an +end. Let me here say a word about Mdme. Grisi's pecuniary affairs.</p> + +<p>After the duel between her husband, M. de Meley, and Lord Castlereagh a +separation took place; and the injured spouse made an arrangement by +which he was to receive out of his wife's salary the moderate income of +two thousand a year. This she was to pay as long as she remained on the +stage. In order that the famous singer might enjoy the use of her own +earnings, I made an agreement with her by which on my provincial tours +she was to sing for me gratuitously, while I at the same time engaged to +pay Signor Mario £300 a week. For this salary the two admirable artists +were ready to sing as often as I liked. They were most obliging; full of +good nature, and without any of the affectation or caprice from which so +few singers at the present day are free. They took a pleasure in their +performances, and thought nothing of playing three or four times a week. +They would have sung every night had I been unreasonable enough to ask +them to do so.</p> + +<p>Far from insisting that she should never be called upon to do anything +that was not expressly set down for her in her written contract, Mdme. +Grisi would often volunteer her assistance in cases where it was really +very useful. In <i>Don Pasquale</i>, for instance, while Mario was singing +the beautiful<a name="page_094" id="page_094"></a> serenade "Com'e gentil!" she would direct the chorus +behind the scenes, singing herself and marking the time on the +tambourine.</p> + +<p>She was invaluable to Mario in many ways, not only in connection with +his art, but also with the occupations of his ordinary life. She was +always punctual, and, indeed, a little before the time; whereas Mario +was invariably late. He had always his cravat to tie or a fresh cigar to +light just when the last moment for catching the train had arrived. He +was the most inveterate smoker I ever knew. He had always a cigar in his +mouth, except when he was on the stage and actually in the presence of +the audience. When he came off, if only for a moment, he would take a +puff at his still burning cigar, which he had carefully left in the +wings where he would be sure to find it again. "Faust" in the garden +scene passes for a few moments behind some bushes at the back of the +stage. During those moments Mario had just time to enjoy a few whiffs, +after which he returned to continue his love-making.</p> + +<p>Mario spent large sums of money on his favourite weed, and thought +nothing of giving away a box of cigars to a friend for which he had paid +(to some friendly tobacconist who had cheated him) £5 or £6 a hundred.</p> + +<p>About this time I charged Mr. Telbin and his talented sons to paint me +the whole of the scenery for Meyerbeer's <i>Dinorah</i>, which was brought +out in<a name="page_095" id="page_095"></a> due course, Ilma de Murska appearing as the demented heroine, +Gardoni as "Corentino," and Santley as "Hoel." It was a truly +magnificent performance, well worthy the reputation of the theatre.</p> + +<p>Shortly afterwards I produced another classical opera, which was gladly +welcomed by all musical amateurs. The work I refer to was Gluck's +<i>Iphigenia in Tauris</i>—a work not less remarkable for its intrinsic +merits than for having been the cause of one of the most fierce and +prolonged artistic controversies on record. Paris, ever the <i>champ de +bataille</i> of such contests, was, figuratively speaking, shaken to its +foundations by the antagonistic Gluckists and Piccinists; and the +dispute was only ended by Gluck leaving France.</p> + +<p>This work was likewise magnificently put upon the stage, Titiens, +Santley, and Gardoni really surpassing themselves.</p> + +<p>I afterwards had the honour of introducing Mozart's comic opera, <i>Il +Seraglio</i>, in which Mdlle. Titiens appeared as "Constanza," the +remaining personages being entrusted to Dr. Gunz, Signor, Stagno, +Rokitanski, &c.</p> + +<p>One evening, when the opera of <i>Rigoletto</i> was being performed, with +Mongini as the "Duke," feeling tired, as I had been working in the +theatre throughout the day, I went home just before the termination of +the third act. I had been at home about three-quarters of an hour when +my servant<a name="page_096" id="page_096"></a> hurried up in a cab to inform me that the curtain had not +yet risen for the final act, and that a dreadful disturbance was going +on in consequence of some question with Mongini, who was brandishing a +drawn sword and going to kill everybody. I immediately slipped on my +clothes and went down to the theatre.</p> + +<p>At the stage door, without her bonnet, I met the tenor's charming wife, +the only person, as a rule, who could control him in any way; and she +entreated me not to go near him, or there would be bloodshed. I +insisted, however, on going to his room without delay, as the curtain +was still down and the public was getting tumultuous. I took the +precaution of buttoning my overcoat across my chest, and in I went, my +first words being—</p> + +<p>"This time, Mongini, I hear you are right (<i>Questa volta sento che avete +ragione</i>)."</p> + +<p>With this preliminary we got into conversation, but he still remained +walking up and down the room with nothing but his shirt on and a drawn +sword in his hand. I saw that I had to proceed very slowly with him, and +began talking on indifferent matters. At last I asked him the details of +all the trouble. He thereupon explained to me that the master tailor, +who had been requested by him in the morning to widen his overcoat by +two inches, had misunderstood, and contracted it by two inches. I wished +to have a look at the dress, which, however, was lying on the floor torn +to<a name="page_097" id="page_097"></a> pieces. I assured Mongini that the man should be cruelly punished, +and he and his family put upon the streets to starve early the next +morning.</p> + +<p>He then got calmer, and I casually observed, "By-the-bye, is the opera +over yet, Mongini?" to which he replied, "No, it is not."</p> + +<p>"Never mind that," I continued; "the public can wait. Everyone, by the +way, is talking of the magnificent style in which you have been singing +to-night."</p> + +<p>His eyes brightened, and he said he should like to go on with the opera.</p> + +<p>"Not at all a bad idea!" I remarked.</p> + +<p>"But I have no dress," said Mongini, rather sadly; "it is destroyed."</p> + +<p>I suggested that he should wear the dress of the second act, putting on +the breastplate and the steel gorget with the hat and feathers, and he +would then be all right, and "La Donna e Mobile" would make amends for +the delay. He dressed and followed me to the stage, when I made the sign +for the stage manager to ring up the curtain, greatly to the +astonishment of Mongini's wife, who was fully expecting to hear that I +had been run through the body.</p> + +<p>The next day at twelve o'clock, as per appointment, Mongini came to my +office to be present at the punishment of the master tailor. I had taken +the precaution to inform the tailor, who was a single man, that he had a +wife and four children, and that<a name="page_098" id="page_098"></a> he was to be sure and recollect this. +I called him into my room in the presence of Mongini, and told him +gravely that he with his wife and children must now starve. There was no +alternative after the treatment Mongini had received the previous +evening.</p> + +<p>Mongini at once supplicated me not to let the children die in the +gutter, as it might injure him with the public, and he ended by +promising that if I would retain the tailor in my service he would sing +an extra night for nothing.<a name="page_099" id="page_099"></a></p> + +<h3><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.</h3> + +<div class="blockquot"><p class="hang">PAYMENT AFTER PERFORMANCE—DISCOVERY OF MADGE ROBERTSON—MARIO AND +THE SHERIFF—GENEROSITY OF THE GREAT TENOR—DÉBUT OF CHRISTINE +NILSSON—DESTRUCTION OF HER MAJESTY'S THEATRE—A GREAT +PHILANTHROPIST.</p></div> + +<p class="nind">A<small>T</small> the close of the London season of 1866 we went to Ireland for the +usual autumn operatic tour, stopping <i>en route</i> at Liverpool to give a +morning concert. The rush was so great that all the metal cheques for +the half-crown seats were exhausted and we had to use penny pieces. +Numbers of the public found out, therefore, a ready way of getting in +without payment. As soon as I observed this, and as there were still +many hundreds unable to obtain admission, I conducted them across to +another door which led into the orchestra. There being no money-taker, I +let some four hundred of them crowd in, impressing upon them that they +would have to pay half-a-crown apiece as they came out; and I must add +that every one paid up punctually.<a name="page_100" id="page_100"></a></p> + +<p>We left Liverpool after the concert for Dublin, where we fulfilled a +very profitable engagement.</p> + +<p>After leaving Dublin we went, early in October, to Leeds, and afterwards +to Hull, at which latter place I recollect well that a full rehearsal of +<i>Les Huguenots</i> was necessary in consequence of a new "Queen" having +joined the company. Both Mario and Titiens complained of the incident +and wondered how they were to finish the rehearsal in time to dine by a +quarter past three, it being a general rule with artists not to eat +later than that hour when they have to sing the same evening. We began +the rehearsal early; and it was not until after two that it was +concluded. The dinner being nearly ready at the hotel, I went in a +carriage to fetch Mario and Titiens back from the theatre without loss +of time. At a quarter past three I found them both seated in the stalls, +witnessing a morning performance, at which a Miss Madge Robertson was +playing in a piece called <i>A Wolf in Sheep's Clothing</i>. So rivetted to +the spot were Titiens and Mario—both exclaiming "Do not disturb us, let +us wait a little longer"—that it was nearly five o'clock before I got +them home, when it was, of course, too late to dine. Not that they +regretted this. They both told me that I ought to write to every London +manager telling them what a charming actress they had discovered. I need +hardly say that the Miss Robertson of those days is now Mrs. Kendal, +more perfect in her art than ever.<a name="page_101" id="page_101"></a></p> + +<p>I again started my concert tour in the early part of January, 1867, with +Titiens, Trebelli, and others; and was as usual pre-eminently successful +all along the line. Mario joined us about the 7th March in Scotland.</p> + +<p>About this time he experienced considerable worry through being served +with various writs for bills of exchange, for which he had received no +consideration whatever, and which had been accumulating for many years. +In more prosperous times preceding the period in question he had +frequently assisted young artists, painters, sculptors, and Italians +generally, who had come to this country with recommendations to him, and +who had nearly all proved most ungrateful. It was computed that over +£40,000 had been distributed by the great tenor on various occasions +amongst his compatriots and others seeking aid.</p> + +<p>I recollect meeting at Fulham one Sunday at dinner a young sculptor who +had arrived with a letter of recommendation to Mario, and who on +presenting himself exclaimed that he had not come to borrow money, +hearing how much victimized Mario had been by others. All he wanted was +to bring a piece of sculpture from Rome to London, for which he already +had a purchaser in view; and if Mario would but accept a bill at two +months, which he then had with him, he would within a month have sold +his work and the money could be put to Mario's credit, so that the bill +would be<a name="page_102" id="page_102"></a> punctually met. In fact, every possible device was resorted to +by persons well acquainted with his generous nature—which brings me to +the case in point.</p> + +<p>We had gone through a most arduous tour, and Mario had been singing four +times a week throughout the whole time, and with most brilliant voice. +As he had sung four nights running during the week I am speaking of, and +was to be replaced the following evening (Saturday) by Signor Tasca in +the <i>Huguenots</i>, he devoted his last day to the packing of his luggage, +intending to leave by an early train for York, whence, after a night's +rest, he would go on to London, presenting himself on the Monday for +rehearsal at the Royal Italian Opera, Covent Garden, where the season +was to commence on Tuesday.</p> + +<p>In the hall at the Edinburgh Hotel, where Mario had put up, a Sheriff's +officer was waiting for him with a writ or an attachment for £100; and I +thought to help him out of the dilemma by the following device, knowing +how delicate and sensitive he was. I called to bid him good-bye, taking +with me a closed envelope containing a £100 note. I by degrees gave him +to understand that I had been looking about the city for some little +souvenir, but without success, and as his taste was so superior to mine, +if he would select one in memory of the pleasant time we had spent +together, I should feel obliged. I at the same time handed him the +envelope. I was on the point of leaving the room when<a name="page_103" id="page_103"></a> a note was +brought to me, requesting me to come to the theatre at once, as Tasca, +the new tenor, had been taken ill at the rehearsal, and was obliged to +go home. Mario, noticing signs of displeasure across my brow, insisted +upon knowing the reason; and after some pressure I informed him that the +new tenor, who was to replace him, had fallen sick, and that I must be +off to see how the matter could be remedied.</p> + +<p>My dear friend patted me on the shoulder, and said he knew of a way. The +opera to be performed being <i>Les Huguenots</i>, for the benefit of Mdlle. +Titiens, he would try, he said, to satisfy the public in the part of +"Raoul," and thus help me out of my difficulty. I readily acceded, and +asked him to name any terms he liked; but he assured me that he should +consider himself amply repaid if I would be present at Covent Garden on +the following Tuesday, when he was to appear as the "Duke" in <i>Un Ballo +in Maschera</i>, as that would encourage him. I thanked him, and was again +leaving when he called me back to express his displeasure at my having +offered him the hundred-pound note in the envelope, requesting me at +once to take it back. This I, of course, declined to do, until at last +he said—</p> + +<p>"If no one is to have it, it had better go into the fire; but sing I do +not unless you allow me to return it to you at once."</p> + +<p>All argument was useless. Then reluctantly I left him.</p> + +<p>The following Monday night I started for London,<a name="page_104" id="page_104"></a> where I attended the +opening of the Royal Italian Opera the next evening, and had the +pleasure of applauding Mario, and complimenting him in his +dressing-room, after the second act. He could not express sufficiently +his delight at my being present.</p> + +<p>The London season of 1867 was remarkable for the first performance in +England of Verdi's <i>Forza del Destino</i>.</p> + +<p>Prior to the commencement of this season my attention had been drawn to +a young Swedish singer, named Christine Nilsson, who had appeared at the +Théâtre Lyrique of Paris, and was attracting a certain amount of +attention. I went over and heard her in the <i>Magic Flute</i>, and was +delighted with the purity of her voice. She was also singing <i>La +Traviata</i> and <i>Martha</i>. I at once concluded an engagement with her.</p> + +<p>Before disclosing the fact to Arditi, or any other member of my Company, +I invited Mdlle. Titiens and Mdme. Trebelli, with Signor and Mdme. +Arditi, over to Paris for a fortnight's holiday prior to the +commencement of our laborious London season. Amongst the places of +amusement we visited was the Théâtre Lyrique, where the Swedish singer +was that night filling the <i>rôle</i> of "Martha." I must say I was not +impressed myself, whilst the remainder of the party thought nothing +whatever of her. I, therefore, refrained from even hinting that I had +already engaged her. As the time approached, the lady insisted on making +her <i>début</i> as "Martha." I plainly foresaw<a name="page_105" id="page_105"></a> that it would be the +greatest possible mistake to acquiesce in her desire; and, after a +lengthy discussion, Verdi's <i>Traviata</i> was decided upon. I at once +instructed a Bond Street dressmaker to make her four of the most elegant +toilettes possible, discarding <i>in toto</i> the costume of the 16th century +so far as "Violetta" was concerned.</p> + +<p>At all times it is a difficult thing for a manager to employ with +advantage assistants placed among the audience to support either a new +singer or a new piece; for grave mistakes are sure to be made, thus +defeating the object for which the supporters were intended. I have +often known singers send in friends to applaud; but they invariably +begin their uproar on the appearance of the singer, even before he or +she has uttered a sound.</p> + +<p>On one occasion I recollect at Her Majesty's Theatre a singer appearing +in <i>Il Trovatore</i>, and about a dozen bouquets falling at her feet from +the top boxes before she had sung a note.</p> + +<p>I saw that great judgment was necessary, while convinced in my own mind +that I possessed a jewel of the first water. I, therefore, gave the very +simplest instructions as to the amount of encouragement necessary for my +fair Swede in order to ensure the rapture of London; knowing that when +once serious attention had been drawn to her she could do the rest +herself on her own merits. Being very fond of rowing in my spare time on +the River Thames, I made an arrangement with the head-boatman at<a name="page_106" id="page_106"></a> Essex +Stairs, near where I resided, to supply me with some twenty-five +horny-handed watermen, who were merely told that they should receive one +shilling apiece provided they did <i>not</i> applaud Mdlle. Nilsson—the lady +who would appear on the stage at the beginning of the opera, wearing a +pink dress. They were moreover informed that when the first act was over +and the curtain down, they would be paid a shilling apiece for each time +they could get it up again; and I believe they succeeded some five or +six times in their repeated attempts. That was all that was ever done +for Mdlle. Nilsson; her extraordinary talent did the rest. At all +events, it gave her a fair start, and her <i>début</i> was the talk of +London.</p> + +<p>Mdlle. Nilsson's performances were continued throughout the season with +increasing success, she appearing successively as "Martha," "Donna +Elvira," and the "Queen of Night" in the <i>Magic Flute</i>. She repeated the +<i>Traviata</i> again and again, bringing the season to a most brilliant +termination.</p> + +<p>After a short holiday I recommenced my regular autumn tour in Dublin, +repeating the usual Liverpool morning concert with the usual success.</p> + +<p>After visiting Liverpool and Manchester, I returned to London and opened +my season on the 28th October.</p> + +<p>In consequence of my having engaged a female harpist I received a round +Robin from the orchestra, threatening to leave at the end of the week +unless I at once replaced her by a male performer. I insisted<a name="page_107" id="page_107"></a> on +receiving the week's notice to which I was entitled, and, seeing +evidence of a conspiracy, took out a summons against every member of my +orchestra. On the day fixed for the hearing the musicians excused +themselves, through their solicitor, from appearing, their case not +being ready. Afterwards I myself was unable through indisposition to +appear on the day to which the case had been adjourned. At this there +was much groaning among the defendants, and threats were uttered. The +Trade Unions were very active just then throughout the country, and the +players had been promised unlimited support towards maintaining their +menaced strike. At last the case was heard; but on the very day before +the one fixed by the Magistrate for giving his decision an occurrence +took place which rendered all further proceedings in the matter +unnecessary.</p> + +<p>Towards the end of November an insurance agent called upon me urging the +necessity of effecting an insurance on my properties, scenery and +dresses, which had been accumulating since the beginning of my tenancy. +I replied that in consequence of the high rate of premium it was better +to let things take their chance. Besides, there was no probability, +under my management, of the theatre ever being destroyed by fire. +Eventually we came to terms as to the rate to be charged.</p> + +<p>About this time a proposition was made to let the theatre to Professor +Risley for his Japanese performances, to run from Christmas to February. +A<a name="page_108" id="page_108"></a> large sum of money was to be paid to me, and it was verbally agreed +that my treasurer should be retained by the new-comers to superintend +the front of the house and the monetary arrangements.</p> + +<p>On the 7th December, during a rehearsal of <i>Fidelio</i>, my insurance agent +called to complete the insurance. I showed him the inventories of the +different departments, and agreed to insure for £30,000; but as the +costumier's list was not at hand, and the costumier himself was out at +dinner, the agent suggested my giving him £10 on account and keeping the +matter open until the following Monday, when he would call again. Just +as he was leaving the room my treasurer came in, stating that he had +just heard that the Japanese people did not intend to avail themselves +of his services after he had given them all the information respecting +the working of his department.</p> + +<p>I asked whom they <i>had</i> engaged. He mentioned the name of Mr. Hingston, +at which I started, and said—</p> + +<p>"If Hingston is engaged, good-bye to the theatre. It will make the +fifteenth that will have been burnt under his management."</p> + +<p>On hearing this, the insurance agent stepped across the room and again +suggested that I should hand him the £10 to keep me right till Monday.</p> + +<p>I jokingly said: "There is no fear;" and he took his departure.</p> + +<p>I remained working in my office at Pall Mall<a name="page_109" id="page_109"></a> until about six o'clock +that evening. As I was engaged to dine at Mdlle. Titiens's in St. John's +Wood, I had but a few moments to put my head into the box-office, which +was just closing, and ask Mr. Nugent for some opera tickets for the +following night. I did not, according to my custom, go through his +office on to the stage (which I might have done while he was getting out +the tickets), fearing I should be too late for the dinner.</p> + +<p>About half-past eleven o'clock that evening our party was alarmed by a +violent ringing of the bell. Then my servant rushed in with his clothes +very much torn, uttered some inarticulate sounds, and fell on a chair, +pointing upwards. On looking out of the window we saw that the sky was +bright red, although we were four miles from the fire. Mdlle. Titiens +and Signor Bevignani exclaimed with one voice: "It's the theatre!"</p> + +<p>I hastened down at once, accompanied by Bevignani, only to find +impassable barriers of soldiers and populace, and it was not without +great difficulty I could approach the building. On my pointing out to +the firemen certain doors which they ought to break open in order to +recover wardrobes, music, &c., I was told to "mind my own business." +They then went to quite another part and began chopping and breaking, +whereas had they allowed themselves to be guided by me they might have +saved a considerable portion of my property. It was not until three +hours afterwards that the fire reached that<a name="page_110" id="page_110"></a> part of the theatre which I +had pointed out as containing things which might have been saved.</p> + +<p>Lord Colville was very kind, and with his assistance I reached one +portion of the building, to which he accompanied me, enjoining me to +save engagements or any important documents in my private rooms at Pall +Mall. But I was so bewildered that all I could do was to seize a dress +coat and an opera hat, with which I came downstairs, leaving all my +papers and documents on the table. I remained until two or three in the +morning. Then, my presence being useless, I went home to change my +clothes, which were freezing on me, and next hurried to Jarrett, my +acting manager.</p> + +<p>Jarrett was in bed. But he had already heard of the calamity, and +expressed great regret. I desired him at once to go over to Chatterton, +the then lessee of Drury Lane, who resided in the neighbourhood of +Clapham, and endeavour to secure his theatre from March till the end of +July before he could hear of my disaster.</p> + +<p>"Go as quickly as possible," I said, "and if the newspaper is lying +about be careful he does not see it."</p> + +<p>On arriving at Chatterton's the first thing Jarrett saw, lying on the +hall table, was the <i>Times</i> newspaper. He threw his top coat over it, +and waited quietly downstairs until Chatterton, who was dressing, could +receive him. Then, like the able diplomatist he was, without appearing +at all anxious, he concluded a short agreement whereby<a name="page_111" id="page_111"></a> I was to have +the use of Drury Lane for the following spring and summer seasons, with +a right to renew the occupation for future years. By half-past nine +o'clock Mr. Jarrett was able to hand me the agreement, and it was not +until half-past ten that Mr. Gye drove up to Mr. Chatterton's to inform +him of the disaster Mapleson had met with, and at the same time to offer +him £200 per week provided he did not let Drury Lane for Italian Opera.</p> + +<p>The day after the fire I received letters of sympathy from all parts of +the country; likewise telegrams of condolence, including one from Her +Majesty the Queen, which greatly affected me. In fact, my nerves were so +unstrung that I was hardly master of myself. In the course of the next +day His Royal Highness the Prince of Wales came to see me. I showed him +over the ruins of what the day before had been the Opera-house. After +his departure I was so unnerved that I took to my bed in the adjoining +hotel, and remained there some two weeks.</p> + +<p>The Monday after the fire the insurance agent, with whom I had neglected +to do business, called upon me to assure me of his deep sympathy, since +if I had paid him the £10 on account of the proposed insurance he would +now have had to give me a cheque for £30,000. I told him that I was +exceedingly glad I had not paid him the £10, as I certainly should have +been suspected of having myself caused the fire, and should never +afterwards have been able to set myself right with the public.<a name="page_112" id="page_112"></a></p> + +<p>Prior to my recovery, amongst the numerous callers was one particularly +sympathetic gentleman, who came in a carriage and pair, and said he +would see that the theatre was rebuilt, asking, as it were, my +permission for this. I was deeply touched by his kindness. Some short +time afterwards he wrote saying that he thought it better, for my sake, +that Covent Garden should be closed, and that he had seen Mr. Gye and +made terms for its purchase. On a later occasion he called upon me, and +stated that the site of Her Majesty's Theatre, which had then been +cleared by Lord Dudley, being such a desirable one, he was in treaty +with the Bank of England to lease it to them at a considerable ground +rent, they erecting the building. By this means, he explained, the +£80,000 then lying in consols for the purpose of re-erecting the theatre +could be handed over to me. But he ultimately consented that I should +give him half.</p> + +<p>Notwithstanding all my troubles, within three weeks after the fire I was +already on the road with a strong concert company for the usual spring +tour; all my spare time being utilized in the creation of a new +wardrobe, music library, etc. Whilst at Manchester Mdlle. Titiens aided +me kindly in the purchase of various goods, stuffs, cottons, needles, +etc., etc.; all the prime donne of the Company volunteering their +services as dressmakers in order to have everything ready for my Opera +season, which was to commence early the following month in Glasgow.<a name="page_113" id="page_113"></a></p> + +<p>Being under the belief that this fire had cancelled the contract I had +already made at the Theatre Royal, Glasgow, I got entangled, in my +mistake and hurry, into an engagement at another theatre, the Prince of +Wales's; and as the time approached for my coming to Scotland both +managers threatened me with an attachment if I did not fulfil my +engagement. In fact, I found myself announced at both houses, with war +to the knife threatened by the two rival managers. At one time they +proposed to combine against me and leave me, with my expensive Company, +outside in the cold. But about ten days before the date fixed I paid a +visit to each, when, out of consideration for me personally, they both +agreed to have me alternately at their theatres. This caused great +excitement in the city, and as the adherents of each manager mustered in +force the receipts at both houses were very great, so that eventually +each manager had taken more money in the half number of representations +than he would have received had I given him the full number.</p> + +<p>Prior to the opening of my London season of 1868 I received another +visit from my philanthropic friend, Mr. Wagstaff. He told me that he had +purchased Mr. Gye's interest, showing me the agreement, and he +considered that it would be more desirable that Covent Garden for the +future should be run by a Company, of which I should be the manager, +receiving some £20,000 cash as a consideration for my goodwill and for +any property I<a name="page_114" id="page_114"></a> might have in music or other effects, with a salary of +£3,000 a year as long as I chose to retain my post, and a fair share in +the profits.</p> + +<p>I became quite uncomfortable at having so much wealth suddenly thrust +upon me, and wished I were back in my old position of trouble and +anxiety. In due course all the necessary documents were signed, Mr. Gye +at the same time writing a letter to a high personage, in which he +stated that his long-sought desire to quit the cares of management had +at length been satisfied, and strongly urged that all patronage should +now be transferred to me, as the shattered state of his health would +preclude him for the future from taking part in operatic affairs. On +entering upon my duties I began to reorganize the establishment by, in +the first place, relieving myself of some sixty old choristers who had +been engaged from time immemorial, and introducing in their stead my +fresh, full-voiced young Italians whom I had imported the previous year.</p> + +<p>One evening a card was brought to me from a young gentleman, the son of +an old musical friend of mine, requesting an interview. He told me that +he had been promised the secretaryship of the Grand Opera (meaning Her +Majesty's and Covent Garden, united under the new arrangement) for seven +years at a salary of £800 a year, provided he lent £200 for a month to +my philanthropic friend, who had organized the whole thing. It appeared +to me like a dream. I could not understand it; but still, as nothing +astonishes me in this world, I took<a name="page_115" id="page_115"></a> it as a matter of course, and later +in the day went over to Wandsworth to call on Mr. Gye, in order to see +how matters stood.</p> + +<p>On my entering, Mr. Gye said how pleased he was to leave operatic +management for ever, and that he wondered how he had found the nerve to +continue it so long. Before I could say a word to him, he desired me to +be seated and handed me a cigar, when he began to inform me of his plans +for the future. He told me he had secured by private treaty a vast +estate in Scotland of some 20,000 acres, with the right of shooting and +fishing. He was arranging, moreover, to purchase a large estate in +Oxfordshire. Various guns had been ordered, with fishing rods and other +appurtenances. Steps, too, had been taken for the sale of the house in +which he was then living.</p> + +<p>I made two or three attempts to get a word in, but without success; and +at last I had scarcely the courage to hint that the projected +arrangements might, possibly, not be carried out.</p> + +<p>I explained, however, that on the following Monday a small payment of +£10,000 would be due to me; also that a further deposit on Drury Lane +would become payable, and that I should make that deposit, as it was +probable, nay, very possible, that I should be called upon to resume my +position at Drury Lane, instead of Covent Garden. I at the same time +recommended Mr. Gye at all events to be prepared to open Covent Garden, +as it wanted but some three or four weeks to the beginning of the +season. This<a name="page_116" id="page_116"></a> he replied he could not do, as the deposit he was to +receive would not be payable before some three or four weeks. He still, +moreover, doubted all I had been telling him.</p> + +<p>On the Monday following I attended at the Egyptian Bank, which had been +specially hired for the occasion, and on entering with my order for the +payment of £10,000, found one small boy seated on a very high stool, +drawing figures on a sheet of blotting paper. On my demanding £10,000 +the boy turned deadly pale and was at first inclined to run. I explained +to him that it was not his fault if the money was not forthcoming, but I +requested him, in the presence of a witness I had brought with me, to +present seven letters which I already had in my pocket, each one +containing notice to the Directors that, they having failed to pay me my +money at the appointed time, my contract as general manager was at an +end. I at once informed Gye of what had occurred, recommending him again +to get his Company together and re-engage Costa and the orchestra, as my +own prospectus was to come out the middle of that week.</p> + +<p>From what I afterwards learned, the £200 my musical friend's son was to +have advanced prevented some thousands of circulars from being posted +for want of stamps, and the printer from delivering the remainder of the +circulars he had prepared for want of a deposit. I must add that Mr. Gye +repeatedly thanked me for my straightforward conduct<a name="page_117" id="page_117"></a> in preventing him +from being practically ruined.</p> + +<p>Considerable changes were necessary in adapting the Theatre Royal, Drury +Lane, for Italian Opera. I was obliged to have sundry discussions with +the Committee before I could be allowed to alter the floor of the pit +and boxes, and to take about twenty feet off the stage, its removal +enabling me to add some two or three rows of stalls. I had, moreover, to +decorate, clean, and carpet the house from top to bottom, the outlay for +which, irrespective of the rent, cost me from £3,000 to £4,000. A +further difficulty presented itself, as there were some six or seven +hundred renters who were at that time allowed free admission to any part +of the theatre, and it was only by temporizing with their +representatives that I ultimately made an equitable arrangement +satisfactory to all parties.</p> + +<p>The season opened in due course, and a magnificent Company I was enabled +to introduce: Mdlle. Titiens in the zenith of her powers; Christine +Nilsson, who had made such a prodigious success the previous season at +Her Majesty's; also Miss Clara Louise Kellogg, Mongini, Fraschini, +Santley, etc. The performances were really of the first order, and +Mozart's masterpieces were given with such strong combined casts as to +attract the whole of London. In fact, the success was such as to +paralyze the efforts of the rival manager.<a name="page_118" id="page_118"></a></p> + +<h3><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX.</h3> + +<div class="blockquot"><p class="hang">PROPOSAL FOR AN OPERATIC UNION—TITIENS IN DUBLIN—HER SERVICES AS +A PACIFICATOR—AUTUMN SEASON AT COVENT GARDEN—THE COMBINATION +SEASON—IMMENSE SUCCESS—COSTA'S DESPOTISM—AN OPERATIC +CONSPIRACY—LUCCA AND HER HUSBANDS.</p></div> + +<p class="nind">D<small>URING</small> my successful Drury Lane season, in the month of June, 1868, a +letter addressed to me was left by an unknown person in the hall. The +superscription on the envelope was in a disguised hand, but the letter +enclosed was in the writing of Mr. Gye.</p> + +<p>The manager of the Royal Italian Opera proposed a coalition with the +manager of Her Majesty's Theatre, and Mr. Gye suggested a personal +interview on the subject. Here, however, is his letter:—</p> + +<p class="poel"> +<span style="margin-left: 6em;">[<small>COPY.</small>]</span><br /> + +<span style="margin-left: 4em;">"Springfield House,</span><br /> + +<span style="margin-left: 6em;">"Wandsworth Road,</span><br /> + +<span style="margin-left: 10em;">"June 19th, 1868.</span><br /> +</p> + +<p>"D<small>EAR</small> M<small>R</small>. M<small>APLESON</small>,</p> + +<p class="ind4">"The last time you were over here I believe we were pretty well agreed +that our interests lay rather in the combination of the two<a name="page_119" id="page_119"></a> operas than +in fighting one another. As we shall both of us be making our +engagements for the next year, if anything is to be arranged between us +it is time it were thought about. I should be very glad to see you on +the subject if you still remain in the same mind as when I saw you last. +It would perhaps be well if we did not meet either at Drury Lane or at +Covent Garden. Would you mind coming over here, or would you prefer our +meeting somewhere in town? This matter, for obvious reasons, had better +remain strictly <i>between ourselves</i> for the present.</p> + +<p> +<span style="margin-left: 30%;">"Yours very truly,</span><br /> +<span style="margin-left:50%;">"(Signed) FREDERICK GYE.</span><br /> +<span style="margin-left: 2%;">"James Mapleson, Esq."</span><br /> +<br /> +</p> + +<p>When I met Mr. Gye by appointment his first proposition was that we +should work together at either of the two theatres, the other one being +kept closed; and that I should take a quarter of the profits.</p> + +<p>I suggested, as a more equitable adjustment, an equal division of +profits; and to that Mr. Gye at last agreed.</p> + +<p>Articles of partnership were then drawn up binding us to remain together +for three years on the basis of half profits, and our agreement was to +be kept secret for the next six months.</p> + +<p>At the close of my engagement at Dublin, in the beginning of October, +1868, a great demonstration<a name="page_120" id="page_120"></a> took place in honour of Mdlle. Titiens, it +being the last night of the season. Weber's opera of <i>Oberon</i> was +performed, and after Titiens had sung the exacting air of the third act, +"Ocean, thou Mighty Monster," a most animated scene took place, many +requiring the great air to be repeated, whilst others called out the +names of different Irish songs. The uproar lasted upwards of fifteen +minutes before silence could be restored, when it was decided that "The +Last Rose of Summer" should be given.</p> + +<p>But the orchestra had no music and the conductor would not venture a +performance without it. Further delay and further uproar took place, +until at length Signor Bettini, who had undertaken the <i>rôle</i> of +"Oberon," came from the wing, pulling on a cottage piano, whilst Titiens +helped the conductor to get out of the orchestra in order to accompany +her. As Bettini was turning the piano round, in consequence of the slope +of the stage it fell right over, causing an immense cheer from the gods, +when no less than five demons (who were to appear in the next scene of +<i>Oberon</i>) rushed from the wings to raise it up again on its legs. At +length order was restored, and such was the silence that when Mdlle. +Titiens was on the point of beginning the beautiful air I remember +taking a pin from my collar and dropping it on the stage in order to +give a practical and effective illustration of the old saying that you +"could hear a pin drop."</p> + +<p>No sooner had the singer finished the last verse<a name="page_121" id="page_121"></a> than a roar of +admiration was heard, so loud, so overpowering, that I can only compare +it to the belching forth of huge pieces of artillery. At the close of +the opera a great crowd, composed of the public and the medical students +who habitually occupy the gallery (always without their coats, sometimes +without their waistcoats, occasionally without their shirts), was +awaiting the Queen of Song's departure. They had actually cut the traces +of her carriage, and from a ship chandler's opposite had got two long +coils of rope which they fastened to the vehicle. Titiens shortly +afterwards appeared, amidst deafening cheers, and the procession +started. No less than a dozen of the singer's most enthusiastic admirers +were on the roof letting off fireworks. All went on in something like +order until with our two long strings of volunteer horses we arrived at +Dawson Street, when, in consequence of no previous arrangement having +been made, one half of the team went up Dawson Street and the other half +down Nassau Street, the result being a violent collision against +Morrison's Hotel. It was not without considerable difficulty and delay +that things could be readjusted.</p> + +<p>On our arriving at Shelbourne Hotel the police found themselves +powerless to cope with the multitude. But we had been accompanied by a +young man, who, standing on the carriage step, had repeatedly addressed +Mdlle. Titiens both in German and in French, telling her that she had +"nothing to<a name="page_122" id="page_122"></a> fear." On arriving at the door of the Shelbourne he gave a +shrill whistle as a call for volunteer special constables, when a +passage was at once cleared. It being a wet night the enthusiasts around +us made a carpet for Titiens to walk on by throwing their coats on to +the pavement. The crowd remained opposite the hotel for over an hour, +during which time repeated calls were made for a song. But the gas of +Mdlle. Titiens's sitting-room had been turned low, and the blinds being +drawn down she hoped it might appear that she had retired for the night.</p> + +<p>Shortly afterwards, however, a deputation came up accompanied by one of +the chief constables, stating that if madame could not disperse the +crowd the consequences would be very serious, as it refused to move. She +at last felt compelled to go to the window of her hotel, when, after +entreating for silence, she addressed the crowd in these words: "I will +sing you 'The Last Rose of Summer' provided you promise to go home +immediately afterwards like mice."</p> + +<p>And sure enough they did, for at the conclusion of the song the crowd +melted away in dead silence, not one person being left.</p> + +<p>The inspector afterwards remarked to Mdlle. Titiens that if ever a +revolution broke out in Ireland they would send over for her to quell +it.</p> + +<p>During the stay of my Opera Company at Dublin I allowed some of the +principal artists to sing in<a name="page_123" id="page_123"></a> various churches for charitable purposes. +Mdlle. Titiens's services were sought for far and wide, and she was +always ready to devote her Sunday, which was the only day of rest she +had during the week, to the cause of charity. On one occasion I +recollect her singing in a poor neighbourhood near Thomas Street, when +many persons actually stooped to kiss the ground where she had trodden. +She was held in the highest esteem by the clergy.</p> + +<p>One Saturday evening, after the termination of the opera, several of my +Italian choristers were wending their way home when they were accosted +by some rowdy, good-natured Irishmen, who insisted upon having a drink +with them. They, not comprehending the language, thought the men were +robbers, and placed themselves in a position of defence, whereupon they +were boldly attacked by the sons of Erin, and a free fight ensued, in +which some two or three Irishmen got stabbed. About noon the following +day it was notified to me that some four or five of my choristers were +in prison on account of this serious affair, and would be kept there +until the wounded men, who were then in hospital, were sufficiently +recovered to appear against them. I at once sought Mdlle. Titiens's aid, +who went with me to one of the priests, with whom we afterwards visited +the prison where our choristers were. They insisted that it was only a +small affair, and that they had defended themselves against their +aggressors.</p> + +<p>They seemed also in great distress because the<a name="page_124" id="page_124"></a> police authorities had +taken away their week's salary which they had in their pockets, together +with such pieces of jewellery or keys they had about them. By the advice +of the priest we afterwards visited the hospital, and I, accompanied by +the surgeon, inspected their wounds, which were triangular, as if caused +by an Italian stiletto.</p> + +<p>My clerical friend was very kind, and after a deal of whispering with +the hospital surgeons, and afterwards with the wounded men themselves, +he stated that they might have done it in accidentally falling down, but +that it was not their intention to appear against the choristers, who +were afterwards bailed out by Mdlle. Titiens. They duly appeared the +next morning at the police-court and were dismissed, no one appearing +against them.</p> + +<p>I omitted to inform the reader that on the conclusion of the partnership +agreement with Mr. Gye, which was to be kept a secret for the next six +months, I rented the Royal Italian Opera for the autumn of 1868 for this +double reason: first, that Her Majesty's Theatre was in ashes, and that +I had no place wherein to give my autumn performances; and secondly, +that my being seen about Covent Garden would in that case cause no +surprise, whilst it would enable me occasionally to meet Mr. Gye in +order to discuss our coming arrangements.</p> + +<p>During my autumn season at Covent Garden I discovered Mdlle. Scalchi, +the eminent contralto—then singing at a building which had been a<a name="page_125" id="page_125"></a> +circus. Struck with the lovely quality of her voice I engaged her for +five years, events fully confirming my judgment on that occasion. About +this time I first brought to this country Miss Minnie Hauk, a young +singer about 18 years of age. She made her <i>début</i> at Covent Garden as +"Amina" in <i>La Sonnambula</i>, her next part being that of "Cherubino" in +Mozart's <i>Nozze di Figaro</i>.</p> + +<p>After due discussion with Mr. Gye it was decided that our joint +enterprise should be carried on at the Royal Italian Opera pending the +rebuilding of my new theatre.</p> + +<p>As the time for opening the season approached Mr. Gye suggested that we +should ourselves make all engagements with the orchestra, instead of +leaving that duty, as heretofore at the Royal Italian Opera, to Mr. +Costa. This famous conductor was a despot, not only in the musical +direction of his orchestra, but in other ways. He made his own +engagements, and, leaving, of course, the manager to pay the appointed +salaries, took care to be always present on pay day; when, in the case +of any short-coming on the part of a musician, he would stop a portion +of the salary payable to him, if not the whole amount. It was his custom +to arrive at the theatre half-an-hour before the time fixed for the +beginning of the evening's performance. He then took up a position as if +of inspection, and, as he sat on the stage, the players passed him one +by one as if in order of review. I remember on one occasion a<a name="page_126" id="page_126"></a> young +violinist arriving with mud on his boots, and in a frock coat. Costa +pulled him up short, and asked him how he could venture to present +himself in such a condition. The musician replied that he had just +arrived from the Crystal Palace, and had not had time to make his +toilet.</p> + +<p>"Go home instantly," said Costa, "and come back with clean boots and in +evening dress."</p> + +<p>By the time the violinist (who lived in some distant suburb) got back +the second act of the opera was nearly over; and when on pay-day the +offender presented himself for his monthly salary he was informed that +by reason of his absence on the occasion in question one week's salary +was stopped. This sort of treatment the musicians had to put up with, +or, as the only alternative, to accept their dismissal, which really +meant the loss of the provincial festivals and of the Sacred Harmonic +Society.</p> + +<p>It must be added in favour of Costa's despotic ways that he never +allowed any musician that he had engaged to be replaced by a substitute, +even at rehearsal; a practice which in orchestras less severely governed +has become only too frequent, to the great detriment of the +performances.</p> + +<p>Costa, meanwhile, by mere force of will, had gained so much authority at +the Royal Italian Opera that the manager feared him, and was most +anxious to be rid alike of his services and of his tyranny.</p> + +<p>When it was intimated to Costa that the joint managers proposed to +reserve to themselves the<a name="page_127" id="page_127"></a> right of making direct engagements with the +musicians for the orchestra, he would not hear of such an arrangement, +and, much to Mr. Gye's satisfaction, resigned his post.</p> + +<p>In view of the new works we proposed to give, and of the large number of +rehearsals that would be required, two conductors were now engaged, +Arditi and Vianesi.</p> + +<p>Long before the theatre opened we had abundant signs of a prosperous +season, and as the event drew near money poured in from various sources. +We received in private subscriptions as much as £12,000. The +booksellers' subscriptions amounted to £29,000 more, and in the course +of the season the box-office sales alone brought in another £29,000. +Altogether, counting profits from the Floral Hall concerts and sums +received for the services of singers at public as well as private +concerts, we received during the season of 1869 a grand total of +£80,000.</p> + +<p>On the other hand, we paid away in artists' salaries £22,000; for +working expenses (including chorus), £13,000; orchestra, £7,500; sundry +charges, £2,000.</p> + +<p>Our whole expenditure came to £44,000, leaving us a clear profit of +about £36,000.</p> + +<p>Out of my half-share of this profit I had to pay for insurance and poor +rates £3,000. Against this Mr. Gye put the use of the theatre, which was +his property.<a name="page_128" id="page_128"></a></p> + +<p>By our articles of partnership Mr. Gye had stipulated that he should +"take no part in the management of the theatre unless he wished to do +so." This wish came upon him after about a fortnight.</p> + +<p>Our success during this season proved that though two rival Italian +Operas can scarcely be carried on without loss on both sides, one +Italian Opera can be made the source of very considerable profit. Even, +however, with a monopoly there are two things essential to success. The +operatic manager who would prosper must appeal to the public with a very +strong Company, and with new works. Such casts as we secured for some of +the recognized masterpieces of dramatic music could not fail to fill the +theatre.</p> + +<p>Among the new works or revivals produced at the Royal Italian Opera +during the season of 1869 may be mentioned: <i>Fidelio</i>, <i>The Magic Flute</i>, +<i>Robert le Diable</i>, Cherubini's Medea, <i>Hamlet</i> (first time in England), +with Nilsson as "Ophelia," and <i>Don Bucefalo</i> (also first time in +England). <i>Medea</i> had before been given at my own establishment with +Mdlle. Titiens in the tragic part of the heroine. In <i>Le Prophète</i>, +Titiens and Mongini appeared together, Titiens, of course, as "Fidès," +Mongini as "John of Leyden." <i>Don Giovanni</i> was played with Titiens as +"Donna Anna," Nilsson as "Donna Elvira," and Patti as "Zerlina;" while +the part of the dissolute hero was taken by Faure, and that of "Don +Ottavio" by Mario.<a name="page_129" id="page_129"></a></p> + +<p>About this time the secret oozed out that Mr. Jarrett, who had come with +me from Her Majesty's Theatre to the Royal Italian Opera, had made +engagements with Mongini, Ilma de Murska, Trebelli, Christine Nilsson, +Santley, Foli, Faure, and Arditi. Mr. Jarrett, who in after years became +known as the agent of Mdme. Nilsson, and especially of Mdlle. Sarah +Bernhardt, held at that time a post with vague duties attached to it at +the Royal Italian Opera, as previously at Her Majesty's Theatre, which +during the combination season of 1869 was being rebuilt. Jarrett also +acted as agent to Mongini, Ilma de Murska, Trebelli, and Bettini—Mdme. +Trebelli's husband. Many years before he had been in partnership with +Mr. George Wood, representing the firm of Cramer and Co., the well-known +music publishers, for the direction of an Opera Company, and had been +left by his associate in the lurch, Mr. Jarrett being called upon to +meet single-handed liabilities which would have been far too much even +for the partners combined.</p> + +<p>Nor was Jarrett particularly well disposed towards the manager of the +Royal Italian Opera, in whose orchestra he had once played the horn, and +who in one of those orchestral strikes so common in the history of +Opera-houses had taken a leading part as against the manager. Mr. Gye +had thereupon dismissed him; and he now objected to have in his +employment an agent receiving percentage on the salaries of his +singers.<a name="page_130" id="page_130"></a></p> + +<p>If, then, in the opposition he proposed to organize against the Royal +Italian Opera Jarrett injured Mr. Gye, he would not be sorry; while if +as a result of a failure at Drury Lane he injured Mr. Wood, he would be +very glad. Naturally, however, he worked chiefly with a view to his own +success.</p> + +<p>Whether Wood mistrusted Jarrett, or whether after entering into +partnership with him he mistrusted the success of the project, can never +be decided; but it is certain that after securing Drury Lane Theatre for +an operatic campaign, Mr. Wood repented of what he had done, and, +unknown to Jarrett, entered into negotiations with Mr. Gye.</p> + +<p>The advantages of an operatic monopoly were too obvious for Mr. Gye not +to be anxious once more to secure it. This he was prepared to do, even +at a considerable sacrifice; only it was I, his associate, not he +himself, who was to make it. He proposed to me that Mr. George Wood +should be taken into partnership, and that the profits for the season +should be thus divided: Half to Gye, one quarter to Mapleson, one +quarter to Wood. Mr. Gye was ready at that time to take in any number of +partners who seemed in a position to threaten his justly-cherished +monopoly, provided always that their share in the profits came to them +out of my half, not out of his. For me the smallest fraction was deemed +sufficient; he himself, however, could accept nothing less than a clear +moiety.</p> + +<p>After some amusing negotiations between Mr.<a name="page_131" id="page_131"></a> Gye and myself, it was +arranged that Mr. Wood should be taken into the concern on a basis of +equal shares. Each, that is to say, was to receive one-third of the +profits. The seceding artists, whose services we could not wish to +lose—apart from the effect they might have in creating against us a +formidable opposition—had all signed with Mr. Wood; and by the new +arrangement these vocalists (Christine Nilsson, Mongini, Ilma de Murska, +Trebelli, Faure, Santley, etc., with Arditi) were all to form part of +the Royal Italian Opera Company. Our profits would still be large, +though both Gye and myself would have to cede a portion of our gains to +the new-comer.</p> + +<p>Mr. Gye, Mr. Wood, and myself were all seated round a table in Mr. Gye's +private room at Covent Garden Theatre, on the point of signing the +contract which was to bind us together for the season of 1870, when +suddenly a gentle tap at the door was heard, and, like "Edgardo" in the +contract scene of <i>Lucia</i>, Jarrett appeared. He had, as he afterwards +informed me, entirely lost sight of Mr. Wood, who was supposed to be out +of town, gone abroad, anywhere except in London; whence, however, he had +not stirred. Jarrett had not traced his slippery partner to the Royal +Italian Opera. He assured me that having no indications whatever to act +upon he had come there guided simply by instinct. He was a man whose +instinct seldom misled him.</p> + +<p>While Mr. Gye and myself were a little surprised<a name="page_132" id="page_132"></a> at the sudden +apparition, Mr. Wood was lost in confusion. Jarrett meanwhile was +absolutely calm. Standing at the door, he took a pinch of snuff, and for +a few moments remained silent. Then, addressing his partner, he simply +said: "Mr. Wood, can I have a minute's conversation with you outside?" +Mr. Wood rose, and left the room, but returned in less than a minute, +when Gye whispered to me: "It is all right; he is sure to sign." But +when he was asked to put his name to the document which only awaited his +signature to constitute a perfect contract between him, Gye, and myself, +he hesitated, spoke of the necessity in which he found himself of first +consulting his friends, and finally did not sign.</p> + +<p>The conversation which had taken place outside the room, as it was +afterwards repeated to me by Jarrett, was short and simple.</p> + +<p>"The singers you have engaged," said Jarrett, "are under contract to +sing at Drury Lane, and nowhere else. If, then, you join Mapleson and +Gye they will not come to you at Covent Garden, and you will have to pay +their salaries whether you open at Drury Lane or not."</p> + +<p>Wood could only reply that he would not sign with Mapleson and Gye.</p> + +<p>There was no money made that season at the Royal Italian Opera; whilst +Mr. Wood's season at Drury Lane was simply disastrous. The moneyed +partner soon proposed to shut up; but Jarrett, to<a name="page_133" id="page_133"></a> whom Mr. Wood was +bound, would not hear of this.</p> + +<p>"I have no more money," said Wood.</p> + +<p>"But you have a number of pianofortes," replied Jarrett. "You have music +shops here and in Scotland whose contents and goodwill can be sold."</p> + +<p>"You wish to ruin me?" asked Wood.</p> + +<p>"You did not mind ruining me in 1854," answered Jarrett, "when we +carried on Opera together and you left me to bear the burden of your +losses."</p> + +<p>It is bad enough for a manager to lose money, hoping night after night +that by some new and successful stroke, or some change of taste on the +part of the capricious public, the tide of luck may at last turn in his +favour. But Mr. Wood had no such sanguine delusions to maintain him in +his adversity; his losses were irretrievable. They increased as the +season went on without any chance of being even arrested; and in the end +anyone but a man of Mr. Wood's indomitable energy and courage would have +been ruined beyond hope of recovery.</p> + +<p>During the Wood season at Drury Lane many interesting performances were +given, including Wagner's <i>Flying Dutchman</i>, with Ilma de Murska as the +heroine and Santley as the hero; <i>Mignon</i>, with Mdme. Christine Nilsson; +also Weber's <i>Abu Hassan</i>, each for the first time in England. But the +enterprise could not stand against the superior attractions of the Royal +Italian Opera, while the Royal<a name="page_134" id="page_134"></a> Italian Opera, on its side, suffered in +its receipts from the counter attraction presented by Drury Lane.</p> + +<p>Towards the end of the season, war having been declared between France +and Germany, Mdme. Pauline Lucca became anxious about her husband, who +was an officer in a Prussian cavalry regiment, and now under campaigning +orders. She was anxious, therefore, to see him before his departure with +the army moving towards the French frontier. Some weeks afterwards, at +the battle of Mars la Tour, a portion of the Prussian cavalry was +sacrificed in order to hold in check the French, who were seeking to +leave Metz in order to march towards Paris. Mdme. Lucca's husband, Baron +von Rhaden, was dangerously wounded in the charge; and the Baroness +received special permission to visit him in the field hospital, where he +was lying, outside Metz. Another officer of the same regiment, also +wounded, came in for a good share of her attentions; and afterwards, +being at that time in the United States, she applied in the New York +Courts for a divorce from Baron von Rhaden in order to marry Baron von +Wallhofen, the officer, who—as just mentioned—had, like Von Rhaden, +been severely wounded at Mars la Tour. The New York Tribunal granted the +divorce on Mdme. Lucca's simple affidavit; and before her husband (No. +1) had had time to reply by a counter affidavit from Berlin the second +marriage<a name="page_135" id="page_135"></a> had been celebrated. Such being the case the decree of +divorce, so hastily pronounced, could not well be interfered with. So, +at least, said the judges to whom the matter was referred; and Mdme. +Pauline Lucca remained as she is now, Baroness von Wallhofen.<a name="page_136" id="page_136"></a></p> + +<h3><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X.</h3> + +<div class="blockquot"><p class="hang">GYE'S FRATERNAL EMBRACE—LAW-SUITS INTERMINABLE—DISSOLUTION OF +PARTNERSHIP—RETURN TO DRURY LANE—ARRIVAL OF ALBANI—DÉBUT OF +CAMPANINI—THE ANNUAL ONSLAUGHTS OF MR. GYE.</p></div> + +<p class="nind">I <small>SOON</small> found that Mr. Gye, on the principle of embracing <i>pour mieux +étrangler</i>, had taken me into partnership in order to stifle me at his +ease.</p> + +<p>In the early part of June, 1869, Mr. Gye suggested to me that it would +be very desirable to renew my lease of Her Majesty's Theatre in order to +get rid of a provision in the existing one, under which the Earl of +Dudley had the power to determine it in the month of February in any +year. Gye expressed his intention of seeing the Earl of Dudley on the +subject, and at this interview it was agreed that the Earl should grant +a new lease for seven, fourteen, or twenty-one years, Mr. Gye requesting +that it should be granted either to himself alone or to Gye and Mapleson +conjointly. The Earl decided the latter to be more desirable, requesting +that the<a name="page_137" id="page_137"></a> new lease should be signed on or before the 1st September. In +due course we were informed that the lease was ready for signature.</p> + +<p>As the duration of my partnership with Mr. Gye was only for three years +(one of which had already nearly expired), I naturally desired to know +what my position would be at the expiration of the partnership if we +were joint managers of Her Majesty's Theatre for twenty-one years; as it +appeared to me that it would leave him in command of a monopoly at the +Royal Italian Opera, whilst I on my side, unable to perform Opera at Her +Majesty's Theatre, would be called upon to pay half the rent of the +building, which meantime would remain closed. I, therefore, took the +precaution, when the day arrived for approving the draft lease, to +append the following words:—"I am willing to execute the enclosed lease +in conjunction with Mr. Gye upon the understanding as between him and me +that our acceptance of the lease is not to affect in any way our +relative rights under the articles of partnership. We shall respectively +have the same rights under the proposed new lease as we now have or are +subject to in respect of the subsisting lease under the articles of +partnership, and on determination of our partnership this lease shall be +exclusively vested in me for the residue of the term, I indemnifying Mr. +Gye and his estate against any future liability for rent and covenants, +or obtaining his release from the same."<a name="page_138" id="page_138"></a></p> + +<p>This gave great umbrage to Mr. Gye, who thereupon refused to affix his +signature to the lease.</p> + +<p>In the meantime, the 1st of September (the date stipulated by the Earl +for signature) having passed, Mr. Gye contended that by attaching a +condition to my signing of the lease I had not accepted the lease at +all. Besides, therefore, refusing to sign the joint lease, he insisted +upon having a lease of Her Majesty's Theatre for himself alone. A deal +of correspondence and trouble took place about this time, which I will +not weary the reader with, and hundreds of letters passed between us and +our solicitors. It was threatened, in short, that the lease would be +granted by the Earl of Dudley to Mr. Gye alone, to my exclusion. I was, +therefore, compelled in my own defence to file a bill in Chancery, +making Mr. Gye and the Earl of Dudley defendants, to restrain them from +carrying out their plan.</p> + +<p>I ultimately, however, terminated our joint relations with more haste +than I perhaps should have shown in consequence of the abject +despondency, together with absolute physical prostration, into which Mr. +Gye had been thrown through the turn lately taken by operatic affairs. +As he lay exhausted on the sofa there seemed, indeed, but little chance +of his ever rising again to take part in the active business of life. He +could scarcely speak. He was pale, agitated, and such was his feverish +condition that it was necessary from time to time to apply wet bandages +to his forehead. In his state of exhaustion,<a name="page_139" id="page_139"></a> combined with a certain +nervous irritability, it seemed cruel to delay the signature he so much +desired; and the effect of my putting pen to paper was, indeed, to cause +him instantaneous relief. Never before did I see such a change. His +despondency left him. He rose from the sofa, walked about with an +elastic step, a cheerful air, and had he been anything of a vocalist +would, I feel sure, have sung.</p> + +<p>By the terms now agreed to between Mr. Gye and myself I was freed from +all outstanding claims upon the theatre, and received a payment in +money. I at the same time agreed to withdraw the Chancery proceedings +against Dudley and Gye.</p> + +<p>Immediately afterwards I set about forming a Company for my provincial +operatic tour of 1870; also renting Covent Garden from Mr. Gye for the +autumn, as I found it impossible to obtain Her Majesty's, being informed +by Lord Dudley's solicitors that it had been let to Mr. Gye. The ensuing +spring I returned to my old quarters at Drury Lane, my first act being +to secure the services of Sir Michael Costa, who forthwith began forming +his orchestra, whilst I went to the Continent in quest of vocal talent. +I will not trouble the reader about my provincial opera tour, which, as +usual, was very successful indeed; nor with my spring concert tour of +1871, with Titiens, Trebelli, Santley, Foli, and other eminent artists.</p> + +<p>I opened my London season of 1871 under brilliant auspices, the Prince +of Wales having taken a box<a name="page_140" id="page_140"></a> as well as all the leading supporters from +the old house. About this time I secured the services of Mdlle. Marimon, +who drew enormous receipts, but unfortunately fell sick after the third +night. It was only on rare intervals that she appeared again during the +season. I, however, got safely through; producing several standard +works, under the able direction of Sir Michael Costa, in addition to a +revival of <i>Robert the Devil</i>, also <i>Semiramide</i>, with Titiens and +Trebelli, who in this work always drew crowded houses. I also produced +<i>Anna Bolena</i>. The season finished up satisfactorily, and I was glad to +get a fortnight's well-earned rest prior to my autumn tour of opera, +which was pre-eminently successful. I returned to London to take up my +autumn season afterwards at the Royal Italian Opera, Covent Garden, +which terminated early in December, after which I gave a few concluding +operatic performances at Brighton.</p> + +<p>Early the following year I again started on my spring concert tour; +during which I gave 48 concerts in 48 cities in 48 days, followed by a +spring opera season at Edinburgh.</p> + +<p>I have omitted to state that prior to the opening of my successful Drury +Lane season of 1871, the Earl of Dudley became the plaintiff and Mr. Gye +the defendant with regard to Her Majesty's Theatre. Finding I was at +Drury Lane, and in open opposition to the Royal Italian Opera, Mr. Gye +did not seem to think it desirable that he should execute<a name="page_141" id="page_141"></a> the lease; +whereupon Lord Dudley took proceedings against Gye for £7,500, as +arrears of rent for Her Majesty's Theatre.</p> + +<p>About this time Jarrett, in reply to my constant applications, informed +me that Mdlle. Nilsson was about to be married, and, in fact, that her +future husband had already arrived in America, but that he, Jarrett, had +succeeded in inducing her to give four performances the next season +prior to the marriage, which was to be postponed until the following +year. He explained in his letter that as her performances were to be +limited to four I was not to complain of the only terms he could get the +lady to assent to; namely, £200 for each representation. He explained +that £800 would be the total sum; "and what," he asked, "is that where +thousands are concerned, in addition to the prestige it will give to +your house, as well as the influence on the subscription list?" I +thereupon authorized him to close the matter for the season of 1872.</p> + +<p>About this time my attention was drawn by my friend Zimelli, the manager +of the theatre at Malta, to a most charming young soprano, who he +assured me was destined to take a very high rank; and about the same +time I received a letter from a regular subscriber to the house, a +distinguished officer, pointing out the excellence of this young lady. I +at once opened negotiations which ultimately led to favourable results. +Colonel McCray, I may add, had written to me from Florence on the<a name="page_142" id="page_142"></a> same +subject. The name of the young singer was Emma Albani; and having, as I +thought, secured her services—positively promised in a letter written +to me by the lady—I found myself deprived of them by Mr. Gye; who I +find, now that I look back on the past, paid me an attention of this +kind—sometimes greater, sometimes less—regularly every year.</p> + +<p>On her arrival Mdlle. Albani was to sign the contract; and as soon as +she got to London she, with perfect good faith, drove to what she +believed to be my theatre. She had told the cab-man to take her to the +manager's office at the Italian Opera. She was conveyed to the Royal +Italian Opera, and, sending in her card to Mr. Gye, who had doubtless +heard of her, was at once received. On Mdlle. Albani's saying that she +had come to sign the contract which I had offered her, Mr. Gye, knowing +that I never made engagements but with artists of merit, gave her at +once the agreement she desired.</p> + +<p>To do Mr. Gye justice I must here mention that after the contract had +been signed he, in the frankest manner, avowed to Mdlle. Albani that he +was not Mr. Mapleson, for whom she had hitherto mistaken him. He +explained to her that there was a manager named Mapleson who rented an +establishment somewhere round the corner where operas and other things +were from time to time played; but <i>the</i> opera, the permanent +institution known as such, was the one he had the honour of directing. +If, he<a name="page_143" id="page_143"></a> concluded, Mdlle. Albani was sorry to have dealt with him she +might still consider herself free, and he would at once tear up the +contract.</p> + +<p>Mdlle. Albani, however, was so impressed by the emphatic manner in which +Mr. Gye dwelt on the superiority of his theatre to mine that she +declared herself satisfied, and kept to the contract she had signed. +Colonel McCray called on me soon afterwards to beg that out of +consideration for the lady I would give up the letter in which she +declared herself ready to sign with me. I assured him that I had no +intention of making any legal use of it, but that I should like to keep +it as a souvenir of the charming vocalist who had at one time shown +herself willing to be introduced to the London public under my auspices.</p> + +<p>Why, it may be asked, as a simple matter of business—indeed, as an act +of justice to myself—did I not take proceedings for an enforcement of +the agreement which Mdlle. Albani had virtually contracted? I, of +course, considered the advisability of doing so, and one reason for +which I took no steps in the matter was that Titiens, Nilsson, Murska, +and Marimon were members of my Company, and that even if Mdlle. Albani +had come to me I should have found it difficult to furnish her with +appropriate parts.</p> + +<p>The young lady duly appeared at Covent Garden about the beginning of +April in <i>La Sonnambula</i>, and at once achieved a remarkable success, +which<a name="page_144" id="page_144"></a> caused me very much to regret the loss of her. She afterwards +appeared as "Elsa" in <i>Lohengrin</i> in an Italian version, which had been +made for me by Signor Marchesi, husband of the well-known teacher of +operatic singing, and himself an accomplished musician.</p> + +<p>I had ordered from Signor Marchesi as long before as 1864 an Italian +version of <i>Tannhäuser</i>, which I duly announced in my prospectus for +that year, but which I was dissuaded by some critical friends, who did +not believe in Wagner, from presenting to the public. I had been +advised, and there was certainly reason in the advice, that if I had +quite decided to run such a risk as would be necessarily incurred +through the production of an opera by Wagner (whose <i>Tannhäuser</i> had +three years previously been hissed and hooted from the stage of the +Paris Opera-house) I should at least begin with his most interesting and +most attractive work, the poetical <i>Lohengrin</i>. Accordingly, reserving +<i>Tannhäuser</i> for a future occasion, I determined to begin my Wagnerian +operations with the beautiful legend of Elsa and the Knight of the Swan; +and I commissioned Signor Marchesi to execute such a version of +<i>Lohengrin</i> as he had previously given me of <i>Tannhäuser</i>—a version, +that is to say, in which, without any departure from the meaning of the +words or from the forms of the original versification, the musical +accents should be uniformly observed.<a name="page_145" id="page_145"></a></p> + +<p>But in England the laws relating to dramatic property seem to have been +made for the advantage only of pirates and smugglers. I had printed the +Italian translation of <i>Lohengrin</i> which Signor Marchesi had executed +for me, and for which I had paid him the sum of £150. But I had not +secured rights of representation in the work by going through the +necessary farce of a mock performance before a sham public; and anyone, +therefore, was at liberty to perform a translation which in any country +but England would have been regarded as my property. How Signor +Marchesi's translation of <i>Lohengrin</i> got into Mr. Gye's hands I do not +know. But the version prepared for me at my cost was the one which Mr. +Gye produced, and which somehow found its way to all the Italian +theatres.</p> + +<p>It has amused me in glancing through the history of my operatic seasons +since 1861 to see how persistently Mr. Gye endeavoured by some +stroke—let us say of policy—to bring my career as operatic manager to +an abrupt end.</p> + +<p>In 1861, when at Adelina Patti's own suggestion I was engaging a Company +and taking a theatre with a view to her first appearance in England, he +entangled her in an engagement by means of a fifty-pound loan.</p> + +<p>In 1862, just when I was on the point of opening Her Majesty's Theatre, +the late Mr. Augustus Harris, Mr. Gye's stage manager and adviser on<a name="page_146" id="page_146"></a> +many points, approached Mdlle. Titiens with an offer of a blank +engagement.</p> + +<p>In 1863 Mr. Gye's insidious but unsuccessful advances towards Mdlle. +Titiens were repeated.</p> + +<p>In 1864 Mr. Gye having, as he pretended, bought exclusive rights in +<i>Faust</i> over my head, tried by means of an injunction, impossible under +the circumstances (since the right of representing Faust at my own +theatre had been duly purchased by me from the Paris publishers), to +prevent me from performing the most successful opera I had yet secured.</p> + +<p>In 1865 Mr. Gye did not renew his annual attack until my season was +almost at an end. But on the last night, or nearly so, just when I had +been promising good things for the ensuing season, he attempted to +spring a mine upon me in my own house. I was sitting calmly in my box +watching a particularly good performance of <i>Faust</i>, with Titiens, +Trebelli, Gardoni, Junca, and Santley in the principal parts, when the +old Duke of Leinster came in and said—</p> + +<p>"Look here, Mapleson; what is the meaning of this?"</p> + +<p>He handed me a printed announcement which I found had been placed in +every seat in my theatre, and which I here reproduce with all possible +precision, not excepting the typographical peculiarities by which the +name of the "Right Hon. the Earl of Dudley" is made to appear in large +capitals, and that of Mr. Gye in larger capitals still. Here is the<a name="page_147" id="page_147"></a> +astonishing document which if, on reflection, it filled me with mirth, +did also, I freely admit, cause me for a few moments considerable +surprise:—</p> + +<p><b>Mr. GYE</b> <small>has the honour to announce that he has transferred the +proprietorship of T<small>HE</small> R<small>OYAL</small> I<small>TALIAN</small> O<small>PERA,</small> C<small>OVENT</small> G<small>ARDEN</small>, to a +Public Company.</small></p> + +<p><b>Mr. GYE</b> <small>will occupy the position of General Manager.</small></p> + +<p><small>The Company has now made arrangements for purchasing of T<small>HE</small> R<small>IGHT</small> +H<small>ON.</small> <small>THE</small> E<small>ARL OF</small> D<small>UDLEY</small> his Lordship's interest in H<small>ER</small> M<small>AJESTY'S</small> +T<small>HEATRE,</small> H<small>AYMARKET.</small></small></p> + +<p><small>The Prospectus of the Company will be issued in a few days.</small></p> + +<p class="c"><small> +ROYAL ITALIAN OPERA,<br /> +COVENT GARDEN,<br /> +J<small>ULY</small> 29<small>TH</small>, 1865.</small></p> + +<p>On inquiry I found that an emissary from Covent Garden had bribed one of +my box keepers, who, for the small sum of one sovereign, had betrayed +his trust, and deluged my theatre with daring and mendacious +announcements from the opposition house.</p> + +<p>In 1866 Mr. Gye tried to carry out the arrangement with which he had +audaciously threatened me in my own theatre just as the season of 1865 +was terminating. I happened to hold a twenty-one years' lease of Her +Majesty's Theatre; and to purchase Lord Dudley's interest in the +establishment was a very different thing from purchasing mine. But what +at once put a stop to Mr. Gye's action in the matter was an injunction +obtained by Colonel Brownlow Knox to restrain Mr. Gye from dealing with +the Royal Italian Opera as his property until the seemingly interminable +case of Knox <i>v.</i> Gye had been decided.<a name="page_148" id="page_148"></a></p> + +<p>In 1867 Mr. Gye may have been nurturing I know not what deadly scheme +against my theatre. But this year a fatal accident came to his aid, and +he was spared the trouble of executing any hostile design. It was in +1867 that Her Majesty's Theatre was destroyed by fire.</p> + +<p>In 1868 came the proposition for partnership. Mr. Gye wished to grapple +with me at closer quarters.</p> + +<p>In 1869 Mr. Gye was intriguing with Lord Dudley to get Her Majesty's +Theatre into his hands.</p> + +<p>In 1870 Mr. Gye made his droll proposal to the effect that I should go +equal shares with him in paying the rent of Her Majesty's Theatre, I +binding myself not to open it.</p> + +<p>In 1872 Mr. Gye engaged Mdlle. Albani, already under contract to me, and +helped himself to my version of <i>Lohengrin</i>.</p> + +<p>In 1873 he offered an engagement to one of my two leading stars, Mdlle. +Nilsson; and I had myself to write explaining to him very clearly that +she was engaged to me.</p> + +<p>For two whole years Mr. Gye remained quiet as towards me. But in 1876, +when I was on the point of completing the capital necessary for carrying +out my grand National Opera project on the Thames Embankment, he wrote a +letter which somehow found its way into the <i>Times</i>, denouncing the +whole affair, and proving by an extraordinary manipulation of figures +that my rent would be something like £40,000 a year.<a name="page_149" id="page_149"></a></p> + +<p>In 1877 Mr. Gye, knowing that I had engaged Gayarré, and well assured +that I should not have done so had not Gayarré been a good artist, +offered him double what I was to pay him. Gayarré, with all the +innocence of a tenor, explained to me that the temptation presented to +him was irresistible. I brought an action against him all the same, and +obtained in the Italian Courts a judgment for £8,000, which I have not +yet been able to enforce by reason of his having no property in Italy.<a name="page_150" id="page_150"></a></p> + +<h3><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI.</h3> + +<div class="blockquot"><p class="hang">ADELINA'S SUCCESSOR—A PRIMA DONNA'S MARRIAGE NEGOTIATIONS—POUNDS +<i>V.</i> GUINEAS—NILSSON AND THE SHAH—PRODUCTION OF +"LOHENGRIN"—SALVINI'S PERFORMANCES AND PROFITS—MARGUERITE +CHAPUY—IRONY OF AN EARL.</p></div> + +<p class="nind">H<small>AVING</small> relied upon Mdme. Nilsson's services for my Drury Lane season of +1871, I felt in a position of great difficulty. I thereupon set about +inquiring for a capable prima donna to supply her place. About two days +afterwards I received a letter from America informing me of a most +extraordinary singer, the writer further setting forth that his father +had, some twenty years previously, recommended me Adelina Patti, and +that he could equally endorse all that was now said of this coming star. +Without one moment's hesitation I accepted, feeling sure the "tip" must +be a good one, and in due course the lady arrived. She was of short +stature and remarkably stout, which I considered at once a drawback; but +so unbounded was my confidence in the recommendation that I persuaded +myself these<a name="page_151" id="page_151"></a> defects would be of no consequence whatever in the general +result.</p> + +<p>At the conclusion of the first rehearsal Sir Michael Costa came down in +a most mysterious way, asking me if I was sure as to the prima donna's +talents. I told him he need be under no apprehension whatever on the +subject.</p> + +<p>At length the general rehearsal arrived, and a message came from Sir +Michael, begging me to ask the little lady to sing out, as up to the +present time nobody had heard her voice at any of the rehearsals. I came +on to the stage, but as our new <i>Diva</i> was conducting herself with great +importance, and moreover seemed to be busy with the preparation of her +music, I told Sir Michael that he need labour under no misapprehension, +as she was guaranteed to take the town by storm.</p> + +<p>Evening came, and a more dismal <i>fiasco</i> I do not recollect. Such +unbounded faith had I placed in my American friend's recommendation, +together with the laudatory notices which had appeared in the numerous +journals he had sent, that I confess I was on this occasion taken in.</p> + +<p>This is the only instance in the course of my lengthened career in which +an artist introduced by me has not been forthwith accepted by the +public, and I admit that the result in this particular case was entirely +due to my own neglect in not hearing her beforehand.</p> + +<p>It was rather hard lines on the "Faust" of the<a name="page_152" id="page_152"></a> evening, M. Capoul, who +made his first appearance in England on this occasion; likewise on +Moriami, the favourite baritone, and Rives, a young French artist, who +sustained the <i>rôle</i> of "Mephistopheles" with great credit.</p> + +<p>The following evening I produced <i>Robert le Diable</i>, in which Signor +Nicolini made his first appearance in England, enacting the <i>rôle</i> of +"Roberto" to perfection. Belval, the first bass of the Paris opera, was +the "Bertramo," Mdme. Ilma de Murska the "Isabella," and Titiens the +"Alice." In the excellence of this performance my "Margherita" of the +previous evening was soon forgotten, and I booked her an early passage +back to America, where, strange to say, she still retained a first-class +position, and did so for many years afterwards.</p> + +<p>As matters were still unsettled between Lord Dudley and his would-be +tenant, Gye, I again secured Drury Lane for my season of 1872. Prior to +concluding Mdlle. Nilsson's engagement, as she was still unmarried, her +Paris agent, who advised her, called upon me, stating that in the event +of my requiring her services I had better notify to him that the +marriage must be postponed until the close of my proposed opera season. +To this I consented, and I attended at a meeting where I met the future +husband and the agent, when it was explained to the former that Mdlle. +Nilsson was ready and willing to perform her agreement to marry him, but +that in that case she would lose her London<a name="page_153" id="page_153"></a> engagement, and would be +very angry; whereupon it was agreed the marriage should be further +postponed. Papers were drawn up, and the proper stamps affixed, whereby +Mdlle. Nilsson was to return to me for my season of 1872.</p> + +<p>On the 28th May she made her reappearance, after an absence of two +years, renewing her success as "La Traviata," followed by <i>Faust</i>, +<i>Trovatore</i>, etc.</p> + +<p>During this season I produced Cherubini's Water-carrier, in which +Titiens sang; also <i>Lucia di Lammermoor</i>, with Nilsson for the first +time as the heroine, which drew enormous houses; followed by the +<i>Marriage of Figaro</i>, in which Titiens and Kellogg appeared, Nilsson +acting the "saucy page" to perfection. A most successful season was the +result, and in lieu of appearing only four times Mdlle. Nilsson sang +never less than twice a week until the close. The terms I was paying her +caused a deal of trouble between Patti and Gye; for <i>la Diva</i> had heard +of Nilsson's enormous salary. Gye had ultimately to give in; but £200 a +night would not satisfy Mdme. Patti, although previously she had been +contented with £80; and it was ultimately arranged that she should have +more than Nilsson. Gye managed this by paying her 200 guineas nightly, +whilst Nilsson had only 200 pounds.</p> + +<p>Some two or three weeks after the opening of the season I heard of a +desirable tenor in Italy, named Campanini, and at once endeavoured to +add him to<a name="page_154" id="page_154"></a> my already strong Company. My agent reached Rome before Mr. +Gye, and secured the prize. I thereupon set to work to create all the +excitement I possibly could, knowing that unless this were done no +curiosity would be felt by the public as to his first appearance. I said +so much of him that general expectation was fully aroused. In the +meantime I was anxiously awaiting his arrival. One evening, about nine +o'clock, the hall-keeper brought me word that there was someone "from +Campini, or some such name." I immediately brightened up, and said, +"Send the messenger in," who accordingly entered. He had a coloured +flannel shirt on, no shirt collar, a beard of two or three days' growth, +and a little pot-hat. He, in fact, looked rather a rough customer. In +reply to my interrogation he informed me that Campanini had arrived, and +was in London. I replied, "Are you sure?" Thereupon he burst out +laughing, and said that he was Campanini. I felt as if I should go +through the floor.</p> + +<p>However, the night arrived for his first performance, which took place +on May 4th, when he appeared as "Gennaro" in <i>Lucrezia Borgia</i>, with +Titiens and Trebelli, and with Agnesi as the "Duke." The house was +crowded from floor to ceiling, and I must say the tenor fulfilled every +anticipation, and, in fact, surpassed my expectations. The salary I paid +him was not a large one, and I had engaged him for five years. After ten +or twelve days an agent arrived from America who<a name="page_155" id="page_155"></a> had heard of his +success, and offered him £1,000 a month, which was five times what I was +to pay him. I need hardly say that this offer, coupled with his great +success, completely turned his head, and he became partially +unmanageable. Marie Roze, I may add, made her first appearance in +England during this season.</p> + +<p>At its close Mdlle. Christine Nilsson was married to M. Rouzaud at +Westminster Abbey, surrounded by a numerous circle of friends, the +ceremony being performed by Dean Stanley. The wedding party were +afterwards entertained by the Cavendish Bentincks at their splendid +mansion in Grafton Street, where a sumptuous <i>déjeuner</i> was served.</p> + +<p>After two or three weeks' holiday at Aix-les-Bains, I started my autumn +tour, as usual, at Dublin, for which I engaged Titiens, Marimon, de +Murska, Trebelli, Scalchi, Agnesi, Campanini, Fancelli, Foli, etc. This +season of fourteen weeks, which carried us up to Christmas, was an +unbroken series of triumphs, the receipts being simply enormous; whilst +on the spare days when certain of my singers were not required I filled +in sometimes as much as £1,000 a week from concerts, without the regular +service of the tour being disturbed. We visited Dublin, Cork, Belfast, +Glasgow, Edinburgh, Manchester, Liverpool, Birmingham, Bristol, and +Brighton. This was followed by the usual spring concert tour of 1873, +when we did, as usual, our 60 or 70<a name="page_156" id="page_156"></a> towns, concluding with a spring +opera tour in the north.</p> + +<p>For my season of 1873, which again took place at Drury Lane—Her +Majesty's Theatre, although built, being still without furniture or +scenery—I re-engaged Mdme. Nilsson, paying her £200 per night, in +addition to my regular company, which, of course, included Titiens; also +Ilma de Murska, Marie Roze, Trebelli, etc., etc. I, moreover, introduced +Mdlle. Valleria, Mdlle. Macvitz, an excellent contralto; Aramburo, a +tenor possessing a marvellous voice, who has since achieved European +fame; Signor Del Puente, the eminent baritone, and many others.</p> + +<p>I likewise engaged Mdme. Ristori, who appeared in several of her +favourite characters alternately with the operatic performances. Her +success was striking, notably in the parts of "Medea," "Mary Stuart," +"Elizabeth," and "Marie Antoinette." In the latter impersonation she +moved the audience to tears nightly by her pathetic acting.</p> + +<p>During this season, early in the month of July, it was intimated to me +that His Majesty the Shah of Persia would honour the theatre with his +presence. I thereupon set about organizing a performance that would give +satisfaction both to my principal artists and to the Lord Chamberlain, +who had charge of the arrangements, and decided that the performance +should consist of the third act of La Favorita, Mdlle. Titiens<a name="page_157" id="page_157"></a> enacting +the <i>rôle</i> of "Leonora," the first act of <i>La Traviata</i>, and, after a +short ballet, the first act of <i>Mignon</i>, Mdme. Nilsson taking the title +<i>rôle</i> in the two latter operas. Mdlle. Titiens, who rarely created +difficulties, took rather an exception to commencing the evening, and +said that it would be better to divide the two appearances of Nilsson by +placing the act of <i>La Favorita</i> between them; Mdme. Nilsson, on the +other hand, objected to this arrangement. Two days before the +performance Mdme. Nilsson suddenly expressed her willingness to commence +the evening with the act of <i>La Traviata</i>, she having ascertained from +the Lord Chamberlain, or some other high personage (as I afterwards +discovered), that His Majesty the Shah could only be present from +half-past eight until half-past nine, being due at the grand ball given +by the Goldsmiths in the City at about ten o'clock.</p> + +<p>Mdme. Nilsson had ordered, at considerable expense, one of the most +sumptuous dresses I have ever seen, from Worth, in Paris, in order to +portray "Violetta" in the most appropriate style. On the evening of the +performance His Royal Highness the Prince of Wales arrived punctually at +half-past eight to assist in receiving the Shah, who did not put in an +appearance; and it was ten minutes to nine when Sir Michael Costa led +off the opera. I shall never forget the look the fair Swede cast upon +the empty royal box, and it was not until half-past<a name="page_158" id="page_158"></a> nine, when the act +of <i>La Favorita</i> had commenced, that His Majesty arrived. He was +particularly pleased with the ballet I had introduced in the <i>Favorita</i>. +The Prince of Wales, with his usual consideration and foresight, +suggested to me that it might smooth over the difficulty in which he saw +clearly I should be placed on the morrow in connection with Mdme. +Nilsson, if she were presented to the Shah prior to his departure.</p> + +<p>I thereupon crossed the stage and went to Mdme. Nilsson's room, +informing her of this. She at once objected, having already removed her +magnificent <i>Traviata</i> toilette and attired herself for the character of +"Mignon," which consists of a torn old dress almost in rags, with hair +hanging dishevelled down the back, and naked feet. After explaining that +it was a command with which she must comply, I persuaded her to put a +bold face on the matter and follow me. I accompanied her to the +ante-room of the royal box, and before I could notify her arrival to His +Royal Highness, to the astonishment of all she had walked straight to +the farther end of the room, where His Majesty was then busily employed +eating peaches out of the palms of his hands.</p> + +<p>The look of astonishment on every Eastern face was worthy of the now +well-known picture on the Nabob pickles. Without a moment's delay Mdme. +Nilsson made straight for His Majesty, saying—</p> + +<p>"Vous êtes un très mauvais Shah," gesticulating<a name="page_159" id="page_159"></a> with her right hand. +"Tout à l'heure j'étais très riche, avec des costumes superbes, exprès +pour votre Majesté; à present je me trouve très pauvre et sans +souliers," at the same time raising her right foot within half an inch +of His Majesty's nose; who, with his spectacles, was looking to see what +she was pointing to. He was so struck with the originality of the fair +prima donna that he at once notified his attendants that he would not go +to the Goldsmiths' Ball for the present, but would remain to see this +extraordinary woman.</p> + +<p>His Majesty did not consequently reach the Goldsmiths' Hall until past +midnight. The Lord Mayor, the Prime Warden, the authorities, and guards +of honour had all been waiting since half-past nine.</p> + +<p>On the close of my London season of 1873 I had considerable difficulty +in obtaining a renewal of Mdme. Nilsson's contract for the ensuing year; +in fact, she declined altogether to discuss the matter with me. I was +fully aware that she was very jealous of the firm position which Mdlle. +Titiens enjoyed in the good opinion of the British public. This had +manifested itself on the occasion of Titiens's benefit, when <i>Nozze di +Figaro</i> had been selected for the closing night of the season. Much +correspondence took place, in the course of which it was asserted that +M. Rouzand would not allow his wife to put on "Cherubino's" trunks, he +having decided that her legs should never again be seen by<a name="page_160" id="page_160"></a> the public. +I, therefore, had to substitute Mdme. Trebelli, who, as an experienced +contralto, could make no objection on such points.</p> + +<p>Mdme. Nilsson's agent, Mr. Jarrett, succeeded at last in inducing her to +sign a contract, and he then explained to me that Mr. Gye had been +repeatedly making offers to her during the previous week, which, in +spite of his notorious friendship for Mr. Gye, he had the greatest +difficulty in making her refuse.</p> + +<p>Ultimately an engagement had been prepared, and Jarrett asked me to sign +it at the station just as Mdme. Nilsson was about to start for Paris. +Before doing so I requested permission at all events to glance it over, +when Mdme. Nilsson replied—</p> + +<p>"The train is going. Either sign or leave it alone. I can make no +possible alteration."</p> + +<p>I mechanically appended my signature; the train started.</p> + +<p>On perusing the engagement I discovered that she had reserved for +herself the exclusive right of playing "Norma," "Lucrezia," "Fidelio," +"Donna Anna," "Semiramide," and "Valentine" in <i>Les Huguenots</i>. But +having omitted the words "during the season," and inasmuch as her +engagement for 1874 did not commence until the 29th day of May, I had a +clear period of eleven weeks during which another prima donna could play +the parts Mdme. Nilsson claimed without overstepping her stringent +condition.<a name="page_161" id="page_161"></a></p> + +<p>I, moreover, felt placed in great difficulty with regard to Mdlle. +Titiens, who was then at the Worcester Festival, and to whom it was, of +course, necessary to mention the matter. I decided to go to Worcester at +once and unbosom myself.</p> + +<p>The great prima donna, on hearing what I had to tell her, smiled and +said—</p> + +<p>"By all means let her play the parts she wants; and, if the public +prefers her rendering of them to mine, by all means let her keep them. +But during the first eleven weeks they are open to other singers, and I +will repeat them one by one so that the public may have a fair +opportunity of judging between us."</p> + +<p>The great artist was, therefore, on her mettle during the early +performances of 1874, prior to Nilsson's arrival.</p> + +<p>The season opened with <i>Semiramide</i>, followed immediately by <i>Fidelio</i>, +<i>Norma</i>, <i>Huguenots</i>, <i>Lucrezia</i>, etc., which were played one after the +other until the arrival of Nilsson, who sang first in <i>Faust</i>, and +immediately afterwards in Balfe's <i>Talismano</i>, after which I called on +her to appear as "Lucrezia."</p> + +<p>The next morning I had a visit from her agent requesting me not to press +the matter, as she was not quite prepared. I thereupon said "Semiramide" +would do as well; to this he offered some objection; but at length, on +my urging "Fidelio," he explained to me that if I insisted upon her +playing any of those characters which she had expressly<a name="page_162" id="page_162"></a> stipulated for +I should mortally offend her. I could not even induce her to appear as +"Donna Anna." Not one of those parts which she had reserved for her +exclusive use was she able to undertake. We, therefore, had to fall back +on <i>Faust</i>, alternated with <i>La Traviata</i>.</p> + +<p>Finally a compromise was made whereby Mdme. Nilsson undertook the <i>rôle</i> +of "Donna Elvira" in <i>Don Giovanni</i>, Mdlle. Titiens retaining her great +impersonation of "Donna Anna," in which she was acknowledged throughout +the world of music to be unrivalled. This happy combination having been +brought about, the season concluded with my benefit, when <i>Don Giovanni</i> +was given to some £1,200 receipts.</p> + +<p>During the autumn of 1873 I made my usual operatic tour, commencing in +Dublin about the middle of September, where we remained three weeks, +afterwards visiting Belfast, Glasgow, Edinburgh, Newcastle, Liverpool, +Manchester, Birmingham, Bristol, Bath, and Brighton, where we concluded +on the 20th December.</p> + +<p>Early in January, 1874, I again gave my usual forty-eight concerts in +the various cities, opening the Edinburgh opera season about the middle +of February. We afterwards visited other places, which brought us on to +the London season, when I again occupied Drury Lane Theatre.</p> + +<p>During this year I produced Auber's <i>Crown Diamonds</i>, and afterwards +Balfe's <i>Talismano</i>, in<a name="page_163" id="page_163"></a> which Mdlle. Nilsson undertook the principal +<i>rôle</i>, Marie Roze appearing as the "Queen." Balfe's opera was very +successful, and this, coupled with the alternate appearances of Titiens +and Nilsson in other characters, followed by the revival of the <i>Magic +Flute</i>, in which the whole Company took part, brought the season to a +successful conclusion.</p> + +<p>In the autumn of 1874 I opened, as usual, at Dublin, with a very +powerful company, and continued out in the provinces until the latter +part of December. I then went on the Continent in search of talent for +the ensuing year, and returned in time to be present at my first +concert, which took place in Liverpool early in January, 1875. We +afterwards went through Ireland and the English provinces, commencing in +the beginning of March the regular Italian Opera season in the northern +capital, followed by Glasgow, Liverpool, &c.</p> + +<p>Ilma de Murska was punctual with a punctuality which put one out quite +as much as utter inability to keep an appointment would have done. She +was sure to turn up on the very evening, and at the very hour when she +was wanted for a representation. But she had a horror of rehearsals, and +never thought it worth while, when she was travelling from some distant +place on the Continent, to announce that she had started, or to give any +idea as to when she might really be expected. Her geographical +knowledge, too, was often at fault, and some of the routes—"short cuts" +she called<a name="page_164" id="page_164"></a> them—by which she reached London from Vienna, were of the +most extraordinary kind. She had taken a dislike to the Railway Station +at Cologne, where she declared that a German officer had once spoken to +her without being introduced; and on one occasion, partly to avoid the +station of which she preserved so painful a recollection, partly in +order to get to London by a new and expeditious route, she travelled +from Vienna to St. Petersburg, and from St. Petersburg took boat to +Hull, where she arrived just in time to join my Opera Company at the +representations that I was then giving in Edinburgh. We had not heard of +her for weeks, and she came into the dressing-room to find Madame Van +Zandt already attired for the part Mdlle. de Murska was to have played, +that of "Lucia." She argued, with some truth, that she was in time for +the performance, and declared, moreover, that in entrusting the part of +"Lucia" to another singer she could see a desire on my part to get rid +of her.</p> + +<p>The prima donna has generally a parrot, a pet dog, or an ape, which she +loves to distraction, and carries with her wherever she goes. Ilma de +Murska, however, travelled with an entire menagerie. Her immense +Newfoundland, Pluto, dined with her every day. A cover was laid for him +as for her, and he had learned to eat a fowl from a plate without +dropping any of the meat or bones on the floor or even on the table +cloth.<a name="page_165" id="page_165"></a></p> + +<p>Pluto was a good-natured dog, or he would have made short work of the +monkey, the two parrots, and the Angora cat, who were his constant +associates. The intelligent animal hated travelling in the dog-truck, +and he would resort to any sort of device in order to join his mistress +in her first-class carriage, where he would, in spite of his immense +bulk, squeeze himself beneath the seat. Once I remember he sprang +through the closed window, cutting himself severely about the nose in +his daring leap.</p> + +<p>The other animals were simple nuisances. But I must do the monkey the +justice to say that he did his best to kill the cat, and a bare place on +Minette's back showed how badly she had once been clawed by her +mischievous tormentor.</p> + +<p>The most expensive of Mdlle. de Murska's pets were probably the parrots. +They flew about the room, perching everywhere and pecking at everything. +Once at the Queen's Hotel, Birmingham, they tore with their beaks the +kid off a valuable set of chairs, for which the hotel-keeper charged +£30. The hotel bill of this reckless prima donna was always of the most +alarming kind. She had the most extraordinary whims, and when Signor +Sinico, Mdme. Sinico's first husband, in order to show the effect of +parsley upon parrots, gave to one of Mdme. de Murska's birds enough +parsley to kill it, nothing would satisfy the disconsolate lady but to +have a post-mortem examination of the bird's remains.<a name="page_166" id="page_166"></a> This was at +Glasgow, and the post-mortem was made by two very grave, and I have no +doubt very learned, Scotch practitioners. Finding in the parrot's maw +some green matter for which they could not satisfactorily account, they +came, after long deliberation, to the conclusion that the bird had been +eating the green wall-paper of the sitting room, and that the arsenic +contained in the colouring matter had caused its death. The cost of this +opinion was three guineas, which Mdlle. de Murska paid without a murmur.</p> + +<p>I again returned to Drury Lane for my London season of 1875. After +lengthy negotiations with a great Italian tragedian, engagements were +signed, and he duly arrived in London, and appeared the second night of +my season in the character of "Otello." I need scarcely say that this +tragedian was Salvini, who at once struck the public by his magnificent +delineation of Shakespeare's hero. I was now compelled to open my +theatre seven times every week (four for opera, three for tragedy), from +the early part of March until the latter end of July. I produced various +works, notably Wagner's <i>Lohengrin</i>, in which Mdlle. Titiens, who very +kindly undertook the <i>rôle</i> of "Ortruda," really excelled herself. This, +with Mdlle. Christine Nilsson as "Elsa," Campanini as the "Knight of the +Swan," and Galassi as "Telramund," with an increased orchestra under Sir +Michael Costa's able direction, caused me to increase the prices of +admission; and even then it was impossible<a name="page_167" id="page_167"></a> to get a seat during the +remainder of the season.</p> + +<p>About this time the usual annual proposals were made for Mdlle. +Titiens's services at a series of concerts to be given in the United +States of America, by which she was to receive £160 a night guaranteed, +and half the receipts beyond a certain amount. After some time I +consented to this arrangement.</p> + +<p>At the close of Salvini's engagement I handed him £8,000 for his +half-share of the profits, retaining a like amount for myself.</p> + +<p>In July, 1875, one of the most charming vocalists that it has been my +pleasure to know, a lady who as regards voice, talent, grace, and style +was alike perfect, and who was as estimable by her womanly qualities as +by her purely artistic ones, made her first appearance at my temporary +Operatic home, Drury Lane, as "Rosina," in <i>Il Barbiere</i>. This was +Mdlle. Marguerite Chapuy, and no sooner had the news of her success been +proclaimed than Adelina Patti came, not once, but twice running to hear +her.</p> + +<p>At the first performance Mdlle. Chapuy made such an impression on the +public that in the scene of the music lesson she was encored no less +than four times; particularly successful among the various pieces she +introduced being the "Aragonese" from Auber's <i>Domino Noir</i>, and the +waltz from Gounod's <i>Romeo and Juliet</i>. Sir Michael Costa<a name="page_168" id="page_168"></a> hated +encores, but on this occasion he departed willingly from his usual rule.</p> + +<p>Marguerite Chapuy charmed everyone she came near; among others a young +French sergeant, a gentleman, that is to say, who had enlisted in the +French army, and was now a non-commissioned officer. Her parents, +however, did not look upon the young man as a fit husband for such a +prima donna as their daughter, and it was true that no vocalist on the +stage seemed to have a brighter future before her. Mdlle. Chapuy +remained meanwhile at Drury Lane, and the success of her first season +was fully renewed when in the second she appeared as "Violetta" in <i>La +Traviata</i>. A more refined impersonation of a character which requires +very delicate treatment, had never been seen.</p> + +<p>It struck me after a time that my new "Violetta" was not wasting away in +the fourth act of <i>La Traviata</i> alone. She seemed to be really perishing +of some malady hard to understand; and when the most eminent physicians +in London were called in they all regarded the case as a difficult one +to deal with since there was nothing definite the matter with the +patient. Gradually, however, she was fading away.</p> + +<p>There could be no thought of her appearing now on the stage; and at her +own desire, as well as that of her father and mother, who were naturally +most anxious about her, she was removed to France. No signs of +improvement, however, manifested themselves.<a name="page_169" id="page_169"></a> She got weaker and weaker, +and when she was seemingly on the point of death her hard-hearted +parents consented to her marriage with the young sergeant. My consent +had also to be given, and I naturally did not withhold it.</p> + +<p>Mdlle. Chapuy had signed an engagement with me for several years. But +everyone said that the unhappy vocalist was doomed; and such was beyond +doubt the belief of her parents, or they never would have consented to +her throwing herself away on an honourable young man who was serving his +country for something less than a franc a day, when she might so easily +have captured an aged banker or a ruined Count.</p> + +<p>Shortly afterwards I met her in Paris looking remarkably well. She told +me that her husband had received his commission soon after their +marriage, and that he now held some local command at Angoulême. As I had +not released her from her engagement, I suggested to her, and even +entreated, that she should fulfil it. Her husband, however, would not +hear of such a thing. He preferred that they should live quietly on the +£120 a year which he was now receiving from the Government. I offered as +much as £200 a night, but without effect.</p> + +<p>All I could get was a promise from Mdlle. Chapuy that in the event of +her returning to the stage she would give me her services in accordance +with the terms of the contract she had previously signed. Later on she +told me that she still sang once a year<a name="page_170" id="page_170"></a> for charitable purposes; and I +still hope for her return to the lyric stage.</p> + +<p>I here append the letter she addressed to me just after her marriage:—</p> + +<p class="r">"Angoulême, 8 Decembre, 1876.</p> + +<p>"C<small>HER</small> M<small>ONSIEUR</small> M<small>APLESON</small>,</p> + +<p class="ind4">"Je vous remercie de votre bonne lettre et je m'empresse d'y répondre +pour vous assurer que je m'engage aussi formellement que vous pouvez le +désirer à ce que l'engagement que nous avions ensemble soit remis en +vigueur si jamais je reprends la carrière théâtrale: je vous promets +aussi que vous pourriez compter sur moi pour la grande saison de Londres +qui suivrait ma rentrée sur la scène. Vous avez été trop bon et trop +aimable pour moi, pour que j'hésite un instant à vous faire cette +promesse. Du reste, il me serait bien agréable, si je reprenais le +théâtre, de reparâitre sur la scène de Londres, car je n'ai pas oublié +combien le public Anglais a été bienveillant pour moi.</p> + +<p>"En attendant votre réponse veuillez agréer cher Monsieur Mapleson +l'assurance de mes sentiments dévoués.</p> + +<p class="r">"M<small>ARGUERITE</small> A<small>NDRÉ</small>-C<small>HAPUY</small>,<br /> +"Rue St. Gelais, 34.</p> + +<p>"Mon mari, ma grande-mère, et ma mère sont bien sensibles à votre +aimable souvenir et vous font tous leurs compliments."<br /> + +</p> + +<p>There are two ways of judging a singer—by the<a name="page_171" id="page_171"></a> vocalist's artistic +merits, and by the effect of his or her singing on the receipts. In the +first place I judge for myself by the former process. But when an +appearance has once been made I fall back, as every manager is bound to +do, on the commercial method of judgment, and calculate whether the +amount of money drawn by the singer is enough to justify the outlay I am +making for that singer's services. The latter was the favourite system +of the illustrious Barbaja, who, when he was asked his private opinion +as to this or that member of his Company, would say—</p> + +<p>"I have not yet consulted my books. I must see what the receipts were, +and I will answer your question to-morrow."</p> + +<p>Referring to my books, I find with great satisfaction that the charming +artist, whom I admired quite as much before she had sung a note at my +theatre as I did afterwards, when she had fairly captivated the public, +drew at her first performance £488, and at her second £538; this in +addition to an average nightly subscription of £600.</p> + +<p>Thus Mdlle. Chapuy made her mark from the first.</p> + +<p>Other vocalists, even of the highest merit, have been less fortunate. +Thus Mdlle. Marimon, when she appeared at my theatre in 1871, drew at +her first performance (that of "Amina," in <i>La Sonnambula</i>) £73, at her +second £280, at her third £358, at her fourth £428. To these sums, as in +the case of<a name="page_172" id="page_172"></a> Mdlle. Chapuy, the nightly proportion of the subscription +has, of course, to be added.</p> + +<p>As with singers, so with operas. I choose a work which, according to my +judgment, ought to succeed, and cast it as well as I possibly can. It +will not in any case please the public the first night; and I have +afterwards to decide whether I shall make sacrifices, as with <i>Faust</i>, +and run it at a loss in the hope of an ultimate success, or whether I +shall cut the matter short by dropping it, even after a vast outlay in +scenery, dresses, and properties, and after much time and energy +expended at rehearsals.</p> + +<p>When I brought out Cherubini's admirable <i>Deux Journées</i> (otherwise <i>The +Water Carrier</i>) I was complimented by the very best judges on the beauty +of the work, and also (how little they knew!) on its success. I received +congratulations from Jenny Lind, from Benedict, from Hallé, from +Millais, from the Baroness Burdett-Coutts. But there was not more than +£97 that night in the treasury. Thereupon I made my calculation. It +would have cost me £1,200 to make the work go, and I could not at that +moment afford it. I was obliged, then, to drop it, and that after five +weeks' rehearsals!</p> + +<p>Some time afterwards I produced Rossini's <i>Otello</i> with a magnificent +cast. Tamberlik was the "Otello," Faure the "Iago," Nilsson the +"Desdemona." The other parts were played by Foli, Carrion (an excellent +tenor from Spain), and others. All my friends were delighted to find +that I had<a name="page_173" id="page_173"></a> made another great success. I listened to their flattering +words. But the treasury contained only £167 3s., for which reason +<i>Otello</i> was not repeated.</p> + +<p>In rebuilding Her Majesty's Theatre Lord Dudley did not think it worth +while to consult me or any other operatic manager. He had the +opportunity of erecting the only isolated theatre in London, and the +most magnificent Opera-house in the world, for the shops in the Opera +Colonnade and the adjoining hotel in Charles Street might at that time +have been purchased for comparatively small sums. The Earl, however, as +he himself told me, cared only to comply with the terms of his lease, +which bound him to replace the theatre which had been destroyed by +another of no matter what description, provided only that it had four +long scenes and four short ones.</p> + +<p>Messrs. Lee and Paine, the architects entrusted with the duty of +covering the vacant site, acted after their own lights, and they +succeeded in replacing two good theatres by a single bad one. The old +Opera-house, despite its narrow stage, had a magnificent auditorium, and +the Bijou theatre, enclosed within its walls, possessed a value of its +own. It was let to Charles Mathews, when theatrical property possessed +less value than now, for £100 a week; and Jenny Lind sang in it to +houses of £1,400.</p> + +<p>When the new theatre had been quite finished Lord Dudley was shown over +it by the delighted architects. His lordship was a tall man, and his hat +suffered, I remember, by coming into collision<a name="page_174" id="page_174"></a> with the ceiling of one +of the corridors. Turning to the senior partner, who was dying to catch +from his aristocratic patron some word of satisfaction, if not of +downright praise, the Earl thus addressed him—</p> + +<p>"If narrow corridors and low ceilings constitute a fine theatre you +have erected one which is indeed magnificent."</p> + +<p>The architect, lost in confusion at being addressed in terms which he +thought from his lordship's finely ironical demeanour must be in the +highest degree complimentary, did nothing but bow his acknowledgments, +and it was not until a little later that some good-natured friends took +the trouble to explain to him what the Earl had really said.<a name="page_175" id="page_175"></a></p> + +<h3><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII.</h3> + +<div class="blockquot"><p class="hang">THE NATIONAL OPERA-HOUSE—FOUNDATION DIFFICULTIES—PRIMÆVAL +REMAINS—TITIENS LAYS THE FIRST BRICK—THE DUKE OF EDINBURGH THE +FIRST STONE—THE OPERA AND PARLIAMENT—OUR RECREATION ROOMS.</p></div> + +<p class="nind">D<small>URING</small> all this time I was busily engaged selecting plans for the +construction of my new National Opera-house, which I then considered a +most desirable investment, inasmuch as Her Majesty's Theatre, which had +been hastily built, was ill-adapted for the requirements of Italian +Opera, whilst Covent Garden was heavily encumbered with liabilities. +Indeed, more than one negotiation had already taken place with the Duke +of Bedford with a view to its purchase and demolition. I, therefore, saw +that sooner or later London would be without a suitable Opera-house. In +order to expedite the works it was considered desirable that the +foundations should be proceeded with pending the final settlement of the +drawings, taking out the quantities, etc., and deciding who the +contractors should be.</p> + +<p>Mr. Webster, who constructed the best part of the Thames Embankment, was +deemed to be the fitting man, and I therefore had an interview with<a name="page_176" id="page_176"></a> him +on the subject. In this interview he told me he would execute the whole +of the foundations up to the datum level for the sum of £5,000.</p> + +<p>On consulting with my architect he advised that it would be more +economical that this preliminary work should be paid for by measurement, +which Mr. Webster ultimately agreed to. No sooner had they dug to a +certain depth than it was discovered that no foundation could be +obtained. Afterwards screw piles were attempted and all other kinds of +contrivances to obviate the expense with which we were threatened in the +prosecution of the works. The digging proceeded to a depth of some 40 or +50 feet without discovering anything but running springs and quicksands, +covered by a large overlying mass of rubbish, being the accumulation of +several ages in the history of Westminster. Many relics of olden times +came to light, including the skulls and bones of wild elks and other +primitive animals that once roamed about the Thames Valley and were +hunted by ancient Britons in the days of the Druids. Various swords, +gold and inlaid, often richly-fashioned, told of the feuds of York and +Lancaster; while many other objects, concealed for centuries, now came +forth to throw a light on the faded scroll of the past.</p> + +<p>As the builders had got considerably below the depth of the Thames and +consequently that of the District Railway, the water began to pour in, +which necessitated some fifteen or twenty steam-pumping machines being +kept at work for several<a name="page_177" id="page_177"></a> months. At length the London Clay was reached, +which necessitated various cuttings, some 16ft. wide, down which had to +be placed some 40ft. of concrete.</p> + +<p>At length the foundations were completed, and the sum I had to pay, +according to measurement, was not £5,000, but £33,000. This was really +one of the first blows to my enterprise.</p> + +<p>Early in September the first brick of my new National Opera-house, prior +to the commencement of the substructure, was laid. A number of friends +were on the ground at one o'clock, and in a short time a great throng of +spectators had assembled around the spot. Punctually at 1.30 Mdlle. +Titiens arrived, under the escort of Lord Alfred Paget, Mr. Fowler, the +Architect, and myself. The party passed along the wooden platform, and +descended a handsomely-carpeted staircase, which led to the foundation +of concrete upon which the "brick" was to rest. On reaching the bottom, +Mdlle. Titiens, as she leaned on the arm of Mr. Fowler, was presented +with an elaborately-engraved silver trowel by Mr. Webster, the +Contractor. The fair singer was then conducted to the spot, where a +thin, smooth layer of white mortar had been spread on the concrete. The +foreman of the masons placed a brick in the midst of this, and Mdlle. +Titiens then in a formal manner laid the first brick, using the +plumb-line to ascertain that the work had been properly done. Second, +third, and fourth bricks were afterwards<a name="page_178" id="page_178"></a> laid by Mr. Fowler, Lord +Alfred Paget, and myself. Hearty cheers were then given for Mdlle. +Titiens by the 600 workmen congregated around, who wished the Queen of +Song success and happiness on her approaching Atlantic voyage.</p> + +<p>Prior to her departure, Mdlle. Titiens gave four farewell concerts in +Ireland; and it was with great difficulty after the last one, at Cork, +that she escaped from the concert room at all, so numerous were the +encores. The steamer having been signalled, she had to rush straight +from the concert room, in her concert dress, with all her jewellery on, +to catch the train leaving for Queenstown.</p> + +<p>In the autumn of 1875 Mdlle. Titiens was replaced on the provincial tour +by Madame Christine Nilsson; and the business again was highly +successful. The tour continued until Christmas. I came up to London on +the 16th December, to be present at the laying of the first stone of the +new Opera-house by H.R.H. the Duke of Edinburgh.</p> + +<p>The following was the programme of the ceremonial, which was duly +carried out:—</p> + +<p class="c"> + CEREMONY OF LAYING THE FIRST STONE<br /> + <small>OF THE</small><br /> + GRAND NATIONAL OPERA-HOUSE,<br /> + <small><i>VICTORIA EMBANKMENT</i>.</small><br /> +<i>Holders of Cards of Invitation will not be admitted after 1.15</i>. +</p> + +<div class="blockquot1"><p class="hang">"The bands of the Coldstream Guards and Honourable Artillery +Company will be in attendance, and a Guard of Honour will line the +entrance.<a name="page_179" id="page_179"></a></p> + +<p class="hang">"His Royal Highness the Duke of Edinburgh and suite will arrive at +the entrance on the Victoria Embankment at half-past one o'clock.</p> + +<p class="hang">"His Royal Highness will be received by Mr. W. H. Smith, M.P., Sir +James Hogg, Chairman of the Metropolitan Board of Works, Mr. F. H. +Fowler, the Architect, and Mr. J. H. Mapleson, the Director of the +National Opera.</p> + +<p class="hang">"On arrival at the platform an address will be read to the Duke of +Edinburgh in the name of the founders of the Grand National +Opera-house.</p> + +<p class="hang">"His Royal Highness the Duke of Edinburgh will then proceed to lay +the first stone.</p> + +<p class="hang">"The trowel will be handed to His Royal Highness by Mr. Mapleson, +the Director; the plumb-rule and level by Mr. F. H. Fowler, the +Architect; and the mallet by Mr. W. Webster, the Builder.</p> + +<p class="hang">"On the completion of the ceremony His Royal Highness will make a +brief reply to the address.</p> + +<p class="hang">"The Duke of Edinburgh will then be conducted to his carriage at +the entrance by which His Royal Highness arrived, and will drive to +the St. Stephen's Club.</p> + +<p class="hang">"16th December, 1875."</p></div> + +<p>The following address was then read by Sir James McGarel Hogg:— +<br /> + </p> + +<p>Y<small>OUR</small> R<small>OYAL</small> H<small>IGHNESS</small>,—<br /> +</p> + +<p class="ind4">"On behalf of the founders of the Grand National Opera-house, I have the +honour to present to your Royal Highness the following address in<a name="page_180" id="page_180"></a> which +the objects of the undertaking are set forth:—</p> + +<p>"The establishment of a National Opera-house in London has long been +contemplated, the obstacle to which, however, was the impossibility of +finding a suitable site, and it was not until that vast undertaking was +carried out by the Metropolitan Board of Works, which has resulted in +reclaiming from the Thames large tracts of land, and in throwing open +the great thoroughfare of the Victoria Embankment, that a site +sufficient to meet the requirements of a National Opera-house could be +obtained; and it is this building that your Royal Highness is graciously +pleased to inaugurate to-day.</p> + +<p>"The National Opera-house is to be devoted firstly to the representation +of Italian Opera, which will be confined as heretofore to the spring and +summer months; and, secondly, to the production of the works of English +composers, represented by English performers, both vocal and +instrumental.</p> + +<p>"It is intended, as far as possible, to connect the Grand National +Opera-house with the Royal Academy of Music, the National Training +School for Music, and other kindred institutions in the United Kingdom, +by affording to duly qualified students a field for the exercise of +their profession in all its branches.</p> + +<p>"The privilege, which it is the intention of the Director to grant to +the most promising of these students, of being allowed to hear the works +of the<a name="page_181" id="page_181"></a> greatest masters performed by the most celebrated artists, will, +in itself, form an invaluable accessory to their general training.</p> + +<p>"Instead of being compelled to seek abroad further instruction when +their prescribed course at the various establishments is finished, they +will thus be able to obtain this at home, and more quickly and +efficiently profit by example.</p> + +<p>"In Paris, when sufficiently advanced, the students can make a short +step from the Conservatoire to the Grand Opera; so it is hoped that +English students will use the legitimate means now offered and afforded +for the first time in this country of perfecting their general training, +whether as singers, instrumentalists, or composers, according to their +just claims.</p> + +<p>"In conclusion I beg leave to invite your Royal Highness to proceed with +the ceremony of laying the first stone of the new Grand National +Opera-house.</p> + +<p>"Grand National Opera house,<br /> +<span style="margin-left:5em;">Victoria Embankment,</span><br /> +<span style="margin-left: 8em;">16th December, 1875."</span><br /> +</p> + +<p>In designing this, I intended it to be the leading Opera-house of the +world; every provision had been made. The building was entirely +isolated; and a station had been built beneath the house in connection +with the District Railway, so that the audience on leaving had merely to +descend the stairs and enter the train. In the sub-basement +dressing-rooms,<a name="page_182" id="page_182"></a> containing lockers, were provided for suburban visitors +who might wish to attend the opera. A subterranean passage, moreover, +led into the Houses of Parliament; and I had made arrangements by which +silent members, after listening to beautiful music instead of dull +debates, might return to the House on hearing the division-bell. The +Parliamentary support thus secured would alone have given an ample +source of revenue.</p> + +<p>Having plenty of surplus land, I had arranged with the Lyric Club to +lease one corner, whilst the Royal Academy of Music had agreed to take +another. The buildings, moreover, were to include a new concert room, +together with a large gallery for pictures not accepted by the Hanging +Committee of the Royal Academy, to be called the "Rejected Gallery."</p> + +<p>There were recreation rooms, too, for the principal artists, including +billiard tables, etc., besides two very large Turkish baths, which, it +was hoped, would be of service to the manager in cases of sore throat +and sudden indisposition generally.</p> + +<p>The throat doctors appointed to the establishment were Dr. Morell +Mackenzie and Mr. Lennox Brown.</p> + +<p>Sir John Humphreys had arranged for the purchase of a small steamer to +act as tug to a large house-boat which would, from time to time, take +the members of the Company down the river for rehearsals or recreation. +The steamer was being built by the Thorneycofts. The house-boat was of +unusually<a name="page_183" id="page_183"></a> large dimensions, and contained a magnificent concert-room.</p> + +<p>The nautical arrangements had been confided to Admiral Sir George +Middleton, a member of my acting committee; or, in his absence, to Lord +Alfred Paget.</p> + +<p>When about £103,000 had been laid out on the building another £10,000 +was wanted for the roofing; after which a sum of £50,000, as already +arranged, could have been obtained on mortgage. For want of £10,000, +however, the building had to remain roofless. For backing or laying +against a horse, for starting a new sporting club or a new music-hall, +the money could have been found in a few hours. But for such an +enterprise as the National Opera-house it was impossible to obtain it; +and, after a time, in the interest of my stockholders (for there was a +ground rent to pay of £3,000), I consented to a sale.</p> + +<p>The purchasers were Messrs. Quilter, Morris, and Tod-Heatly, to whom the +building was made over, as it stood, for £29,000.</p> + +<p>Later on it was resold for £500; and the new buyers had to pay no less +than £3,000 in order to get the walls pulled down and broken up into +building materials.</p> + +<p>The site of what, with a little public spirit usefully applied, would +have been the finest theatre in the world, is now to serve for a new +police-station. With such solid foundations, the cells, if not +comfortable, will at least be dry.<a name="page_184" id="page_184"></a></p> + +<h3><a name="CHAPTER_XIII" id="CHAPTER_XIII"></a>CHAPTER XIII.</h3> + +<div class="blockquot"><p class="hang">FIRST VISIT TO AMERICA—MAKING MONEY OUT OF +SHAKESPEARE—CHATTERTON'S SECRET AGENTS—BIDDING FOR HER MAJESTY'S +THEATRE—ILLNESS OF TITIENS—GERSTER'S SUCCESS—PRODUCTION OF +"CARMEN."</p></div> + +<p class="nind">A<small>T</small> the close of the year 1875 I was invited to spend the evening with +some friends to see the old year out and the new year in. Amongst the +visitors at the house I met an American gentleman who had seen many of +my performances; and he assured me that if I would but go to America I +should do a very fine business, but that prior to making arrangements I +either ought to send over a trusted agent or go myself. So fully did he +impress me by his conversation, that, although I had never contemplated +such a thing, I went home late that night, or rather early the next +morning, put a lot of traps together, and started the same afternoon for +America, reaching Queenstown early on the morning of the 2nd January in +time to catch the steamer.</p> + +<p>I shall never forget my first voyage. I knew no<a name="page_185" id="page_185"></a> one on board: we were +six or seven passengers in all. Few care to leave for a long voyage on +New Year's Day. The vessel was not only small, although a Cunarder, but +very unsteady. She was known amongst nautical men as the "Jumping Java." +Our passage occupied 14 days, and we had to weather several very severe +gales. One day we only made 16 knots.</p> + +<p>However, I arrived on the other side in due course, and was forcibly +struck with the grand country I had entered. As I could remain there +only nine or ten days I hastened to visit Chicago, Philadelphia, Boston, +Cincinnati, and other places, in addition to New York. I, however, +"prospected" by carefully noting all I saw; and afterwards returned to +England to join my touring concert party during the latter part of the +month. It was then in the provinces. I felt myself fully master of what +I intended the following year to undertake; namely, a tour of Her +Majesty's Opera Company in America, which later on in these memoirs I +shall have occasion to describe. I also organized another tour in the +English provinces, with Salvini, who appeared afterwards in all the +principal provincial towns with immense success.</p> + +<p>In the middle of October, 1875, I had the honour of being invited by the +Duke of Edinburgh to Eastwell Park. Thinking the invitation was only for +the day, I took nothing with me but a small bag containing an evening +suit and a single shirt. When I arrived at Ashford station I was met by +two <a name="page_186" id="page_186"></a>six-foot men in scarlet liveries, who had arrived with a fourgon, +drawn by two splendid horses, into which they proposed to put my +luggage. I noticed their efforts to restrain a smile when I handed to +them my little hand-bag. Another magnificent equipage had been sent for +me personally.</p> + +<p>I was received with the greatest possible kindness; and it will interest +many of my readers to know that just before dinner the Duchess took me +to a buffet on which was laid out caviare, smoked salmon, salt herring +(cut into small pieces), dried mushrooms, pickled cucumbers, and the +various appetizing delicacies which, with spirits or liqueurs, form the +preliminary repast known to the Russians as <i>zakuska</i>.</p> + +<p>I had the honour of taking the Duchess in to dinner, where we formed a +party of four: the Duke, the Duchess, the equerry in attendance, and +myself. After dinner we adjourned to the music-room, where I noticed +piles upon piles of music-books. I soon saw that the Duchess was an +excellent musician. The Duke, too, received evidence of this; for in +difficult passages he was pulled up and corrected again and again. +Smoking being permitted and even enjoined, I lighted a cigar and smoked +in silence on the sofa, listening with interest to the musical +performances, which were in the form of duets for violin and piano, or +violin solos with pianoforte accompaniment.</p> + +<p>The next morning we were up early, and I was<a name="page_187" id="page_187"></a> taken over the estate. The +Duchess pointed out to me her own particular fish-pond, in which she +sometimes angles with a view to the table.</p> + +<p>Then I went out shooting with the Duke; a rather trying business, for I +had neither shooting-clothes nor, far worse, shooting-boots. Of course +it began to rain, and I was soon wet through to the skin, my ordinary +walking boots being soaked in such a manner that when I got back to the +house, by which time the leather had partially dried and contracted, I +had considerable difficulty in getting them off. The Duke was kind +enough to lend me an overcoat.</p> + +<p>At luncheon the Duchess asked for the key of the wine cellar, at which +the Duke expressed surprise and curiosity. He was reproached for his +inquisitiveness, but was not at the time enlightened as to the object +for which the keys were wanted.</p> + +<p>It appeared later on at dinner that the Duchess had been visiting a +curate at some eight miles distance, who was ill, and had been +recommended port wine. This, out of his meagre income, he would be +unable, she said, to afford.</p> + +<p>"With eighty pounds a year and five children, how," she asked, "can he +drink port wine and eat new-laid eggs?"—which the doctor had also +recommended. She had herself, therefore, driven over in the afternoon +through the pouring rain to take them to him.</p> + +<p>After lunch we had more shooting, the weather<a name="page_188" id="page_188"></a> being now a trifle +better. We got home in good time for dinner, and in the evening played +at billiards. The Duke is an infinitely better player than I am; but by +a series of flukes I got ahead of him, and at last found myself within +two points of the game, and with the balls so left that it was most +difficult for me to avoid making a final cannon. I saw, however, from +the expression of the Duchess's countenance, that she had set her heart +upon her husband's defeating me; and I must now confess that if I +succeeded in not making that cannon, so difficult to miss, I did so +simply out of regard for Her Royal Highness's feelings. The Duchess +during the game acted as marker.</p> + +<p>It was the Duchess's birthday, and in the course of the evening a +courier from Russia, who had been anxiously expected all day, arrived +with innumerable presents of jewellery. To these offerings the Duchess +paid little or no attention. All she cared for was a letter she was +awaiting from her father, and, on receiving it, she was soon absorbed in +the perusal of its contents.</p> + +<p>A few months afterwards, when the Duchess was present at a performance +of <i>Fidelio</i> given at Her Majesty's Opera, I had a new proof of Her +Royal Highness's musical knowledge and of her delicate ear. She arrived +before the beginning of the overture, and brought with her two huge +orchestral scores. The Duchess sat on the floor of the box reading one +of them, and turning of course very<a name="page_189" id="page_189"></a> rapidly over the leaves during the +stretto of the "Leonora" overture. Suddenly she noticed an uncertain +note from the second horn, and exclaimed, as if to set the musician +right, "B flat!" After the act I asked Sir Michael Costa whether +something did not go wrong with one of the horns. "Yes," he said, "but +only a person with a very fine ear could have perceived it." I repeated +to Her Royal Highness Costa's remark precisely as he had made it.</p> + +<p>I opened my season again at Drury Lane early in 1876; but the lessee, +Mr. Chatterton, who had been secretly treating with Salvini, did not +think it right that in the great national theatre under his control I +should be making so much money out of Shakespeare. The only contract I +could now get from him had practically the effect of excluding Salvini, +and this was really the beginning of Chatterton's ruin. Although I was +to pay him the same amount of rental he insisted on retaining the +Wednesday and Friday evenings and Saturday mornings for himself. I had +therefore to rent another theatre wherein to place Salvini. Mr. +Chatterton brought over another Italian tragedian, Signor Rossi, and put +him to perform at Drury Lane in opposition to Salvini, whom I had to +present at the Queen's Theatre in Long Acre. The consequence was that +both of us dropped money, and Mr. Chatterton's losses during that time +were, I believe, considerable.</p> + +<p>To my Opera Company I had added M. Faure,<a name="page_190" id="page_190"></a> while retaining all the +favourites of the previous year, including Titiens, Trebelli, Nilsson, +&c.; Sir Michael Costa remaining as conductor.</p> + +<p>At the close of 1876 I again visited the provinces, beginning my usual +Italian Opera season at Dublin, with Mdlle. Titiens, who had returned +fresh from her American triumphs, supported by Marie Roze, Valleria, +Ilma de Murska, Emma Abbot, Trebelli, etc., etc. The tour was indeed a +most prosperous one, and it terminated towards the latter part of the +December of that year.</p> + +<p>Early in 1877, when I applied for the renewal of my lease of the Theatre +Royal, Drury Lane, Mr. Chatterton showed much ill-will, which I +attributed to his jealousy at my previous success with Salvini, and to +my having declined to allow him to engage the Italian tragedian on his +own account. He insisted that I should have the theatre but three days a +week, and then only from ten in the morning till twelve at night. Not +only was I precluded from using the theatre on the other days, but I was +to finish my performance always by midnight and then hand him the key. +As my rehearsals invariably have to take place on the "off days," when +there is no opera, I should have been prevented by this arrangement from +rehearsing at all. In fact, I found nothing but impossible clauses and +conditions in the contract now offered.</p> + +<p>At this time Mr. Chatterton was very anxious to find out whether or not +the Earl of Dudley was<a name="page_191" id="page_191"></a> prepared to let me Her Majesty's Theatre; and to +ascertain this the good offices of some highly attractive young ladies +performing in the pantomime were employed. Lord Dudley gave Mr. +Chatterton to understand that though he was willing to sell the theatre, +of which he saw no probability, he would not under any circumstances let +it to Mapleson or any other man. Hence Chatterton continued to insist on +his stringent conditions, although I had been his tenant for some eight +or nine years, paying a very large amount of rent in addition to +cleaning and carpeting his theatre every year, which was very much +required after the pantomime.</p> + +<p>On learning, in a direct manner, Lord Dudley's decision, I saw that it +was hopeless to approach him in the character of a tenant. A purchaser I +did not wish to be, as my new Opera-house, it was anticipated, would be +ready for opening the following spring. All I, for the present, desired +was a theatre where I could, unmolested, continue my season. I therefore +made offers to Lord Dudley with a view to purchase, at the same time +explaining to him my inability to pay the whole of the amount he then +demanded, namely, £30,000. All I could do was to give him a deposit of +£6,000 on account, and a further £6,000 in the following November, +leaving £18,000 still due, with a clause, in case of any default being +made in regard to the second instalment, by which the first was to be +forfeited. To this his lordship assented. I had been ready to pay<a name="page_192" id="page_192"></a> him +£7,000 as rent for a single year, but this he would have refused. By +paying an instalment of £6,000 I saved £1,000, and equally obtained the +use of the theatre. In due course the matter was completed.</p> + +<p>During the month of February I entered into possession. There was not a +single seat in the house, not a particle of paper on the walls; neither +a bit of carpet, nor a chair, nor a table anywhere. I therefore had to +go and see Blundell Maple, the well-known upholsterer, who, out of +regard for me and the advertisement I promised him, consented to give me +a few things I required for the sum of £6,000. It involved the +furnishing of the whole of the dressing-rooms, the auditorium, and +corridors.</p> + +<p>About four miles of carpeting were required, there being so many +staircases and passages, all of which were luxuriously covered. New +amber satin curtains, the traditional colour of the house, had to be +manufactured specially. Stall chairs, appointments, fittings, and +looking-glasses were also, of course, required. A room had to be built +through solid masonry for the Prince of Wales, as a retiring-room. In +fact, it was a very heavy affair; and on my inviting a few friends and +members of the Press to a dinner I gave at my club some two days before +the opening, they confessed to having believed that the theatre could +not be opened for two months. Maple, in order to show what he could do +in a short space of time, had purposely left all<a name="page_193" id="page_193"></a> to the last day, when +he sent in some 200 workmen and upholsterers, together with about 300 +girls and carpet-sewers, so that the effect was really like the magic of +Aladdin's Palace. The theatre, I need scarcely say, was finished in +time, and gave great satisfaction.</p> + +<p>The new theatre opened on 28th April, Titiens appearing as "Norma;" and +a grand performance it was. Sir Michael Costa directed the orchestra, +which went <i>à merveille</i>.</p> + +<p>The day following it became evident that the great prima donna was +suffering from a complaint which caused her the most serious +inconvenience. The next evening Mdlle. Salla appeared with some success +in <i>Il Trovatore</i>. On the succeeding Saturday, Mdme. Christine Nilsson +made her <i>rentrée</i> in <i>La Traviata</i>; but immediately afterwards she too +fell ill.</p> + +<p>It seemed as if the new theatre was to bring nothing but bad luck, as it +since has done to all connected with it. Mdlle. Titiens, however, had to +make an effort, and she appeared again the next night as "Norma," and +the Saturday afterwards in the <i>Trovatore</i>. Meantime Mdme. Nilsson +recovered and reappeared on the following Thursday. Mdlle. Titiens was +sufficiently well to appear at St. James's Hall, for Mr. Austin's +benefit, at which she sang superbly, Mr. Austin, after the performance, +assuring me that he had never before heard such magnificent singing. +Mdlle. Titiens now informed me that she felt considerably better, and +would appear<a name="page_194" id="page_194"></a> on the following Saturday, 19th May, as "Lucrezia Borgia," +which she in fact did. But, as the evening progressed she felt she could +hardly get through the opera. Her voice was in its fullest perfection; +but her bodily ailments caused her acute agony, and it was not until +some time after the conclusion of the opera that she was able to leave +the theatre.</p> + +<p>The best advice was sought for, and it was decided by the lady herself +that the operation, which ultimately caused her death, should be +performed. At the end of three weeks, having recovered from the effects +of the operation, as she thought, she expressed a wish to return to her +duties at the theatre. But, alas! that wish was never to be fulfilled, +and I had to go through the season with a loss, as it were, of my right +hand.</p> + +<p>She lived on in hopes of being able to recover, and she was even +announced to appear at the usual period in the following September. But +as time drew on it was clear that she was not long for this world. I +last saw her on the 29th day of September. Early on the morning of the +following Wednesday, October 3rd, she passed away.</p> + +<p>I continued the London season of 1877 as best I could without the +invaluable services of Mdlle. Titiens, although from time to time we had +formed hopes of her reappearing. I again brought Mdme. Nilsson to the +front, but found it incumbent on me to discover a new planet, as Mdme. +Nilsson,<a name="page_195" id="page_195"></a> finding she was alone in the field, became somewhat exacting. +At last I found one; but, unfortunately, she was just on the point of +being married, and nothing could induce her future husband to defer the +ceremony. However, by dint of perseverance I succeeded in persuading +him, for a consideration, to postpone the honeymoon; and in addition to +this I was to pay a very large extra sum per night, while his wife's +appearances were strictly limited to two each week.</p> + +<p>About this time a great deal of intrigue was going on in order to +prevent the success of the new star. I, however, discovered the authors +of it, and worked accordingly. Thus I induced several members of the +Press to attend after they had been positively assured that she was not +worth listening to. Mdme. Gerster's success was really instantaneous, +and before her three or four nights were over I had succeeded in again +postponing the honeymoon—still for a consideration. Her success went on +increasing until the very close of the season, by which time her +receipts fairly balanced those of Mdme. Nilsson.</p> + +<p>The charges for postponing the honeymoon were put down under a separate +heading lest they should by any mistake be regarded as a portion of the +prima donna's salary and be used as a precedent in connection with +future engagements. At last, when several large payments had been made, +the season came to a close, and the young couple, after several<a name="page_196" id="page_196"></a> months' +marriage, were at liberty to begin their honeymoon.</p> + +<p>After a journey through Italy and Germany in search of talent I returned +to England, when I found the great prima donna's case was hopeless. +Although it had been fully anticipated that she would make her +reappearance in Dublin, she being in fact announced to sing there, it +was, unhappily, decreed otherwise; and on the third night of our opening +I had to substitute Mdlle. Salla in <i>Il Trovatore</i>, in which Titiens had +been originally announced. I received early that day (October 3, 1887) a +telegram stating that she was no more. The Irish public on hearing the +sad news at once left the theatre. It cast a gloom over the entire city, +as it did throughout the musical world generally. A grand and gifted +artist, an estimable woman, had disappeared never to be replaced.</p> + +<p>After visiting several of the principal towns I returned to London and +reopened Her Majesty's Theatre, reviving various operas of repute, and +producing for the first time in this country <i>Ruy Blas</i>, which met with +considerable success. My season terminated on the 22nd of December.</p> + +<p>At Christmas time I reopened the theatre with an admirable ballet, +composed expressly by Mdme. Katti Lanner, in which none but the children +of my National Training School for Dancing took part. I afterwards +performed a series of English operas, which were successful, Sir Julius<a name="page_197" id="page_197"></a> +Benedict conducting. Concurrently with this I continued my regular +spring concert tour, which did not terminate until the middle of March.</p> + +<p>The London season of 1878 opened inauspiciously, the loss of the great +prima donna causing a cloud to hang over the theatre. However, Mdme. +Nilsson duly arrived, likewise Mdme. Gerster, and each sang so as to +enhance her reputation.</p> + +<p>Prior to the commencement of the season I had heard Bizet's <i>Carmen</i> in +Paris, which I contemplated giving; and my decision was at once taken on +hearing from Miss Minnie Hauk of the success she was then making in that +opera at Brussels.</p> + +<p>I therefore resolved upon engaging her to appear as "Carmen." In +distributing the parts I well recollect the difficulties I had to +encounter. On sending Campanini the <i>rôle</i> of "Don José" (in which he +afterwards became so celebrated), he returned it to me stating he would +do anything to oblige, but could not think of undertaking a part in an +opera of that description where he had no romance and no love duet +except with the <i>seconda donna</i>. Shortly afterwards Del Puente, the +baritone, entered, informing me that the part of "Escamillo," which I +had sent him, must have been intended for one of the chorus, and that he +begged to decline it.</p> + +<p>In vain did Sir Michael Costa order the rehearsals. There was always +some trouble with the singers on account of the small parts I had given +them. Mdlle.<a name="page_198" id="page_198"></a> Valleria suggested that I should entrust the part of +"Michaela" either to Bauermeister or to one of the chorus; as on no +account would she undertake it.</p> + +<p>This went on for some time, and I saw but little prospect of launching +my projected opera. At length, by force of persuasion, coupled with +threats, I induced the various singers, whether they accepted their +parts or not, to attend a general rehearsal, when they all began to take +a great fancy to the <i>rôles</i> I had given them; and in due course the +opera was announced for the first representation, which took place on +the 22nd June.</p> + +<p>The receipts for the first two or three performances were most +miserable. It was, in fact, a repetition of what I had experienced on +the production of <i>Faust</i> in 1863, and I frankly confess that I was +forced to resort to the same sort of expedients for securing an +enthusiastic reception and thus getting the music into the heads of the +British public, knowing that after a few nights the opera would be sure +to please. In this I was not mistaken, and I closed my season with +flying colours.<a name="page_199" id="page_199"></a></p> + +<h3><a name="CHAPTER_XIV" id="CHAPTER_XIV"></a>CHAPTER XIV.</h3> + +<div class="blockquot"><p class="hang">FIRST AMERICAN CAMPAIGN—DIFFICULTIES OF EMBARKATION—CONCERT ON +BOARD—DANGEROUS ILLNESS OF GERSTER—OPERA ON WHEELS—"THE +DRESSING-ROOM ROW"—A LEARNED THROAT DOCTOR—GERSTER SINGS BEFORE +HER JUDGE—THE PIANOFORTE WAR—OUR HURRIED DEPARTURE.</p></div> + +<p class="nind">A<small>T</small> the end of the season I went abroad to complete my Company for the +first American tour, which was to begin about the middle of October. I +started my Opera Company from London on the 31st August on its way to +America, numbering some 140 persons, including Gerster, Minnie Hauk, +Trebelli, Valleria, Campanini, Frapolli, Galassi, Del Puente, Foli, +etc., with Arditi as conductor. This also comprised a magnificent chorus +of some 60 selected voices, together with the whole of the <i>corps de +ballet</i> and principal dancers; and I had decided to give some three or +four weeks' performances in Ireland prior to sailing, in order to get +things in working order, as well<a name="page_200" id="page_200"></a> as to recruit the exchequer for my +costly enterprise. Although immense success attended the appearance of +my new singers in the Irish capital, they were not sufficiently known to +draw the great houses more famous artists would have done. Etelka +Gerster almost drove the gods crazy with her magnificent singing; but as +she was totally unknown, never having been in Ireland before, the +receipts were not commensurate with her artistic success. Minnie Hauk, +again, had never appeared in that country; nor had the opera of <i>Carmen</i> +been heard, its very name seeming to be unknown. However, the artistic +success was beyond measure, and the representations, moreover, served as +a kind of general rehearsal for my coming performances in America. On +reaching Cork I found the receipts were again below what they ought to +have been, and I began to realize that in lieu of increasing my +exchequer prior to starting for America I ran the chance of totally +exhausting it.</p> + +<p>I therefore telegraphed to my representative in New York for £2,000, in +order that I might straighten up my position, and pay the balance of our +passage money, the boat being then off Queenstown.</p> + +<p>I was really anxious on this occasion, and it was not until late in the +day that my cable arrived, notifying to me that the money was at my +credit in the Bank of Cork. With some difficulty, it being after banking +hours, I obtained admittance, when<a name="page_201" id="page_201"></a> lo! the money was all payable in +Irish notes. These the singers pronounced to be useless for their +purpose in America. They absolutely refused to embark, and it was not +until towards evening that I was enabled with great difficulty to find +gold at the various hotels and shops in exchange for my Irish notes.</p> + +<p>At length we departed from Queenstown; though it was late in the evening +before I succeeded in getting the last squad on board. Some of the +Italian choristers had been assured by Irish humorists that the streets +of New York were infested by crocodiles and wild Indians; and these they +were most unwilling to encounter. We had a splendid passage across. The +day before our arrival in New York it was suggested to give a grand +concert in aid of the sufferers by the yellow fever then raging in New +Orleans. I recollect on the occasion of the concert the collection made +amongst the passengers amounted to some £3 or £4. One Western gentleman +asked me particularly, in the presence of the purser, if the money would +really be devoted to the relief of the sufferers. He, moreover, demanded +that Captain Brooks, the officer in command, should guarantee that the +money would reach them. The collection was made by those two charming +young pianists, Mdlles. Louise and Jeanne Douste, and by the equally +charming young dancer, Mdlle. Marie Muller; and at the conclusion of the +concert, in which he had encored every one of the pieces,<a name="page_202" id="page_202"></a> the careful +amateur from the West gave the sum of sixpence. Gerster, Minnie Hauk, +Campanini, and the others were irate, at the result of their united +labours; and as they thought it might injure them on their arrival in +New York, were the public to know of it, they privately subscribed £20 +apiece all round to make the return look a little decent.</p> + +<p>On our arrival in New York we were met by thousands of people, +accompanied by military bands, etc., and although I had left, as it +were, a winter behind me, we landed in the midst of a glorious Indian +summer.</p> + +<p>I set about making my preparations for the opening of my season, which +was to commence on the 16th October, and to prepare the way for the +<i>début</i> of Madame Etelka Gerster, who since our arrival had scarcely +been her usual self. This I attributed to the sea voyage. Two days +before the opening I gave a dinner, to which I invited several +influential friends including members of the New York Press. As I was +just about responding to the toast of the evening, wishing health to +Madame Gerster and success to the Opera, the waiter beckoned me to the +door, whispering that a gentleman wanted to speak to me for one moment. +I went out, when Dr. Jacobi, the New York physician, called me into an +adjoining room, where the eminent specialist, Dr. Lincoln, was waiting. +They had just visited Madame Gerster, and regretted to inform me that a +very bad attack of typhoid fever had developed<a name="page_203" id="page_203"></a> itself, and that +consequently there would be no probability of her appearing the +following Wednesday, while it was even doubtful in their minds if she +would survive. She was in a very bad state.</p> + +<p>This was indeed a great blow to me; but I returned to the room, +continued my speech, and then went on with my dinner as if nothing had +happened.</p> + +<p>Making it a point never to think of business when I am not in my office, +I decided to turn matters over the following morning, which was the day +preceding the opening of the house. Being so far away, it would be +impossible to replace Mdme. Gerster. I thereupon persuaded Miss Minnie +Hauk to undertake her part in <i>La Traviata</i>, which she did with success. +Del Puente, our principal baritone, refused, however, to sing the part +of the father, in consequence, I presume, of this change.</p> + +<p>This was a most fortunate thing for the other baritone, Galassi, who +replaced Del Puente. It virtually made his fortune. He possessed the +ringing quality of voice the Americans are so fond of. He literally +brought down the house that evening. I cannot recall a greater success +at any time, and henceforth Galassi became one, as it were, of the idols +of the American public.</p> + +<p>I opened my theatre in London the following night with a very powerful +Company, Mdme. Pappenheim making her <i>début</i> as "Fidelio"; for I was now +working concurrently the London and<a name="page_204" id="page_204"></a> the New York Operas. This I did for +the whole of that season, closing Her Majesty's Theatre on the 21st +December, though the American "Academy" was kept open beyond.</p> + +<p>Costumes, properties, and even singers, were moved to and fro across the +ocean in accordance with my New York and London requirements. Franceso, +who was ballet-master on both sides of the Atlantic, made again and +again the voyage from New York to Liverpool, and from Liverpool to New +York. On one occasion the telegraph played me false. I had wired to my +acting-manager at Her Majesty's Theatre, with whom I was in daily +telegraphic communication, desiring him to send me over at once a "2nd +tenor." The message was inaccurately deciphered, and out came "2 +tenors;" one of whom was kneeling on the quay at New York returning +thanks for his safe arrival, when I requested him to re-embark at once, +as otherwise he would not be back at Her Majesty's Theatre by Monday +week in time to sing the part of "Arturo" in the <i>Lucia</i>, for which he +was already announced.</p> + +<p>I afterwards produced Carmen at the Academy of Music, which met with +very great success, as likewise did <i>Faust</i>, <i>Don Giovanni</i>, etc. It was +not till the 8th November that Mdme. Gerster was declared out of danger, +and I was in constant attendance upon her until the 18th November, when +she appeared as "Amina" in La <i>Sonnambula</i>. Her success was really +electric, the public going quite wild about her.<a name="page_205" id="page_205"></a></p> + +<p>I afterwards produced all the great operas I had been giving in London, +including the <i>Magic Flute</i>, <i>Talismano</i>, <i>Robert le Diable,</i> etc., +etc., my season continuing without intermission some six months, during +which time I visited Boston, where public breakfasts and other +entertainments were given to my singers. A special train was fitted up +expressly for my large Company, and all the carriages elegantly +decorated. I had also placed at my disposal by the Railroad Company a +carriage containing writing-room, drawing-room, bedrooms, and kitchen +stocked with wines and provisions, under the direction of a <i>chef</i>.</p> + +<p>Whilst at Boston I had the honour of making the acquaintance of +Longfellow, who, being anxious to hear Mdme. Gerster, occupied my box +one evening, the attention of the audience being very much divided +between its occupant and Mdme. Gerster, who on that occasion was singing +"Elvira" in <i>I Puritani</i>. He likewise attended the final morning +performance, which took place on the last Saturday of our engagement, +when Gerster's receipts for "Lucia" reached no less than £1,400. We left +that evening for Chicago, a distance of some 1,100 miles, arriving in +that city just in time to commence the opera the following Monday, when +Gerster appeared and created an excitement only equalled by that of +Jenny Lind. I recollect, by-the-bye, an amusing incident that occurred +the second night, on the occasion of the performance of <i>Le Nozze di +Figaro</i>.<a name="page_206" id="page_206"></a></p> + +<p>On the right and left-hand sides of the proscenium were two +dressing-rooms alike in every respect. Madame Gerster, however, selected +the one on the right-hand side, which at once gave the room the +appellation of the prima donna's room. On the following evening <i>Le +Nozze di Figaro</i> was to be performed, in which Marie Roze was to take +the part of "Susanna," and Minnie Hauk that of "Cherubino." In order to +secure the prima donna's room Minnie Hauk went to the theatre with her +maid as early as three o'clock in the afternoon and placed her dresses +in it, also her theatrical trunk.</p> + +<p>At four o'clock Marie Roze's maid, thinking to be the first in the +field, arrived for the purpose of placing Marie Roze's dresses and +theatre trunks in the coveted apartment. Finding the room already +occupied, she mentioned it to Marie's husband, who with a couple of +stage men speedily removed the trunks and dresses, put them in the room +opposite, and replaced them by Marie's. He then went back to his hotel, +desiring Marie to be at the theatre as early as six o'clock.</p> + +<p>At about 5.30 Minnie Hauk's agent passed by to see if all was in order +and found Marie Roze's theatrical box and costumes where Minnie Hauk's +were supposed to be. He consequently ordered the removal of Marie Roze's +dresses and trunk, replaced those of Minnie Hauk, and affixed to the +door a padlock which he had brought with him.<a name="page_207" id="page_207"></a></p> + +<p>Punctually at six o'clock Marie Roze arrived, and found the door locked. +By the aid of a locksmith the door was again opened, and Minnie Hauk's +things again removed to the opposite room, whilst Marie Roze proceeded +to dress herself in the "prima donna's room."</p> + +<p>At 6.30 Minnie Hauk, wishing to steal a march on her rival, came to +dress, and found the room occupied. She immediately returned to Palmer +House, where she resided, declaring she would not sing that evening.</p> + +<p>All persuasion was useless. I therefore had to commence the opera minus +"Cherubino;" and it was not until the middle of the second act, after +considerable persuasion by my lawyers, that Minnie Hauk appeared on the +stage. This incident was taken up throughout the whole of America, and +correspondence about it extended over several weeks. Pictures were +published, also diagrams, setting forth fully the position of the trunks +and the dressing-rooms. The affair is known to this day as "The great +dressing-room disturbance."</p> + +<p>During all this visit to Chicago there was one unbroken line of +intending buyers waiting to secure tickets at the box office; and +frequently I had to pay as much as twenty dollars for wood consumed +during the night to keep the purchasers warm.</p> + +<p>About the middle of the second week I produced Bellini's <i>Puritani</i>, +with Gerster as "Elvira," Campanini<a name="page_208" id="page_208"></a> as "Arturo," Galassi as "Riccardo," +and Foli as "Giorgio." On this occasion the house was so crowded that +the outer walls began to crack, and in the managerial room, in which I +was working, I could put my hand through one of the corners where the +two walls met. I communicated with Carter Harrison, who was then Mayor. +He at once proceeded to the theatre, and, without creating any alarm, +and under the pretext that the house was too full, caused upwards of a +thousand people to leave the building. So pleased were they with the +performance that they all refused to have their money returned.</p> + +<p>We terminated one of the most successful Chicago seasons on record, and +the Company started the following morning for St. Louis. As I was +suffering from a sharp attack of gout I had to be left behind, and but +for the kindness of Lord Algernon Lennox (who had acted as my +aide-de-camp at one of our Easter sham-fights) and Colonel Vivian I do +not know what I should have done. Both these gentlemen remained in the +hotel with me, interrupting their journey to do me this act of kindness, +for which I felt very grateful.</p> + +<p>On the Company's arriving at St. Louis, Mdme. Gerster declared her +inability to sing the opera of <i>Lucia</i> that evening. My son Henry, who +had charge of the Company until I could rejoin it, explained to madame +that it would be necessary to have a medical certificate to place before +the public. Mdme. Gerster replied she was too honourable an<a name="page_209" id="page_209"></a> artist to +require such a thing, and that when she said she was ill, she was ill. +My son, however, brought in a doctor, who insisted upon seeing her +tongue. She merely, in derision, said, "There!"—rapidly putting it out +as she left the room. The doctor immediately put on his spectacles, and +proceeded to write his certificate, saying that there was a little +irritation in the epiglottis, that the uvula was contracted, together +with the muscles of the throat, and that the tonsils were inflamed. On +Mdme. Gerster's husband showing the certificate to his wife she got so +angry that she insisted upon singing—just to show what an "ass" the +doctor was. Of course, this answered my purpose very well, and my large +receipts were saved.</p> + +<p>On leaving the hotel at the end of that week the eminent physician +presented Mdme. Gerster with a bill of $60 for medical attendance. This, +of course, she resisted; and she gave bonds for her appearance when +called upon, in order to save her trunks from seizure, which the M.D. +had threatened.</p> + +<p>Whilst I am on this subject, I may as well inform the reader that two +years afterwards when we visited St. Louis the matter was brought before +the Court. Feeling sure that this attempt at extortion would not be +allowed, and that the Court proceedings would be of very short duration, +I attended at nine o'clock, the hour set down for trial, leaving word +that I should be home at about half-past ten to breakfast. It was not +until eleven that I was called up to the<a name="page_210" id="page_210"></a> witness-stand. On my +mentioning to my counsel that I felt very faint, as I had not yet eaten +anything, he repeated it to the judge, who at once adjourned the Court +in order that I might have my breakfast. He enjoined me not to lose too +much time in "mastication," and ordered the reassembly of the Court at +half-past eleven. On my return my evidence was duly given; but when the +defendant, Etelka Gerster, was summoned, the call-boy from the theatre +appeared, stating to the judge that as she had to sing "Lucia" that +night, and was not very well, it would jeopardize the whole performance +if she left the hotel.</p> + +<p>His honour, thereupon, considerately ordered the Court to adjourn to +Mdme. Gerster's rooms at the Lindell House, where the trial could be +resumed. On our arrival there counsel and others amused themselves by +looking at various pictures until the prima donna appeared, accompanied +by her two dogs, her birds, etc., when the judge entered into +conversation with her on musical matters. Later on his honour solicited +Mdme. Gerster to kindly sing him a song, especially the "Last Rose of +Summer," which he was very partial to, being from the Emerald Isle. At +the close of the performance he thought it was useless troubling Mdme. +Gerster to go further into the case, which was at once decided in her +favour.</p> + +<p>Talking of law, I may mention another lawsuit in which I was concerned.<a name="page_211" id="page_211"></a></p> + +<p>Whilst in Boston in January, 1879, Mdme. Parodi, who lived in an hotel +close by the theatre, had need of medical attendance, and the theatrical +doctor, who had the <i>entrée</i> to the house, was naturally selected to see +what the matter was. He prescribed a gargle for Mdme. Parodi; and Mdlle. +Lido, who had been attending on the patient, having shown the doctor her +tongue as he went out, he merely said "You want a little +Friedrichshall," and left the room.</p> + +<p>Nothing more was heard of the matter until January, 1880, when, as I was +seated at the breakfast table in the hotel with my wife and family, two +Deputy-Sheriffs forced their way unannounced into the room to arrest me +for the sum of 30 dollars, which the doctor claimed as his fee. This was +the first intimation I had had of any kind, and it was afterwards shown +in evidence that the doctor had debited Parodi and Lido in his day-book +separately with the amount which he also charged to them collectively. +Finding that both ladies had left the city he thought it better to +charge the attendance to me. Rather than be arrested, I of course paid +the money, but under protest.</p> + +<p>The next day I commenced proceedings against the doctor, as well as the +Sheriff, for the return of my money, which I contended had been handed +over under duress, and was not a voluntary payment on my part. The +doctor's counsel contended on the other hand—first, that I had derived +benefit from<a name="page_212" id="page_212"></a> the treatment he had given these ladies; secondly, that I +was liable. In due course the matter went to trial, and was heard by +Judge Parmenter in the Municipal Civil Court at Boston. It was proved +that the doctor was the regular physician to the Boston Theatre, and +that in consideration of free entrance he attended without fee members +of the Company who played there. The Judge, after commenting on the +testimony, decided the matter in my favour. I was, however, baulked of +both money and costs; for the same afternoon the doctor went home and +died.</p> + +<p>On my return to New York for the spring opera season I produced +<i>Dinorah</i>, in which Mdme. Gerster again achieved a triumph. The business +went on increasing. About this time a meeting of the stockholders of the +Academy of Music was convened, and I ultimately signed a new lease for +three more years, commencing October 20th following.</p> + +<p>During my first sojourn in America I gave 164 performances of opera, +likewise 47 concerts. Concurrently with this I gave 135 operatic +performances and 48 concerts in England. The season in New York extended +from October 16th to December 28th, 1878, also from February 29th to +April 5th, 1879. At Boston the season lasted from December 30th, 1878, +to January 11th, 1879; at Chicago from January 13th to 25th; at St. +Louis from January 27th to February 1st; at Cincinnati from February 3rd +to 8th; at Philadelphia<a name="page_213" id="page_213"></a> 10th to 18th, at Baltimore and Washington 19th +to 25th. During this period <i>Lucia</i> was performed twenty times, +<i>Sonnambula</i> nineteen times, <i>Carmen</i> twenty-six times, <i>Faust</i> sixteen +times, <i>Trovatore</i> nine times, <i>Flauto Magico</i> eight times, <i>Puritani</i> +eight times, <i>Nozze di Figaro</i> seven times, <i>Rigoletto</i> five times, <i>Don +Giovanni</i> five times, <i>Traviata</i> four times, <i>Lohengrin</i> ten times, +<i>Barbiere</i> twice, <i>Ruy Blas</i> twice, <i>Dinorah</i> twice, <i>Talismano</i> ten +times, <i>Robert le Diable</i> twice, <i>Huguenots</i> six times, <i>Freischutz</i> +three times; making altogether twenty-four morning performances and one +hundred and forty evening performances.</p> + +<p>About this time the disastrous floods took place at Szegedin, in +Hungary. This being Mdme. Gerster's birth-place I proposed a grand +benefit concert for the sufferers, in which my prima donna at once +joined. By our united efforts we raised about £800, which was remitted +by cable to the place of disaster within five days of its occurrence, +much (I need scarcely add) to the relief of many of the sufferers.</p> + +<p>My benefit, which was fixed for the last night of the season, took place +on Friday, April 4th. At quite an early hour crowds collected right down +Fourteenth Street and Irving Place, and within a very short time every +square inch of available room in the house was occupied. The enthusiasm +of the auditors was immeasurable, and they began to show it as soon as +the performance opened. The representation consisted of the third act of +the <i>Talisman</i>, with Mdme. Gerster as "Edith Plantaganet," and<a name="page_214" id="page_214"></a> +Campanini as "Sir Kenneth;" followed by the fourth act of <i>Favorita</i>, in +which Mdme. Marie Roze undertook the <i>rôle</i> of "Leonora;" and concluding +with an act of <i>La Traviata</i>, with Mdme. Gerster as "Violetta." Mdme. +Gerster's performance was listened to with the deepest attention, and +rewarded at the end with enthusiastic cheers. Mdme. Gerster afterwards +came out three times, but her courtesies were of no avail in quieting +the multitude. It was necessary, at the demand of the public, to raise +the curtain and repeat the entire act. Then nothing would satisfy the +audience but my appearance on the stage; when I thanked the ladies and +gentlemen present for their support, notifying, moreover, that, +encouraged by my success, I should return to them the next autumn. This +little speech was vehemently applauded, especially the references I made +to the singers and to the conductor, who, I promised, would come back +with me.</p> + +<p>During our stay in New York we were supplied with pianos both for the +artists individually as well as for use at the theatre by Messrs. +Steinway and Sons; and before we left the following flattering but just +letter of compliment and of thanks was addressed to the firm:—</p> + +<p class="r"><span style="margin-right: 2em;">"Academy of Music, New York,</span><br /> +"December 28, 1878.</p> + +<p>"G<small>ENTLEMEN,</small></p> + +<p>"Having used your pianos in public and private during the present Opera +season we desire to express our unqualified admiration of their<a name="page_215" id="page_215"></a> +sonority, evenness, richness, and astonishing duration of tone, most +beautifully blending with and supporting the voice. These matchless +qualities, together with the precision of action, in our opinion, render +the Steinway pianos, above all others, the most desirable instruments +for the public generally.</p> + +<p class="r">"(Signed) E<small>TELKA </small>G<small>ERSTER,</small> M<small>ARIE</small> R<small>OZE,</small><br /> +M<small>INNIE</small> H<small>AUK,</small> C. S<small>INICO,</small> +C<small>AMPANINI,</small><br /> +F<small>RAPOLLI,</small> G<small>ALASSI,</small> F<small>OLI,</small><br /> +D<small>EL</small> P<small>UENTE</small>, A<small>RDITI</small>."</p> + +<p>Messrs. Steinway now offered and undertook to supply each leading member +of the Company with pianos in whatever town we might visit throughout +the United States.</p> + +<p>On our arrival in Philadelphia I was surprised to find that every artist +in the Company had had a magnificent Steinway placed in his or her +bedroom; this in addition to the pianos required at the theatre. But +while the Company were dining, a rival pianoforte maker, who had shown +himself keenly desirous of the honour of supplying us with instruments, +invaded the different bedrooms and placed the Steinway pianos outside +the doors, substituting for them pianos made by his own firm—that of +Weber and Co. The Webers, however, were ultimately put outside and the +Steinways replaced.</p> + +<p>Shortly afterwards a pitched battle took place in the corridors between +the men employed by the<a name="page_216" id="page_216"></a> rival firms, when the Weber men, being a more +sturdy lot, entirely defeated the Steinway men and ejected them bodily +from the hotel. The weapons used on this occasion were piano legs, +unscrewed from the bodies of the instruments.</p> + +<p>Not only did physical force triumph, but the superior strength exhibited +by the Weber side was afterwards supplemented by cunning. That very +night Weber gave a grand supper to the whole of my Company, and I was at +once astonished and amused the next day to find that a new certificate +had been signed by them all stating that Weber's pianos were the best +they had ever known. A paper to that effect had been passed round after +sundry bottles of "Extra Dry," and signatures appended as a matter of +course.</p> + +<p>Such was the impartiality of my singers that they afterwards signed on +behalf of yet a third pianoforte maker, named Haines.</p> + +<p>In accordance with numerous solicitations, I agreed to give a Farewell +<i>matinée</i> the next day. But the steamer had to sail for Europe at two +o'clock in the afternoon; and this rendered it necessary that my morning +performance should commence at half-past eleven, the box-office opening +at eight. In the course of a couple of hours every seat was sold. +Towards the close of the performance, Arditi, the conductor, got very +anxious, and kept looking up at my box. It was now half-past one, Madame +Gerster's <i>rondo finale</i> in <i>La Sonnambula</i> had absolutely to be<a name="page_217" id="page_217"></a> +repeated, or there would have been a riot; and we were some three miles +distant from the steamer which was to convey us all to Europe.</p> + +<p>At length, to my relief, the curtain fell; but the noise increased, and +I had again to show myself, while Arditi and the principal singers and +chorus took their departure, Signor Foli, with his long strides, +arriving first. I afterwards hastened down in a carriage I had expressly +retained. As the chorus had scarcely time to change their dresses, many +of them rushed down as best they could in their theatrical attire, +followed by a good portion of the audience, who were anxious to get a +last glimpse of us all.</p> + +<p>Arriving on board the Inman steamer <i>City of Chester</i>, I found it +crowded with personal friends, many of whom had been there at least an +hour. Hearty embraces were exchanged by the men as well as the women, +and numerous bottles of champagne were emptied to fill the parting cups. +The cabins of the steamer were literally piled up with flowers. Trunks +and boxes containing the wardrobe of the morning performance were lugged +on board.</p> + +<p>"All ashore!" shouted the captain. Prior to my arrival, the bell had +rung for the seventh and positively last time. The steamer's officers +now urged all but passengers to get on shore, and hinted at the +probability of some of them being inadvertently carried over to Europe. +The<a name="page_218" id="page_218"></a> women hurried back to escape that dreadful fate.</p> + +<p>Ole Bull, whom I had invited to go to Europe with me, darted across the +gang-plank carrying his fiddle in a box. The whistle then blew, and the +bell rang for the eighth and now absolutely last time. At length the +steamer took her departure. A band of music on the wharf had been +playing lively airs, to which my chorus responded by singing the grand +prayer from <i>I Lombardi</i>.</p> + +<p>To my dismay, I discovered that the prima donna had been left behind; +also the property-master, the ladies' costumier, one of the ballet, and +five of the chorus. The latter had nothing with them but the theatrical +costumes they carried on their bodies. They had previously sent all +their worldly belongings on board the ship, and we now saw them +gesticulating wildly on the quay as we passed down the bay. They were +treated very kindly after our departure; ordinary day clothes were +provided for them, and they were sent over by the next steamer.</p> + +<p>On entering my cabin I found a silver épergne, a diamond collar-stud, +any quantity of literature, several boxes of cigars, bottles of brandy, +etc., which had been left anonymously; also an immense basket of fruit. +There were, moreover, two large set-pieces of flowers in the form of +horse-shoes that had been sent me from Boston, likewise a basket of<a name="page_219" id="page_219"></a> +rose-buds, lilies, and violets, and an embroidered table-cover.</p> + +<p>A few minutes later, a tug carrying a large American flag at the side of +an English one steamed up to the pier and took on board a number of +ladies and gentlemen who, accompanied by an orchestra, followed the +steamer down the bay, giving the Company a farewell ovation of cheering +as the vessel passed the Narrows and got out to sea.<a name="page_220" id="page_220"></a></p> + +<h3><a name="CHAPTER_XV" id="CHAPTER_XV"></a>CHAPTER XV.</h3> + +<div class="blockquot"><p class="hang">RECEPTION OF A TENOR—BELOCCA AND LADY SPENCER—MARIMON'S +SUPERSTITIONS—HER LOVESICK MAID—AN ENCOURAGING TELEGRAM—MARIMON +IN THE CATHEDRAL—DISAPPEARANCE OF A TENOR</p></div> + +<p class="nind">F<small>OR</small> my London season of 1879, in addition to Gerster, who was already a +prime favourite, Marie van Zandt, Clara Louise Kellogg, Minnie Hauk, +Ambré, Marie Roze, Caroline Salla, Hélène Crosmond, Trebelli, Nilsson, +etc., I engaged Fancelli, Brignoli, Frapolli, and Campanini. I moreover +concluded an engagement with Signor Masini, the renowned tenor, who +shortly afterwards arrived in London. I was informed the following +morning by his agent that he felt very much hurt that I myself, Sir +Michael Costa, and some of the leading artists of the theatre had not +met him at the station; the agent kindly adding that "If I would come +round to his hotel with Costa he might put the thing straight."</p> + +<p>I told him we were too busy to do anything of<a name="page_221" id="page_221"></a> the kind, but that I +should expect Signor Masini to call on me, when I would present him to +Sir Michael Costa.</p> + +<p>We were within two days of his announced appearance, and I had not yet +seen him. That afternoon the agent, who was very anxious to keep things +pleasant, rushed in to tell me that Masini was passing along the +colonnade outside the theatre smoking a cigar, and that if I went out +quickly with Costa we might meet him, and so put an end to all +difficulties. I told him I was too busy, and that he had better bring +Masini into my office. The signor at length appeared, and in very few +words asked me in what opera he was to make his <i>début</i>. I told him he +had already been announced to appear as "Faust," in accordance with his +engagement; to which he replied that he should like to know who the +other singers were to be. I told him that Christine Nilsson would be +"Margherita," Trebelli "Siebel," and Faure "Mephistopheles," and that I +trusted this distribution of parts would suit him. He was good enough to +say that he would have no objection to sing with the artists I had +named. He then left.</p> + +<p>A few minutes afterwards Sir Michael Costa entered the room, and I told +him what had happened. He ordered a rehearsal for the following morning +at twelve o'clock for all the artists. Nilsson, Faure, and Trebelli were +punctually at the theatre, but not Masini; and just as the rehearsal was +being dismissed<a name="page_222" id="page_222"></a> in consequence of the tenor's non-attendance his agent +appeared with the suggestion that a rehearsal was not necessary. If Sir +Michael Costa would step round to the hotel Masini, said the envoy, +would show him the <i>tempi</i> he wished to be observed in his performance +of the part of "Faust." Sir Michael Costa left the room, and never +afterwards made the least reference to this audacious proposition.</p> + +<p>On going round to Masini's hotel the next morning to see how he was +getting on—for he was to perform that evening—I was informed that the +previous night he had taken flight, and that he was now on his way back +to Italy.</p> + +<p>I afterwards heard that an influential friend of Masini's at the Italian +Embassy had frightened him by saying that Sir Michael Costa was a man of +considerable importance, who was not to be trifled with, and who would +probably resent such liberties as Masini had attempted to take with him.</p> + +<p>Masini's flight put me to considerable inconvenience. I followed him up +on the Continent, harassing him in every city where he attempted to +play; though I ultimately let him off on his paying my costs, which came +to some £200.</p> + +<p>The fact of Signor Masini's asking Sir Michael Costa to come round to +his hotel in order to hear the <i>tempi</i> at which the arrogant tenor liked +his airs to be accompanied, must have taken my readers by surprise. But +in Italy, I regret to say, the practice<a name="page_223" id="page_223"></a> is only too common for singers +to treat conductors as though they were not their directors, but their +subordinates. A popular tenor or prima donna receives a much larger +salary than an ordinary conductor—or for that matter a first-rate one; +and a favourite vocalist at the end of the season often makes a present +to the <i>maestro</i> to reward him for not having objected to some effective +note or cadenza which is out of place, but which the "artist" is in the +habit of introducing with a view to some special effect. In his own +country it would have been nothing extraordinary for a tenor so eminent +as Signor Masini to ask the conductor to step in and learn from him how +the different <i>tempi</i> should be taken.</p> + +<p>On one occasion a renowned prima donna about to make her first +appearance in England took the liberty of enclosing to Sir Michael Costa +with her compliments a hundred-pound note. The meaning of this was that +she wished to be on good terms with the conductor in order that he might +not cut her short in any little embellishments, any slackening or +hastening of the time, in which she might think fit to indulge. On +receiving the note Sir Michael Costa requested the manager to return it +to the singer, and at the same time declared that he or the offending +vocalist must leave the Company. Needless to say that it was not the +conductor who left.</p> + +<p>Another remark as to Signor Masini's having expected<a name="page_224" id="page_224"></a> that Sir Michael +Costa, myself, and all the leading members of the Company would meet him +at the railway station on his arrival in London. This sort of thing is +not uncommon with artists of rank, and when Mdme. Patti comes to London +a regular "call" is sent to the various members of the Company directing +them, as a matter of duty, to be at the station at such an hour.</p> + +<p>A good many artists, on the other hand, have a strong preference for not +being met at the station. They travel third-class and in costumes by no +means fair to see.</p> + +<p>Costa would have been horrified at the way in which operatic enterprises +are now too frequently conducted—especially, I mean, in a musical point +of view; works hurriedly produced, and in some cases without a single +complete rehearsal. Often, no doubt, the prima donna (if sufficiently +distinguished to be allowed to give herself airs) is in fault for the +insufficient rehearsals or for rehearsals being altogether dispensed +with. When such singers as Mdme. Patti and Mdme. Nilsson stipulate that +"the utility of rehearsing" shall be left to their judgment—which means +that they shall never be called to any sort of rehearsal—all idea of a +perfect <i>ensemble</i> must, in their case, be abandoned. Sir Michael would, +I am sure, have protested against the acceptance of such conditions. +Nothing would satisfy him but to go on rehearsing a work until +everything, and especially until the <i>ensemble</i> pieces, were perfect. +Then he would have one final rehearsal<a name="page_225" id="page_225"></a> in order to assure himself that +this perfection was maintained; and the opera could be played the night +afterwards. Costa was born with the spirit of discipline strong within +him. As a singer he would never have made his mark. In his original +occupation, that of second tenor, his remarkable qualities were lost. As +a conductor, on the other hand, his love of order, punctuality, +regularity in everything, stood him in excellent part.</p> + +<p>At many operatic theatres the performance begins some five or ten +minutes after the time announced; at no theatre where Sir Michael Costa +conducted did it ever begin a minute late. The model orchestral chief +arrived with a chronometer in each of his waistcoat pockets; and when, +after consulting his timepieces, he saw that the moment for beginning +had arrived, he raised his <i>bâton</i>, and the performance began. He did +not even take the trouble to see that the musicians were all in their +places. He knew that, with the discipline he maintained, they must be +there.</p> + +<p>Among other difficulties which an operatic manager has often to deal +with is one arising from questions of precedence between the singers. +Who is to have the best dressing-room at the theatre? Who the best suite +of apartments at the hotel? Naturally the prima donna. But suppose there +is more than one prima donna in the Company, or that the contralto +claims to be an artist of greater eminence than the principal soprano?<a name="page_226" id="page_226"></a></p> + +<p>I remember once arriving at Dublin with a Company which included among +its members Mdlle. Salla, who played leading soprano parts, and Mdlle. +Anna de Belocca, a Russian lady, who played and sang with distinction +the most important parts written for the contralto voice. Mdlle. Belocca +and Mdlle. Salla entered at the same time the best suite of apartments +in the hotel; upon which each of them exclaimed: "These rooms will do +for me."</p> + +<p>"For you?" said Mdlle. Salla. "The prima donna has, surely, the right of +choice, and I have said that I wish to have them."</p> + +<p>"Prima donna!" exclaimed Belocca, with a laugh. "There are but two prime +donne: <i>moi et</i> Patti."</p> + +<p>"You will not have these rooms all the same," continued the soprano.</p> + +<p>"We will see about that," returned the contralto. I was in despair, for +it was now a matter of personal dignity. Neither lady would give way to +the other. Leaving them for a time together I went downstairs to the +hotel-keeper, Mr. Maple, and said to him—</p> + +<p>"Have you not another suite of rooms as good, or nearly so, as the one +for which these ladies are disputing?"</p> + +<p>"I have a very good suite of rooms on the second floor," said Maple; +"quite as good, I think, as those on the first floor." These rooms had +already been pointed out to Mdlle. de Belocca through the<a name="page_227" id="page_227"></a> window. But +nothing, she said, would induce her to go upstairs, were it only a step.</p> + +<p>"Come with me, then," I said to Maple. "Mind you don't contradict me; +and to begin with, it must be understood that these rooms on the second +floor have been specially retained by Lady Spencer"—Lord Spencer was at +that time Viceroy of Ireland—"and cannot on any account, or under any +circumstances, be assigned even for a brief time to anyone else."</p> + +<p>Maple seized my idea, and followed me upstairs.</p> + +<p>"What is the meaning of this?" I said to him, when we were together, in +the presence of the two excited vocalists. "Are these the only rooms you +have to offer us? They will do for one of these ladies; but whichever +accepts them the other must be provided with a set of apartments at +least as good."</p> + +<p>"I simply have not got them," replied Maple. "There is a charming set of +apartments on the floor above, but they are specially retained for the +Countess Spencer, and it would be more than my business is worth to let +anyone else take possession of them."</p> + +<p>At these words Belocca opened her beautiful eyes, and seemed to be +struck with an idea.</p> + +<p>"At least we could see them?" I suggested.</p> + +<p>"You could see them," returned Maple, "but that is all."</p> + +<p>"Let us go and have a look at them," I said.<a name="page_228" id="page_228"></a></p> + +<p>Maple and myself walked upstairs. Belocca silently followed us. We +pretended not to see her, but as soon as the door of the apartments +reserved for the Countess Spencer was thrown open the passionate young +Muscovite rushed into them, shut the door, and locked it, declaring that +Lady Spencer must be provided for elsewhere.</p> + +<p>On the conclusion of my London season of 1879 I immediately started for +the Continent in search of talent for my next New York and London +seasons, which both commenced on the 18th October.</p> + +<p>On the issue of my New York prospectus, every box, together with +three-fourths of the <i>parquet</i>, likewise the first two rows of balcony, +were sold out for the season; so good an impression had my performances +left the previous spring.</p> + +<p>I must here mention a circumstance which greatly inconvenienced me. On +the day of sailing from Liverpool I received notice that Mdme. Gerster +was in a delicate condition, which was confirmed afterwards by a cable +which reached me on my arrival in New York. I replied, entreating the +lady to come over, if only for a couple of months, when she could +afterwards return. All my proposals failed, though it was not until I +received five doctors' certificates from Italy sealed by the Prefetto +and viséd by the Consuls that I gave up begging her to appear.</p> + +<p>I was really at my wits' ends, for there was no possibility of replacing +the favourite artist. I,<a name="page_229" id="page_229"></a> however, engaged Mdlle. Valleria, also Mdlle. +Ambré, a Moorish prima donna of some ability and possessing great +personal charms.</p> + +<p>Despite all I could do, the Press and the public became excited about +the absence of Gerster; and either she or Lucca or Nilsson, or someone +of equal calibre, was urgently wanted. It was too late for either of +these distinguished ladies to entertain my proposals. I, therefore, +addressed Mdlle. Marimon, who was then in Paris.</p> + +<p>About this time the members of my orchestra, who all belonged to the +Musical Union, struck for a ten per cent. increase of pay in consequence +of the success I had met with the previous year. I flatly refused to +comply with their demand, whereupon the main body of the players +informed me that they would not enter the orchestra on my opening night, +unless their terms were conceded. I explained that the previous year I +had paid them no less than 50,000 dollars, being more than double the +price of my London orchestra, but it was all to no avail. However, I +induced them to play at my opening performance, leaving the matter to be +decided at a conference to be held in the course of a few days.</p> + +<p>To return to Mdlle. Marimon; time being of importance, all our +correspondence had to be carried on by cable, I having to pay the +answers. As at the time I speak of the price was some fifty cents or two +shillings a word, and as the correspondence went on for over a +fortnight, I found at last that I had spent<a name="page_230" id="page_230"></a> over £160 in cables alone. +The lady insisting that the money should be deposited beforehand at +Rothschild's, in Paris, this, too, had to be transmitted by cable.</p> + +<p>At length a day was fixed for her departure, and I awaited with +impatience her arrival. Some four days later I received a cable from my +agent, Jarrett, who had gone over at my request to Paris, informing me +that Marimon had not started and that a new element of trouble had +arisen.</p> + +<p>Mdlle. Marimon having lost her mother some time before in the foundering +of the <i>Pacific</i> steamship was nervous about going to sea, and would not +start unless accompanied by her maid. The maid, however, objected to go +with her mistress to America on a visit which might last some months. +She was attached at the time to an actor at the Gymnase, and preferred +remaining in Paris. She knew her mistress to be very superstitious, and, +in order to avoid starting, resolved to play on her weak point. +Pretending, therefore, to be ignorant of Marimon's intentions, she +imparted to that lady the secret of a terrible dream with which she had +been visited three nights in succession, to the effect that she and her +mistress had embarked in a big ship for a long voyage, and that upon the +third day at sea the vessel had collided with another and both had gone +to the bottom. This fable had the desired effect. With blanched cheeks +the frightened Marimon, who was still in Paris, informed<a name="page_231" id="page_231"></a> Jarrett that +it was impossible for her to go, and that she wished to have her +engagement cancelled. To this I refused to accede, the engagement being +complete and the money having been paid.</p> + +<p>Volumes of cable messages were now again commenced. Here is a copy of +one of my replies:—</p> + +<p>"Tranquil sea. Charming public. Elegant city. Luxurious living. For +Heaven's sake come, and duplicate your Drury Lane triumphs.—M<small>APLESON.</small>"</p> + +<p>At length tact and diplomacy overcame her terrors, and she started in +the <i>City of Richmond</i> the following day.</p> + +<p>I was expecting her with the greatest anxiety, for several days had now +passed beyond the ordinary time, when on the morning of November 24th I +read in the morning papers the following telegram from Halifax:—</p> + +<p>"The steamer <i>Circassia</i> of the Anchor Line, with the American mail, +came into port this morning, having picked up the disabled ship the +<i>City of Richmond</i>, encountering heavy weather, with a broken shaft, off +Sable Island, 180 miles from Halifax, the second officer having been +washed overboard and lost. Amongst the saloon passengers were Mdlle. +Marimon and her maid."</p> + +<p>I thereupon despatched messengers to Halifax, and in due course Mdlle. +Marimon reached New York.</p> + +<p>On her arrival she immediately insisted on going to the Catholic +Cathedral, in Fiftieth Street, to offer<a name="page_232" id="page_232"></a> up thanks and a candle for her +narrow escape. Despite all my entreaty to cease praying, in consequence +of the extreme cold in the vast Cathedral—it was now near the close of +November—madame remained prostrate for another half-hour, during which +time my rehearsal was waiting. I had hoped to get her to attend by +inviting her to have a look at the interior of the theatre where she was +to perform.</p> + +<p>The result, meanwhile, of her devotions was that she caught a violent +cold and was obliged to lie in bed for a week afterwards.</p> + +<p>I was next much troubled by a renewed outbreak in the orchestra, the +occasion being the first performance of <i>Linda di Chamouni</i>, when to my +astonishment more than half the musicians were absent. I was too +perplexed with other matters to worry beyond appealing to the public, +who sympathized with me.</p> + +<p>A kind of operatic duel was now going on betwixt my two tenors, +Campanini and Aramburo. The latter, with his magnificent voice, had +quite conquered New York. Being a Spaniard, his own countrymen supported +him nightly by their presence in large numbers. But the tenor was +displeased at sundry hisses which came from unknown quarters of the +gallery, whilst two or three newspapers attacked him without any reason. +It was the eve of his performance in <i>Rigoletto</i> when I was informed +that Senor Aramburo and the Gilda, Mdme. Adini<a name="page_233" id="page_233"></a> (at that time his wife), +had suddenly sailed for Europe. The last I could trace of them was that +that very day they had both been seen in the city at five o'clock. Early +that morning Aramburo had come to me wanting to borrow 300 dollars. At +first I refused, but he pressed me, saying that he had property "in +Spain," and that he really needed money to close up certain business +transactions. I gave him the sum, and this was the last I saw of him. At +5.30, however, in the afternoon, I received a note from him, in which he +said that he would like five nice seats for that evening's performance, +as he wished to oblige some friends. I sent him the tickets, but by the +time they reached his address he must have packed up and gone.</p> + +<p>At length the day for Mdlle. Marimon's appearance arrived. It was not +until Wednesday, 3rd December, that she made her <i>début</i> in <i>La +Sonnambula</i>, when she was supported by Campanini as "Elvino," Del Puente +as "Conte Rodolfo," and Mdme. Lablache as the mother. Mdlle. Marimon +scored a positive success, and the ovations she received were something +unprecedented. I at once forgot all my troubles, for I now plainly +foresaw that she would replace Mdme. Gerster until the following year. +Anything like her success had not been witnessed since Gerster's. At one +bound, as it were, she leaped into the highest favour and esteem of the +music lovers of New York. I announced her reappearance for the following +Monday.<a name="page_234" id="page_234"></a></p> + +<p>But the reaction consequent on the agitation caused to her by the perils +of the sea voyage now began to manifest itself. The nervousness from +which she had suffered at sea, in the belief that her maid's dream was +about to be verified, had caused such a disturbance to her nervous +system that this, coupled with the subsequent excitement due to her +brilliant success, caused the fingers of both her hands to be drawn up +as if with cramp. She found it impossible to reappear for several days; +and it was not until the 15th, some twelve days later, that she was able +to give her second performance. She afterwards sang the part of the +"Queen of Night," in <i>Flauto Magico</i>, which terminated the New York +season.</p> + +<p>We afterwards left for Boston, where on the opening night Mdlle. +Marimon's success was again most marked; and from the beginning until +the end of the engagement there her receipts equalled those of Mdme. +Gerster. During the tour we visited Philadelphia, Chicago, St. Louis, +Detroit, and Cleveland. We afterwards made a second visit to +Philadelphia, the season concluding about the middle of March, 1880, +when we returned to Europe.</p> + +<p>During our stay in Philadelphia Mdlle. Marimon, who had met with such +great success two evenings previously, was announced to appear as +"Dinorah." About six o'clock in the afternoon she sent word that she +would be unable to sing. All persuasion on my part was useless. However, +as I was<a name="page_235" id="page_235"></a> descending the staircase of the hotel I met Brignoli, who on +hearing of my trouble declared that he had a remedy and that he felt +sure he could induce Mdlle. Marimon to sing. He made it a condition, +however, that in case of success I should re-engage him for the +approaching London season. To this I readily consented, and I was +greatly surprised at hearing within half an hour that Mdlle. Marimon and +her maid had gone on to the theatre. This was indeed a relief to me, as +nearly every seat in the theatre had been sold, Meyerbeer's romantic +opera not having been performed in Philadelphia for some twenty years.</p> + +<p>On the rising of the curtain Mdlle. Marimon's voice was inaudible. She +was very warmly greeted, and went through all the gestures of the part; +played it, in short, pantomimically. At the close of the act I went +before the curtain, and announced that Mdlle. Marimon's voice, instead +of recovering itself, was going gradually from bad to worse; and that +the shadow scene in the second act would have to be omitted; but that, +to compensate the public for the disappointment, Signor Campanini, who +was then present in one of the boxes, had kindly consented, together +with Miss Cary, to give the concluding acts of <i>Il Trovatore</i>. This at +once restored the depressed spirits of the audience.</p> + +<p>Miss Cary surprised everyone by the dramatic force of her "Azucena." +Galassi was equally effective in the <i>rôle</i> of the "Count di Luna." But +Campanini, in <i>Di quella pira</i>, met with more than a<a name="page_236" id="page_236"></a> success: it was a +triumph. The house broke into rapturous applause, and cheered the singer +to the echo. At the conclusion he was loaded with flowers. Thus I +avoided the misfortune of having to close the theatre.</p> + +<p>On returning home to supper I discovered the "remedy" Brignoli had +employed, which was this: He presented himself on leaving me to Mdlle. +Marimon, and informed her that he understood Mapleson meant to close up +the Opera-house that evening, and charge her the value of the receipts, +then estimated at nearly £1,000. He, therefore, advised her to go to the +theatre, even if she walked through the part.</p> + +<p>One or two newspapers the following morning insisted on regarding my +speech of the previous evening as a melancholy joke. I had announced +that Mdlle. Marimon was physically unable to fulfil the demands of her +<i>rôle</i>, and that she would omit the shadow song. But, said the papers, +her efforts throughout the evening had all been shadow songs, the little +lady having been absolutely voiceless.</p> + +<p>Mdlle. Marimon, however, in settling up the account some weeks +afterwards, charged me £120 for this performance, arguing that she had +appeared and done her best under the circumstances.<a name="page_237" id="page_237"></a></p> + +<h3><a name="CHAPTER_XVI" id="CHAPTER_XVI"></a>CHAPTER XVI.</h3> + +<div class="blockquot"><p class="hang">SIR MICHAEL AND HIS CHEQUE—SIX MINUTES' BANKRUPTCY—SUCCESS OF +"LOHENGRIN"—PRODUCTION OF "MEFISTOFELE"—RETURN TO NEW +YORK—"LOHENGRIN" UNDER DIFFICULTIES—ELSA'S TAILS—CINCINNATI +OPERA FESTIVAL.</p></div> + +<p class="nind">I <small>BEGAN</small> my London season of 1880 a few days after my return from the +United States, Mdme. Christine Nilsson appearing as "Margherita" in +<i>Faust</i> on the opening night, followed by <i>La Sonnambula</i>, <i>Carmen</i>, +<i>Aida</i>, etc., also <i>Lohengrin</i>, for which I had specially entered into +an engagement with Richter, who after some fifteen rehearsals declared +the work ready for presentation. He at the same time informed me that on +looking through the orchestral parts he had discovered no less than 430 +mistakes which had been passed over by his predecessor, Sir Michael +Costa, and which he had corrected.</p> + +<p>About this time law proceedings were pretty hot between myself and Sir +Michael Costa, and as they<a name="page_238" id="page_238"></a> led to my becoming a bankrupt for about six +minutes, I may as well explain to the reader how this occurred.</p> + +<p>My engagement with Sir Michael Costa was for a season of three months in +each year, for which I was to give him £1,500—£500 each month, payable +in advance. My season of 1875 was fixed to open on the 24th April, and +to terminate on the 24th July, which it actually did; but having at that +time secured the services of the great tragedian Salvini, I thought it +desirable to open the theatre about a fortnight earlier, giving opera +only twice or three times a week, and utilizing the other nights for the +appearances of Salvini. I mentioned my idea to Costa, who said I had +better pay him his regular cheque as from the commencement of the +season, and that the few extra nights could be settled for apart.</p> + +<p>On the 10th July Sir Michael Costa asked for his usual monthly cheque in +advance. I reminded him of our conversation on the subject, and pointed +out to him that I had already made him the three payments as agreed. He +told me that he wanted particularly to have the cheque, as he desired to +show it to H.R.H.; adding with a mysterious air: "You will be pleased!" +From his manner he led me to believe that he would return me the cheque +after it had been shown. I, therefore, gave it to him; and, hearing no +more of it for five years, thought he had destroyed it. However, prior +to<a name="page_239" id="page_239"></a> my announcing my season of 1880, application was made for the +payment of this cheque. Sir Michael declined, in fact, to wield the +<i>bâton</i> unless the old cheque were paid. He seemed quite determined on +the subject; and I, on my part, was equally determined to resist the +demand. I made various propositions for an equitable adjustment, as also +did several influential friends; but all to no purpose. Sir Michael +Costa, like Shylock, insisted on his bond; and the law was allowed to +take its course. In the end the "blue paper" was signed by Mr. Registrar +Hazlitt constituting me a bankrupt, and I left the Court in a state of +depression quite unusual to me.</p> + +<p>We had scarcely got outside when a happy thought struck my solicitor, +who, hurrying back with me to the Registrar, addressed him as follows:—</p> + +<p>"Pending the appointment of a trustee, which may take some eight or nine +days, your honour is, in fact, the manager of Her Majesty's Theatre, and +my client thinks it only right to take your honour's orders as to the +production of <i>Lohengrin</i> on Saturday. Some new skirts, moreover, which +might be of calico, but which your honour would, perhaps, prefer of +silk, are wanted for the ballet in <i>Il Trovatore</i> next Monday. But the +<i>Lohengrin</i> matter is the more pressing of the two, and we should be +glad if you would meet Herr Richter, who, though unwilling to tamper +with the score of so great a<a name="page_240" id="page_240"></a> composer as Wagner, thinks some cuts, +already on another occasion authorized by the master, might be ventured +upon in the long duet between "Elsa" and "Ortrud." There is an obstinate +tenor, moreover, whom your honour, by adopting a decided tone towards +him, might perhaps bring to reason."</p> + +<p>Mr. Registrar Hazlitt was amazed, and in tones of something like dismay +declared that he had trouble enough where he was, and could not +undertake the management of an Opera-house. He had not considered that, +he continued, when he signed the paper. He rang for a messenger, caused +the paper to be brought to him, and at once tore it up; thus putting an +end to my six minutes of bankruptcy.</p> + +<p><i>Lohengrin</i> met with very great success, and we ran it alternately with +<i>Carmen</i>, <i>Don Giovanni</i>, <i>Faust</i>, and several other operas, in which +Mdlle. Gerster maintained her pre-eminence. During all this time we were +busily rehearsing Boito's <i>Mefistofele</i>, which I was unable to produce +until the early part of July. The following was the cast:—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary=""> +<tr><td align="left">"Margherita" and "Helen of Troy"</td><td align="left">...</td><td align="left">Mdme. Christine Nilsson.</td></tr> +<tr><td align="left">"Martha" and "Pantalis"</td><td align="left">...</td><td align="left">Mdme. Trebelli.</td></tr> +<tr><td align="left">"Mefistofele"</td><td align="left">...</td><td align="left">Signor Nannetti.</td></tr> +<tr><td align="left">"Faust"</td><td align="left">...</td><td align="left">Signor Campanini.</td></tr> +</table> + +<p>The rehearsals were under the immediate personal superintendence of the +composer Boito, and the<a name="page_241" id="page_241"></a> scenic department under that of the celebrated +scene-painter Magnani. The greatest pains were taken to give such a +representation of this opera as would be worthy of the composer's high +reputation.</p> + +<p>At last the day arrived, the 6th July; but not the properties, which +were expected in large cases from Italy, but could not be heard of and +were nowhere to be found. I went to all the likely places in London, +telegraphed to Boulogne and to Calais, but in vain. Finally, however, at +half-past six in the evening, they were brought to the stage door.</p> + +<p>The reader cannot, of course, understand the enormous difficulty which +arose in unpacking these hundreds of various properties, each one done +up in separate paper. At last shields, armour, spears, serpents, +goblets, torches, demon's wigs, etc., etc., were all piled up on the +stage. The supernumeraries and chorus were ready dressed, and were left +to help themselves, the supers, who were all guardsmen, picking out the +prettiest properties they could find; and it was with immense difficulty +that, with Boito's aid, we could distribute the most necessary for the +performance. The success of this opera is doubtless fresh in the minds +of most lovers of music. I look upon it as one of the most memorable on +record. It went without a hitch. Madame Nilsson as "Margherita" +impressed me by her singing and acting in the prison scene as she had +never done before. The opera was repeated<a name="page_242" id="page_242"></a> every other night until the +close of the season, the receipts continually increasing.</p> + +<p>At the close of my London season I again went to the Continent in quest +of talent, and paid a visit to Mdme. Gerster at her elegant villa near +Bologna. She received me with every expression of delight, and we +concluded forthwith our arrangements for her return to America, she +making it a condition that the baby should accompany her. I now made +great preparations to ensure a brilliant season. Great improvements were +made by the Directors in the auditorium of the Academy of Music in New +York, and new carpet was everywhere laid down. At my suggestion, too, a +few feet were cut from the front of the stage, which improved the +proscenium boxes, and gave me two extra rows of stalls or <i>parquet</i> +seats, numbering sixty in all. These were immediately let at high +premiums for the whole of my season. Preparations were afterwards made +for the production of Boito's <i>Mefistofele</i>, which had been such a great +success during my past London season.</p> + +<p>As I found it desirable not to leave myself entirely in the hands of one +principal tenor, I concluded arrangements whereby Signor Ravelli was to +form part of my Company. Ravelli made his <i>début</i> as "Edgardo" in <i>Lucia +di Lammermoor</i> on the opening night, when Mdme. Gerster made her +<i>rentrée</i>, after an absence of a year, as "Lucia." The house was crowded +from floor to ceiling, Mdme. Gerster receiving more than her usual +ovations.<a name="page_243" id="page_243"></a></p> + +<p>The following night Campanini made his re-appearance as "Fernando" in +<i>La Favorita</i>, Miss Annie Louise Cary undertaking her unrivalled +impersonation of "Leonora."</p> + +<p>Wishing to do all in my power to make the production of <i>Mefistofele</i> a +representation of the first class in every respect, I caused to be +removed from each end of the orchestra some five-and-twenty parquet +seats in order that it might be enlarged, and I engaged some twenty-five +extra musicians of ability so that the <i>ensemble</i> of my orchestra might +be equal to that of London. Arditi was indefatigable with his +rehearsals, of which he had several, in order to obtain every possible +perfection in the execution of the music, to secure even the minutest +<i>nuances</i> in the necessary light and shade. The cast included Signor +Campanini as "Faust," Annie Louise Gary as "Martha" and "Pantalis," a +new-comer, Signor Novara, as "Mefistofele," whilst Alwina Valleria +undertook the <i>rôle</i> of "Margherita"—and right well did the little lady +fulfil the task she had undertaken. She had moments at which she showed +herself quite equal to Mdme. Nilsson, especially in the prison scene.</p> + +<p>In the newspapers the following morning no mention whatever was made +either of the increase in my orchestra or of its performance; the +critics at that time being less discerning than they are now. This +greatly mortified Arditi, who had been working like a slave for so long +a time before the production.<a name="page_244" id="page_244"></a></p> + +<p>We shortly afterwards produced <i>Mignon</i>, when Arditi said one rehearsal +would do, as sure enough it did; and this time we met with great praise. +On my returning for the following spring season I dispensed with the +services of my twenty-five extra musicians; and the excellence of the +orchestra was now fully commented upon.</p> + +<p>About this time I remounted <i>Aida</i> in grand style, with new properties, +scenery, and dresses, Mdme. Gerster shortly afterwards appearing as +"Elsa" in <i>Lohengrin</i>. This reminds me of an interesting occurrence.</p> + +<p>The fatigues incident to the continued rehearsals of Lohengrin had +rather unnerved Mdme. Gerster, who, however, made her appearance in the +<i>rôle</i> of "Elsa" on the night for which the opera had been originally +announced. Her success, though great, was not what she desired, and the +next day she complained of indisposition, though she at the same time +insisted upon further rehearsals. I therefore closed the theatre at +great loss, in order that her desires might be complied with.</p> + +<p>At length the time for the second performance arrived. I had spent a +fatiguing day, and had finished up with directing the difficult +machinery of the scene in which the swan disappears to be replaced by +the missing child, while the dove comes down from heaven to draw the +boat which, as "Elsa" embraces her long-lost brother, bears "Lohengrin" +away.<a name="page_245" id="page_245"></a></p> + +<p>Feeling sure that all was in order, I went home for a short time, not +having tasted anything since early morn. I sat down to my dinner, and +ordered my servant to bring me a pint of champagne. I had hardly taken +the knife and fork into my hand when Dr. Gardini, Mdme. Gerster's +husband, put his head through the door, beckoning to me, and saying that +he wanted me for one "second" only. On my getting into the vestibule he +entreated me to come over a moment to the Everett House, where his wife +was residing, it being then about a quarter to seven (my opera was to +commence at eight). On my reaching the Everett House her maid, her +brother, and her sister-in-law desired me to step a moment into her +bedroom. On entering I smelt a powerful odour of chloroform, and on +inquiry found that her brother, who was a medical man of some standing +in New York, had been prescribing chloroform to allay a tooth-ache, or +some other ailment she was suffering from; but in the nervous condition +she was in it had acted rather too violently upon her general system, +and there she lay speechless.</p> + +<p>I was beside myself, and I am afraid rather rude at the moment to those +in attendance. However, I insisted upon taking the matter entirely into +my own hands. I commenced by opening the tops of the windows so as to +let the odour out, and dispatched the sister to get me a bottle of +soda-water, together with some sal-volatile, also a bottle of strong +smelling salts. By raising Mdme. Gerster's head<a name="page_246" id="page_246"></a> I got her to take the +soda-water and sal-volatile, and at each respiration I took good care to +place the smelling-bottle to her nose, but all to no effect. She was in +a state of semi-unconsciousness.</p> + +<p>I, however, insisted upon raising her (it being then a quarter past +seven), and by the aid of the maid I put a large shawl over her, and +carried her off in my arms to the carriage, which I had ordered to be at +the door, and took her over to the Academy, where I seated her on a +chair. She now swooned on to the dressing-table.</p> + +<p>Whilst I continued to apply the smelling-bottle I gave directions to the +theatrical hair-dresser to be careful to come gently in and comb out her +back hair and plait in the little tails which are sometimes added by +prime donne. It was about twenty minutes to eight when Arditi came into +the room, accompanied by the call-boy, and both looked upon the matter +as hopeless. I, however, begged the maestro to go into the orchestra, +and to leave the rest to me.</p> + +<p>I got her to stand upright; but when I suggested the idea of singing +"Elsa" she sighed, and said—</p> + +<p>"It is utterly useless. It is just eight o'clock, and the tails are not +in my hair."</p> + +<p>I thereupon informed her that during her unconscious state I had +carefully had the tails combed in. This brought a faint smile to her +face, and I at once saw that there was still a chance of my opera going. +I led her to the entrance, when she went on<a name="page_247" id="page_247"></a> accompanied by her +attendant maidens. I then drew a long breath and went back to finish my +dinner, knowing now that the opera would continue.</p> + +<p>Long before the first act was completed Mdme. Gerster's energies had +returned. She was in full possession of her marvellous vocal powers, and +a triumphant evening was the result of my labours.</p> + +<p>About this time I commenced autumn Sunday evening concerts, in which the +whole of my singers took part, the first portion of the evening +beginning, as a rule, with a fine performance of Rossini's <i>Stabat +Mater</i>, Valleria, Cary, Campanini, Galassi, and Novara singing the music +very effectively. The houses were invariably crowded to the roof.</p> + +<p>About this time, I settled a grand opera festival for Cincinnati the +ensuing spring, in conjunction with the College of Music, and for that +purpose organized a chorus of some 400 extra voices, and an orchestra of +some 150 musicians; after which I left for Chicago to confer with +Colonel George Nichols as to the arrangements.</p> + +<p>We afterwards visited Boston, where our performances met with the +greatest possible success, each week's receipts averaging no less than +35,000 dollars, the reappearance of Mdme. Etelka Gerster creating +immense excitement. At the <i>matinée</i> given on January 1st, at which she +appeared, upwards of 100 ladies' odd india-rubber overshoes were picked +up on the family circle staircase<a name="page_248" id="page_248"></a> lost in the rush after the opening of +the doors, there being a heavy snowstorm raging at the time. The +receipts were over £1,200 notwithstanding. <i>Aida, Mefistofele, Carmen, +Don Giovanni</i>, and <i>Puritani</i> completed the week's <i>répertoire</i>. We +afterwards left for Philadelphia, followed by Baltimore, Washington, +Pittsburg, Indianapolis, Chicago, and St. Louis, the Opera being a +signal success all along the line. We closed up on the Saturday night at +St. Louis, leaving by special train at 1 a.m., shortly after the +conclusion of the night's representation, for Cincinnati. The soloists, +choristers, and orchestra arrived at about three o'clock on the Sunday +afternoon, rather tired; and they spent this afternoon in hunting up +hotels and boarding-houses. In the evening we had a stage rehearsal of +<i>Lohengrin</i>, with chorus and part of the orchestra. My own chorus was on +hand, together with the Cincinnati contingent some 350 strong—all +present without a single absentee. But large as the stage was there was +plenty of room for all and to spare. The beautiful <i>Lohengrin</i> choruses +were finely rendered, and the volume of tone resounding through the vast +building was truly grand. The rehearsal was afterwards dismissed, and +everyone retired to rest.</p> + +<p>Early the following morning the final rehearsal was called, which +terminated at twelve o'clock; and that same evening the first great +Opera Festival was inaugurated—undoubtedly the most daring musical +enterprise ever attempted in America or any other<a name="page_249" id="page_249"></a> country. The sight of +the audience from the private boxes was worth a journey to see. It was +one sea of faces. Everything looked auspicious for the success of the +festival. The weather was pleasant, the crowds were large and +enthusiastic, and the singers were <i>en rapport</i> with the audience, +whilst the chorus did its very best.</p> + +<p>The orchestra, also, was the finest ever heard in Cincinnati, composed +of 150 first-class musicians, who did their work splendidly. In fact, +the <i>ensemble</i> was complete.</p> + +<p>The scene outside the hall was one of bewildering confusion. Myriads of +elegant carriages darting round corners, pedestrians jostling against +each other to arrive before the doors were closed, an immense rabble +outside, who had gone to catch only a glimpse of the handsomely-dressed +ladies as they went in; such was the scene, which, I must add, was +illuminated by the newly-invented electric light. In spite of the most +stringent police regulations the streets were blocked, and it is not +surprising that there were several horrible accidents. Notwithstanding +four wide exits it was an hour and a half after the performance was over +before the last carriage could get off.</p> + +<p>The toilettes of the ladies, for which Cincinnati is so famous, were +most elegant. Our grand performance of <i>Lohengrin</i> was followed by +Mozart's <i>Magic Flute</i>, Mdme. Gerster singing the <i>rôle</i> of the "Queen +of Night." The third opera was Boito's<a name="page_250" id="page_250"></a> <i>Mefistofele</i>, for which 8,000 +reserved seats were sold. The fourth night we had <i>Lucia di Lammermoor</i>, +followed by an act from <i>Moses in Egypt</i>; the extreme back of the stage +representing a burning sun, and the whole 400 choristers joining +together with the principals in the grand prayer, "Dal tuo stellato +soglio," which terminates the opera. On the fifth night Verdi's <i>Aida</i> +was given with entirely new scenery, painted for the occasion, together +with new dresses and properties.</p> + +<p>A morning performance, <i>La Sonnambula</i>, was given next day, with +Gerster. The audience, like all the previous ones, was immense. Every +seat was occupied, whilst 2,000 people who had paid two dollars apiece +were standing up. The toilettes of the ladies were simply magnificent, +baffling all description. The audience went wild over Gerster, encores +were demanded and re-demanded, people hurrahed and waved their +handkerchiefs, whilst the most expensive bouquets and flowers were +pelted on the prima donna, who at last was embowered in roses.</p> + +<p>On the last evening Gounod's <i>Faust</i> was performed. The end was as +glorious as the beginning. By seven o'clock the big hall was again +filled, and at half-past seven, when Arditi took up the <i>bâton</i>, the +house was packed and jammed from the top-most part of the gallery.</p> + +<p>The audiences throughout the week were most brilliant. Before separating +a Committee meeting<a name="page_251" id="page_251"></a> was held; and it was resolved that the festival +should be renewed the following year, when Mdme. Patti and Mdme. Albani +should, if possible, be added to the list of vocalists.</p> + +<p>This was followed by a grand banquet at the club, where amongst others I +had the honour of making the acquaintance of Mr. Reuben Springer, the +donor of the magnificent hall in which the festival had been held.</p> + +<p>The profits of the week reached 50,000 dollars. We afterwards visited +Detroit, Syracuse, and Albany, returning to New York in the early part +of March.</p> + +<p>On the 25th March a morning performance was given of <i>Lucia di +Lammermoor</i>, when the Academy was fairly packed from <i>parquet</i> to +gallery by a most fashionable audience, not so much to hear <i>Lucia</i> as +to hear Mdme. Gerster. At the rush at the opening of the doors the +ticket-taker discovered a forged free pass purporting to bear my name. +On his own responsibility he handed over to the police the two men who +had come in with the ticket, and they were taken off to the +police-station, where I was immediately sent for.</p> + +<p>The forgery being proved they were both committed for trial, the +magistrate at the same time notifying that if we took them up at once in +an elevated train to Ninety-second Street the assizes would be on, and +their case could be at once decided.</p> + +<p>They were duly taken on, and the matter gone<a name="page_252" id="page_252"></a> into. One of the men was +committed to prison for a year, and the other one was placed under the +care of the Commissioners of Charities and Corrections for two years on +Randall's Island.</p> + +<p>I got back to the Academy in time to hear the mad scene.</p> + +<p>On returning the following year I made inquiry as to the man who had +been sent to the Reformatory, and was informed that he had died only the +day before. So also had the judge of the Assize Court: a remarkable +coincidence.</p> + +<p>We remained in New York until the 9th April, when we were again called +to Boston to give six performances, each of which averaged $5,000. After +a <i>matinée</i> on the Saturday we returned to New York by special train, in +order to give a Sunday concert, when over 4,000 dollars were taken at +the doors. We then gave six more extra farewell performances in New +York, sailing for Europe immediately on the conclusion of the last one, +and arriving in London about six days prior to the opening of my season.</p> + +<p>Early in the spring of 1881 I received a communication from Messrs. +Ricordi, of Milan, the publishers and proprietors of Boito's +<i>Mefistofele</i>, in which they solicited me to allow Signor Nannetti, the +basso, who was then performing the title <i>rôle</i> at the Scala, to delay +his engagement with me for the period of a fortnight, in order that the +successful run of the work might not be interrupted;<a name="page_253" id="page_253"></a> in exchange for +which they offered me the services of the musical director, Signor +Faccio. To this I consented, and the eminent conductor was duly +announced in my prospectus. But instead of keeping Nannetti two weeks in +Milan they kept him five, during which time my season had opened and +Mdme. Nilsson had arrived in London in order that I might take up the +successful run of <i>Mefistofele</i> which had been interrupted only by the +close of the previous season. Mdme. Nilsson, however, refused to appear +until Nannetti came; and it was not until the 23rd June that I could +reproduce Boito's <i>Mefistofele</i>. Faccio never turned up at all.<a name="page_254" id="page_254"></a></p> + +<h3><a name="CHAPTER_XVII" id="CHAPTER_XVII"></a>CHAPTER XVII.</h3> + +<div class="blockquot"><p class="hang">PRODUCTION OF "IL RINNEGATO"—RAVELLI'S OPERATIC +THEORY—NEGOTIATIONS WITH COVENT GARDEN "LIMITED"—A SEARCH FOR A +PRIMA DONNA—FAILURE OF PATTI'S CONCERTS—CINCINNATI OPERA FESTIVAL +OF '82—PATTI'S INDISPOSITION.</p></div> + +<p class="nind">M<small>Y</small> London season of 1881 commenced at Her Majesty's Theatre, on the 7th +May. Nothing of note took place prior to the arrival of Mdme. Christine +Nilsson, who appeared on the 28th as "Margherita" in <i>Faust</i>, which +character she repeated, together with "Mignon," until the 23rd June, +when, after two postponements, we were enabled to reproduce Boito's +<i>Mefistofele</i>. The attraction of this opera had, however, considerably +diminished, possibly on account of its having been produced so late in +the previous season, when a few performances were given, and afterwards +interrupted for a period of nearly ten months. During this time +negotiations were entered into between Baron Bodog Orczy and myself for +the production of an<a name="page_255" id="page_255"></a> opera composed by the Baron on a Hungarian +subject, and entitled <i>The Renegade</i>; in Italian <i>Il Rinnegato</i>.</p> + +<p>Baron Orczy, friend and pupil of Liszt, and a fervent admirer of +Wagner's works, had been the Intendant of the Royal Theatre at Pesth, +where he at once gave a proof of keen musical discernment by engaging +Richter as his orchestral conductor. Report said that he had given up +his important post by reason of representations made to him on the +subject of his excessive devotion to Wagnerian music. However that may +be, the Baron had shown himself by several excerpts from his opera, +performed at St. James's Hall and at the Crystal Palace, to be a +composer of no mean ability. He handled the orchestra with skill and +power, and if his opera did not prove so successful with the general +public as his friends must have desired, that result may partly be +accounted for by the over-elaboration of the score, and the importance +attached by the composer to the instrumental portions of his work.</p> + +<p>Composed to a Hungarian libretto, <i>The Renegade</i>, of which the subject +was derived from an historical romance by a popular Hungarian novelist, +had, with a view to production at my theatre, been translated into +Italian; and two of the leading parts had been assigned to Ravelli the +tenor, and Galassi the baritone.</p> + +<p>Ravelli had not long been a member of my Company; he was one of my +chance discoveries. One<a name="page_256" id="page_256"></a> evening, as so often happened, I was at the +last moment in want of a tenor. The hall porter, finding that I was +sending about London in quest of a possibly suitable vocalist, told me +that a dark little man with a tenor voice had been hanging about the +stage-door, and the Colonnade in front of the theatre, for some ten days +past, and that he was sure to be somewhere in the neighbourhood. The +artist in question was found. I asked him whether he could really sing. +His answer may be guessed; and when I further questioned him as to +whether he knew the part of "Edgardo" he replied that he did, and in +some measure verified his assertion by singing portions of it. He showed +himself the possessor of a fine, clear, resonant voice; and if he +sometimes sang without true dramatic expression, and without the grace +which springs from perfect art, he at least knew how to thrill the +public with a high note effectively thrown in.</p> + +<p>It is not my purpose, however, for good or ill, to criticize the singing +of Signor Ravelli. I am now dealing with him only in so far as he was +connected with the opera of <i>Il Rinnegato</i>. In the second act of that +work the tenor and baritone fight a duel. In this there was no novelty. +But instead of the tenor killing the baritone, the baritone puts the +tenor to death, and this struck Signor Ravelli as far too new. He +appealed to operatic traditions and asked in an excited manner whether +such a thing was heard of before. "No!" he exclaimed,<a name="page_257" id="page_257"></a> answering with +vigour his own question; and he added that though he was quite ready to +take part in the duel, he would do so on condition that not he but his +antagonist should be slain. It was useless to explain to him that in the +story upon which the opera was based the character represented by the +tenor perished, while the baritone lived on. This, he said, was just +what he complained of. "Why," he indignantly demanded, "should the +tenor's part in the opera be thus cut short? But why, above all, should +the habitual impersonator of heroes fall beneath the sword of one who +was accustomed only to play a villain's part?"</p> + +<p>It was impossible to get the infatuated man to hear reason on the +subject. He cried, screamed, uttered oaths, and at one time threatened +to kill with his dagger, not only his natural enemy, the baritone, but +everyone around him. "I will kill them all!" he shrieked.</p> + +<p>After a time, by humouring him and agreeing with him that in a +well-ordered operatic duel the tenor ought, of course, to kill the +baritone, I got him to listen to me; and I at last contrived to make him +understand that there were exceptions to all rules, and that it would be +generous on his part to overlook the species of indignity to which he +was asked to submit, the affront offered to him not having been intended +as such, either by the librettist or, above all, by the amiable +composer. It was settled then that Ravelli was to be killed. But what, +he<a name="page_258" id="page_258"></a> wished to know, was to be done with his body after death? The proper +thing would be, he said, for six attendants to enter, raise the corpse, +and carry it solemnly away to a place of repose.</p> + +<p>It mattered little to me whether the body of Ravelli was borne from off +the stage by six, eight, or a dozen attendants. But according to the +plan of the opera he had to lie where he had fallen while the soprano, +whom in his character of tenor he had passionately loved, sang a lament +over his much-loved form. I told Ravelli that it was a great compliment +thus to be treated by a despondent prima donna. But he could not see it, +and he calculated that the soprano's air, with the orchestral strains +introducing it, would keep him in what he considered an ignominious +position for something like ten minutes. It was absolutely necessary to +promise Ravelli that his mortal remains should be removed from the stage +to some quieter resting-place by six corpse bearers, the number on which +he had set his heart; and he was honoured, if I remember rightly, with +the funeral he had stipulated for at the last rehearsal. Baron Orczy had +protested against this arrangement; but I assured him that there was +nothing else to be done, and that everything should take place according +to book at the public representation.</p> + +<p>On the night of performance Ravelli was, of course, left recumbent on +the stage. He must have thought more than once, as he lay writhing with<a name="page_259" id="page_259"></a> +shame and anger on the boards, of rising and rushing off. But he feared +too much the laughter and derision of the public, and he had to remain +passive while the orchestral introduction was being played, and while +the prima donna's soliloquy was being sung. Many of us thought the +strain would be too much for him, and that he would go raving mad. But +when he found himself once more a free agent behind the scenes he +stabbed no one, struck no one, and, strange to say, seemed perfectly +quiet. The humiliation to which he had been subjected had somehow calmed +him down.</p> + +<p>If Ravelli was wild and passionate, Galassi, his associate, was a +reasonable man whose presence of mind had possibly the effect of saving +my theatre from being burned a second time. There was a good deal of +fire in <i>Il Rinnegato</i>, and in one scene the green lights surrounding an +apparition starting from a well caught some gauze, so that the well +itself burst into flames, the result being such a blaze that but for +Galassi's promptitude in dealing with it the conflagration might have +proved fatal to the building.</p> + +<p>While the baritone was smothering the fire with his cloak and with some +canvas on which the grass was painted—at the same time trampling the +burning embers under foot—a portion of the audience had taken alarm and +was already hurrying to the doors. At this critical moment I could not +but admire the calm air of dignity with which Baron<a name="page_260" id="page_260"></a> Orczy, who was +conducting his work, continued to mark the time and to direct the +performance generally as though nothing at all extraordinary were taking +place. I feel sure that this determined attitude of the composer in the +presence of what, for a few seconds, seemed likely to lead to a terrible +calamity, had a considerable effect in allaying the general excitement. +"How can there be danger," many must have asked themselves, "when that +gentleman who is conducting the orchestra, and who is so much nearer the +supposed fire than we are, does not evince the least alarm?"</p> + +<p>Towards the close of this season, negotiations were again opened by the +Messrs. Gye towards purchasing my lease, goodwill, and interest, +together with a certain portion of my costumes and scenery, with a view +to an operatic monopoly. Ultimately terms were arranged, and an +agreement concluded, which was not to come into force until the shares +of the projected Company had been taken up; and it was only in August, +1882, that I was notified that sufficient shares had been placed to +justify the Company starting, and my agreement coming into force. In the +meantime I had been left to sustain the burden of the current expenses, +rates, taxes, etc., of my own theatre, until the transfer could be made. +The arrangement entered into was that I should have so much cash, and so +many shares, together with an engagement for a period of three years, at +a salary of £1,000 per annum, besides 50 per<a name="page_261" id="page_261"></a> cent. of the profits made +in America, where I was to have sole control of the business.</p> + +<p>In the early part of October, 1881, I started with my party for New +York. The season opened on October 17th, with a performance of +<i>Lohengrin</i> by Campanini, Galassi, Novara, Anna de Belocca, and Minnie +Hauk, which gave great satisfaction. This was followed by a performance +of <i>Carmen</i>, in which Minnie Hauk, Campanini, Del Puente, and Valleria +resumed their original parts.</p> + +<p>A few days prior to the sailing of the Company for America I visited +Paris, where I heard a young vocalist, Mdlle. Vachot, sing; and at once +negotiated with her for an engagement. She did not like the idea of +crossing the ocean; but she was overruled by her father, a small farmer +at Varreds.</p> + +<p>Being in a hurry to conclude the engagement I called upon her the next +day, with a contract in my pocket, when the servant informed me that she +and her father had gone to Varreds to consult some relatives. On +learning the name of the place I went to the station, and there heard +the manager of the Grand Opera asking the ticket-seller how to get to +Varreds. Luckily, he decided not to take that train. Thereupon I entered +it; though being desperately hungry I was sorely tempted to lunch before +doing so.</p> + +<p>The nearest place on the railroad was Meaux. I got there in a pelting +rain-storm to find that I had<a name="page_262" id="page_262"></a> to travel nine miles across country to +Varreds. I managed to get a trap, but we had not gone more than half way +before one of the traces broke, which, after some delay, I got repaired.</p> + +<p>Finally I reached a clump of mud hovels; and this, I was told, was +Varreds. I asked a cowboy whom I met if he had seen Mdlle. Vachot. He +replied that he did not know her. He had seen two strangers, a lady and +a gentleman, walking towards the "hotel," which I found to be a mud hut, +with accommodation for men, women, and chickens, more especially the +latter, which were walking all over the parlour floor. Nothing was known +at this hotel, except that two strangers who had recently arrived, after +leaving a bundle of shawls, had been seen going towards the cemetery.</p> + +<p>On arriving at the cemetery I found the gate locked. I then went to the +curé, who said he knew nothing of Mdlle. Vachot. Finally I met a +blacksmith who knew her, and he pointed out where she was. I found her +at table with six or seven country cousins. As I was hungry, I was glad +to take pot-luck with them.</p> + +<p>With some difficulty I afterwards got my contract signed, and started +back for Paris. On my way to Meaux Station I met the manager of the +Grand Opera driving over towards Varreds.</p> + +<p>I afterwards secured a tenor of the name of Prévost, who had a +phenomenal voice, and was then singing with success at the Théâtre du +Château<a name="page_263" id="page_263"></a> d'Eau. He seemed especially adapted to the <i>rôle</i> of "Arnold" +in <i>William Tell</i>. After signing with him I left for Italy, where I +ordered new and magnificent costumes, including enough for an extra +chorus of 90 male voices which I afterwards employed for the Gathering +of the Cantons in Rossini's masterpiece.</p> + +<p>From there I went to Parma, where the eminent <i>scenografo</i> of the +theatre, with some persuasion, undertook to paint the scenery, which on +its arrival in New York was pronounced by all connoisseurs simply +superb.</p> + +<p>About this time the director of the Leipsic State Theatre proposed the +production of Wagner's <i>Ring des Nibelungen</i> at Her Majesty's Theatre, +with a very powerful cast of characters and a magnificent orchestra +under the direction of Richter, the great master himself to superintend +personally its production. But of this "more anon."</p> + +<p>Mdlle. Vachot duly appeared in the early part of November as "Rosina" in +<i>Il Barbiere di Siviglia</i>. The house was crowded in every part, and +Vachot was found to have a charming personality, a beautiful voice with +a good method, together with no little dramatic talent. She was warmly +received for her pretty appearance, and heartily applauded at frequent +intervals for her delightful singing. From a good beginning she went on +to a gratifying success, fairly establishing herself before the evening +was over in the favour of her new public.<a name="page_264" id="page_264"></a></p> + +<p>Things were progressing favourably when about this time Mdme. Adelina +Patti arrived in New York on a speculation of her own, after an absence +of some 22 years. A great deal of excitement was thereby created, and as +Mdme. Patti's concerts were to take place within three doors of the +Academy of Music, I began to fear as to the results of my season then +progressing. Mdme. Patti's visit, however, turned out to be a most +ill-advised one. Her concerts had not been properly announced, and she +came with a very weak Company, believing that the magical name of Patti +would alone crowd the hall. Her first concert realized scarcely 3,000 +dollars, whilst the second dropped down to 1,000 only. Few people went +to see her, and she at once understood what a mistake had been made. The +charge, moreover, she demanded was ten dollars per seat! The public, +therefore, universally agreed to stay away. The paltry receipts of the +second concert proved conclusively to Patti's manager, and to herself as +well, that something had to be done to lift the sinking enterprise.</p> + +<p>I may mention that I gave a gentle hint to Patti that her removal to the +Academy would be most desirable by sending her a bouquet which cost some +£30, with these words on it: "To Adelina Patti, Queen of the Lyric +Stage." Two days afterwards I called to see <i>la Diva</i> at the Fifth +Avenue Hotel, and after some negotiation was on the point of concluding +arrangements which would have been a<a name="page_265" id="page_265"></a> fortune to me as well as to Mdme. +Patti herself, when at this critical moment Mr. Abbey came between us, +offering her a concert tour in which, beyond receiving a fixed salary, +she was to participate in his profits.</p> + +<p>Abbey's admirable handling of Bernhardt being fresh in everyone's +recollection, Patti had no reason to suppose that he would fail in her +case to obtain similar results.</p> + +<p>During my season at the Academy the production of Rossini's <i>chef +d'œuvre</i>, <i>Guillaume Tell</i>, made a prodigious success, and crowded +the theatre nightly. The tenor Prévost possessed the voice of +exceptional quality necessary for the difficult <i>rôle</i> of "Arnoldo." +Signor Galassi's "Tell" was a noble impersonation, marked by great +dignity of action, and sung in the broad and grand style of which he is +so complete a master; whilst the part of "Mathilde" was undertaken with +success by Mdlle. Dotti, who displayed remarkable ability.</p> + +<p>Shortly afterwards I reproduced Verdi's <i>Aida</i>, for which I discovered a +most capable soprano in the person of Mdlle. Paolina Rossini, whose +success went on increasing nightly; and who later on appeared in the +difficult <i>rôle</i> of "Valentina" in <i>Les Huguenots</i>, at once taking a +firm hold on the public.</p> + +<p>We were now approaching the second great Cincinnati Opera Festival. I +will, therefore, take the reader once more with me to that city.<a name="page_266" id="page_266"></a></p> + +<p>The Opera Festival of 1882 opened on February 13th with immense success +by a grand performance of Meyerbeer's <i>Huguenots</i>, the audience, an +immense and distinguished gathering, numbering over 5,000 persons, the +representatives of the wealth, the beauty, and the culture of the city.</p> + +<p>As early as six o'clock people began to assemble outside the Music Hall, +the scene of so many previous triumphs, and long before the commencement +of the opera every seat was occupied, and every available inch of +standing room likewise.</p> + +<p>At a quarter to eight the opera began, a band composed of 150 selected +professors occupying the orchestra under the veteran Arditi. The opera +was a signal success, and went smoothly throughout; the grand +"Bénédiction des Poignards" being executed marvellously by a chorus +composed of 400 trained voices. The acoustic properties of the hall were +simply perfect. Even in the extreme rear of the gallery, from where the +artists on the stage appeared the size of Liliputians, the softest tones +could be distinctly heard.</p> + +<p>At the close of the performance, however, an unfortunate accident +occurred, which deprived me of my prima donna for the remainder of my +tour.</p> + +<p>Just as the curtain fell, when "Marcel," "Raoul," and "Valentine" were +shot by the Catholic Guards, the guns were pointed too near Mdlle. +Rossini, who got touched in the face, and was further hurt whilst +falling. She had, therefore, to be carried home.<a name="page_267" id="page_267"></a></p> + +<p>I omitted to tell the reader that some weeks before I had succeeded in +engaging Mdme. Patti to take part in this Festival, for which I paid her +£1,600 a night, being the largest amount this invaluable lady has ever +received in the shape of salary.</p> + +<p>She was announced to appear on the second evening of the festival in a +concert, followed by the fourth act of <i>Il Trovatore.</i> On arriving home, +flushed with the success of the opening night, but deeply concerned +about Mdlle. Rossini, whom I had just left, I received a letter from +Mdme. Patti's agent, informing me that she was suffering from a severe +cold, so that it was feared she would be unable to appear the following +evening.</p> + +<p>I at once sought Colonel Nichols, and informed him of this, desiring him +kindly to accompany me to Mdme. Patti's with the leading physician of +the city, who found the unwelcome tidings to be perfectly true. No +alternative was left but to issue an explicit announcement to the +public, postponing Mdme. Patti's appearance until the following Thursday +afternoon at two o'clock. I therefore substituted the opera <i>Faust</i> the +following evening, refunding their money to purchasers, or exchanging +their tickets for the night on which Mdme. Patti was to appear. This, of +course, needed a great deal of care and attention, and occupied me the +greater portion of the night on account of the vast number of tickets to +be provided for in the exchanges. I<a name="page_268" id="page_268"></a> am happy to say that there was no +confusion; and the public eventually became satisfied with the +arrangement made.</p> + +<p>On the Wednesday afternoon the opera of <i>Carmen</i> was given, with +Campanini, Del Puente, Dotti, and Minnie Hauk in the principal +characters. In the evening <i>Fidelio</i> was produced with a powerful cast, +and with 300 extra voices added for the celebrated Chorus of Prisoners, +the receipts reaching their maximum on that occasion.</p> + +<p>Mdme. Patti, unfortunately, made but slow progress towards recovery, and +it was consequently decided to further postpone her appearance until the +following Saturday night, it being again necessary to inform the public +as to the cause.</p> + +<p>Various conflicting rumours at once got into circulation as to the Patti +trouble. After it had been announced that the capricious Diva could not +sing many refused flatly to believe in the reason assigned, namely, that +she had a sore throat. Others declared that Patti was a little stubborn, +self-willed person, and had done this expressly "to spite Mapleson." +Inquiries were set about in all directions.</p> + +<p>Newspapers sent their reporters hundreds of miles to discover the state +of Patti's health before she had quitted Detroit to come on to the +Festival. Malicious people even went so far as to say that Patti, like +Rip Van Winkle, was fond of "schnapps," on the insufficient ground that, +prior to starting,<a name="page_269" id="page_269"></a> she had purchased a bottle of Mumm's "extra dry." +Even this turned out to be a mistake, for, in reply to an inquiry made, +a special despatch was received from Detroit by the <i>Cincinnati +Gazette</i>, stating that "the bills of Patti at the Detroit Hotel show +that during her entire stay in that city only two quarts of wine were +consumed, and the hotel waiters state they think Nicolini drank the most +of it. Further, the landlord stated that none of the party were +noticeably intoxicated during their stay in his hotel, showing there +could be no truth whatever in the statement that Patti was under the +influence of liquor."</p> + +<p>An evening paper published the following:—"The explanation that Patti +caught cold whilst driving in this city is strengthened by the fact that +she at least had a good opportunity for doing so, as she was driving +most of the time during the previous day. On our reporter inquiring at +the stables, he ascertained that her carriage bill for her drive +amounted to 55 dollars." Dr. J. D. Buck, who attended her, informed the +newspaper reporter that "Mdme. Patti was undoubtedly ill of a cold, but +she was rapidly improving."</p> + +<p>Meanwhile Dr. F. Forchheimer, physician to the College of Music, was +also sent to inspect the larynx of the prima donna, and he confirmed +what the previous doctor had said.</p> + +<p>The ticket speculators, however, lost nothing by the affair, the city +being very famous for <i>matinée</i><a name="page_270" id="page_270"></a> performances, and as the ladies came +forward in great numbers at five dollars apiece for the purpose of +showing their new toilettes, very few returned after once entering the +doors. Each of the audiences for <i>Carmen</i> and <i>Fidelio</i> numbered 8,000 +people.</p> + +<p>On Friday evening I produced Mozart's <i>Magic Flute</i>; and on Saturday a +magnificent representation with complete scenic effects was given of +<i>William Tell</i>, where again my increased chorus of 400 did very +effective work, the voices coming out with full freshness and vigour. So +good a chorus had never been heard on the operatic stage before. The +orchestra, too, particularly distinguished itself. The overture, which +musically embodies the whole opera, was given with such precision, +correctness of tempo, and delicacy of colour that it called forth at +once an encore.</p> + +<p>On the Saturday morning a grand performance of <i>Lohengrin</i> was given, +and in the evening Mdme. Patti was enabled to appear, the first part +being devoted to a concert, while the second was composed of the fourth +act of <i>Trovatore</i>.</p> + +<p>As the success of the Festival kept on increasing we resolved to give an +extra performance, for which purpose an engagement was entered into with +Mdme. Patti for the following Monday, when she appeared as "Margherita" +in <i>Faust</i>.</p> + +<p>I afterwards visited Detroit, Buffalo, Cleveland, Syracuse, and Albany, +returning to New York for the usual spring season, and there performing<a name="page_271" id="page_271"></a> +<i>Fidelio</i>, <i>Huguenots</i>, <i>Lohengrin</i>, <i>Carmen</i>, <i>William Tell</i>, and +<i>Faust</i>.</p> + +<p>In the meanwhile I had put in rehearsal Meyerbeer's <i>Africaine</i>, which +was placed on the stage at considerable expense, all the costumes, +scenery, dresses, and armour being entirely new, and the stage being +occupied by some 400 persons. The gorgeous revival of <i>l'Africaine</i> +proved an extraordinary success. The audience fairly packed the large +house nightly, the fine spectacle presented in the third and fourth acts +causing great enthusiasm. Miss Hauk undertook the part of "Selika," and +was particularly successful from a dramatic point of view, whilst Signor +Galassi and Campanini found great opportunities for the display of their +vocal abilities. The great ship scene of the third act created a perfect +furore. So anxious was I that the acting of the Indians on boarding the +ship should create a sensation, that I went to Union Square and from the +various agencies engaged some 12 or 15 actors, who were then out of +employment, and whose make-up with the tattoo marks and their realistic +fighting made such an impression that on the conclusion of the scene the +curtain had to be raised.</p> + +<p>The grand march, too, in the fourth act created a sensation, equally +with the magnificent spectacle and the gorgeous palanquin in which +"Selika" enters accompanied by "Nelusko." I had requested Bradwell to +design for me a full-sized elephant with a palanquin on its back, in +which<a name="page_272" id="page_272"></a> people were seated, the interior of the elephant being occupied +and kept firm by two stalwart policemen.</p> + +<p>The scenery was of the most gorgeous description, specially painted for +me by Magnani, who surpassed even his previous efforts. <i>L'Africaine</i> +was repeated for five or six consecutive nights to crowded houses.</p> + +<p>On one occasion we had to perform <i>L'Africaine</i> on consecutive nights in +New York and Philadelphia, which entailed the removal of the whole of +the scenery and dresses, likewise the transport of the whole of the +supernumeraries, ballet, etc., numbering altogether 400 persons; and we +had, moreover, to return the same evening after the performance to New +York, in which city the work was to be repeated the following night.</p> + +<p>The supernumeraries, with their blackened faces, and the Indians with +their tattoo marks, caused a great sensation at the railway station on +the return journey, as there was no time to think of washing them. We +only reached New York the next morning at six o'clock, when again the +early morning public were startled by the arrival of these sable gentry +under a blazing sun.</p> + +<p>We remained in New York for further representations, when I revived +Verdi's <i>Ernani</i>, <i>Don Giovanni</i>, <i>Huguenots</i>, etc.<a name="page_273" id="page_273"></a></p> + +<h3><a name="CHAPTER_XVIII" id="CHAPTER_XVIII"></a>CHAPTER XVIII.</h3> + +<div class="blockquot"><p class="hang">I ENGAGE PATTI—MY MILITARY EXPERIENCE—INFLUENCING +ELECTORS—OPERATIC JOINT STOCK COMPANY—OBJECTIONS TO ENGLISH +MONOPOLY—PATTI IN NEW YORK.</p></div> + +<p class="nind">A<small>BOUT</small> this time I set to work for the purpose of engaging Adelina Patti +for my ensuing season, and sent a letter to all the 200 stockholders of +the Academy (who occupied free seats) to know what amount they would +contribute towards the accomplishment of my object. Mr. Pierre Lorillard +wrote to me that in case I should be short he would donate 1,000 dollars +beyond the amount he then contributed should Patti sing at the Academy +the next winter. I replied that I simply required each stockholder to +contribute three dollars a seat for the Patti nights in order to aid me +in carrying out this much-desired engagement.</p> + +<p>I regret to say that many of the stockholders sent me no response +whatever. Others destroyed the value of their consent by adding that it +was only to<a name="page_274" id="page_274"></a> be given if all the other shareholders agreed to do the +same.</p> + +<p>Another great difficulty presented itself. I was called upon to deposit +no less than £11,000 at Belmont's bank as caution money on the signing +of the contract. This difficulty I ultimately got over through the +kindness of August Belmont, who guaranteed Mdme. Patti's deposit, I at +the same time assigning to Mr. Belmont the whole of my subscriptions. +The agreement with Mdme. Patti was, therefore, duly signed.</p> + +<p>The conclusion of this contract made a great sensation. When it became +known that Mdme. Patti was to return the following season, numbers of +applications were made for subscriptions, although it was six months +before the opening.</p> + +<p>About this time the building of the new Metropolitan Opera-house had +been resumed in earnest, in order that it might be completed by the +following spring.</p> + +<p>The season shortly afterwards closed with the benefits of the various +singers, I taking the last night, when I gave acts of four different +operas, namely, <i>Faust</i>, <i>Daughter of the Regiment</i>, <i>Ruy Blas</i>, and +<i>Africaine</i>, with a new ballet.</p> + +<p>Having secured Mdme. Patti for the ensuing season, I endeavoured to +effect an engagement also with Mdme. Gerster, who was then in New York, +having returned from New Orleans, and being now on her way to England. I +only succeeded, however,<a name="page_275" id="page_275"></a> in securing her services for the following +morning, when an early <i>matinée</i> had to be given prior to the departure +of the Company for Europe in the afternoon, the receipts on that +occasion reaching no less than 9,000 dollars.</p> + +<p>This year the Americans paid me the compliment of making me an honorary +member of the 22nd Regiment, with rank corresponding to my own actual +rank in the English volunteers. But beyond attending a couple of balls +and some competition drills in the uniform of the regiment I had never +time enough to profit by the privileges extended to me in so friendly a +manner.</p> + +<p>I must not forget among my volunteering reminiscences a rather dramatic +incident which occurred at Her Majesty's Theatre in the year 1860, when +I had just joined the Honorable Artillery Company, and, as yet but +little instructed in the mysteries of drill, was anxious to qualify +myself as soon as possible for admission into line. With this view I +spent every spare moment in practice, sometimes with the Scots Guards at +St. George's Barracks, Trafalgar Square, and often in the evening, when +some operatic representation was actually going on, at Her Majesty's +Theatre, where I utilized the services of the guard of honour in +attendance. The first time I carried out what had struck me as rather a +happy idea I was putting the squad of guardsmen through the bayonet +exercise in the Ballet practice room. I had just given the orders, +"Advance, advance, point!"<a name="page_276" id="page_276"></a> when the door opened, and Lewis, the +treasurer, appeared, bearing in his hand a bag which held the receipts +of the evening. The word "point!" brought the bayonets of the guardsmen +almost into contact with the breast of the startled official, who, +uttering a shriek and dropping the money-bags, turned and fled.</p> + +<p>So scared was he that not until some time afterwards did he quite +recover himself. Had he fancied in his terror that the guard had +suddenly invaded the theatre and prepared an ambuscade in order to rob +the treasurer of the night's receipts? He could give no explanation on +the subject. The sight of the red-coats, the authoritative cry of +"Point!" and the rapid presentation of the bayonets, which all but +pierced him, had the effect of depriving him for a time of his wits. No +other account could poor Lewis give of the matter.</p> + +<p>In these degenerate times it is considered enough at one of the Royal +Theatres to station outside during the performance a sergeant's guard; +and Mr. Augustus Harris is modest enough to consider a corporal's guard +sufficient. In former days, however, Her Majesty's Theatre was almost +always during a performance under the care of a captain's guard, the +officers being provided for inside, where the captain, the lieutenant, +and the ensign occupied stalls one, two, and three, specially reserved +for them.</p> + +<p>Three other stalls used, at this time, to be reserved<a name="page_277" id="page_277"></a> for the Captain +of the Body-Guard, the Exon in Waiting, and the Clerk of the Cheque.</p> + +<p>To show that my military studies and military labours of the last +twenty-eight years have not been altogether in vain, I may here append a +few letters from various commanding officers and adjutants with whom I +have at various times done duty.</p> + +<p>During my English provincial tours I have for many years, thanks to the +kindness of H.R.H. the Commander-in-Chief, been enabled to do duty with +a number of different regular regiments, whose officers have done me, +moreover, the honour of making me free of their mess. Sometimes, too, +the Colonel of the regiment has been good enough to place his troops +under my command. I have the pleasantest recollections of having, in the +course of my various provincial tours, worked and dined with the +officers of, I can scarcely say how many regiments. Here are some of the +letters which, on my taking leave, I received from the commanding +officers or adjutants of those corps:—</p> + +<p class="r">"Richmond Barracks, Dublin,<br /> +"Dec. 14, 1869.</p> + +<p>"I certify that Lieutenant-Colonel Mapleson, 6th Tower Hamlets Rifles, +has drilled regularly under my supervision from the 4th of September, +1869, until the 9th of October, 1869. During this period he went +regularly through company drill, and for the last fortnight took command +of the Battalion; he<a name="page_278" id="page_278"></a> on joining being well up to his work and +thoroughly acquainted with the theory of drill. On leaving I considered +him well qualified to take command of a regiment in the field. He took +the greatest interest in his work, and went in for mastering the minutiæ +of drill with great perseverance.</p> + +<p class="c">"C. J. B<small>URNETT,</small><br /> +"Captain and Adjutant <sup>2</sup>/<sub>15</sub> Regiment."</p> + +<p class="r">"Salford Barracks, Manchester,<br /> +"May 6, 1870.</p> + +<p>"I hereby testify to the capabilities of Lieutenant-Colonel Mapleson in +drill during the time I had command of the 100th Regiment at Manchester. +He drilled the Battalion several times, and from the report of the +Adjutant I have no hesitation in stating that few officers are superior +to him in the knowledge of battalion manœuvres.</p> + +<p class="c">"H. C<small>OOKE</small>,<br /> +"Major Commanding 100th Regiment."</p> + +<p class="r">"Gallowgate Barracks, Glasgow,<br /> +"May 26, 1870.</p> + +<p>"I certify that Colonel J. H. Mapleson, Honble. Artillery Company, was +drilling with the 2nd Battalion 5th Fusiliers, then under my command, +and that he showed considerable proficiency in company and battalion +drill.</p> + +<p class="c">"G<small>EORGE</small> C<small>ARDEN</small>,<br /> +"Major 2nd Battalion 5th Fusiliers."<a name="page_279" id="page_279"></a></p> + +<p class="r">"Junior United Service Club,<br /> +"November 1, 1871.</p> + +<p>"I have much pleasure in testifying as to Colonel Mapleson's thorough +knowledge of the 'Field Exercise Book,' etc., etc., and I feel convinced +from what I saw of him whilst attached to my regiment that he could +handle it under any circumstances.</p> + +<p class="c">"J. CLOWES H<small>INDS,</small><br /> +"Major 40th Regiment."</p> + +<p class="r">"Beggars' Bush Barracks, Dublin,<br /> +"January 13, 1871.</p> + +<p>"Lieutenant-Colonel Mapleson drilled with the 1st Battalion Scots +Fusilier Guards during the autumn of 1870. He was thoroughly up in +company and battalion drill, more especially the latter, and is +perfectly able to drill the Battalion.</p> + +<p class="c">"J. W. W<small>ALKER,</small><br /> +"Captain and Adjutant<br /> +"1st Battalion Scots Fusilier Guards."</p> + +<p class="r">"Glasgow, October 30, 1871.</p> + +<p>"Lieutenant-Colonel Mapleson has during the last month frequently +attended the parades of my regiment. He has both taken command of a +company at battalion drill and has also manœuvred the Battalion +himself, in both situations, showing a thorough knowledge of the +Infantry Field Exercise.</p> + +<p class="c">"J. C. R<small>ATTRAY,</small><br /> +"Colonel Commanding 90th Light Infantry."<a name="page_280" id="page_280"></a></p> + +<p class="r">"Edinburgh Castle,<br /> +"May 21, 1873.</p> + +<p>"Certified that Colonel James H. Mapleson was attached to the 93rd +Highlanders for drill. I consider him able to drill a squad, company, or +battalion according to the Field Exercise, and fully impart instruction +therein.</p> + +<p class="c">"F<small>ITZROY</small> M<small>ACPHERSON,</small><br /> +"Adjutant 93rd Sutherland Highlanders."</p> + +<p class="r">"Infantry Barracks, Windsor,<br /> +"July 7, 1873.</p> + +<p>"This is to certify that Colonel Mapleson was attached for drill to the +1st Battalion Scots Guards during the winter months; that he is +thoroughly acquainted with battalion drill, and perfectly competent to +drill the Battalion either singly or in brigade.</p> + +<p class="c">"J. W. W<small>ALKER,</small><br /> +"Captain and Adjutant 1st Battalion Scots +Guards."</p> + +<p class="r">"Edinburgh Castle, N.B.,<br /> +"April 10, 1875.</p> + +<p>"I certify that during the stay of Colonel Mapleson at Edinburgh he +attended regularly all parades of the 90th Light Infantry, and +manifested thorough knowledge of company and battalion drill. He has a +good 'word of command,' and nothing could<a name="page_281" id="page_281"></a> exceed his zeal for military +information, which he is fully in possession of.</p> + +<p class="c">"H. W. P<small>ALMER,</small><br /> +"Major Commanding 90th Light Infantry."</p> + +<p class="r">"Wellington Barracks,<br /> +"January 10, 1874. +</p> + +<p>"We certify that Lieutenant-Colonel Mapleson, of the Tower Hamlets Rifle +Brigade, is conversant with the drill of a company and of a battalion, +and able to give instruction in the same.</p> + +<p>"That he can command a battalion in brigade.</p> + +<p>"That he is competent to superintend instruction in aiming and position +drill, and to superintend blank firing and ball practice.</p> + +<p>"That he is acquainted with the proper mode of route marching and the +duties of guards.</p> + +<p>"Also that he can ride.</p> + +<p>"Also that he is acquainted with the mode of posting picquets and their +sentries and the duties of orderly officer.</p> + +<p class="c">"L. E. P<small>HILLIPS,</small><br /> +"Colonel 2nd Battalion Grenadier Guards.</p> + +<p class="c">"E. A<small>NTROBUS,</small><br /> +"Captain and Adjutant 2nd Battalion Grenadier Guards.</p> + +<p class="nind">"Approved<br /> +<span style="margin-left: 2em;">"E<small>DWARD</small> S<small>AXE</small> W<small>EIMAR,</small></span><br /> +<span style="margin-left: 4em;">"Major-General Commanding Home District."</span> +<a name="page_282" id="page_282"></a></p> + +<p>Among my experiences of exercise and drill I remember an incident in +connection with a Scottish regiment which, though I cannot very well +narrate it in minute detail, I can say enough to make the whole story +intelligible to those who have worn a kilt. At Edinburgh, in 1873, the +93rd Highlanders were one morning placed under my orders in the Queen's +Park by the Commanding Officer, at that time Colonel Burroughs. The +regiment was on the slope of a hill looking downwards. I gave the word +to fire a volley at a distance of 500 yards, and my military readers are +aware that at a distance beyond 200 yards the position for firing is the +kneeling one.</p> + +<p>A great number of persons were looking on. Suddenly an adjutant rode up +to me, and pointing to the crowd exclaimed—</p> + +<p>"For heaven's sake give the word, 'As you were!'"</p> + +<p> +<br /> +</p> + +<p>Friends have often asked me how, occupied, absorbed, distracted as I +must have been by the affairs of a great operatic establishment, I could +nevertheless find time, leisure, and even strong inclination for +military pursuits. The simple explanation is that I needed diversion +from my ordinary labours, and that I found this in the active duties of +a volunteer officer. Frequently at the end of a long rehearsal I have, +without finding time to dine, had to put on my uniform, get on +horseback, and hurry to take the command of my regiment in the Regent's<a name="page_283" id="page_283"></a> +or in Hyde Park. The entire change of occupation was, I am convinced, +the best possible relaxation I could have. I never could have recruited +my energies by simple idleness, which, besides being in my case +intolerable, is apt to lead one into scrapes.</p> + +<p>Many years ago, at the beginning of the volunteer movement, at which +time I was still associated with Mr. E. T. Smith, I qualified myself for +the duties of sergeant, and used to receive half-a-guinea a time from +the corps for drilling recruits, who came to us, naturally under the +circumstances, in the rawest condition. My reflection (not, perhaps, a +particularly new one) as to the perils of idleness was forcibly +illustrated when, a short time afterwards, I found myself at +Walton-on-the-Naze doing duty with a battery. Anything more hopelessly +dull than that place when drill was once at an end, can scarcely be +imagined. At last I could stand it no longer, and was obliged to devise +some means of diversion, which if culpable was, I hope, original.</p> + +<p>The people of the place told me that, though Walton was dull and +desolate, there were plenty of farmers in the neighbourhood who had +buxom wives and pretty daughters, and that when anything really worth +seeing was going on whole families would flock in, and render the place +quite lively with their presence.</p> + +<p>What would attract them? I put the question to myself as an impresario +just beginning his career, but already accustomed to consider such +questions.<a name="page_284" id="page_284"></a> Our artillery drill was evidently not enough. The great +sensation of the moment with the British public was Blondin and his +tight-rope performances.</p> + +<p>Would Blondin fetch them? I asked myself; and, Blondin himself being out +of the question, would public announcements to the effect that Blondin +would appear on a certain day have the desired result?</p> + +<p>A day or two afterwards the walls of Walton-on-the-Naze as well as +Colchester were covered with placards setting forth that on a fixed day +Blondin would appear and walk on the tight-rope from the end of the pier +to the top of the hotel in which we were staying.</p> + +<p>On the day appointed the sun shone brightly, and long before the time at +which Blondin was expected an army of holiday folks from the surrounding +country came in with as many pretty girls as one could wish to see in +the somewhat similar scene of the "statute fair" in the opera of +<i>Martha</i>.</p> + +<p>There was no room for the carts in the stables of the place, and they +had to be packed close together on the beach.</p> + +<p>The regimental band played on the pier, and the holiday folk had, I am +sure, an agreeable time. Some disappointment may have been caused when +telegrams in <i>fac-simile</i> were posted on the walls with the information +that Blondin from indisposition would be unable to appear. But this was +atoned<a name="page_285" id="page_285"></a> for by an announcement that in lieu of the tight-rope +performance there would be a grand display of fireworks; and the +pyrotechnics, which the organizers of the hoax paid for, went off most +brilliantly.</p> + +<p>At one time, moreover, I used to find solace from my managerial cares in +the pursuit of politics, and, with or without justification, I nourish +the hope that I did something towards securing the return of Mr. W. H. +Smith for Westminster. I was an active member of his committee, both in +connection with the elections which went against him and the subsequent +one which brought him triumphantly in. After his second failure I +remember the late Mr. Lionel Lawson saying to me—</p> + +<p>"The thing is impossible; I would not mind giving you a written promise +to pay you £10,000 if ever he gets in."</p> + +<p>Lists were at that time in the hands of the registration committees, +showing on which side each elector gave his vote. It seemed useless to +interfere with those who were marked "L," as voting firmly on the +Liberal side. But among the Westminster shop-keepers there were numbers +who were marked "LC," who apparently did not care on which side they +voted, and who generally divided their vote between a Liberal and a +Conservative candidate. With these undecided men there was evidently +something to be done; and I gave them to understand that, having strong +Conservative sympathies, I should feel it my duty to place on my free<a name="page_286" id="page_286"></a> +list those of the undecided who could bring themselves to support that +side.</p> + +<p>As the ballot system had just been introduced when Mr. W. H. Smith was +for the first time returned, I cannot, of course, say to what extent my +advocacy and aid may have benefited him. But I hope, as before observed, +that I did something towards securing his presence in Parliament.</p> + +<p>On my arrival in London I was notified that the Royal Italian Opera, +Covent Garden, Limited, had not yet been floated. But this result was +daily expected. I was precluded then from taking further steps towards +opening my London season of 1882, fearing that the Company might be +floated just as I started, in which case I should have to close up +again.</p> + +<p>In the meantime, fire insurances, poor rates, and taxes generally kept +on accumulating, and although I notified that I was ready to hand over +possession of the theatre, I still could get no reply. The consequence +was that I had to pay all sorts of arrears whilst an action for +ejectment was brought against me for having been a few days late in +paying the fire insurance. My landlord, in order to keep his superior +lease straight with the Woods and Forests, had also paid it, so that the +Company received the money twice over. Considerable battles hereupon +commenced in the law courts with a view of ejecting me from my theatre, +and it was not till late in the season that<a name="page_287" id="page_287"></a> the long-expected +notification came that the Company had been floated.</p> + +<p>The consideration I was to receive consisted of a payment of £2,500 in +cash and 1,000 fully paid up £10 shares in the new Company. I need +hardly inform the reader that I never saw one of the shares, and could +never get them; whilst all the cash that I received was consumed in +paying off the arrears of ground rent of Her Majesty's Theatre, +insurance, etc., whilst I was waiting for the Company to be floated.</p> + +<p>The main object of the Gyes and of the new Royal Italian Opera, Covent +Garden, Limited, was to obtain possession of the new Metropolitan +Opera-house, New York, which was then approaching completion. By the +terms of my agreement with the Academy of Music in New York I was +prohibited from parting with or assigning my interest or any part +thereof in that building during the remaining portion of my tenancy, +which still had two years to run. The agreement in reference to my +services for the next season at the Academy had to be drawn so as to +make it appear that I had not in any way parted with my interest or any +portion thereof; although by another agreement it was stipulated that I +ran no pecuniary risks whatever in connection with the approaching +season, simply receiving my personal expenses, my salary of £1,000 a +year, and my 50 per cent. of the profits, while retaining, as hitherto, +the sole direction of the whole concern.<a name="page_288" id="page_288"></a></p> + +<p>On starting from Europe, the Royal Italian Opera Company, Limited, gave +me a financial secretary to accompany me; and I was also assisted by +Commander Gye as treasurer. I formed, as I considered, a most brilliant +Company, which included Mdme. Adelina Patti, Mdlle. Savio, a new singer +whom I had heard in Italy, Mdlle. Rossini, Mdlle. Minnie Hauk, Mdme. +Fursch-Madi, Mdlle. Dotti, Mdlle. Valleria, Mdlle. Zagury, Mdme. +Scalchi, Signori Mierzwinski, Ravelli, Campanini, Nicolini, Galassi, Del +Puente, and Durat, a Parisian baritone of some note. I augmented the +strength of the chorus, and when on the point of publishing my +prospectus I found that the general manager in London had added a Mdlle. +Berghi, without my knowledge, who on her appearance later on made +probably the greatest <i>fiasco</i> ever known in America. He also, however, +added his wife, Mdme. Albani, whose brilliant talents added lustre to +the season. We began, therefore, in grand style, and had an enormous +subscription.</p> + +<p>The opera troupe arrived in New York early in October, and was met in +the usual way by steamers and bands of music up the bay. These +accompanied us to the wharf, where the party landed amidst great +cheering.</p> + +<p>Whilst on board I organized a grand opera concert, in which the whole of +the principal singers and chorus took part, under the direction of +Arditi, in aid of the Liverpool Sailors' Orphanage. The<a name="page_289" id="page_289"></a> saloon was +elegantly decorated for the occasion, and, without exception, every +passenger aided the scheme by attendance and contributions. I directed +the musical arrangements, whilst the prince of American orators, the +Hon. Daniel Dogherty, presided. Over £50 was realized for the charity.</p> + +<p>It was now announced by the Royal Italian Opera Company, Limited, that +on the completion of the new Metropolitan Opera-house, which Gye felt so +sure of obtaining, the Academy would be closed, so that a monopoly of +Italian Opera would thus be established in New York.</p> + +<p>The papers took the idea up warmly, but in a hostile spirit; the +<i>Herald</i> declaring in a leading article that if the Royal Italian Opera, +Covent Garden, Limited, of London, ever expected to monopolize opera in +America it was very much mistaken. The people in America, it stated, +would heartily encourage them in all efforts to establish and maintain a +first-class Opera in New York; but when they talked of repeating the +London proceeding by closing up either one of the existing Opera-houses +for the purpose of monopolizing the business, they might as well +understand that they were proposing a scheme which the American public +would readily defeat. It was contended that New York was large enough +for two Italian Opera-houses, and, if the performances in both were +meritorious, both would be well supported.</p> + +<p>Of course all the attention of the public was<a name="page_290" id="page_290"></a> concentrated on the +expected arrival of Patti, which in due course took place. There was the +usual crowd on the wharf all night awaiting the ship's arrival. I had +left orders for a telegram to be sent to me as soon as the vessel passed +Fire Island in order that I might be in time to dress and go down to one +of the specially chartered steamers with Signor Franchi, Patti's agent, +Commander Herbert Gye, and a party of artists and reporters, accompanied +by military bands, fireworks, etc. The <i>Servia</i> was out in the middle of +the stream, and we steamed up alongside, when we saw Patti, who had been +up since half-past four in the morning, in feverish anxiety to reach +<i>terra firma</i>.</p> + +<p>Our band struck up "God Save the Queen" and everyone bared his head; the +Englishmen partly from traditional reverence, but most of those present +from admiration of the lyric queen who had come for another reign to the +delighted people of New York. Handshaking and greetings followed.</p> + +<p>After we had got the Patti through the Custom House she was placed in a +carriage and taken to the Windsor Hotel, the room being piled up with +telegrams, cards, and bouquets. There was also a large set piece with +the word "Welcome!" embroidered on it in roses. In the evening there was +a midnight serenade in front of the Windsor Hotel, and ultimately <i>la +Diva</i> had to appear at the window, when orchestra and chorus, who were +outside, performed the grand prayer from <i>I Lombardi</i>. After<a name="page_291" id="page_291"></a> three +hearty cheers for Adelina Patti people went home, and she was left in +peace.</p> + +<p>Mdme. Patti made her <i>début</i> a few days afterwards as "Lucia di +Lammermoor," followed by the <i>Traviata</i>, etc. To describe in detail her +success would be to repeat an oft-told tale.</p> + +<p>Amongst the numberless inquiries at the box-office several were made as +to how long Mdme. Patti remained on the stage in each of the different +operas; and the newspapers busied themselves as to the number of notes +she sang in each particular work; larger demands for seats being made on +those evenings when she sang more notes. <i>La Traviata</i> generally carried +off the palm, perhaps because one journal had calculated the interest of +the money accruing on her diamonds, whilst she was singing in that work.</p> + +<p>A party of amateurs would buy a ticket between them, each one taking 20 +minutes of the ticket and returning with the pass-out check to the next. +Lots were drawn to decide who was to go in first; and in the event of +anyone overstaying his 20 minutes he had to pay for the whole ticket; +correctness of time being the essence of the arrangement.<a name="page_292" id="page_292"></a></p> + +<h3><a name="CHAPTER_XIX" id="CHAPTER_XIX"></a>CHAPTER XIX.</h3> + +<div class="blockquot"><p class="hang">NON-ARRIVAL OF SCALCHI—GENERAL INDISPOSITION—KING KALAKAUA +ENNOBLES PATTI—RAVELLI CONSULTS HIS DOG—THE COMPANY +VACCINATED—PATTI EATEN BY MICE—ARRIVAL OF ALBANI—CINCINNATI +OPERA FESTIVAL OF '83—FREEDOM OF THE CITY.</p></div> + +<p>I was getting very anxious about the arrival of Scalchi, who had never +yet appeared in New York, and who had lately been singing in Rio Janeiro +and at Buenos Ayres. It was not until the 20th November that I received +notice of the sighting of her ship, the <i>Plato</i>, from Rio Janeiro, which +at length arrived on the 24th, after a tempestuous voyage of twenty-two +days. The vessel had been laden with coffee, hundreds of boxes of which +had been thrown overboard to lighten it. Provisions running short, the +passengers had mostly to live on biscuit and coffee, so that Mdme. +Scalchi on her arrival was in a very feeble state; and in lieu of going +down to the Academy to rehearsal, as I proposed, took to her bed and +remained there for nearly a month. I was almost daily in attendance upon +her.<a name="page_293" id="page_293"></a></p> + +<p>Early in December I was within a very close shave of closing the +theatre. The opera announced for the evening in question was <i>William +Tell</i>. At about four o'clock I received a doctor's certificate from +Mdlle. Dotti, who performed the principal female character, notifying me +that she had been attacked with diphtheria. I therefore had to set about +to find a substitute, having decided to give the opera anyhow. Shortly +after a notification came from Mierzwinski, the tenor, who was also +indisposed, though after a deal of trouble he promised to go on and do +his best.</p> + +<p>I was, however, compelled to change the opera to <i>Lucia di Lammermoor</i>, +as the lady who had undertaken to replace the prima donna in <i>William +Tell</i> was in such a nervous state. There was no time for a rehearsal; I +therefore decided to give <i>Lucia</i> instead. On the notice being sent to +Mdlle. Laura Zagury, the soprano, she informed me that although <i>Lucia</i> +was in the <i>répertoire</i> she furnished me on her engagement she had never +sung that <i>rôle</i>. The opera therefore had to be changed to <i>Aida</i>. +Orders had just been given to the various departments as to the scenery, +dresses, music, etc., when the news came that Mdlle. Rossini, whom I had +counted upon for the principal part, was lying ill at her house in Fifth +Avenue.</p> + +<p>I now changed the opera to <i>Rigoletto</i>; but Mdme. Zagury was not ready +with the part of "Gilda," and absolutely refused to appear. <i>Les +Huguenots</i><a name="page_294" id="page_294"></a> was next announced, it being now half-past five. Everything +was set in motion for the production of that opera, when Mdme. +Fursch-Madi declared her inability to assume the part of the heroine, as +she had taken some medicine, believing that her services would not be +required until the early part of the following week. Thereupon an attack +was made on Mdme. Savio, who, however, regretted that she was unable to +appear as "Valentine."</p> + +<p>Nothing was left but to try <i>La Favorita</i>; but Signor Ravelli, who had +just finished a <i>Carmen</i> rehearsal, declared it would be utterly +impossible for him to sing the <i>rôle</i> of "Fernando." Then Minnie Hauk +was sought for; but she was saving herself for her appearance in +Brooklyn on the morrow, and distinctly declined.</p> + +<p>I now took a decision either to perform <i>La Favorita</i>, or to close up, +as it was already 6.30 p.m. I at length persuaded Signor Clodio, one of +the tenors, to assume the part of "Fernando." But a new difficulty +arose, as, being a very portly gentleman, there were no costumes in the +house to fit him. The tailors were then set to work, who promised to +have the dress ready in time. At this juncture word came from Mdme. +Galassi, who was to have taken the part of "Leonora," that she was in +bed suffering, and that it would be impossible for her to appear. I +immediately went off to Mdme. Galassi myself. She assured me of her +willingness to do her best; but she had two large boils under her<a name="page_295" id="page_295"></a> right +arm which caused her acute agony. At that moment she nearly swooned from +the pain. To fetch Dr. Mott, our talented theatrical surgeon, was the +work of a moment. We raised her up and the boils were lanced, which at +once gave her relief, and I got her down to the theatre just at five +minutes to eight. She had time to dress, as "Leonora" does not appear +until the second act. The performance went off successfully; I had got +out of another serious difficulty after changing the opera seven times.</p> + +<p>In the midst of my trouble a deputation arrived from Kalakaua I., King +of the Sandwich Islands, informing me that they were commanded by his +Majesty the King of Hawaii to confer on Mdme. Patti the Royal Order of +Kapirlani. They had the diploma and jewels with them, and they were +accompanied by the King's Chamberlain. I had to entreat them to wait "a +moment" while I got through my troubles. That moment must have been +nearly two hours.</p> + +<p>At length we all went off to Patti's hotel, when the Order was conferred +upon her in the presence of some intimate friends. The Order consisted +of a jewelled star, suspended by a red and white striped ribbon, +accompanied by the following parchment document:—<br /> + </p> + +<p>"Kalakaua I., King of the Hawaiian Islands, to all who shall see these +presents greeting, know that we have appointed and commissioned, and by +these<a name="page_296" id="page_296"></a> presents we appoint and commission, Mdme. Patti to be a Knight +Companion of our Royal Order of Kapirlani, to exercise and enjoy all the +rights, pre-eminences, and privileges to the same of right appertaining, +and to wear the insignia as by decree created.</p> + +<p>"In testimony whereof we have caused these letters to be made patent, +and the seal of the Order to be hereunto affixed.</p> + +<p>"Given under our hand, at our palace at Honolulu, this 8th day of +November, in the year of our Lord 1882.</p> + +<p class="r">"K<small>ALAKAUA</small> R<small>EX.</small></p> + +<p>"By the King, the Chancellor of the Royal Order of Kapirlani.</p> + +<p class="r">"(Signed) C<small>HARLES</small> H. J<small>UDD.</small>" +<br /> +</p> + +<p>The season continued, and <i>Lohengrin</i>, <i>Africaine</i>, <i>Huguenots</i> and +other important operas were produced. The unfortunate illness of Scalchi +had long delayed me from producing <i>Semiramide</i>, which, however, was at +length brought out on the 20th December, being the last night but two of +the season. Never shall I forget the enthusiasm of the crowded and +fashionable audience of that evening. Mdme. Patti's exquisite purity of +intonation and her breadth of phrasing filled the large audience +assembled with delight. At length Mdme. Scalchi appeared, and she at +once proved herself an artist of extraordinary excellence, and a true +dramatic singer, with a<a name="page_297" id="page_297"></a> contralto of unusual richness, volume, and +compass. The enormous success achieved by Scalchi inspired <i>la Diva</i>, +and it was generally pronounced that her singing on this occasion was +the best she had ever given in America, being, indeed, the perfection of +vocal art. The whole performance was beyond criticism.</p> + +<p>For the morning of the following Saturday, the 23rd, I announced the +opera of <i>Carmen</i>. This was to be the closing <i>matinée</i> of the regular +winter season, and the announcement drew one of the largest assemblages +of ladies, there being very few gentlemen, to the doors of the Academy.</p> + +<p>It was about three-quarters of an hour before the opening of the doors +when Ravelli sent word that he could not sing. It was then too late to +change the opera. I therefore rushed off to his hotel, leaving word that +the doors were on no account to be opened until I returned.</p> + +<p>I found him in bed. Hearing me enter he slunk under the clothes, and I +could not get him to answer my questions. I approached the bed to remove +the sheets, when a dog sprang out at me, Ravelli's favourite dog +Niagara.</p> + +<p>"Laissez moi dormir!" muttered the sluggard, as he turned over on the +other side.</p> + +<p>"Get up," I exclaimed; "don't you understand that you are imperilling my +enterprise by lying in bed and refusing to sing when there is nothing +the matter with you?"<a name="page_298" id="page_298"></a></p> + +<p>He told me that he was very tired, that he was quite out of sorts, that +his voice was not in good order, and so on.</p> + +<p>With the aid of his wife, I succeeded in making him get up. He dressed +himself. Then taking him to the piano I tried his voice, and found that +there was nothing whatever the matter with it. He could sing perfectly +well.</p> + +<p>Ravelli, however, for some minutes still hesitated. In his difficulty he +determined to consult Niagara. Appealing to an animal whose superior +intelligence he recognized, Ravelli said in the French language—</p> + +<p>"Est ce que ton mâitre doit chanter?"</p> + +<p>The dog growled, and Ravelli interpreted this oracular response as an +order not to sing. He tore his clothes off, sprang hurriedly into bed, +and left me to my own resources.</p> + +<p>In London I had raised poor Volpini almost from the dead to make him +sing the part of <i>Faust</i>, when but for his services I should have had to +close my theatre. I had induced George Bolton (of whom I knew nothing at +the time, except that he had a tenor voice, and that I had nearly run +over him in a cab) to undertake literally at a moment's notice the part +of "Lionel" in <i>Martha</i>, of which he knew nothing until I coached him, +except one air. But neither a Bolton nor a Volpini was now to be found, +and thanks to my lazy, superstitious, dog-ridden tenor, I had to close +my theatre and send away one of the most brilliant audiences that New +York could produce.<a name="page_299" id="page_299"></a></p> + +<p>I wrote a hurried notice which was put up in manuscript just as I had +scribbled it down, to the effect that in consequence of Ravelli's +refusing without explanation to sing, the theatre was closed for that +morning.</p> + +<p>The excitement outside was prodigious. Everyone, of course, said that it +was through my fault the doors were shut.</p> + +<p>"It is all that Mapleson," one charming lady was heard to exclaim. +"Wouldn't I scratch his face if I had him here!"</p> + +<p>Worst of all, the "scalpers" went off with the money they had received +for tickets sold outside the theatre.</p> + +<p>Let me here explain what "scalper" means. I am afraid that in America +our excellent librarians who do so much for the support of the Opera +would be called "scalpers;" a scalper meaning simply one who buys +tickets at the theatre to sell them at an advance elsewhere. The +ferocious name bestowed upon these gentry shows, however, that their +dealings are not quite so honourable as those of our "booksellers." For +when they had disposed of their tickets, and the performance changed, or +the theatre by some accident closed, they would walk off without any +thought of restoring the money they had received for tickets now +unavailable. At times, too, I have caught them exhibiting a gallery +diagram, and selling gallery places as orchestra stalls. They are now +obliged, by a just law, to take out licenses,<a name="page_300" id="page_300"></a> and register their places +of abode. Nor do managers allow any one of them to buy more than four +tickets for each representation.</p> + +<p>Meanwhile the New York fall season of 1882 finished up grandly with +<i>Semiramide</i>, the receipts reaching 14,000 dollars, and the public mad +with enthusiasm.</p> + +<p>I afterwards started with the Company for Baltimore, where we opened +with rather less than our usual success, on account of the small-pox +which was raging all over the city. Very few notices were given of the +opera in consequence of three and four columns a day being occupied with +the crusade undertaken against the small-pox by Mayor White, who had +telegraphed for a large number of vaccination physicians from various +States, determined as he was to stamp out the disease.</p> + +<p>The whole of the twenty wards of the city had been placed under properly +constituted medical authorities, and there everyone had to be +vaccinated, including the whole of my Company. Prima donnas had to be +vaccinated on the legs, whilst ballet-girls were vaccinated on the arms; +in fact the theatre at one time became quite a hospital.</p> + +<p>However, we managed to get through our engagement with success, though +Mdme. Patti remained over at Philadelphia, being afraid to enter the +city of Baltimore.</p> + +<p>The production of <i>L'Africaine</i>, which was new to Baltimore, was a +marked success. On terminating<a name="page_301" id="page_301"></a> our engagement we went over to +Philadelphia, where Patti made a splendid opening in <i>La Traviata</i>, the +vast theatre being crowded from floor to ceiling.</p> + +<p>The next night we produced <i>Aida</i>, the Directors of the Academy of Music +having caused to be painted specially for the occasion some of the most +gorgeous Egyptian scenery I have ever seen.</p> + +<p>At five o'clock Mdme. Scalchi sent me word that she was very ill, and +unable to sing. I thereupon went for the physician, whom I conducted +forthwith to her hotel. On our arriving at the door of her apartment I +saw a waiter going in with some lobsters, salad, and roast duck. I +immediately asked for whom he was catering, and he replied: "Mdme. +Scalchi." I waited a few minutes in order to give her time to begin +operations on the duck and the lobsters; and she was recounting some +amusing story which ended in loud laughter, when I took this as my cue +for entering.</p> + +<p>Mdme. Scalchi could no longer plead indisposition, and in due time she +came to the theatre.</p> + +<p><i>Aida</i> was a great success. At two o'clock the following afternoon we +performed <i>Lucia</i> with Adelina Patti to a house containing over 14,000 +dollars. In the evening we gave <i>L'Africaine</i>, magnificently placed on +the vast stage, to receipts not far inferior to those of the morning.</p> + +<p>Prior to the close of our very successful engagement sad alarm was +created all over the city by a report in some of the leading morning +papers that<a name="page_302" id="page_302"></a> Mdme. Patti the preceding night had been devoured by mice. +Several persons had already applied at the box office for the return of +their money on the ground that <i>la Diva</i> had ceased to breathe.</p> + +<p>On inquiry it turned out that Mdme. Patti had been bitten by a mouse on +the left ear. I had better tell the story in the <i>Diva's</i> own words, as +given to the reporter of the <i>Philadelphia Press</i>.</p> + +<p>"'So you were bitten by rats last evening?' the reporter said.</p> + +<p>"'Oh, no, it was not so bad as that,' replied Patti, laughing heartily +as she recalled the adventure. 'I hardly, however, like to mention it at +all, for I am really so comfortable in this hotel. They do all they can +to please me. When I went to bed last evening my maid turned the clothes +over for me to get in, when out jumped six mice—a complete family, in +fact; nice fat little fellows. I was not frightened; at least, I was +only astonished. I took my bon-bon box and scattered some sweetmeats on +the carpet so that the tiny intruders should have some supper, and I +went to sleep without any apprehension. In the middle of the night, +however, something disagreeable occurred, and I was awakened by a sharp +pain in my ear. I put my hand to my head when a mouse jumped to the +floor, and I felt blood trickling on the side of my cheek. I got up and +called my maid, and examination showed a bite on my left ear. It bled a +good deal, and to-day my ear is much swollen. I shall not put<a name="page_303" id="page_303"></a> any +bon-bons down to-night,' continued Mdme. Patti, 'and when I sleep in the +day time I shall place my maid to act as sentry.'"</p> + +<p>The reporter, feeling that he had passed one of the most delightful +quarters of an hour in his life, now left the apartment.</p> + +<p>When the news got about that Patti had been bitten by a mouse, +enterprising makers and patentees of mousetraps approached her from all +sides with specimens of their various mouse-catching contrivances. Some +of these were very curious. One was prompt and severe in its action, +despatching the mouse at the moment of capture by a single cutting blow. +Another was apparently the work of some member of the Society for the +Prevention of Cruelty to Animals. Far from killing the mouse, it +provided the little creature with a wheel, which, as long as it was +allowed to live, it could amuse itself by turning.</p> + +<p>About this time two "sensations" occurred. One was connected with +Commander Gye, who was leaving the city at an early hour, when he was +robbed of his black leather travelling-bag, containing money, pins, +rings, Roman coins, cigarette boxes, a cheque book, a cheque for 4,400 +dollars, which I had signed for Mdme. Patti's previous night's salary, +with other documents of less value, including Nilsson's broken contract.</p> + +<p>The reports of this robbery, as usual, were considerably enlarged, and +it afterwards got into circulation<a name="page_304" id="page_304"></a> that amongst the things lost were +Mdme. Albani's jewels, worth several thousands of pounds. This cost +Captain Gye a deal of inconvenience, for it brought down the Inland +Revenue authorities on him. He was accused of having smuggled in the +diamonds from abroad, and some considerable time passed before all the +excitement subsided.</p> + +<p>The other "sensation" was the invasion of the basso Monti's room while +he was in bed and the theft of 400 dollars worth of jewellery belonging +to him. This, too, caused a deal of talk in the papers.</p> + +<p>Our last night was, indeed, a gala night. The most brilliant audience of +the whole season filled every corner of the theatre, so great was the +curiosity of the public to see Mdme. Patti and Mdme. Scalchi together in +the same opera. About five o'clock the crowd outside the Academy was +already immense, and it was not until seven that we opened the doors.</p> + +<p>The rush was great, and a sad incident now took place. A lady in the +crowd who had purchased her ticket beforehand was taken up from the +bottom of the staircase to the top, though she died before reaching the +first landing from disease of the heart, rendered fatal by the +excitement. Borne upwards by the dense crowd she did not fall till she +reached the gallery. Fearing the alarm this occurrence might cause, the +servants, in order that I should not hear of it, had placed the lady on +the<a name="page_305" id="page_305"></a> floor of a little top private box, where she remained during the +whole of the performance; her body not being removed by her friends +until the next morning.</p> + +<p>After leaving Philadelphia we visited Chicago, where the advance sale of +seats prior to our opening reached the enormous sum of 16,000 dollars.</p> + +<p>On the evening of our arrival I received a telegram from Mdme. Albani +stating that she would arrive early the following morning. I met her at +the station. She was accompanied by her husband, Mr. Ernest Gye, and his +brother, Commander Gye. She had just returned from some concerts which I +had arranged in Albany and in New York, where she had met with the most +enthusiastic reception.</p> + +<p>She appeared on the fifth evening of my first week in <i>I Puritani</i>, when +the cold weather did not deter the holders of tickets from claiming +their places in the theatre. At an early hour, and long before the +curtain ran up for the first act, there was absolutely not a vacant spot +in the theatre. Albani was welcomed with an enthusiasm that even Patti +might have been proud of. She was queen in the hearts of all who were +present that evening.</p> + +<p>On leaving Chicago we went to St. Louis, where our triumphs were again +repeated; Mdme. Albani, Mdme. Patti, and Scalchi all contributing to the +immense success.</p> + +<p>About this time several of my songbirds began to take cold, the weather +having suddenly changed.<a name="page_306" id="page_306"></a> Mdme. Patti had to remain at home, Mdme. +Scalchi took to her bed, as also did Mdme. Fursch-Madi and Mdme. Albani. +The duty, therefore, of singing fell to Mdlle. Dotti, who for three +nights in succession sustained the prima donna duties, giving much +satisfaction under the circumstances.</p> + +<p>Patti, however, was able to resume work the following night in <i>La +Traviata</i>; Mdme. Albani singing "Lohengrin" at the morning performance +of the next day, whilst Mdlle. Dotti closed the season by singing +"Margherita" in <i>Faust</i> the same evening.</p> + +<p>I was naturally very anxious about my singers. We had to leave by +special train at one o'clock in the morning in order to reach +Cincinnati; and as it was now some 40 degrees below freezing point, I +left the ballet, chorus, and orchestra to sleep in the railway +carriages, which were shunted up a siding. Those who went to the hotel +had the greatest difficulty in reaching it.</p> + +<p>On ascertaining that nearly every place had been sold for the whole of +the Festival week, I entered at once into arrangements for giving two +additional nights in the succeeding week, on which I arranged that Patti +should sing "Aida" and Albani "Margherita" in <i>Faust</i>.</p> + +<p>The first performance at the great Festival was <i>La Traviata</i>, followed +by <i>L'Africaine</i>, magnificently placed upon the stage. On the Wednesday +afternoon Mdme. Albani appeared as "Amina" in <i>La<a name="page_307" id="page_307"></a> Sonnambula</i>, and in +the evening <i>William Tell</i> was given, with Mierzwinski, Galassi, and +Dotti. This drew the largest number of people of any night during the +week, the great choruses of the Gathering of the Cantons eliciting the +loudest expressions of admiration. On the Thursday evening we performed +Rossini's <i>Semiramide</i>, Patti and Scalchi surpassing themselves. On the +following evening Wagner's <i>Flying Dutchman</i> was produced, with Ravelli, +Galassi, and Albani. The next morning came <i>Don Giovanni</i>; with +Fursch-Madi as "Donna Anna;" Dotti as "Elvira;" and Patti as "Zerlina." +The first week was brought to a fitting close by a splendid performance +of <i>Lohengrin</i>; Mierzwinski performing the "Knight of the Swan;" +Galassi, "Telramund;" Monti, the "King;" Scalchi, "Ortruda;" and Albani, +"Elsa."</p> + +<p>This Festival, without going into details, surpassed the two preceding +ones.</p> + +<p>Everyone, I believe, made money. All the spring fashions were introduced +in the leading stores of the city, whilst visitors came in from many +hundreds of miles. The hotels were crowded, and people were sleeping +even in the corridors. The railways were making money, and the cabmen +making fortunes, from the high charges they taxed the public with.</p> + +<p>The Music Hall was nightly crowded to its utmost limit, there being +never less than 7,000 people present; and one representation surpassed +the other<a name="page_308" id="page_308"></a> till all ended in one great excitement. The newspapers in the +city were taken up almost exclusively with the Festival. Nothing was +thought of but the Festival, and all business appeared to be suspended. +The toilettes of the ladies were something to be remembered.</p> + +<p>On February 18, 1882, prior to my leaving Cincinnati, a meeting was held +at the Mayor's Office, when my attendance was requested. To my +astonishment and delight the highest possible compliment was now paid +me; for I was presented with the freedom of the city, which was given to +me in a valuable casket, Mayor Means explaining that since the history +of the city no similar compliment had been paid even to one of their own +citizens, much less to an Englishman. This was followed by a grand +banquet at the Club, where, amongst others, I had the honour of making +the acquaintance of Mr. Reuben Springer, the donor of the magnificent +hall in which the Festival had been held.</p> + +<p>I omitted, however, to mention that my friend Abbey was determined, if +possible, to injure this Festival, for which purpose he brought Madame +Nilsson into the town, and kept her there during the whole of the week, +with a Company of artists, who sang at some small theatre. I need hardly +say that no harm whatever was done to the receipts, which totalled up to +40,000 dollars more than any of the preceding Festivals had brought.<a name="page_309" id="page_309"></a></p> + +<h3><a name="CHAPTER_XX" id="CHAPTER_XX"></a>CHAPTER XX.</h3> + +<div class="blockquot"><p class="hang">GALASSI DISTINGUISHES HIMSELF—POLITENESS OF PRIME DONNE—ENGLISH +WELCOME IN CANADA—CONCERT AT THE WHITE HOUSE—VALUE OF PATTI'S +NOTES—PHANTOM SHIP WRECKED—NILSSON'S CONTRACT—PATTI'S +CONTRACT—RETURN TO ENGLAND.</p></div> + +<p class="nind">T<small>HE</small> Company now left for Detroit. Our season opened with Albani as +"Lucia;" and for the following night <i>Semiramide</i> was announced, with +Adelina Patti and Scalchi. Unfortunately Mdme. Patti had taken cold, and +was unable to sing. It appeared that on arriving at the station she had +had to walk through piles of snow for some distance in order to reach +her carriage.</p> + +<p>At one time the public threatened to demolish the building, so +disappointed were they; especially as Mdme. Patti had also failed to +appear in that same city the previous year.</p> + +<p>It was at once put down (as these things generally are) to caprice on +the part of the prima donna, or a trick on that of the operatic manager. +I, therefore,<a name="page_310" id="page_310"></a> at once sought Dr. Brodie, an eminent physician of +Detroit, and he furnished a certificate as to the <i>Diva'</i> illness.</p> + +<p>Despite the change of the bill, a good-sized audience remained for +Verdi's tragic opera of <i>Il Trovatore</i>.</p> + +<p>On the closing night we performed <i>Guillaume Tell</i>, in which Signor +Galassi particularly distinguished himself. According to one of the +journals, which appeared the following morning, so dexterously did he +shoot the apple off his son's head that he might always be sure of a +warm welcome whenever he returned to that city.</p> + +<p>Rival prime donne—those, at least, who have the habits of polite +society—are very particular in calling on one another, though these +visits are sometimes of a highly formal kind. During my American season +of 1883 I was associated with Mr. Gye; and it so happened that Nicolini +and Patti, Ernest Gye and Albani (Mrs. Ernest Gye) were staying at +Detroit in the same hotel where I also had put up. Patti and Nicolini +having just gone for a drive, Madame Albani, seeing them pass beneath +her window, called out to her husband—</p> + +<p>"Ernest, they have gone out. We had better leave cards on them at once."</p> + +<p>On returning home Madame Patti duly received the cards; and an hour or +two afterwards, when Albani and Mr. Gye had just gone to the theatre, +where there was to be a rehearsal, said to Nicolini—<a name="page_311" id="page_311"></a></p> + +<p>"Ernest" (his name, also, was Ernest), "they have gone to the theatre. +Now is the time for returning their visit."</p> + +<p>As Madame Patti was still suffering from a very severe cold, I thought +it prudent to leave her behind at Detroit, for the purpose not only of +re-establishing herself, but of assuring the public that she was really +ill. She remained there some four or five days after we had left.</p> + +<p>The whole Company, except Madame Patti, had to muster at the station +about 2 a.m. to start for Canada. By some mismanagement on the part of +the railway company, there being two competing lines, with but one set +of rails running into the joint station, the artists were kept waiting +at this station for over a couple of hours, the wind bitterly cold, and +the thermometer some fifty degrees below freezing point. At length, to +the joy of all, our special was drawn up alongside the platform, and we +were enabled to make a start, arriving at Toronto the following +afternoon.</p> + +<p>The next morning the musicians all came to me in great despair, the +Canadian Custom House authorities having seized the whole of their +instruments as liable to duty. The same difficulty occurred with the +wardrobes and properties; and it was not until very late in the day, by +going through a course of red-tape, which reminded one of the old +country, that they could be released, I giving an undertaking that the +troupe should leave Canada within two days.<a name="page_312" id="page_312"></a></p> + +<p>A right royal English welcome did our Company receive there. Prior to +the performance I requested Arditi to play the National Anthem. The +whole of the audience stood up, and, on its conclusion, gave three +hearty cheers. Nearly all the private box, dress circle, and stall +ticket-holders arrived in open sleighs, the snow being very thick.</p> + +<p>The opening performance was <i>Il Trovatore</i>, in which Mierzwinski, +Galassi, Scalchi, and Fursch-Madi appeared, giving great satisfaction. +The excellence of the representation was quite a revelation to the +public, as it were.</p> + +<p>On the following night Madame Albani appeared as "Lucia," when the +<i>parquette</i>, balconies, and boxes were crowded with the <i>élite</i> of the +city, the Lieutenant-Governor occupying the gubernatorial box.</p> + +<p>The galleries were likewise crowded to their fullest capacity, standing +room even being at a premium. Albani was welcomed with vociferous +cheers, and her performance throughout received the warmest approbation.</p> + +<p>Immediately after the conclusion of our grand two-night season in Canada +our special train was put in motion towards Buffalo, where we performed +the following evening, leaving again after the performance at 2 a.m. for +Pittsburg, at which place Mdme. Patti had arrived the previous day.</p> + +<p>At Pittsburg the season opened most auspiciously<a name="page_313" id="page_313"></a> with <i>La Traviata</i>. +The theatre itself was not only crowded to the ceiling, but we charged +five dollars a head for standing room on the window sills.</p> + +<p>The following night Mdme. Albani appeared as "Margherita" in <i>Faust</i>, +supported by Ravelli, Scalchi, etc.</p> + +<p>A matinée was given the next day of <i>Il Trovatore</i>, followed by a +splendid performance the same evening of <i>William Tell</i>. On each +occasion the house was crammed.</p> + +<p>The Company had again to muster at 2 a.m. after the performance to start +for Washington, at which place we arrived the following evening, Mdme. +Albani opening the next day as "Margherita" in <i>Faust</i>.</p> + +<p>The next evening I had to change the performance, <i>la Diva</i> having +contracted a sore throat during the journey. I substituted <i>William +Tell</i>, postponing Mdme. Patti's <i>début</i> until the following night, when +she and Scalchi captivated the audience with <i>Semiramide</i>. In a letter +to the papers the following morning a mathematician stated that by +carefully counting the notes in the part of <i>Semiramide</i>, and dividing +the result by the sum paid nightly to Patti for singing that part, he +discovered that she received exactly 42 <sup>5</sup>/<sub>8</sub> cents for each of the notes +that issued from her throat. This was found to be just 7 <sup>1</sup>/<sub>10</sub> cents per +note more than Rossini got for writing the whole opera.</p> + +<p>On the following Friday President Arthur gave a<a name="page_314" id="page_314"></a> private concert at the +White House. I here append the programme:—</p> + +<table border="0" cellpadding="0" cellspacing="0" summary="" +style="font-size:90%;"> + +<tr><th align="center" colspan="2">PART I.</th></tr> + +<tr><td>Duetto—"Sull'aria" (Nozze di Figaro)</td><td align="right"><i>Mozart.</i></td></tr> + +<tr><td align="center" colspan="2">Mdme. Fursch-Madi and Mdlle. Dotti.</td></tr> + +<tr><td>Romanza—"Angelo Casto" (Duca d'Alba) posthumous opera +by <i>Donizetti</i>.</td></tr> + +<tr><td align="center" colspan="2">Signor Frapolli.</td></tr> + +<tr><td>Cavatina—Tacca la notte (Trovatore) </td><td align="right"><i>Verdi.</i></td></tr> +<tr><td align="center" colspan="2">Mdme. Fursch-Madi.</td></tr> + +<tr><td>Aria Buffa—Miei rampolli (Cenerentola) </td><td align="right"><i>Rossini.</i></td></tr> +<tr><td align="center" colspan="2">Signor Corsini.</td></tr> + +<tr><td>Air—Voi che sapete (Nozze di Figaro)</td><td align="right"><i>Mozart.</i></td></tr> +<tr><td align="center" colspan="2">Mdlle. Dotti.</td></tr> + +<tr><td align="center" colspan="2">———</td></tr> + +<tr><td align="center" colspan="2">An Interval of Half an Hour.</td></tr> + +<tr><td align="center" colspan="2">———</td></tr> + +<tr><th align="center" colspan="2">PART II.</th></tr> + +<tr><td>Trio—Qual Volutta (Lombardi) </td><td align="right"> <i>Verdi.</i></td></tr> +<tr><td align="center" colspan="2">Mdme. Fursch-Madi, Signor Frapolli, and Signor Galassi. </td></tr> + +<tr><td>Cavatina—"Nobil Signor" (Huguenots) </td><td align="right"><i>Meyerbeer.</i></td></tr> + +<tr><td align="center">Mdme. Scalchi.</td></tr> + +<tr><td>Romanza—O tu bel astro (Tannhäuser) </td><td align="right"><i>Wagner.</i></td></tr> +<tr><td align="center" colspan="2">Signor Galassi.</td></tr> + +<tr><td>a{Air—"Pur dicesti" </td><td align="right"><i>Lotti.</i></td></tr> +<tr><td>b{Song—"Robin Adair"</td><td align="right">——</td></tr> +<tr><td align="center" colspan="2">Madame Albani.</td></tr> + +<tr><td colspan="2"><span style="margin-left: 1em;">The White House.</span></td></tr> +<tr><td colspan="2"><span style="margin-left: 4em;">February 28, 1883.</span></td></tr> +<tr><td> </td></tr> +</table> + +<p>At the conclusion of the concert a splendid supper was served in the +banqueting hall. As I had to attend upon no less than five ladies, the +President observed at the close of the feast that I had had nothing to +eat myself. He, therefore, gave orders that on the departure of the +guests another supper should be served, at which he occupied the chair.<a name="page_315" id="page_315"></a> +The repast was really of the first order. It was interspersed with +excellent Veuve Clicquot, and the President afterwards ordered in cigars +and related to me some most interesting anecdotes of his earlier career. +He also gave me an account of the alarm felt at New York when one Sunday +the <i>Merrimac</i> was expected to come up the bay in order to levy +contributions on the city; there being no powder in the forts and but +few cannon balls, all of the wrong calibre. Fortunately she met the +<i>Monitor</i>, who soon gave a good account of her.</p> + +<p>We gave a grand <i>matinée</i> the following day, with Patti as "La +Traviata," when people paid even for standing in the passages, where +they could only occasionally hear sounds.</p> + +<p>At the close of the morning performance our special train started for +Boston, where we arrived late the next day.</p> + +<p>Here further calculations were made in the daily papers as to the value +of Patti's notes, <i>Semiramide</i> showing 30 cents. for every note she +sang, whilst in "Lucia" the rate of 42 <sup>1</sup>/<sub>2</sub> cents. per note was reached.</p> + +<p>We afterwards performed <i>Faust</i> with Albani, and some of the grand +operas, such as <i>L'Africaine</i>, <i>Les Huguenots</i>, <i>Lohengrin</i>, and <i>Aida</i>. +Towards the close of our engagement Wagner's <i>Flying Dutchman</i> was given +for the first time on the Italian stage at Boston.</p> + +<p>A rather startling event occurred during the first act on the arrival of +the Phantom Ship, which, after<a name="page_316" id="page_316"></a> sweeping gracefully round, broadside to +the audience, suddenly capsized, casting the Dutchman and his crew +promiscuously on to the stage, the masts going straight across the +occupants of the stalls and the sails covering Arditi, who was then at +the desk.</p> + +<p>At this juncture loud screams were heard. They came from the wife of the +principal baritone, who, witnessing the accident, had fears for her +husband's safety. The choristers, who were thrown pell-mell into the +water, and on to their stomachs, began with a great deal of tact to +strike out as if swimming, until—as soon as possible—the curtain was +lowered. The ship was soon set on its keel again, but nothing could +induce Galassi to board the vessel.</p> + +<p>At the close of the Boston engagement, which was highly successful, we +returned to New York, where we remained some five weeks, performing a +different opera almost nightly.</p> + +<p>About this time I learned that the Washington and Lee University for +promoting higher education in the South was in great need of funds. I, +therefore, notified General Lilly, of Virginia, who had been interested +in that institution for years, my willingness to assist by giving a +miscellaneous performance for that purpose. A committee of distinguished +ladies was formed to superintend the distribution of the tickets, +including Mrs. General Dix, Mrs. Franklin Edson, Mrs. August Belmont, +Mrs. G. Rives, Mrs. Livingstone, Mrs. Jay, Mrs.<a name="page_317" id="page_317"></a> Pierre Lorillard, Mrs. +Frederick Kernochan, Mrs. Henry Clewes, Mrs. Pryor, Mrs. General +Hancock, Mrs. Barton French, Mrs. W. C. Whitney, Mrs. Vanderbilt, +Baroness de Thomsen, Mrs. Bowdoin, Mrs. Alonzo B. Cornell, Mrs. Benjamin +Willis, Mrs. F. B. Thurber, etc., etc.</p> + +<p>The appearance of the Academy, on this occasion filled by a most +brilliant audience, was a thing long to be remembered. The evening +commenced with an act of <i>Trovatore</i>, which was followed by the +appearance of Mdme. Albani in the first act of <i>Norma</i>. A more beautiful +rendering of the lovely cavatina "Casta Diva" could not have been heard, +Mdme. Albani's vocalization being really the perfection of art. She was +recalled several times, and covered with flowers. An act from +Meyerbeer's <i>Dinorah</i> came next, with Mdme. Patti and Scalchi. Both left +the stage loaded with flowers, Patti coming forward at the close and +afterwards good-naturedly singing in front of the drop curtain "Home, +Sweet Home."</p> + +<p>A scene then followed not put down in the programme, in the shape of a +presentation to myself of two large and handsome silk flags, one English +and the other American, the gift of the ladies of the committee; each of +the white stars on the blue ground of the American flag having been +inserted by a member of this committee.</p> + +<p>I thanked the ladies in a grateful speech, shouldered my lofty flags, +and left the stage amidst<a name="page_318" id="page_318"></a> loud cheering. The receipts amounted to some +£1,800. About a fortnight afterwards I was informed by General Lilley +that a chair of English literature had been established at the +University bearing my name.</p> + +<p>The following Saturday morning <i>La Traviata</i> was again given, the house +being even more crowded than usual. The bank having closed prior to the +termination of the performance, the monies were all placed in the iron +safe.</p> + +<p>Early the following morning I was informed that one of the doors leading +to the treasury had been forced open, the floor of which was strewn with +tickets and furniture. Worse still, the iron safe had been opened and +rifled of its contents; over 21,500 dollars having been carried off. +Fortunately this amount was for the most part in cheques, which I +succeeded in stopping at the bank; but the loss in hard cash exceeded +£1,600.</p> + +<p>About this time further rumours were in circulation as to Mr. Abbey +trying to take away several of my best singers, notably both Patti and +Galassi.</p> + +<p>During the New York season I sent Mdme. Albani to sing in a concert at +Montreal, the railway directors providing a special car for her. On her +arrival she was received by the Mayor and Aldermen of the city; also by +a guard of honour of 200 men in uniform, besides the members of four +snow-shoe clubs in their beautiful and picturesque costumes.</p> + +<p>A reception was afterwards held at the Hôtel de<a name="page_319" id="page_319"></a> Ville, when a formal +address was handed to Mdme. Albani on a beautifully illuminated scroll. +All the tickets being instantly sold out, two more concerts had to be +given; and Mdme. Albani returned to New York in time to sing the +following Friday, having netted for the treasury 16,000 dollars by her +three days' visit to Montreal.</p> + +<p>Shortly afterwards I gave a combined performance for the benefit of the +New York Exchange for Woman's Work. Again I had a ladies' committee to +work with, including the charming Mrs. F. B. Thurber, who acted as +secretary, the president being Mrs. W. G. Choate, while the +vice-presidents consisted of some forty leading ladies of New York. The +entertainment consisted of a concert in which Mdme. Adelina Patti, Mdme. +Albani, Mdme. Scalchi, Nicolini, and others of the Company appeared.</p> + +<p>I append the programme, in which will be found several features of +interest, including, in particular, the singing of Mozart's delightful +duet by Patti and Albani.</p> + +<table border="0" cellpadding="0" cellspacing="0" summary=""> +<tr><td> </td></tr> +<tr><th align="center" colspan="2">PART I.</th></tr> + +<tr><td>Overture—"Egmont"</td><td align="right"><i>Beethoven</i></td></tr> + +<tr><td align="center" colspan="2">Orchestra.<a name="page_320" id="page_320"></a></td></tr> + +<tr><td>Romanza—"O lieti, di" (Etoile du Nord)</td><td align="right"><i>Meyerbeer</i></td></tr> + +<tr><td align="center" colspan="2">Monsieur Durat.</td></tr> + +<tr><td>Aria—"Nobil Signor" (Huguenots)</td><td align="right"><i>Meyerbeer</i></td></tr> + +<tr><td align="center" colspan="2">Madame Scalchi.</td></tr> + +<tr><td>Ballade et Polonaise</td><td align="right"><i>Vieuxtemps</i></td></tr> + +<tr><td align="center" colspan="2">Herr Brandt.</td></tr> + +<tr><td>Cavatina—"Qui la voce" (Puritani)</td><td align="right"><i>Bellini</i></td></tr> + +<tr><td align="center" colspan="2">Madame Albani.</td></tr> + +<tr><td>Romanza—"Vien, vien m'e noto" (Velleda)</td><td align="right"><i>Lenepreu</i></td></tr> + +<tr><td align="center" colspan="2">Signor Nicolini.</td></tr> + +<tr><td>Valse—"Nell' ebrezza" (Romeo e Giulietta)</td><td align="right"><i>Gounod</i></td></tr> + +<tr><td align="center" colspan="2">Madame Adelina Patti.</td></tr> + +<tr><td>Ballet, Silvia</td><td align="right"><i>Delibes</i></td></tr> + +<tr><td align="center" colspan="2">Orchestra.</td></tr> + +<tr><td> </td></tr> + +<tr><th align="center" colspan="2">PART II.</th></tr> + +<tr><td>L'invitation a la Valse</td><td align="right"><i>Weber</i></td></tr> + +<tr><td align="center" colspan="2">Orchestra.</td></tr> + +<tr><td>Ballade—"Ouvre ta porte"</td><td align="right"><i>Grieg</i></td></tr> + +<tr><td align="center" colspan="2">Signor Ravelli.</td></tr> + +<tr><td>Hungarian Fantaisie</td><td align="right"><i>Liszt</i></td></tr> + +<tr><td align="center" colspan="2">(With orchestra)</td></tr> + +<tr><td>Herr Rafael Joseffy.</td></tr> + +<tr><td>Duetto, "Sull aria" (Nozze di Figaro)</td><td align="right"><i>Mozart</i></td></tr> + +<tr><td align="center" colspan="2">Madame Adelina Patti and Madame Albani.</td></tr> + +<tr><td>Gavotte—"In veder l'amata stanza" (Mignon)</td><td align="right"><i>Thomas</i></td></tr> + +<tr><td align="center" colspan="2">Madame Scalchi.</td></tr> + +<tr><td>Romanza—"M'appari" (Martha)</td><td align="right"><i>Flotow</i></td></tr> + +<tr><td align="center" colspan="2">Signor Ravelli.</td></tr> + +<tr><td>Rakoczy March</td><td align="right"><i>Berlioz</i></td></tr> + +<tr><td align="center" colspan="2">Orchestra.</td></tr> +<tr><td> </td></tr> +</table> + +<p>After the concert the ladies presented me on the stage with a +magnificent gold badge, bearing the English arms on one side, surmounted +with diamonds and rubies, and the American arms on the other; also an +elegant walking cane with a massive gold top, crowned by a very large +uncut sapphire of great value.</p> + +<p>The next morning Mr. Gye came to me with the alarming intelligence that +the lease of the new Metropolitan Opera-house had been given to Mr. +Abbey. He complained bitterly of the treatment he had received at the +hands of its Directors<a name="page_321" id="page_321"></a> after the trouble he had taken in furnishing +them with the interior plans and workings of Covent Garden Theatre, in +order to assist the architect to get as complete a building as possible. +He had been negotiating with the Directors on behalf of the Royal +Italian Opera Company, Covent Garden, Limited, and, in fact, those +negotiations had never been broken off. He was still awaiting an answer +from the Committee, to whom the matter had been referred.</p> + +<p>Mr. Abbey having announced that he would open the New Metropolitan +Opera-house with Madame Nilsson, Mr. Gye informed me that she was under +contract to sing with our Company, and showed me the following +engagement:—</p> + +<p class="r"><br /> +"London, 2nd May, 1882.</p> + +<p>"Madame Christine Nilsson agrees to accept an engagement with Mr. Gye to +sing either for him or for the Royal Italian Opera Company, Limited, in +London, during the season of 1883, at a salary of £200 per night. Madame +Nilsson also agrees to accept an engagement for America for the season +of 1883-1884, for fifty or sixty representations, operas, concerts, or +oratorios, at a salary of £300 per night, this to include all hotel +expenses, but not travelling. Madame Nilsson agrees also to sing for +five or six nights at Covent Garden during next July, the répertoire for +Madame Nilsson being <i>Mignon</i>, <i>Lohengrin</i>, <i>Don Giovanni</i>, +<i>Mefistofele</i>, and <i>Faust</i> if<a name="page_322" id="page_322"></a> possible, which Mr. Gye agrees to do his +best to obtain for her in London, 1883, and in America, her répertoire +to be the same, and other operas by common consent. No opera is to +belong to Madame Nilsson exclusively, except one opera that she may +create, and that for one season. Should Madame Nilsson wish to remain in +America in the summer of 1884 she is to be at liberty to do so, and +should she wish to return to England, Mr. Gye engages himself for her to +sing in London during the London season on the same conditions. Mr. Gye +binds himself to accept the engagement now in preparation.</p> + +<p class="r">"(Signed) C<small>HRISTINE</small> N<small>ILSSON</small> R<small>OUZAUD.</small>"</p> + +<p>Despite this, however, Madame Nilsson signed with Mr. Abbey, receiving a +sum considerably in excess of the one stipulated for in the Gye +engagement.</p> + +<p>In the meantime further rumours were getting circulated with regard to +Mr. Abbey's razzia on my singers, and the daily papers were full of our +disputes and recriminations; with which I will not trouble the reader +just now. On the conclusion of our New York season we again returned to +Philadelphia, in consequence of the success of our previous visit, +opening there with the <i>Flying Dutchman</i>. The next night <i>l'Etoile du +Nord</i> was performed with the peerless Adelina, followed by Lohengrin +with the charming "Elsa" of Albani. Thus we continued our triumphant +career.<a name="page_323" id="page_323"></a></p> + +<p>Mr. Abbey had begun his intrigues with Campanini, to whom he offered +1,000 dollars (£200) a night. He now proposed a similar amount to +Scalchi and a considerable sum to Valleria, whilst his <i>employés</i> were +hard at work round the stage-door taking away my choruses, wardrobe +keepers, and even the stage-manager. All my people, in short, were +offered three or four times their usual salaries, merely for the sake of +injuring me, without Mr. Abbey's benefiting himself in any way. I +described him, to an interviewer, as a <i>guastomestiere</i>; a word which +sorely puzzled him, and caused him to consult his solicitor.</p> + +<p>I now endeavoured to make sure of Patti, and she eventually consented to +make a small reduction in her terms and to accept 4,000 dollars a night.</p> + +<p>In due course her contract had been prepared by her agent and a day +fixed for executing it, which happened to be a Thursday. Being much +occupied that day at the theatre in consequence of troubles of various +sorts I found it too late to get up to Mdme. Patti's hotel, but went the +following morning early. Nicolini explained to me that Mdme. Patti never +did anything on a Friday, and that I had better call the next day. The +day afterwards he informed me that, soon after I had left, Mr. Abbey had +come to Mdme. Patti saying that he could offer her a minimum of 5,000 +dollars (£1,000) a night, payment to be made on the morning of each +performance,<a name="page_324" id="page_324"></a> and 50,000 deposited in the bank as payment for the last +ten nights of the engagement, and that Mr. W. H. Vanderbilt would sign +the contract and give her the requisite guarantees.</p> + +<p>This was not the only inducement he offered her if she would link her +fortunes with the new Metropolitan Opera-house the following season. She +was further to have a special private drawing-room and sleeping car, the +like of which had never yet been run on rails, to be specially built for +her, fitted with a conservatory, fernery, &c.</p> + +<p>There was no reason, however, why these propositions should interfere +with the formal acceptance of a contract already drawn up and verbally +agreed to. The next day, then, about 11 o'clock, I was going in joyously +to sign my contract when I was met by Signor Nicolini at the door, who +told me that a very dreadful thing had happened since he last saw me. On +my inquiring what it was he informed me that Mr. Abbey's visit had quite +upset Mdme. Patti, who was ill in her room. She had not even spoken to +the parrot, which was a sad sign. He then communicated to me Mr. Abbey's +proposition, as above.</p> + +<p>Nicolini, however, assured me that Mdme. Patti held me in the highest +esteem, and would on no account throw me over, considering that my +engagement with her would be just as good as Mr. Vanderbilt's. If I +would call later in the day, after luncheon, he hoped to get the matter +concluded.<a name="page_325" id="page_325"></a> He, at the same time, gave me to understand that no +reduction could be made in the terms which had been offered by +Vanderbilt through Abbey.</p> + +<p>On leaving I at once consulted with Mr. Gye, the General Manager of the +Royal Italian Opera Company, Covent Garden, Limited, and he fully agreed +with me that there was no alternative but to accede to the terms, the +sum demanded being but a trifle more than Patti had been receiving +throughout the season then about to close. Gye telegraphed the +particulars to his London Directors.</p> + +<p>I accordingly went round in the afternoon and signed the contract. The +visit of Mr. Abbey to Mdme. Patti on the previous day had meanwhile +caused a rise of no less than 50,000 dollars (£10,000) in her demands.</p> + +<p>Next day Mdme. Patti sailed for Europe on the <i>Arizona</i>, Signor Franchi, +her agent, remaining behind to complete the details of the new +engagement.</p> + +<p>About this time Mdme. Cavalazzi, my daughter-in-law, informed me that +she had had an offer from Abbey's agent of double the amount I was +paying her. I at once told her to accept it, and that I would keep her +place open for her, when she could return the following season, by which +time Abbey would be closed up. The following season she duly returned, +Mr. Abbey, as I shall afterwards relate, having duly come to grief.</p> + +<p>Prior to my departure I was entertained by a number of my friends and +supporters at the Manhattan<a name="page_326" id="page_326"></a> Club. The dinner was arranged partly as a +farewell to me and partly in acknowledgment of the aid I had given to +young American artists essaying an operatic career. Judge J. R. Brady +presided, and the company included the Mayor Edson, the Reverend Dr. +Hoffman, Recorder Smyth, Judge Abraham R. Lawrence, Chief Justice Noah +Davis, Judge W. H. Arnoux, the British Consul General Booker, Chief +Justice C. P. Daly, General de Cesnola, Chief Justice Shea, General +Stewart L. Woodford, General Hancock, Commissioner J. S. Coleman, Mr. +John H. Starin, Mr. F. B. Thurber, Mr. Aaron Vanderpoel, Professor Henry +Drisler, Mr. Wm. Steinway, the Reverend Professor Seabury, Professor A. +Charlier, Mr. Oscar S. Strauss, and many others.</p> + +<p>On the removal of the cloth Judge Brady gave the toast, "The guest of +the evening," to which I replied. Other toasts followed, and the +entertainment passed off merrily enough. Signor Clodio, Signor Ravelli, +and Signor Ronconi came in with the cigars, and pleasantly varied the +latter portion of the evening by a choice selection of operatic arias.</p> + +<p>At the close of the entertainment it was unanimously resolved to charter +a special steamer to accompany me the following morning down the bay +conveying those who were present at the dinner. Mr. Starin, who was +sitting at the table, offered to place one of his magnificent steamers +at their disposal, which was to leave Pier 41, North River, at a quarter +to nine the following morning. After singing<a name="page_327" id="page_327"></a> "Auld Lang Syne" and "He's +a jolly good fellow" the company separated. Just prior to my departure +the following morning my friends appeared on the chartered steamer, +which followed us down the bay with a band of music, accompanied by +hearty cheers until we were out of sight.</p> + +<p class="c"><br /> +<br /><br /> +END OF VOL. I.</p> + +<p> +<br /> +<br /> +<br /> +<br /> +</p> + +<table border="0" cellpadding="0" cellspacing="0" summary=""> +<tr><td align="left">The following typographical errors have been corrected:</td></tr> +<tr><td align="center">scarely=>scarcely</td></tr> +<tr><td align="center">Italian verson=>Italian version</td></tr> +<tr><td align="center">singing in Rio Janiero=>singing in Rio Janeiro</td></tr> +<tr><td align="center">be promised to go on=>he promised to go on</td></tr> +<tr><td align="center">(note of etext transcriber:)</td></tr> +</table> + +<h3><a name="INDEX" id="INDEX"></a>Index to Volumes I and II</h3> + +<p class="c">This index appears at the end of Volume II.<br /> +It has been +located here in this etext for the convenience of the reader.<br /> +(note of etext transcriber)</p> + +<p> +<br /> +</p> + +<p class="c"><b> +<a href="#A">A</a> +<a href="#B">B</a> +<a href="#C">C</a> +<a href="#D">D</a> +<a href="#E">E</a> +<a href="#F">F</a> +<a href="#G">G</a> +<a href="#H">H</a> +<a href="#I">I</a> +<a href="#J">J</a> +<a href="#K">K</a> +<a href="#L">L</a> +<a href="#M">M</a> +<a href="#N">N</a> +<a href="#O">O</a> +<a href="#P">P</a> +<a href="#Q">Q</a> +<a href="#R">R</a> +<a href="#S">S</a> +<a href="#T">T</a> + +<a href="#V">V</a> +<a href="#W">W</a> + +<a href="#Y">Y</a> +<a href="#Z">Z</a> +</b> +</p> + +<p class="nind"><span class="letra"><a name="A" id="A"></a>A.</span> +<br /> +Aaron, Sheriff, Vol. II., 81. +<br /> +Abbey, Mr., Vol. I., <a href="#page_265">265</a>, <a href="#page_308">308</a>, <a href="#page_318">318</a>, <a href="#page_320">320</a>, <a href="#page_321">321</a>, <a href="#page_322">322</a>, <a href="#page_323">323</a>, <a href="#page_324">324</a>, <a href="#page_325">325</a>; Vol. II., 2, 3, 4, 6, 8, 22, 27, 31, 32, 37, 38, 39, 79, 254. +<br /> +Abbot, Emma, Vol. I., <a href="#page_190">190</a>; Vol. II., 297. +<br /> +Abramoff, M., Vol. II., 266. +<br /> +Adams, J. McGregor, Vol. II., 232. +<br /> +Adini, Mdme., Vol. I., <a href="#page_232">232</a>. +<br /> +Agnesi, Signor, Vol. I., <a href="#page_155">155</a>; Vol. II., 299. +<br /> +Albani, Emma, Vol. I., <a href="#page_142">142</a>, <a href="#page_143">143</a>, <a href="#page_148">148</a>, <a href="#page_251">251</a>, <a href="#page_288">288</a>, <a href="#page_304">304</a>, <a href="#page_305">305</a>, <a href="#page_306">306</a>, <a href="#page_307">307</a>, <a href="#page_309">309</a>, <a href="#page_310">310</a>, <a href="#page_312">312</a>, <a href="#page_313">313</a>, <a href="#page_314">314</a>, <a href="#page_315">315</a>, <a href="#page_317">317</a>, <a href="#page_318">318</a>, <a href="#page_319">319</a>, <a href="#page_320">320</a>; Vol. II., 5, 174, 297. +<br /> +Alboni, Vol. I., <a href="#page_009">9</a>, <a href="#page_026">26</a>, <a href="#page_027">27</a>, <a href="#page_035">35</a>, <a href="#page_036">36</a>; Vol. II., 300. +<br /> +Aldighieri, Vol. I., <a href="#page_019">19</a>, <a href="#page_026">26</a>, <a href="#page_047">47</a>. +<br /> +Ambré, Emelie, Vol. I., <a href="#page_220">220</a>, <a href="#page_229">229</a>; Vol. II., 296. +<br /> +Angelo, Vol. II., 241, 258, 259, 260, 262, 263. +<br /> +Antrobus, Captain, Vol. I., <a href="#page_281">281</a>. +<br /> +Aramburo, Vol. I., <a href="#page_232">232</a>; Vol. II., 174, 298. +<br /> +Arditi, Signor, Vol. I., <a href="#page_016">16</a>, <a href="#page_017">17</a>, <a href="#page_036">36</a>, <a href="#page_037">37</a>, <a href="#page_055">55</a>, <a href="#page_068">68</a>, <a href="#page_070">70</a>, <a href="#page_077">77</a>, <a href="#page_089">89</a>, <a href="#page_104">104</a>, <a href="#page_127">127</a>, <a href="#page_129">129</a>, <a href="#page_131">131</a>, <a href="#page_199">199</a>, <a href="#page_215">215</a>, <a href="#page_216">216</a>, <a href="#page_217">217</a>, <a href="#page_243">243</a>, <a href="#page_244">244</a>, <a href="#page_250">250</a>, <a href="#page_266">266</a>, <a href="#page_288">288</a>, <a href="#page_312">312</a>; Vol. II., 12, 16, 67, 85, 129, 147, 161, 178, 179, 193, 231, 244, 266. +<br /> +Arditi, Mdme. and Signor, Vol. I., <a href="#page_104">104</a>. +<br /> +Armandi, Signor, Vol. II., 290. +<br /> +Arnoldson, Mdlle., Vol. II., 264. +<br /> +Arnoux, Judge W. R., Vol. I., <a href="#page_326">326</a>. +<br /> +Arthur, President, Vol. I., <a href="#page_313">313</a>, <a href="#page_314">314</a>, <a href="#page_315">315</a>. +<br /> +Auber, Vol. II., 169, 272. +<br /> +Austin, Mr., Vol. I., <a href="#page_193">193</a>. +<br /> +Austin, Fredk., Vol. II., 138. + +<br /> +<span class="letra"><a name="B" id="B"></a>B.</span> +<br /> +Babbitt, Councillor, Vol. II., 42. +<br /> +Bacon, Arthur, Vol. I., <a href="#page_045">45</a>. +<br /> +Badiali, Signor, Vol. I., <a href="#page_010">10</a>, <a href="#page_011">11</a>; Vol. II., 299. +<br /> +Bagagiolo, Signor, Vol. II., 299. +<br /> +Baldanza, Signor, Vol. II., 229. +<br /> +Balfe, M. W., Vol. I., <a href="#page_002">2</a>, <a href="#page_161">161</a>; Vol. II., 283. +<br /> +Balfe, Victoire, Vol. I., <a href="#page_016">16</a>; Vol. II., 296. +<br /> +Ballantine, Serjeant, Vol. I., <a href="#page_014">14</a>. +<br /> +Barnes, General W. H. L., Vol. II., 57, 63, 198, 204, 205. +<br /> +Bauermeister, Mdme., Vol. I., <a href="#page_198">198</a>; Vol. II., 116, 161, 162, 164, 178, 192, 248, 296. +<br /> +Baxter, Mr., Vol. I., <a href="#page_070">70</a>. +<br /> +Bedford, Duke of, Vol. I., <a href="#page_175">175</a>. +<br /> +Beecher, Rev. Henry Ward, Vol. II., 89. +<br /> +Beethoven, Vol. I., <a href="#page_082">82</a>; Vol. II., 251. +<br /> +Behrens, Herr, Vol. II., 299. +<br /> +Belart, Signor, Vol. I., <a href="#page_027">27</a>. +<br /> +Belval, M., Vol. I., <a href="#page_152">152</a>; Vol. II., 299. +<br /> +Belasco, Signor, Vol. II., 192, 193. +<br /> +Belletti, Signor, Vol. I., <a href="#page_002">2</a>, <a href="#page_003">3</a>. +<br /> +Bellini, Vol. I., <a href="#page_090">90</a>; Vol. II., 272. +<br /> +Belocca, Mdlle. Anna de, Vol. I., <a href="#page_225">225</a>, <a href="#page_227">227</a>, <a href="#page_228">228</a>, <a href="#page_261">261</a>; Vol. II., 296. +<br /> +Belmont, August, Vol. I., <a href="#page_274">274</a>. +<br /> +Belmont, Mrs. August, Vol. I., <a href="#page_316">316</a>. +<br /> +Benedict, Sir Julius, Vol. I., <a href="#page_016">16</a>, <a href="#page_017">17</a>, <a href="#page_027">27</a>, <a href="#page_172">172</a>, <a href="#page_197">197</a>; Vol. II., 274. +<br /> +Bentinck, Cavendish, Vol. I., <a href="#page_155">155</a>. +<br /> +Berghi, Mdlle., Vol. I., <a href="#page_288">288</a>; Vol. II., 248. +<br /> +Bernhardt, Sarah, Vol. I., <a href="#page_129">129</a>, <a href="#page_265">265</a>; Vol. II., 240. +<br /> +Bertini, Signor, Vol. II., 13, 14. +<br /> +Bettelheim, Mdlle., Vol. I., <a href="#page_081">81</a>; Vol. II., 296. +<br /> +Bettini, Signor, Vol. I., <a href="#page_006">6</a>, <a href="#page_007">7</a>, <a href="#page_073">73</a>, <a href="#page_076">76</a>, <a href="#page_077">77</a>, <a href="#page_081">81</a>, <a href="#page_120">120</a>; Vol. II., 298. +<br /> +Bettini-Trebelli, Mdme., Vol. I., <a href="#page_007">7</a>. +<br /> +Beviguani, Signor, Vol. I., <a href="#page_109">109</a>; Vol. II., 300. +<br /> +Bidwell, David, Mr., Vol. II., 102. +<br /> +Bieletto, Signor, Vol. II., 161, 162, 164. +<br /> +Billing, Dr., Vol. I., <a href="#page_008">8</a>. +<br /> +Bimboni, Signor, Vol. II., 231. +<br /> +Bisaccia, Signor, Vol. II., 300. +<br /> +Bizet, Vol. II., 249, 251, 264. +<br /> +Blackstone, T. B., Vol. II., 232. +<br /> +Blondin, Vol. I., <a href="#page_283">283</a>, <a href="#page_284">284</a>. +<br /> +Boito, Vol. I., <a href="#page_240">240</a>, <a href="#page_241">241</a>, <a href="#page_242">242</a>, <a href="#page_249">249</a>, <a href="#page_252">252</a>, <a href="#page_253">253</a>, <a href="#page_254">254</a>; Vol. II., 251. +<br /> +Bologna, Signor, Vol. II., 229. +<br /> +Bolton, George, Mr., Vol. I., <a href="#page_061">61</a>, <a href="#page_298">298</a>. +<br /> +Booker, British Consul General, Vol. I., <a href="#page_326">326</a>. +<br /> +Borchardt, Mdme., Vol. I., <a href="#page_045">45</a>, <a href="#page_046">46</a>, <a href="#page_047">47</a>, <a href="#page_052">52</a>, <a href="#page_054">54</a>. +<br /> +Borghi-Mamo, Vol. I., <a href="#page_026">26</a>; Vol. II., 296. +<br /> +Bossi, Signor, Vol. I., <a href="#page_089">89</a>. +<br /> +Bowdoin, Mrs., Vol. I., <a href="#page_317">317</a>. +<br /> +Bowen, Detective, Vol. II., 57. +<br /> +Boyne, George, Vol. II., 136, 232. +<br /> +Bradwell, Vol. I., <a href="#page_271">271</a>. +<br /> +Brady, Judge J. R., Vol. I., <a href="#page_326">326</a>. +<br /> +Braham, Marquis, Vol. I., <a href="#page_065">65</a>. +<br /> +Braham, Charles, Vol. I., <a href="#page_010">10</a>, <a href="#page_012">12</a>; Vol. II., 247. +<br /> +Brichanteau, Count, Vol. II., 68. +<br /> +Brignoli, Signor, Vol. I., <a href="#page_220">220</a>, <a href="#page_235">235</a>, <a href="#page_236">236</a>; Vol. II., 92. +<br /> +Broccolini, Signor Giovanni Chiari di, Vol. II., 275, 288. +<br /> +Broch, Mdlle. Jenny, Vol. II., 244, 248, 296. +<br /> +Brodie, Dr., Vol. I., <a href="#page_310">310</a>. +<br /> +Brooks, Captain, Vol. I., <a href="#page_201">201</a>. +<br /> +Browne, Dr. Lennox, Vol. I., <a href="#page_182">182</a>. +<br /> +Buck, Dr. J. D., Vol. I., <a href="#page_269">269</a>. +<br /> +Burdett-Coutts, Baroness, Vol. I., <a href="#page_172">172</a>. +<br /> +Burnett, C. J., Vol. I., <a href="#page_278">278</a>. +<br /> +Burroughs, Colonel, Vol. I., <a href="#page_282">282</a>. +<br /> +Bulterini, Signor, Vol. II., 298. + +<br /> +<span class="letra"><a name="C" id="C"></a>C.</span> +<br /> +Cairns, Sir Hugh, Vol. I., <a href="#page_014">14</a>. +<br /> +Calzolari, Signor, Vol. I., <a href="#page_003">3</a>. +<br /> +Campanini, Signor, Vol. I., <a href="#page_153">153</a>, <a href="#page_154">154</a>, <a href="#page_155">155</a>, <a href="#page_166">166</a>, <a href="#page_197">197</a>, <a href="#page_199">199</a>, <a href="#page_202">202</a>, <a href="#page_214">214</a>, <a href="#page_215">215</a>, <a href="#page_220">220</a>, <a href="#page_232">232</a>, <a href="#page_233">233</a>, <a href="#page_235">235</a>, <a href="#page_240">240</a>, <a href="#page_243">243</a>, <a href="#page_247">247</a>, <a href="#page_261">261</a>, <a href="#page_268">268</a>, <a href="#page_271">271</a>, <a href="#page_288">288</a>; Vol. II., 3, 11, 174, 260, 286, 298. +<br /> +Capoul, M., Vol. I., <a href="#page_152">152</a>; Vol. II., 298. +<br /> +Capponi, Vol. II., 169. +<br /> +Caracciolo, Signor, Vol. II., 161, 162, 164, 266. +<br /> +Carden, George, Vol. I., <a href="#page_278">278</a>. +<br /> +Cardinali, Vol. II., 130, 152, 153. +<br /> +Carey, Hon. Eugene, Vol. II., 106, 136, 232. +<br /> +Carrion, Signor, Vol. I., <a href="#page_172">172</a>. +<br /> +Cary, Annie Louise, Vol. I., <a href="#page_235">235</a>, <a href="#page_243">243</a>, <a href="#page_247">247</a>; Vol. II., 297. +<br /> +Carvalho, Mdme. Miolan, Vol. I., <a href="#page_071">71</a>, <a href="#page_072">72</a>. +<br /> +Castelmary, M., Vol. II., 299. +<br /> +Castlereagh, Lord, Vol. I., <a href="#page_093">93</a>. +<br /> +Catalani, Mdme., Vol. I., <a href="#page_042">42</a>. +<br /> +Cavalazzi, Mdme. Malvina, Vol. II., 161, 162, 164. +<br /> +Caylus, M., Vol. II., 248. +<br /> +Cesnola, General, Vol. I., <a href="#page_326">326</a>. +<br /> +Chappell, Mr. Thos., Vol. I., <a href="#page_028">28</a>, <a href="#page_066">66</a>, <a href="#page_067">67</a>. +<br /> +Chappell, Mr. Frank, Vol. I., <a href="#page_066">66</a>, <a href="#page_067">67</a>. +<br /> +Chapuy, Mdlle. Marguerite, Vol. I., <a href="#page_167">167</a>, <a href="#page_168">168</a>, <a href="#page_169">169</a>, <a href="#page_170">170</a>, <a href="#page_171">171</a>, <a href="#page_172">172</a>; Vol. II., 295. +<br /> +Charlier, Professor A., Vol. I., <a href="#page_326">326</a>. +<br /> +Chatterton, F. B., Vol. I., <a href="#page_110">110</a>, <a href="#page_111">111</a>, <a href="#page_189">189</a>, <a href="#page_190">190</a>, <a href="#page_191">191</a>, <a href="#page_199">199</a>. +<br /> +Cherubini, Vol. I., <a href="#page_088">88</a>, <a href="#page_089">89</a>; Vol. II., 32, 119, 127, 161, 162, 163, 169, 170, 195, 229, 282, 289, 299. +<br /> +Choate, Mrs. W. G., Vol. I., <a href="#page_319">319</a>. +<br /> +Choudens, M., Vol. I., <a href="#page_066">66</a>, <a href="#page_067">67</a>. +<br /> +Chorley, Mr., Vol. I., <a href="#page_028">28</a>. +<br /> +Ciampi, Signor, Vol. II., 244, 249, 299. +<br /> +Cirilla, Duke and Duchess of, Vol. I., <a href="#page_019">19</a>, <a href="#page_020">20</a>, <a href="#page_021">21</a>, <a href="#page_022">22</a>. +<br /> +Clarke, Mr. John, of Brooklyn, Vol. II., 275. +<br /> +Clarkson, Vol. II., 223. +<br /> +Clementine, Mdlle., Vol. I., <a href="#page_031">31</a>. +<br /> +Clewes, Mrs. Henry, Vol. I., <a href="#page_317">317</a>. +<br /> +Clodio, Signor, Vol. I., <a href="#page_294">294</a>, <a href="#page_326">326</a>. +<br /> +Coffee, John, Vol. II., 110, 111. +<br /> +Colman, Commissioner J. S., Vol. I., <a href="#page_326">326</a>. +<br /> +Colonne, M., Vol. II., 9. +<br /> +Colonnese, Signor, Vol. II., 299. +<br /> +Colville, Lord, Vol. I., <a href="#page_110">110</a>. +<br /> +Commander-in-Chief, H.R.H., Vol. I., <a href="#page_277">277</a>. +<br /> +Cooke, H., Vol. I., <a href="#page_278">278</a>. +<br /> +Cornell, Mrs. Alonzo B., Vol. I., <a href="#page_317">317</a>. +<br /> +Corsini, Signor, Vol. I., <a href="#page_314">314</a>. +<br /> +Corsi, Signor, Vol. I., <a href="#page_053">53</a>, <a href="#page_054">54</a>, <a href="#page_055">55</a>, <a href="#page_056">56</a>. +<br /> +Costa, Sir Michael, Vol. I., <a href="#page_002">2</a>, <a href="#page_009">9</a>, <a href="#page_033">33</a>, <a href="#page_125">125</a>, <a href="#page_126">126</a>, <a href="#page_139">139</a>, <a href="#page_140">140</a>, <a href="#page_151">151</a>, <a href="#page_157">157</a>, <a href="#page_166">166</a>, <a href="#page_167">167</a>, <a href="#page_189">189</a>, <a href="#page_190">190</a>, <a href="#page_193">193</a>, <a href="#page_197">197</a>, <a href="#page_220">220</a>, <a href="#page_221">221</a>, <a href="#page_222">222</a>, <a href="#page_223">223</a>, <a href="#page_224">224</a>, <a href="#page_225">225</a>, <a href="#page_237">237</a>, <a href="#page_238">238</a>, <a href="#page_239">239</a>; Vol. II., 148, 268, 274, 282, 284, 285, 301. +<br /> +Cottrell, Mr., Vol. I., <a href="#page_014">14</a>. +<br /> +Cowen, Mr. F., Vol. II., 300. +<br /> +Crane, R. T., Vol. II., 136. +<br /> +Crittenden, Governor, Vol. II., 68, 69. +<br /> +Crosmond, Hélène, Vol. I., <a href="#page_220">220</a>. +<br /> +Crowley, Chief, Vol. II., 55. +<br /> +Cummings, Miss Eva, Vol. II., 237. + +<br /> +<span class="letra"><a name="D" id="D"></a>D.</span> +<br /> +Daly, Chief Justice C. P., Vol. I., <a href="#page_326">326</a>. +<br /> +Daniel, Vol. I., <a href="#page_014">14</a>. +<br /> +Dater, Councillor, Vol. II., 42. +<br /> +Davis, Chief Justice Noah, Vol. I., <a href="#page_326">326</a>. +<br /> +De Anna, Signor, Vol. II., 97, 108, 119, 122, 130, 131, 161, 164, 174, 182, 184, 263, 265, 299. +<br /> +Decca, Mdlle. Marie, Vol. II., 265. +<br /> +Dell'Era, Mdlle., Vol. II., 249. +<br /> +Delmonico, Vol. II., 80. +<br /> +Del Puente, Signor, Vol. I., <a href="#page_156">156</a>, <a href="#page_197">197</a>, <a href="#page_199">199</a>, <a href="#page_203">203</a>, <a href="#page_215">215</a>, <a href="#page_233">233</a>, <a href="#page_261">261</a>, <a href="#page_268">268</a>, <a href="#page_288">288</a>; Vol. II., 6, 7, 11, 127, 161, 162, 163, 164, 169, 170, 174, 182, 216, 243, 244, 247, 249, 264, 299. +<br /> +Dierck, Theodore, Vol. II., 117. +<br /> +Didiée, Mdme. Nantier, Vol. I., <a href="#page_071">71</a>, <a href="#page_082">82</a>. +<br /> +Dix, Mrs. General, Vol. I., <a href="#page_316">316</a>. +<br /> +Dogherty, Hon. Daniel, Vol. I., <a href="#page_289">289</a>. +<br /> +Dolby, Miss, Vol. I., <a href="#page_007">7</a>. +<br /> +Donadio, Mdlle. Bianca, Vol. II., 244, 296. +<br /> +Donizetti, Vol. I., <a href="#page_090">90</a>. +<br /> +Dotti, Mdlle., Vol. I., <a href="#page_265">265</a>, <a href="#page_268">268</a>, <a href="#page_288">288</a>, <a href="#page_293">293</a>, <a href="#page_306">306</a>, <a href="#page_307">307</a>, <a href="#page_314">314</a>; Vol. II., 108, 127, 161, 164, 192, 244, 246, 248, 264, 265, 297. +<br /> +Douste, Louise and Jeanne, Vol. I., <a href="#page_201">201</a>; Vol. II., 16. +<br /> +Drake, John B., Vol. II., 232. +<br /> +Drisler, Professor Henry, Vol. I., <a href="#page_326">326</a>. +<br /> +Dudley, Lord, Vol. I., <a href="#page_023">23</a>, <a href="#page_040">40</a>, <a href="#page_070">70</a>, <a href="#page_112">112</a>, <a href="#page_136">136</a>, <a href="#page_138">138</a>, <a href="#page_139">139</a>, <a href="#page_140">140</a>, <a href="#page_141">141</a>, <a href="#page_146">146</a>, <a href="#page_147">147</a>, <a href="#page_148">148</a>, <a href="#page_152">152</a>, <a href="#page_173">173</a>, <a href="#page_190">190</a>, <a href="#page_191">191</a>. +<br /> +Durat, M., Vol. I., <a href="#page_288">288</a>. + +<br /> +<span class="letra"><a name="E" id="E"></a>E.</span> +<br /> +Edinburgh, H.R.H. the Duchess of, Vol. I., <a href="#page_185">185</a>, <a href="#page_186">186</a>, <a href="#page_187">187</a>, <a href="#page_188">188</a>, <a href="#page_189">189</a>; Vol. II., 255. +<br /> +Edinburgh, H.R.H. the Duke of, Vol. I., <a href="#page_178">178</a>, <a href="#page_179">179</a>, <a href="#page_185">185</a>. +<br /> +Edson, Mayor, Vol. I., <a href="#page_326">326</a>. +<br /> +Edson, Mrs. Franklin, Vol. I., <a href="#page_316">316</a>. +<br /> +Eldridge, Joe, Vol. II., 113, 114, 115, 116. +<br /> +Engle, Mdlle. Marie, Vol. II., 161, 244, 246, 248, 297. +<br /> +Evans, Judge Oliver P., Vol. II., 57. +<br /> +Everardi, Signor, Vol. I., <a href="#page_026">26</a>, <a href="#page_027">27</a>. + +<br /> +<span class="letra"><a name="F" id="F"></a>F.</span> +<br /> +Faccio, Signor, Vol. I., <a href="#page_253">253</a>. +<br /> +Fagotti, Signor Enrico, Vol. II., 298. +<br /> +Fairbank, Mr. N. K., Vol. II., 232. +<br /> +Falco, Signor de, Vol. II., 161, 162, 163, 179. +<br /> +Fancelli, Signor, Vol. I., <a href="#page_155">155</a>, <a href="#page_220">220</a>; Vol. II., 286, 287, 288, 298. +<br /> +Faure, Mons., Vol. I., <a href="#page_071">71</a>, <a href="#page_128">128</a>, <a href="#page_129">129</a>, <a href="#page_131">131</a>, <a href="#page_172">172</a>, <a href="#page_221">221</a>. +<br /> +Fennessy, Mr., Vol. II., 32, 37. +<br /> +Ferri, Signor, Vol. II., 92. +<br /> +Field, Henry, Vol. II., 136. +<br /> +Field, Mr. Marshall, Vol. II., 232. +<br /> +Field, Mrs. Marshall, Vol. II., 229. +<br /> +Fitzgerald, Thos., Vol. I., <a href="#page_022">22</a>. +<br /> +Flattery, Father, Vol. II., 17, 18, 19. +<br /> +Fohström, Mdlle., Vol. II., 156, 161, 162, 163, 164, 169, 179, 180, 182, 184, 192, 213, 224, 227, 235, 243, 244, 245, 248, 296. +<br /> +Foli, Signor, Vol. I., <a href="#page_087">87</a>, <a href="#page_089">89</a>, <a href="#page_129">129</a>, <a href="#page_139">139</a>, <a href="#page_155">155</a>, <a href="#page_172">172</a>, <a href="#page_199">199</a>, <a href="#page_208">208</a>, <a href="#page_215">215</a>, <a href="#page_217">217</a>; Vol. II., 174, 244, 249, 275, 299. +<br /> +Forchheimer, Dr. F., Vol. I., <a href="#page_269">269</a>. +<br /> +Ford, Hon., Vol. II., 42. +<br /> +Formes, Carl, Vol. I., <a href="#page_007">7</a>; Vol. II., 301. +<br /> +Fowler, Dr., Vol. II., 181. +<br /> +Fowler, Mr., Vol. I., <a href="#page_177">177</a>, <a href="#page_178">178</a>, <a href="#page_179">179</a>. +<br /> +Fox, Mr. Charles, Vol. II., 129. +<br /> +Franchi, Signor, Vol. I., <a href="#page_290">290</a>, <a href="#page_325">325</a>; Vol. II., 4, 23, 24. +<br /> +Francis, George, Vol. I., <a href="#page_004">4</a>, <a href="#page_005">5</a>. +<br /> +Frank, Eisner and Regensburger, Vol. II., 197. +<br /> +Frapolli, Signor, Vol. I., <a href="#page_199">199</a>, <a href="#page_215">215</a>, <a href="#page_220">220</a>, <a href="#page_314">314</a>; Vol. II., 244. +<br /> +Fraschini, Signor, Vol. I., <a href="#page_117">117</a>. +<br /> +French, Mrs. Barton, Vol. I., <a href="#page_317">317</a>. +<br /> +Freret, William, Vol. II., 103. +<br /> +Fursch-Madi, Mdme., Vol. I., <a href="#page_288">288</a>, <a href="#page_294">294</a>, <a href="#page_306">306</a>, <a href="#page_307">307</a>, <a href="#page_312">312</a>, <a href="#page_314">314</a>; Vol. II., 30, 105, 119, 130, 174. + +<br /> +<span class="letra"><a name="G" id="G"></a>G.</span> +<br /> +Gage, A. S., Vol. II., 232. +<br /> +Galassi, Mdme., Vol. I., <a href="#page_294">294</a>. +<br /> +Galassi, Signor, Vol. I., <a href="#page_166">166</a>, <a href="#page_199">199</a>, <a href="#page_203">203</a>, <a href="#page_208">208</a>, <a href="#page_215">215</a>, <a href="#page_235">235</a>, <a href="#page_247">247</a>, <a href="#page_255">255</a>, <a href="#page_259">259</a>, <a href="#page_261">261</a>, <a href="#page_265">265</a>, <a href="#page_271">271</a>, <a href="#page_288">288</a>, <a href="#page_307">307</a>, <a href="#page_310">310</a>, <a href="#page_312">312</a>, <a href="#page_314">314</a>, <a href="#page_318">318</a>; Vol. II., 32, 56, 67, 85, 174, 299. +<br /> +Ganz, Mr. Wilhelm, Vol. II., 274, 275. +<br /> +Gardini, Dr., Vol. I., <a href="#page_245">245</a>; Vol. II., 263. +<br /> +Gardoni, Signor, Vol. I., <a href="#page_002">2</a>, <a href="#page_095">95</a>, <a href="#page_146">146</a>; Vol. II., 301. +<br /> +Garibaldi, Vol. I., <a href="#page_045">45</a>, <a href="#page_081">81</a>. +<br /> +Garulli, Signor, Vol. II., 248. +<br /> +Gassier, Mdme., Vol. I., <a href="#page_008">8</a>. +<br /> +Gassier, Signor, Vol. I., <a href="#page_036">36</a>, <a href="#page_068">68</a>, <a href="#page_081">81</a>. +<br /> +Gayarré, Signor, Vol. I., <a href="#page_149">149</a>. +<br /> +Genese, Sam, Vol. I., <a href="#page_029">29</a>, <a href="#page_030">30</a>. +<br /> +Gerster, Etelka, Vol. I., <a href="#page_195">195</a>, <a href="#page_197">197</a>, <a href="#page_199">199</a>, <a href="#page_200">200</a>, <a href="#page_202">202</a>, <a href="#page_203">203</a>, <a href="#page_204">204</a>, <a href="#page_205">205</a>,<br /> +206, 207, 208, 209, 210, 212, 213, 214, 215, 216, 228, 229, 233, 240, 242, 244, 245, 247, 249, 250, 251, 274; Vol. II., 4, 6, 11, 13, 22, 25, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 53, 54, 58, 62, 67, 68, 69, 72, 74, 76, 77, 174, 218, 245, 263, 295. +<br /> +Giannini, Signor, Vol. II., 108, 119, 127, 161, 162, 164, 182, 235, 261. +<br /> +Giffard, Mr., Vol. I., <a href="#page_014">14</a>. +<br /> +Gille, M. Ph., Vol. II., 161. +<br /> +Giuglini, Vol. I., <a href="#page_009">9</a>, <a href="#page_017">17</a>, <a href="#page_023">23</a>, <a href="#page_026">26</a>, <a href="#page_035">35</a>, <a href="#page_036">36</a>, <a href="#page_037">37</a>, <a href="#page_038">38</a>, <a href="#page_043">43</a>, <a href="#page_044">44</a>, <a href="#page_045">45</a>, <a href="#page_047">47</a>, <a href="#page_049">49</a>, <a href="#page_050">50</a>, <a href="#page_051">51</a>, <a href="#page_052">52</a>, <a href="#page_053">53</a>, <a href="#page_054">54</a>, <a href="#page_055">55</a>, <a href="#page_056">56</a>, <a href="#page_057">57</a>, <a href="#page_058">58</a>, <a href="#page_060">60</a>, <a href="#page_068">68</a>, <a href="#page_081">81</a>, <a href="#page_082">82</a>, <a href="#page_083">83</a>, <a href="#page_084">84</a>, <a href="#page_085">85</a>, <a href="#page_086">86</a>, <a href="#page_089">89</a>; Vol. II., 300. +<br /> +Gluck, Vol. I., <a href="#page_095">95</a>. +<br /> +Goddard, Arabella, Vol. I., <a href="#page_007">7</a>. +<br /> +Gole, Messrs. J. and R., Vol. II., 145. +<br /> +Gole, Mr. Russell, Vol. II., 281, 282. +<br /> +Goodenough, Colonel, Vol. II., 268. +<br /> +Goschen, the Right Honourable G. J., Vol. II., 292. +<br /> +Gounod, Vol. I., <a href="#page_068">68</a>, <a href="#page_070">70</a>, <a href="#page_072">72</a>, <a href="#page_250">250</a>; Vol. II., 123, 130, 249. +<br /> +Graziani, Signor, Vol. I., <a href="#page_013">13</a>, <a href="#page_014">14</a>, <a href="#page_071">71</a>. +<br /> +Grisi, Mdme., Vol. I., <a href="#page_009">9</a>, <a href="#page_026">26</a>, <a href="#page_033">33</a>, <a href="#page_089">89</a>, <a href="#page_090">90</a>, <a href="#page_091">91</a>, <a href="#page_092">92</a>, <a href="#page_093">93</a>; Vol II., 300. +<br /> +Guarducci, Mdlle., Vol. I., <a href="#page_017">17</a>, <a href="#page_018">18</a>, <a href="#page_019">19</a>, <a href="#page_022">22</a>; Vol. II., 296. +<br /> +Gunz, Dr., Vol. I., <a href="#page_095">95</a>; Vol. II., 298. +<br /> +Gye, Mr. Ernest, Vol. I., <a href="#page_305">305</a>, <a href="#page_310">310</a>, <a href="#page_320">320</a>, <a href="#page_321">321</a>, <a href="#page_322">322</a>, <a href="#page_325">325</a>; Vol. II., 1, 3, 4, 5, 81, 82, 84, 85. +<br /> +Gye, Commander, Vol. I., <a href="#page_288">288</a>, <a href="#page_290">290</a>, <a href="#page_303">303</a>, <a href="#page_304">304</a>. +<br /> +Gye, Messrs., Vol. I., <a href="#page_260">260</a>, <a href="#page_287">287</a>. +<br /> +Gye, Mr., Vol. I., <a href="#page_008">8</a>, <a href="#page_009">9</a>, <a href="#page_013">13</a>, <a href="#page_014">14</a>, <a href="#page_033">33</a>, <a href="#page_036">36</a>, <a href="#page_041">41</a>, <a href="#page_042">42</a>, <a href="#page_067">67</a>, <a href="#page_070">70</a>, <a href="#page_071">71</a>, <a href="#page_072">72</a>, <a href="#page_111">111</a>, <a href="#page_112">112</a>, <a href="#page_113">113</a>, <a href="#page_114">114</a>, <a href="#page_115">115</a>, <a href="#page_116">116</a>, <a href="#page_118">118</a>, <a href="#page_119">119</a>, <a href="#page_124">124</a>, <a href="#page_125">125</a>, <a href="#page_127">127</a>, <a href="#page_128">128</a>, <a href="#page_129">129</a>, <a href="#page_130">130</a>, <a href="#page_131">131</a>, <a href="#page_132">132</a>, <a href="#page_136">136</a>, <a href="#page_137">137</a>, <a href="#page_138">138</a>, <a href="#page_139">139</a>, <a href="#page_140">140</a>, <a href="#page_142">142</a>, <a href="#page_143">143</a>, <a href="#page_145">145</a>, <a href="#page_146">146</a>, <a href="#page_147">147</a>, <a href="#page_148">148</a>, <a href="#page_149">149</a>, <a href="#page_153">153</a>, <a href="#page_154">154</a>, <a href="#page_160">160</a>; Vol. II., 285. + +<br /> +<span class="letra"><a name="H" id="H"></a>H.</span> +<br /> +Haines, Vol. I., <a href="#page_216">216</a>. +<br /> +Hallé, Chas., Vol. I., <a href="#page_028">28</a>, <a href="#page_172">172</a>; Vol. II., 9, 274, 282. +<br /> +Hammond, Surgeon-General, Vol. II., 218. +<br /> +Hancock, General, Vol. I., <a href="#page_326">326</a>. +<br /> +Hancock, Mrs. General, Vol. I., <a href="#page_317">317</a>. +<br /> +Handel, Vol. II., 274. +<br /> +Harding, George F., Vol. II., 136, 232. +<br /> +Harding, J., Vol. II., 232. +<br /> +Harrison, Mr. Carter H., Vol. II., 134, 232. +<br /> +Harris, Augustus, the late, Vol. I., <a href="#page_042">42</a>, <a href="#page_067">67</a>, <a href="#page_145">145</a>. +<br /> +Harris, Miss Laura, Vol. I., <a href="#page_187">187</a>; Vol. II., 297. +<br /> +Harris, Augustus, Vol. I., <a href="#page_276">276</a>; Vol. II., 243, 285. +<br /> +Hastreiter, Mdme., Vol. II., 244, 246, 248, 297. +<br /> +Hauk, Minnie, Vol. I., <a href="#page_061">61</a>, <a href="#page_125">125</a>, <a href="#page_197">197</a>, <a href="#page_199">199</a>, <a href="#page_200">200</a>, <a href="#page_202">202</a>, <a href="#page_203">203</a>, <a href="#page_206">206</a>, <a href="#page_207">207</a>, <a href="#page_215">215</a>, <a href="#page_220">220</a>, <a href="#page_261">261</a>, <a href="#page_268">268</a>, <a href="#page_271">271</a>, <a href="#page_288">288</a>; Vol. II., 161, 162, 163, 164, 175, 176, 177, 178, 179, 181, 182, 192, 193, 194, 201, 213, 214, 221, 226, 227, 248, 264, 265, 269, 281, 297. +<br /> +Haweis, Rev. H., Vol. II., 171, 172. +<br /> +Hawkins, Vol. I., <a href="#page_014">14</a>. +<br /> +Hayes, Miss Catherine, Vol. I., <a href="#page_008">8</a>. +<br /> +Hayten, Mdlle., Vol. II., 249. +<br /> +Hazlitt, Mr. Registrar, Vol. I., <a href="#page_239">239</a>, <a href="#page_240">240</a>; Vol. II., 281. +<br /> +Heatly, Mr. Tod, Vol. I., <a href="#page_183">183</a>. +<br /> +Henderson, Mr., Vol. II., 230, 233, 238. +<br /> +Henderson, C. M., Vol. II., 232. +<br /> +Heringhie, Samuel, Vol. II., 198. +<br /> +Hinds, J. Clowes, Vol. I., <a href="#page_279">279</a>. +<br /> +Hingston, Vol. I., <a href="#page_108">108</a>. +<br /> +Hoffman, Rev. Dr., Vol. I., <a href="#page_326">326</a>. +<br /> +Hogg, Sir James McGarel, Vol. I., <a href="#page_179">179</a>. +<br /> +Hohler, Tom, Vol. II., 298. +<br /> +Holliday, Councillor, Vol. II., 42. +<br /> +Homer, Councillor, Vol. II., 42. +<br /> +Hopkins, Mrs. Mark, Vol. II., 118. +<br /> +Humphreys, Sir John, Vol. I., <a href="#page_182">182</a>. + +<br /> +<span class="letra"><a name="I" id="I"></a>I.</span> +<br /> +Insom, Signor, Vol. I., <a href="#page_011">11</a>. +<br /> +Irvine, Councillor, Vol. II., 42. +<br /> +Irving, Henry, Vol. II., 37. +<br /> +Isia, Mdme., Vol. II., 191. +<br /> +Isidor, Mdlle. Rosina, Vol. II., 248. + +<br /> +<span class="letra"><a name="J" id="J"></a>J.</span> +<br /> +Jacobi, Dr., Vol. I., <a href="#page_202">202</a>. +<br /> +Jaquinot, M., Vol. II., 247. +<br /> +Jarrett, Mr., Vol. I., <a href="#page_110">110</a>, <a href="#page_111">111</a>, <a href="#page_129">129</a>, <a href="#page_130">130</a>, <a href="#page_132">132</a>, <a href="#page_133">133</a>, <a href="#page_160">160</a>, <a href="#page_231">231</a>. +<br /> +Jay, Mrs., Vol. I., <a href="#page_316">316</a>. +<br /> +Jones, Hon., Vol. II., 42. +<br /> +Jones, J. Russell, Vol. II., 232. +<br /> +de Jong, Mike, Vol. II., 75. +<br /> +Joseffy, Herr Rafael, Vol. I., <a href="#page_320">320</a>. +<br /> +Joyce, Mr., Vol. I., <a href="#page_005">5</a>. +<br /> +Juch, Miss Emma, Vol. II., 297. +<br /> +Junca, Vol. I., <a href="#page_146">146</a>; Vol. II., 299. + +<br /> +<span class="letra"><a name="K" id="K"></a>K.</span> +<br /> +Kalakana I., H.M. King, Vol. I., <a href="#page_295">295</a>, <a href="#page_296">296</a>. +<br /> +Keith, Edson, Vol. II., 232. +<br /> +Kellogg, Clara Louise, Vol. I., <a href="#page_117">117</a>, <a href="#page_153">153</a>, <a href="#page_220">220</a>; Vol. II., 297. +<br /> +Kendal, Mrs., Vol. I., <a href="#page_100">100</a>; Vol. II., 167. +<br /> +Kernochan, Mrs. Frederick, Vol. I., <a href="#page_317">317</a>. +<br /> +Kleist, Albert, Vol. II., 138. +<br /> +Knox, Colonel E. B., Vol. II., 138. +<br /> +Knox, George F., Vol. II., 205. +<br /> +Knox, Colonel Brownlow, Vol. I., <a href="#page_147">147</a>. +<br /> +Kuhe, Herr Wilhelm. Vol. II., 274, 275. + +<br /> +<span class="letra"><a name="L" id="L"></a>L.</span> +<br /> +Lablache, Signor, Vol. I., <a href="#page_003">3</a>, <a href="#page_089">89</a>. +<br /> +Lablache, Mdme., Vol. I., <a href="#page_233">233</a>; Vol. II., 6, 7, 116, 127, 161, 162, 164, 170, 248. +<br /> +Lamoureux, M., Vol. II., 9. +<br /> +Lanner, Mdme. Katti, Vol. I., <a href="#page_196">196</a>; Vol. II., 116. +<br /> +Lauri, Lilian, Vol. II., 297. +<br /> +Lavine, Mr. John, Vol. II., 84. +<br /> +Lawrence, Judge Abraham R., Vol. I., <a href="#page_326">326</a>. +<br /> +Lee and Paine, Vol. I., <a href="#page_173">173</a>. +<br /> +Lehmann, Mdlle. Lilli, Vol. II., 250, 251, 252, 282, 296. +<br /> +Leinster, Duke of, Vol. I., <a href="#page_146">146</a>. +<br /> +Lennox, Lord Algernon, Vol. I., <a href="#page_208">208</a>. +<br /> +Lewis, Vol. I., <a href="#page_276">276</a>. +<br /> +Lhérie, M., Vol. II., 249, 299. +<br /> +Lido, Mdlle. Marie de, Vol. I., <a href="#page_211">211</a>. +<br /> +Lilly, General, Vol. I., <a href="#page_316">316</a>, <a href="#page_318">318</a>. +<br /> +Lincoln, Dr., Vol. I., <a href="#page_202">202</a>. +<br /> +Lind, Jenny, Vol. I., <a href="#page_002">2</a>, <a href="#page_172">172</a>, <a href="#page_173">173</a>, <a href="#page_205">205</a>. +<br /> +Litvinoff, Mdlle. Felia, Vol. II., 161, 164. +<br /> +Litta, Miss Marie, Vol. II., 297. +<br /> +Livingstone, Mrs., Vol. I., <a href="#page_316">316</a>. +<br /> +Lodi, Mariannina, Vol. II., 296. +<br /> +Logheder, Signor, Vol. II., 249, 300. +<br /> +Lombardelli, Signor, Vol. II., 63, 67. +<br /> +Lorillard, Pierre, Vol. I., <a href="#page_273">273</a>. +<br /> +Lorillard, Mrs. Pierre, Vol. I., <a href="#page_317">317</a>. +<br /> +Lotti, Mdlle., Vol. I., <a href="#page_007">7</a>. +<br /> +Lucca, Pauline, Vol. I., <a href="#page_072">72</a>, <a href="#page_134">134</a>, <a href="#page_135">135</a>, <a href="#page_229">229</a>. +<br /> +Lucca, Mdme., Vol. II., 262. +<br /> +Lumley, Mr., Vol. I., <a href="#page_008">8</a>, <a href="#page_009">9</a>, <a href="#page_012">12</a>, <a href="#page_023">23</a>, <a href="#page_024">24</a>, <a href="#page_025">25</a>, <a href="#page_035">35</a>, <a href="#page_041">41</a>. +<br /> +Lyon, Geo. W., Vol. II., 138. + +<br /> +<span class="letra"><a name="M" id="M"></a>M.</span> +<br /> +Macpherson, Captain Fitzroy, Vol. I., <a href="#page_280">280</a>. +<br /> +Mackenzie, Sir Morell, Vol. I., <a href="#page_182">182</a>. +<br /> +Mackenzie, Dr. A. C., Vol. II., 272. +<br /> +Macfarren, Sir G., Vol. II., 283. +<br /> +Macvitz, Mdlle., Vol. I., <a href="#page_156">156</a>. +<br /> +Magnani, Vol. I., <a href="#page_241">241</a>, <a href="#page_271">271</a>. +<br /> +Manns, Mr. August, Vol. II., 274, 275. +<br /> +Mapleson, Vol. I., <a href="#page_015">15</a>, <a href="#page_016">16</a>, <a href="#page_020">20</a>, <a href="#page_021">21</a>. +<br /> +Maple, Mr., Vol. I., <a href="#page_226">226</a>, <a href="#page_227">227</a>. +<br /> +Maple, Blundell, Vol. I., <a href="#page_192">192</a>. +<br /> +Mario, Vol. I., <a href="#page_009">9</a>, <a href="#page_033">33</a>, <a href="#page_072">72</a>, <a href="#page_089">89</a>, <a href="#page_093">93</a>, <a href="#page_094">94</a>, <a href="#page_100">100</a>, <a href="#page_101">101</a>, <a href="#page_102">102</a>, <a href="#page_103">103</a>, <a href="#page_104">104</a>, <a href="#page_128">128</a>; Vol. II., 25, 266, 300. +<br /> +Marini, Vol. I., <a href="#page_010">10</a>, <a href="#page_011">11</a>; Vol. II., 301. +<br /> +Maretzek, Max, Vol. I., <a href="#page_007">7</a>. +<br /> +Martindale, Mr., Vol. I., <a href="#page_014">14</a>. +<br /> +Marchisio, Sisters, Vol. I., <a href="#page_043">43</a>. +<br /> +Marimon, Mdlle., Vol. I., <a href="#page_140">140</a>, <a href="#page_143">143</a>, <a href="#page_155">155</a>, <a href="#page_171">171</a>, <a href="#page_229">229</a>, <a href="#page_230">230</a>, <a href="#page_231">231</a>, <a href="#page_233">233</a>, <a href="#page_234">234</a>, <a href="#page_235">235</a>, <a href="#page_236">236</a>; Vol. II., 295. +<br /> +Marchesi, Signor, Vol. I., <a href="#page_144">144</a>, <a href="#page_145">145</a>. +<br /> +Massenet, Vol. II., 161. +<br /> +Masini, Signor, Vol. I., <a href="#page_220">220</a>, <a href="#page_221">221</a>, <a href="#page_222">222</a>, <a href="#page_223">223</a>; Vol. II., 148. +<br /> +Mathews, Charles, Vol. I., <a href="#page_173">173</a>. +<br /> +Mattei, Signor Tito, Vol. II., 162. +<br /> +Mazzucato, Signor, Vol. I., <a href="#page_004">4</a>, <a href="#page_006">6</a>. +<br /> +McCaull, Vol. II., 234. +<br /> +McCray, Colonel, Vol. I., <a href="#page_141">141</a>, <a href="#page_143">143</a>. +<br /> +Means, Mayor, Vol. I., <a href="#page_308">308</a>. +<br /> +Medill, Hon. J., Vol. II., 232. +<br /> +Medini, Signor, Vol. II., 299. +<br /> +Meilhac, M., Vol. II., 161. +<br /> +Melcy, M. de, Vol. I., <a href="#page_093">93</a>. +<br /> +Mercadante, Vol. I., <a href="#page_018">18</a>, <a href="#page_065">65</a>. +<br /> +Meyerbeer, Vol. I., <a href="#page_003">3</a>, <a href="#page_043">43</a>, <a href="#page_266">266</a>; Vol. II., 284. +<br /> +Middleton, Admiral Sir George Broke, Vol. I., <a href="#page_182">182</a>. +<br /> +Mierzwinski, M., Vol. I., <a href="#page_288">288</a>, <a href="#page_307">307</a>, <a href="#page_312">312</a>; Vol. II., 174. +<br /> +Miller, Hon., Vol. II., 42. +<br /> +Millais, Vol. I., <a href="#page_072">72</a>. +<br /> +Miranda, Signor, Vol. II., 249. +<br /> +Mitchell, Vol. I., <a href="#page_040">40</a>. +<br /> +Mongini, Signor, Vol. I., <a href="#page_016">16</a>, <a href="#page_026">26</a>, <a href="#page_027">27</a>, <a href="#page_095">95</a>, <a href="#page_096">96</a>, <a href="#page_097">97</a>, <a href="#page_098">98</a>, <a href="#page_117">117</a>, <a href="#page_128">128</a>, <a href="#page_129">129</a>, <a href="#page_131">131</a>; Vol. II., 298. +<br /> +Monti, Signor, Vol. I., <a href="#page_304">304</a>, <a href="#page_307">307</a>. +<br /> +Moriami, Signor, Vol. I., <a href="#page_152">152</a>. +<br /> +Morris, Vol. I., <a href="#page_183">183</a>. +<br /> +Mott, Dr., Vol. I., <a href="#page_295">295</a>. +<br /> +Mozart, Vol. I., <a href="#page_011">11</a>, <a href="#page_117">117</a>, <a href="#page_270">270</a>, <a href="#page_319">319</a>; Vol. II., 265, 266, 272. +<br /> +Müller, Miss Marie, Vol. I., <a href="#page_201">201</a>. +<br /> +Murska, Mdlle. Ilmade, Vol. I., <a href="#page_087">87</a>, <a href="#page_095">95</a>, <a href="#page_129">129</a>, <a href="#page_131">131</a>, <a href="#page_133">133</a>, <a href="#page_143">143</a>, <a href="#page_152">152</a>, <a href="#page_155">155</a>, <a href="#page_156">156</a>, <a href="#page_163">163</a>, <a href="#page_164">164</a>, <a href="#page_165">165</a>, <a href="#page_166">166</a>, <a href="#page_190">190</a>; Vol. II., 295. + +<br /> +<span class="letra"><a name="N" id="N"></a>N.</span> +<br /> +Nannetti, Vol. I., <a href="#page_240">240</a>, <a href="#page_252">252</a>, <a href="#page_253">253</a>. +<br /> +Naples, King of, Vol. I., <a href="#page_019">19</a>. +<br /> +Nassau, Dr., Vol. II., 127. +<br /> +Nandin, Signor, Vol. I., <a href="#page_010">10</a>, <a href="#page_011">11</a>, <a href="#page_044">44</a>. +<br /> +Nevada, Emma, Vol. II., 86, 89, 90, 97, 109, 110, 111, 116, 119, 121, 122, 123, 124, 130, 149, 150, 248, 250, 297. +<br /> +Niagara, Vol. I., <a href="#page_297">297</a>. +<br /> +Nicolini, Signor, Vol. I., <a href="#page_152">152</a>, <a href="#page_288">288</a>, <a href="#page_310">310</a>, <a href="#page_319">319</a>, <a href="#page_320">320</a>, <a href="#page_323">323</a>, <a href="#page_324">324</a>; Vol. II., 32, 35, 44, 47, 48, 49, 65, 78, 88, 107, 122, 131, 149, 150, 155, 252, 253, 255, 298. +<br /> +Nichols, Colonel George Ward, Vol. I., <a href="#page_247">247</a>, <a href="#page_267">267</a>. +<br /> +Nikita, Vol. II., 297. +<br /> +Nilsson, Christine, Vol. I., <a href="#page_104">104</a>, <a href="#page_106">106</a>, <a href="#page_117">117</a>, <a href="#page_128">128</a>, <a href="#page_129">129</a>, <a href="#page_131">131</a>, <a href="#page_133">133</a>, <a href="#page_143">143</a>, <a href="#page_148">148</a>, <a href="#page_150">150</a>, <a href="#page_152">152</a>, <a href="#page_153">153</a>, <a href="#page_155">155</a>, <a href="#page_157">157</a>, <a href="#page_158">158</a>, <a href="#page_159">159</a>, <a href="#page_160">160</a>, <a href="#page_162">162</a>, <a href="#page_163">163</a>, <a href="#page_166">166</a>, <a href="#page_172">172</a>, <a href="#page_178">178</a>, <a href="#page_190">190</a>, <a href="#page_193">193</a>, <a href="#page_194">194</a>, <a href="#page_195">195</a>, <a href="#page_220">220</a>, <a href="#page_221">221</a>, <a href="#page_224">224</a>, <a href="#page_229">229</a>, <a href="#page_237">237</a>, <a href="#page_240">240</a>, <a href="#page_241">241</a>, <a href="#page_243">243</a>, <a href="#page_253">253</a>, <a href="#page_254">254</a>, <a href="#page_303">303</a>, <a href="#page_308">308</a>, <a href="#page_321">321</a>, <a href="#page_322">322</a>; Vol. II., 2, 11, 30, 33, 38, 81, 86, 218, 295. +<br /> +Nixon, Mr. William Penn, Vol. II., 136. +<br /> +Nordica, Mdme. Lilian, Vol. II., 161, 180, 182, 184, 193, 213, 224, 227, 244, 246, 248, 297. +<br /> +Novara, Vol. I., <a href="#page_243">243</a>, <a href="#page_247">247</a>, <a href="#page_261">261</a>; Vol. II., 11, 299. +<br /> +Novello, Clara, Vol. I., <a href="#page_007">7</a>. +<br /> +Nugent, Mr., Vol. I., <a href="#page_068">68</a>, <a href="#page_070">70</a>. + +<br /> +<span class="letra"><a name="O" id="O"></a>O.</span> +<br /> +O'Connell, Officer, Vol. II., 64. +<br /> +Offenbach, Jacques, Vol. II., 283, 284, 285. +<br /> +O'Gorman, Judge, Vol. II., 7. +<br /> +Ole Bull, Vol. I., <a href="#page_218">218</a>. +<br /> +O'Molloy, John, Vol. II., 209. +<br /> +Orczy, Baron Bodog, Vol. I. 254, 255, 258, 260. +<br /> +Oselio, Mdlle., Vol. II., 250. +<br /> +Oxenford, John, Vol. I., <a href="#page_028">28</a>. +<br /> +<span class="letra"><a name="P" id="P"></a>P.</span> +<br /> +Padilla, Signor, Vol. II., 244, 249, 266, 267, 276, 277, 298. +<br /> +Paget, Lord Alfred, Vol. I., <a href="#page_177">177</a>, <a href="#page_178">178</a>, <a href="#page_183">183</a>. +<br /> +Palmer, Potter, Mr., Vol. II., 232. +<br /> +Palmer, Mr. Courtlandt, Vol. II., 171. +<br /> +Palmer, Dr., Vol. II., 116. +<br /> +Palmer, Colonel H. W., Vol. I., <a href="#page_281">281</a>. +<br /> +Pandolfini, Signor, Vol. II., 299. +<br /> +Pappenheim, Madame, Vol. I., <a href="#page_203">203</a>; Vol. II., 6, 14, 296. +<br /> +Parepa, Madame, Vol. I., <a href="#page_029">29</a>. +<br /> +Parnell, Mr., Vol. II., 266. +<br /> +Parmenter, Judge, Vol. I., <a href="#page_212">212</a>. +<br /> +Parodi, Mdlle., Vol. I., <a href="#page_211">211</a>. +<br /> +Parry, Mr., Vol. II., 6, 7, 116, 231. +<br /> +Pasdeloup, M., Vol. II., 300. +<br /> +Patey, Madame, Vol. I., <a href="#page_028">28</a>. +<br /> +Patti, Adelina, Vol. I., <a href="#page_033">33</a>, <a href="#page_035">35</a>, <a href="#page_036">36</a>, <a href="#page_072">72</a>, <a href="#page_082">82</a>, <a href="#page_083">83</a>, <a href="#page_145">145</a>, <a href="#page_150">150</a>, <a href="#page_153">153</a>, <a href="#page_167">167</a>, <a href="#page_224">224</a>, <a href="#page_251">251</a>, <a href="#page_264">264</a>, <a href="#page_265">265</a>, <a href="#page_267">267</a>, <a href="#page_268">268</a>, <a href="#page_269">269</a>, <a href="#page_270">270</a>, <a href="#page_272">272</a>, <a href="#page_273">273</a>, <a href="#page_274">274</a>, <a href="#page_288">288</a>, <a href="#page_290">290</a>, <a href="#page_291">291</a>, <a href="#page_295">295</a>, <a href="#page_296">296</a>, <a href="#page_300">300</a>, <a href="#page_301">301</a>, <a href="#page_302">302</a>, <a href="#page_303">303</a>, <a href="#page_305">305</a>, <a href="#page_306">306</a>, <a href="#page_307">307</a>, <a href="#page_309">309</a>, <a href="#page_310">310</a>, <a href="#page_311">311</a>, <a href="#page_312">312</a>, <a href="#page_313">313</a>, <a href="#page_315">315</a>, <a href="#page_317">317</a>, <a href="#page_318">318</a>, <a href="#page_319">319</a>, <a href="#page_320">320</a>, <a href="#page_323">323</a>, <a href="#page_324">324</a>; Vol. II., 1, 2, 3, 4, 5, 12, 14, 15, 22, 23, 24, 25, 26, 28, 30, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 46, 47, 48, 49, 51, 52, 54, 58, 59, 65, 67, 68, 69, 72, 74, 75, 76, 77, 78, 79, 80, 85, 86, 87, 88, 90, 91, 92, 93, 94, 95, 96, 97, 101, 103, 105, 107, 113, 116, 118, 119, 120, 121, 122, 123, 124, 125, 127, 130, 131, 132, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 154, 155, 156, 157, 159, 160, 161, 163, 169, 174, 209, 218, 236, 243, 252, 253, 254, 255, 261, 268, 295. +<br /> +Peabody, George, Vol. I., <a href="#page_005">5</a>, <a href="#page_006">6</a>. +<br /> +Pearce, Mr. Irving, Vol. II., 232. +<br /> +Peck, President Ferd. W., Vol. II., 106, 133, 135, 136, 232, 238. +<br /> +Persiani, Mdme., Vol. I., <a href="#page_010">10</a>, <a href="#page_011">11</a>; Vol. II., 300. +<br /> +Peyten, Father, Vol. II., 17. +<br /> +Phelps, Mr., Vol. I., <a href="#page_008">8</a>. +<br /> +Phillips, Mr. R., Vol. I., <a href="#page_069">69</a>. +<br /> +Phillips, Colonel L. E., Vol. I., <a href="#page_281">281</a>. +<br /> +Piccolomini, Mdlle., Vol. I., <a href="#page_009">9</a>, <a href="#page_019">19</a>. +<br /> +Planché, J. R., Vol. I., <a href="#page_027">27</a>, <a href="#page_043">43</a>. +<br /> +Ponchielli, Vol. II., 31. +<br /> +Ponsard, M., Vol. II., 284. +<br /> +Pope, His Holiness the, Vol. I., <a href="#page_018">18</a>. +<br /> +Post, Mr. Chas. N., Vol. II., 138. +<br /> +Potter, Cipriani, Vol. I., <a href="#page_001">1</a>. +<br /> +Pratt, Mr. S. G., Vol. II., 136. +<br /> +Prévost, M., Vol. I., <a href="#page_262">262</a>. +<br /> +Prussia, Crown Prince of, Vol. I., <a href="#page_008">8</a>. +<br /> +Pryor, Mrs., Vol. I., <a href="#page_317">317</a>. +<br /> +Puzzi, Mdme., Vol. I., <a href="#page_049">49</a>, <a href="#page_050">50</a>, <a href="#page_053">53</a>, <a href="#page_054">54</a>, <a href="#page_055">55</a>, <a href="#page_056">56</a>, <a href="#page_057">57</a>. + +<br /> +<span class="letra"><a name="Q" id="Q"></a>Q.</span> +<br /> +Queen, Her Majesty the, Vol. II., 243. +<br /> +Quilter, Vol. I., <a href="#page_183">183</a>. + +<br /> +<span class="letra"><a name="R" id="R"></a>R.</span> +<br /> +Randegger, Mr. Alberto, Vol. II., 274, 275. +<br /> +Rattray, Colonel J. C., Vol. I., <a href="#page_279">279</a>. +<br /> +Ravelli, Signor, Vol. I., <a href="#page_242">242</a>, <a href="#page_255">255</a>, <a href="#page_256">256</a>, <a href="#page_257">257</a>, <a href="#page_258">258</a>, <a href="#page_259">259</a>, <a href="#page_288">288</a>, <a href="#page_294">294</a>, <a href="#page_297">297</a>, <a href="#page_298">298</a>, <a href="#page_299">299</a>, <a href="#page_307">307</a>, <a href="#page_313">313</a>, <a href="#page_320">320</a>, <a href="#page_326">326</a>; Vol. II., 161, 162, 164, 169, 173, 175, 176, 177, 178, 179, 181, 182, 183, 184, 186, 187, 188, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 209, 210, 229, 248, 264, 266, 269, 276, 277, 280, 281, 298. +<br /> +Reboux, Caroline, Vol. II., 296. +<br /> +Reeves, Sims, Mr., Vol. I., <a href="#page_004">4</a>, <a href="#page_007">7</a>, <a href="#page_028">28</a>, <a href="#page_074">74</a>, <a href="#page_075">75</a>, <a href="#page_078">78</a>. +<br /> +Reeves, Sims, Mrs., Vol. I., <a href="#page_074">74</a>, <a href="#page_075">75</a>. +<br /> +Remenyi, M., Vol. I., <a href="#page_002">2</a>. +<br /> +Reszke, M. Jean de, Vol. II., 298. +<br /> +Rhaden, Baron von, Vol. I., <a href="#page_134">134</a>. +<br /> +Richter, Herr, Vol. I., <a href="#page_237">237</a>, <a href="#page_239">239</a>. +<br /> +Ricordi, Vol. I., <a href="#page_252">252</a>; Vol. II., 262. +<br /> +Rigo, Vol. II., 193. +<br /> +Rinaldini, Signor, Vol. II., 161, 162, 163, 164, 266. +<br /> +Risley, Professor, Vol. I., <a href="#page_107">107</a>. +<br /> +Ristori, Mdme., Vol. I., <a href="#page_156">156</a>; Vol. II., 289. +<br /> +Rives, George L., Vol. I., <a href="#page_152">152</a>; Vol. II., 85. +<br /> +Rives, Mrs. G. L., Vol. I., <a href="#page_316">316</a>. +<br /> +Robertson, Madge, Vol. I., <a href="#page_100">100</a>. +<br /> +Roger, M., Vol. I., <a href="#page_003">3</a>. +<br /> +Rokitanski, Herr, Vol. I., <a href="#page_087">87</a>, <a href="#page_095">95</a>; Vol. II., 299. +<br /> +Rolla, Mdme., Vol. II., 264, 265, 297. +<br /> +Rolt, Mr., Vol. I., <a href="#page_014">14</a>. +<br /> +Ronconi, Signor, Vol. I., <a href="#page_326">326</a>. +<br /> +Rosa, Mr. Carl, Vol. II., 274, 275. +<br /> +Rosenbecker, A., Vol. II., 138. +<br /> +Rossi, Signor, Vol. I., <a href="#page_189">189</a>. +<br /> +Rossini, Vol. I., <a href="#page_090">90</a>; Vol. II., 272. +<br /> +Rossini, G., Vol. I., <a href="#page_265">265</a>, <a href="#page_313">313</a>. +<br /> +Rossini, Mdlle. Paolina, Vol. I., <a href="#page_265">265</a>, <a href="#page_266">266</a>, <a href="#page_267">267</a>, <a href="#page_288">288</a>, <a href="#page_293">293</a>. +<br /> +Rota, Signor, Vol. II., 299. +<br /> +Rothschild, Messrs., Vol. II., 145. +<br /> +Rothschild, Vol. I., <a href="#page_230">230</a>. +<br /> +Rouzand, M., Vol. I., <a href="#page_155">155</a>, <a href="#page_159">159</a>. +<br /> +Rovere, Vol. I., <a href="#page_010">10</a>, <a href="#page_011">11</a>. +<br /> +Roze, Marie, Vol. I., <a href="#page_155">155</a>, <a href="#page_156">156</a>, <a href="#page_163">163</a>, <a href="#page_190">190</a>, <a href="#page_206">206</a>, <a href="#page_207">207</a>, <a href="#page_214">214</a>, <a href="#page_215">215</a>, <a href="#page_220">220</a>; Vol. II., 295. +<br /> +Rudersdorff, Mdme., Vol. I., <a href="#page_011">11</a>. +<br /> +Rudersdorff, M., Vol. II., 276. +<br /> +Rullman, Mr. F., Vol. II., 241. +<br /> +Runcio, Signor, Vol. II., 244, 247. + +<br /> +<span class="letra"><a name="S" id="S"></a>S.</span> +<br /> +Salla, Mdlle., Vol. I., <a href="#page_193">193</a>, <a href="#page_196">196</a>, <a href="#page_220">220</a>, <a href="#page_225">225</a>; Vol. II., 296. +<br /> +Salvini, Vol. I., <a href="#page_166">166</a>, <a href="#page_167">167</a>, <a href="#page_185">185</a>, <a href="#page_189">189</a>, <a href="#page_190">190</a>, <a href="#page_238">238</a>; Vol. II., 300. +<br /> +Salvini-Donatelli, Vol. I., <a href="#page_010">10</a>. +<br /> +Santa, Della, Signor, Vol. I., <a href="#page_007">7</a>. +<br /> +Santley, Mr., Vol. I., <a href="#page_028">28</a>, <a href="#page_068">68</a>, <a href="#page_081">81</a>, <a href="#page_087">87</a>, <a href="#page_088">88</a>, <a href="#page_089">89</a>, <a href="#page_095">95</a>, <a href="#page_117">117</a>, <a href="#page_129">129</a>, <a href="#page_131">131</a>, <a href="#page_133">133</a>, <a href="#page_139">139</a>, <a href="#page_146">146</a>; Vol. II., 275, 298. +<br /> +Sapio, Signor, Vol. II., 178, 193. +<br /> +Sarata, Signor Alberto, Vol. II., 237. +<br /> +Sarolta, Louise, Vol. II., 296. +<br /> +Savio, Mdlle., Vol. I., <a href="#page_288">288</a>, <a href="#page_294">294</a>. +<br /> +Saxe-Weimar, Prince Edward of, Vol. I., <a href="#page_281">281</a>. +<br /> +Sayers and Heenan, Vol. I., <a href="#page_025">25</a>, <a href="#page_026">26</a>. +<br /> +Scalchi, Madame, Vol. I., <a href="#page_124">124</a>, <a href="#page_155">155</a>, <a href="#page_288">288</a>, <a href="#page_292">292</a>, <a href="#page_296">296</a>, <a href="#page_301">301</a>, <a href="#page_305">305</a>, <a href="#page_306">306</a>, <a href="#page_307">307</a>, <a href="#page_309">309</a>, <a href="#page_312">312</a>, <a href="#page_313">313</a>, <a href="#page_314">314</a>, <a href="#page_317">317</a>, <a href="#page_319">319</a>, <a href="#page_320">320</a>; Vol. II., 2, 5, 11, 31, 79, 85, 90, 94, 97, 105, 108, 112, 113, 116, 119, 120, 122, 124, 127, 130, 131, 151, 152, 174, 296. +<br /> +Scalese, Signor, Vol. II., 299. +<br /> +Schneider, Mr. George, Vol. II., 106, 136, 232. +<br /> +Scott, Dr. Joseph, Vol. II., 102. +<br /> +Seabury, Rev. Professor, Vol. I., <a href="#page_326">326</a>. +<br /> +Sedie, Signor Delle, Vol. I., <a href="#page_036">36</a>; Vol. II., 298. +<br /> +Selika, Mdlle., Vol. II., 100. +<br /> +Sembrich, Mdlle., Vol. II., 2, 30. +<br /> +Sessi, Mdlle. Mathilde, Vol. II., 296. +<br /> +Shah of Persia, Vol. I., <a href="#page_156">156</a>, <a href="#page_157">157</a>, <a href="#page_158">158</a>. +<br /> +Sharon, Mr., Vol. II., 74. +<br /> +Shea, Chief Justice, Vol. I., <a href="#page_326">326</a>; Vol. II., 151. +<br /> +Sherman and Clay, Messrs., Vol. II., 49, 50, 51, 52. +<br /> +Sherrington, Mdme. L., Vol. I., <a href="#page_028">28</a>. +<br /> +Short, Captain, Vol. II., 55, 57, 61, 62, 63, 64, 65, 74, 75. +<br /> +Shortball, S. S., Vol. II., 232. +<br /> +Sinclair, Signor, Vol. II., 275. +<br /> +Sinico, Mdme., Vol. I., <a href="#page_087">87</a>, <a href="#page_215">215</a>; Vol. II., 296. +<br /> +Sivori, Vol. II., 32. +<br /> +Smith, Count, Vol. II., 275. +<br /> +Smith, Health Officer, Vol. II., 88. +<br /> +Smith, Mr. E. T., Vol. I., <a href="#page_009">9</a>, <a href="#page_011">11</a>, <a href="#page_012">12</a>, <a href="#page_018">18</a>, <a href="#page_020">20</a>, <a href="#page_021">21</a>, <a href="#page_023">23</a>, <a href="#page_024">24</a>, <a href="#page_025">25</a>, <a href="#page_026">26</a>, <a href="#page_027">27</a>, <a href="#page_029">29</a>, <a href="#page_030">30</a>, <a href="#page_031">31</a>, <a href="#page_033">33</a>, <a href="#page_034">34</a>, <a href="#page_041">41</a>, <a href="#page_283">283</a>. +<br /> +Smith, Right Honble. W. H., M.P., Vol. I., <a href="#page_179">179</a>, <a href="#page_285">285</a>, <a href="#page_286">286</a>. +<br /> +Smyth, Recorder, Vol. I., <a href="#page_326">326</a>. +<br /> +Snowe, Vice-Consul, Vol. I., <a href="#page_022">22</a>. +<br /> +Sontag, Mdme., Vol. I., <a href="#page_003">3</a>. +<br /> +de Sortis, Bettina, Vol. II., 56. +<br /> +Sparapani, Signor, Vol. II., 299. +<br /> +Spencer, Lady, Vol. I., <a href="#page_227">227</a>, <a href="#page_228">228</a>. +<br /> +Spencer, Lord, Vol. I., <a href="#page_227">227</a>. +<br /> +Sprague, Mr. A. A., Vol. II., 136, 232. +<br /> +Springer, Reuben, Vol. I., <a href="#page_251">251</a>, <a href="#page_308">308</a>. +<br /> +Stanley, Dean, Vol. I., <a href="#page_155">155</a>. +<br /> +Stagno, Signor, Vol. I., <a href="#page_089">89</a>, <a href="#page_095">95</a>; Vol. II., 298. +<br /> +Stanton, Mr., Vol. II., 85. +<br /> +Starin, John H., Vol. I., <a href="#page_326">326</a>. +<br /> +Steinway and Sons, Vol. I., <a href="#page_214">214</a>, <a href="#page_215">215</a>; Vol. II., 77. +<br /> +Steinway, William, Vol. I., <a href="#page_326">326</a>. +<br /> +Stone, Dr., Vol. II., 115. +<br /> +Stores, Hon. Emery A., Vol. II., 106. +<br /> +Stracey, Colonel, Vol. II., 269. +<br /> +Strauss, Oscar S., Vol. I., <a href="#page_326">326</a>. +<br /> +Strakosch, Maurice, Vol. I., <a href="#page_033">33</a>, <a href="#page_036">36</a>. +<br /> +Sullivan, Sir Arthur, Vol. II., 272. +<br /> +Swanstone, Clement, Vol. I., <a href="#page_014">14</a>. +<br /> +Swing, Professor, Vol. II., 232. + +<br /> +<span class="letra"><a name="T" id="T"></a>T.</span> +<br /> +Tabor, I. W., Vol. II., 117. +<br /> +Tagliafico, Signor, Vol. II., 169. +<br /> +Tamberlik, Signor, Vol. I., <a href="#page_071">71</a>, <a href="#page_072">72</a>, <a href="#page_082">82</a>, <a href="#page_172">172</a>. +<br /> +Tasca, Signor, Vol. I., <a href="#page_102">102</a>, <a href="#page_103">103</a>; Vol. II., 298. +<br /> +Taylor, The Prophet, Vol. II., 44, 45, 76. +<br /> +Telbin, Mr., Vol. I., <a href="#page_082">82</a>, <a href="#page_094">94</a>. +<br /> +Terry, Miss Ellen, Vol. II., 167. +<br /> +Thalberg, M., Vol. I., <a href="#page_003">3</a>. +<br /> +Thomas, Ambroise, M., Vol. II., 163. +<br /> +Thomas, Theodore, Vol. II., 9, 10, 165, 171. +<br /> +de Thomsen, Baroness, Vol. I., <a href="#page_317">317</a>. +<br /> +Thornycroft, Vol. I., <a href="#page_182">182</a>. +<br /> +Thurber, Mr. F. B., Vol. I., <a href="#page_326">326</a>. +<br /> +Thurber, Mrs. F. B., Vol. I., <a href="#page_317">317</a>, <a href="#page_319">319</a>. +<br /> +Titiens, Thérèse, Vol. I., <a href="#page_009">9</a>, <a href="#page_012">12</a>, <a href="#page_018">18</a>, <a href="#page_019">19</a>, <a href="#page_023">23</a>, <a href="#page_026">26</a>, <a href="#page_027">27</a>, <a href="#page_035">35</a>, <a href="#page_036">36</a>, <a href="#page_037">37</a>, <a href="#page_038">38</a>, <a href="#page_042">42</a>, <a href="#page_043">43</a>, <a href="#page_045">45</a>, <a href="#page_047">47</a>, <a href="#page_049">49</a>, <a href="#page_051">51</a>, <a href="#page_055">55</a>, <a href="#page_056">56</a>, <a href="#page_058">58</a>, <a href="#page_059">59</a>, <a href="#page_060">60</a>, <a href="#page_061">61</a>, <a href="#page_062">62</a>, <a href="#page_068">68</a>, <a href="#page_072">72</a>, <a href="#page_077">77</a>, <a href="#page_078">78</a>, <a href="#page_081">81</a>, <a href="#page_082">82</a>, <a href="#page_085">85</a>, <a href="#page_086">86</a>, <a href="#page_087">87</a>, <a href="#page_088">88</a>, <a href="#page_089">89</a>, <a href="#page_090">90</a>, <a href="#page_095">95</a>, <a href="#page_100">100</a>, <a href="#page_101">101</a>, <a href="#page_103">103</a>, <a href="#page_104">104</a>, <a href="#page_109">109</a>, <a href="#page_112">112</a>, <a href="#page_117">117</a>, <a href="#page_120">120</a>, <a href="#page_121">121</a>, <a href="#page_122">122</a>, <a href="#page_123">123</a>, <a href="#page_124">124</a>, <a href="#page_128">128</a>, <a href="#page_139">139</a>, <a href="#page_140">140</a>, <a href="#page_143">143</a>, <a href="#page_146">146</a>, <a href="#page_152">152</a>, <a href="#page_154">154</a>, <a href="#page_155">155</a>, <a href="#page_156">156</a>, <a href="#page_157">157</a>, <a href="#page_159">159</a>, <a href="#page_161">161</a>, <a href="#page_162">162</a>, <a href="#page_166">166</a>, <a href="#page_167">167</a>, <a href="#page_177">177</a>, <a href="#page_178">178</a>, <a href="#page_190">190</a>, <a href="#page_193">193</a>, <a href="#page_194">194</a>, <a href="#page_196">196</a>; Vol. II., 15, 25, 268, 282, 290, 300. +<br /> +Trebelli, Mdme., Vol I., 43, 58, 59, 60, 68, 72, 73, 77, 79, 89, 101, 104, 129, 131, 139, 140, 146, 154, 155, 156, 160, 190, 199, 220, 221, 240; Vol. II., 3, 30, 250, 255, 268, 296. + +<br /> +<span class="letra"><a name="V" id="V"></a>V.</span> +<br /> +Vachot, Mdlle., Vol. I., <a href="#page_261">261</a>, <a href="#page_262">262</a>, <a href="#page_263">263</a>. +<br /> +Valda, Mdme, Vol. II., 261. +<br /> +Valchieri, Signor, Vol. II., 275. +<br /> +Valleria, Mdlle., Vol. I., <a href="#page_156">156</a>, <a href="#page_190">190</a>, <a href="#page_198">198</a>, <a href="#page_199">199</a>; Vol. II., 297. +<br /> +Van Biene, Auguste, Vol. II., 276. +<br /> +Vanderbilt, Mrs., Vol. I., <a href="#page_317">317</a>. +<br /> +Vanderbilt, Mr. W. H., Vol. I., <a href="#page_324">324</a>, <a href="#page_325">325</a>. +<br /> +Vanderpoel, Aaron, Vol. I., <a href="#page_326">326</a>. +<br /> +Van Zandt, Vol. I., <a href="#page_164">164</a>, <a href="#page_220">220</a>; Vol. II., 297. +<br /> +de Vaschetti, Signor, Vol. II., 161, 162, 163, 164, 249. +<br /> +Varese, Mdlle. Elena, Vol. II., 296. +<br /> +Varese, Signor, Vol. II., 299. +<br /> +Verdi, Vol. I., <a href="#page_043">43</a>, <a href="#page_045">45</a>, <a href="#page_271">271</a>; Vol. II., 272. +<br /> +Vetta, Signor, Vol. II., 161, 244, 247, 249. +<br /> +Vianelli, Mdlle., Vol. II., 6. +<br /> +Vianesi, Signor, Vol. I., <a href="#page_010">10</a>, <a href="#page_127">127</a>; Vol. II., 244, 300. +<br /> +Viardot, Mdme., Vol. I., <a href="#page_003">3</a>, <a href="#page_010">10</a>, <a href="#page_011">11</a>; Vol. II., 300. +<br /> +Victoria, Princess, Vol. I., <a href="#page_008">8</a>. +<br /> +de Vigne, Mdlle., Vol. II., 161, 162, 163, 195. +<br /> +Vivian, Colonel, Vol. I., <a href="#page_208">208</a>. +<br /> +Vizzani, Signor, Vol. II., 298. +<br /> +Vocke, Mr. William, Vol. II., 178. +<br /> +Volpini, Mdme., Vol. I., <a href="#page_072">72</a>, <a href="#page_078">78</a>, <a href="#page_079">79</a>. +<br /> +Volpini, Signor, Vol. I., <a href="#page_073">73</a>, <a href="#page_074">74</a>, <a href="#page_076">76</a>, <a href="#page_079">79</a>, <a href="#page_298">298</a>. + +<br /> +<span class="letra"><a name="W" id="W"></a>W.</span> +<br /> +Wagstaff, Mr., Vol. I., <a href="#page_113">113</a>. +<br /> +Wagner, Vol. I., <a href="#page_263">263</a>, <a href="#page_315">315</a>; Vol. II., 171, 172. +<br /> +Wahl, Mr. Louis, Vol. II., 136. +<br /> +Wales, Prince of, Vol. I., <a href="#page_111">111</a>, <a href="#page_139">139</a>, <a href="#page_157">157</a>, <a href="#page_192">192</a>; Vol. II., 243. +<br /> +Wales, Prince and Princess of, Vol. I., <a href="#page_091">91</a>. +<br /> +Wallace, Vincent, Vol. I., <a href="#page_028">28</a>. +<br /> +Wallhofen, Baron Von, Vol. I., <a href="#page_134">134</a>, <a href="#page_135">135</a>. +<br /> +Walker, Mr. J. W., Vol. I., <a href="#page_279">279</a>, <a href="#page_280">280</a>. +<br /> +Walker, Mr., Vol. II., 275. +<br /> +Wallace, Vincent, Vol. II., 162, 173, 269, 283. +<br /> +Walsh, Mr. John R., Vol. II., 136, 232. +<br /> +Ward, Miss Genéviève, Vol. II., 297. +<br /> +Wartegg, Baron E. de Hesse, Vol. II., 177, 194. +<br /> +Warren, Councillor, Vol. II., 42. +<br /> +Weber, Dr., Vol. II., 269. +<br /> +Weber, Vol. I., <a href="#page_027">27</a>, <a href="#page_043">43</a>; Vol. II., 131. +<br /> +Weber, Vol. I., <a href="#page_216">216</a>. +<br /> +Webster, Mr., Vol. I., <a href="#page_175">175</a>, <a href="#page_176">176</a>, <a href="#page_177">177</a>, <a href="#page_179">179</a>. +<br /> +Wellington, Duke of, Vol. I., <a href="#page_041">41</a>. +<br /> +Wetterman, Vol. II., 52. +<br /> +White, Mayor, Vol. I., <a href="#page_300">300</a>. +<br /> +Whitney, Mrs. W. C., Vol. I., <a href="#page_317">317</a>. +<br /> +Willis, Mrs. Benjamin, Vol. I., <a href="#page_317">317</a>. +<br /> +Wippern, Mdme. Harriers, Vol. II., 296. +<br /> +Wixom, Dr., Vol. II., 116. +<br /> +Wood, Vice-Chancellor, Vol. I., <a href="#page_014">14</a>. +<br /> +Wood, Mr. George, Vol. I., <a href="#page_129">129</a>, <a href="#page_130">130</a>, <a href="#page_131">131</a>, <a href="#page_132">132</a>, <a href="#page_133">133</a>. +<br /> +Woodford, General Stewart L., Vol. I., <a href="#page_326">326</a>. +<br /> +Wyndham, Mr., Vol. I., <a href="#page_052">52</a>. +<br /> +Wyndham, Mrs., Vol. I., <a href="#page_057">57</a>. + +<br /> +<span class="letra"><a name="Y" id="Y"></a>Y.</span> +<br /> +Yorke, Miss Josephine, Vol. II., 6, 32. + +<br /> +<span class="letra"><a name="Z" id="Z"></a>Z.</span> +<br /> +Zacharoff, Count, Vol. II., 47. +<br /> +Zagury, Mdlle., Vol. I., <a href="#page_288">288</a>, <a href="#page_293">293</a>. +<br /> +Zamperoni, Signor, Vol. II., 262. +<br /> +Zimelli, Signor, Vol. I., <a href="#page_141">141</a>.<br /> +</p> + +<hr class="full" /> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's The Mapleson Memoirs, vol I, by James H. Mapleson + +*** END OF THIS PROJECT GUTENBERG EBOOK THE MAPLESON MEMOIRS, VOL I *** + +***** This file should be named 36143-h.htm or 36143-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/6/1/4/36143/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images available by The Internet Archive) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> diff --git a/36143-h/images/cover.jpg b/36143-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..76ab0c6 --- /dev/null +++ b/36143-h/images/cover.jpg diff --git a/36143-h/images/cover_lg.jpg b/36143-h/images/cover_lg.jpg Binary files differnew file mode 100644 index 0000000..9fd8d20 --- /dev/null +++ b/36143-h/images/cover_lg.jpg diff --git a/36143-h/images/ill_mapleson.jpg b/36143-h/images/ill_mapleson.jpg Binary files differnew file mode 100644 index 0000000..369d5cf --- /dev/null +++ b/36143-h/images/ill_mapleson.jpg diff --git a/36143-h/images/ill_mapleson_lg.jpg b/36143-h/images/ill_mapleson_lg.jpg Binary files differnew file mode 100644 index 0000000..e469999 --- /dev/null +++ b/36143-h/images/ill_mapleson_lg.jpg diff --git a/36143-h/images/seal.png b/36143-h/images/seal.png Binary files differnew file mode 100644 index 0000000..4331914 --- /dev/null +++ b/36143-h/images/seal.png diff --git a/36143.txt b/36143.txt new file mode 100644 index 0000000..6ad8bcf --- /dev/null +++ b/36143.txt @@ -0,0 +1,8653 @@ +Project Gutenberg's The Mapleson Memoirs, vol I, by James H. Mapleson + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Mapleson Memoirs, vol I + 1848-1888 + +Author: James H. Mapleson + +Release Date: May 18, 2011 [EBook #36143] +[Last updated: September 20, 2011] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE MAPLESON MEMOIRS, VOL I *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images available by The Internet Archive) + + + + + + + + + +THE MAPLESON MEMOIRS + +VOL. I. + +[Illustration: J H Mapleson] + + + + +THE MAPLESON MEMOIRS + +1848-1888 + +IN TWO VOLUMES + +WITH PORTRAIT OF THE AUTHOR + +VOL I + +CHICAGO, NEW YORK, AND SAN FRANCISCO + +BELFORD, CLARKE & CO., + +PUBLISHERS. + +1888 + +[_All rights reserved_]. + +COPYRIGHT, 1888, BY + +JAMES H. MAPLESON + +TROW'S +PRINTING AND BOOKBINDING COMPANY, +NEW YORK. + + + + +PREFACE. + + +HAVING been repeatedly urged by numerous friends on both sides of the +Atlantic to set forth a few of the difficulties attending the career of +an _impresario_, who, during the last thirty years, has fought many +operatic battles, I have undertaken the task, having at the present +moment for the first time in my recollection a few weeks of comparative +repose before again renewing my lyrical campaigns. + +I willingly sat down to the work, trusting that an account of the few +partial defeats and the many brilliant victories incident to my life may +be found interesting. + +This being my first appearance as an author, I am naturally unpractised +in the artifices of style familiar to more experienced hands. + +Some of my plain statements of facts will not, I fear, be fully +appreciated by the personages to whom they refer; and in case they +should feel offended by my frankness, I ask their pardon beforehand, +convinced that they will readily accord it. + +J. H. MAPLESON. + +_Junior Carlton Club, + 21st September, 1888._ + + + + +CONTENTS. + + +CHAPTER I. + +Qualifications for the Career of Impresario--My First Appearance +as Violinist--_Debut_ as a Vocalist--Difficulties as a +Critic--Engaged at Lodi and Verona--Radical Operation +on my Throat--I start as Musical Agent--Meeting with +Mr. E. T. Smith--Management of Drury Lane pp. 1-12 + +CHAPTER II. + +Injunction against the Birds on the Trees--Drury Lane Season +of 1859--_Debuts_ of Victoire Balfe, Mongini, and Guarducci--My +Contralto Marries a Duke--The Duke and +Duchess at Naples pp. 13-22 + +CHAPTER III. + +Nocturnal Negotiations--Reopening of Her Majesty's Theatre--Sayers +and Heenan Patronize the Opera--English and +Italian Opera Combined--Smith and his Speculations--Discovery +of Adelina Patti--My Management of +the Lyceum pp. 23-39 + +CHAPTER IV. + +At Her Majesty's Theatre--Verdi's Cantata--Ginglini at the +Seaside--Pollio and the Drum-stick--An Operatic Conspiracy--Confusion +of the Conspirators pp. 40-57 + +CHAPTER V. + +Running over a Tenor--Titiens in Italy--Cashing a Cheque at +Naples--A Neapolitan Ball--Approaching a Minister--Return +to London pp. 58-65 + +CHAPTER VI. + +Production of Gounod's _Faust_--Apathy of the British Public--A +Managerial Device--Damask Crumb Cloth and Chintz +Hangings--Heroic Attitude of a Dying Tenor--Prayers to +a Portmanteau pp. 66-80 + +CHAPTER VII. + +Garibaldi Visits the Opera--Giuglini's Trouble at St. Petersburg--Giuglini +Visited by Titiens--Alarm of Fire--Production +of _Medea_--Grisi's Last Appearance--An +Enraged Tenor pp. 81-98 + +CHAPTER VIII. + +Payment after Performance--Discovery of Madge Robertson--Mario +and the Sheriff--Generosity of the Great Tenor--_Debut_ +of Christine Nilsson--Destruction of Her Majesty's +Theatre--A Great Philanthropist pp. 99-117 + +CHAPTER IX. + +Proposal for an Operatic Union--Titiens in Dublin--Her +Services as a Pacificator--Autumn Season at Covent +Garden--The Combination Season--Immense Success--Costa's +Despotism--An Operatic Conspiracy--Lucca and +her Husbands pp. 118-135 + +CHAPTER X. + +Gye's Fraternal Embrace--Law-suits Interminable--Dissolution +of Partnership--Return to Drury Lane--Arrival of +Albani--_Debut_ of Cainpanini--The Annual Onslaughts +of Mr. Gye pp. 136-149 + +CHAPTER XI. + +Adelina's Successor--A Prima Donna's Marriage Negotiations--Pounds +_v._ Guineas--Nilsson and the Shah--Production +of _Lohengrin_--Salvini's Performances and Profits--Marguerite +Chapuy--Irony of an Earl pp. 150-174 + +CHAPTER XII. + +The National Opera-house--Foundation Difficulties--Primaeval +Remains--Titiens Lays the First Brick--The Duke of +Edinburgh the First Stone--The Opera and Parliament--Our +Recreation Rooms pp. 175-183 + +CHAPTER XIII. + +First Visit to America--Making Money out of Shakespeare--Chatterton's +Secret Agents--Bidding for Her Majesty's +Theatre--Illness of Titiens--Gerster's Success--Production +of _Carmen_ pp. 184-198 + +CHAPTER XIV. + +First American Campaign--Difficulties of Embarkation--Concert +on Board--Dangerous Illness of Gerster--Opera +on Wheels--The "Dressing-room Row"--A Learned +Throat Doctor--Gerster Sings before her Judge--The +Pianoforte War--Our Hurried Departure pp. 199-219 + +CHAPTER XV. + +Reception of a Tenor--Belocca and Lady Spencer--Marimon's +Superstitions--Her Lovesick Maid--An Encouraging +Telegram--Marimon in the Cathedral--Disappearance of +a Tenor pp. 220-236 + +CHAPTER XVI. + +Sir Michael and his Cheque--Six Minutes' Bankruptcy--Success +of _Lohengrin_--Production of _Mefistofele_--Return +to New York--_Lohengrin_ under Difficulties--Elsa's Tails--Cincinnati +Opera Festival pp. 237-253 + +CHAPTER XVII. + +Production of _Il Rinnegato_--Ravelli's Operatic Theory +Negotiations with Covent Garden, "Limited"--A Search +for a Prima Donna--Failure of Patti's Concerts--Cincinnati +Opera Festival of '82--Patti's Indisposition pp. 254-272 + +CHAPTER XVIII. + +I Engage Patti--My Military Experience--Influencing Electors--Operatic +Joint Stock Company--Objections to English +Monopoly--Patti in New York pp. 273-291 + +CHAPTER XIX. + +Non-Arrival of Scalchi--General Indisposition--King Kalakau +Ennobles Patti--Ravelli Consults his Dog--The Company +Vaccinated--Patti Eaten by Mice--Arrival of Albani--Cincinnati +Opera Festival of '83--Freedom of the +City pp. 292-308 + +CHAPTER XX. + +Galassi Distinguishes Himself--Politeness of Prime Donne--English +Welcome to Canada--Concert at the White +House--Value of Patti's Notes--Phantom Ship Wrecked--Nilsson's +Contract--Patti's Contract--Return to +England pp. 309-327 + + + + +CHAPTER I. + + QUALIFICATIONS FOR THE CAREER OF IMPRESARIO--MY FIRST APPEARANCE AS + VIOLINIST--DEBUT AS A VOCALIST--DIFFICULTIES AS A CRITIC--ENGAGED + AT LODI AND VERONA--RADICAL OPERATION ON MY THROAT--I START AS + MUSICAL AGENT--MEETING WITH MR. E. T. SMITH--MANAGEMENT OF DRURY + LANE. + + +BEFORE beginning my thirty years' career as an operatic manager, I had +already had a large and varied experience of music in the character of +student, critic, violinist, vocalist, composer, concert director, and +musical agent. At the age of fourteen I entered the Royal Academy of +Music, where the Principal was at that time Cipriani Potter. I took as +my first study the violin, my professor being Watson, under whom I made +good progress. Harmony I studied under Lucas. My compositions are +limited to two pianoforte pieces and a song, which I published soon +after leaving the Academy, where I remained about two years. + +I made my first public appearance among the first violins at Her +Majesty's Theatre, where, during the Jenny Lind seasons of 1848 and a +portion of 1849, I played from the same desk as Remenyi, the famous +Hungarian violinist. Remenyi, too, shared my rooms, and often kept me up +at night by his loud and passionate declamations on the subject of +Hungarian independence, and of liberty generally. He had taken part in +the revolutionary movement of 1848, and on its collapse had fled for his +life to foreign parts. Fortunately, he had his violin to depend upon; +and it was in London, I believe, that he first turned his remarkable +talent to practical and pecuniary account. + +Mr. [afterwards Sir Michael] Costa had left Her Majesty's Theatre two +years previously to take part in establishing the Royal Italian Opera at +Covent Garden, and the new conductor at Her Majesty's Theatre was our +eminent composer M. W. Balfe. It had already occurred to me to quit the +comparative obscurity of the orchestra for a brilliant position on the +stage; and this idea was encouraged by Balfe, who, during the intervals +of operatic business, gave me singing lessons. I also received +instruction from Gardoni, the tenor, and Belletti, the baritone. As I +had a tenor voice, Gardoni's lessons were particularly useful to me; and +I was led to believe by each of my distinguished professors that I had +in me the making of a primo tenore. + +Long before I had completed my studies as a vocalist, an opportunity, +indeed a necessity, for making my first appearance as a singer +presented itself. Not to remain idle during the long months separating +one opera season from another, I took out in the English Provinces in +1849 a company in which were included Sontag, Calzolari, Belletti, +Lablache, and the famous pianist Thalberg. On one occasion, after giving +a concert at Salisbury, the whole party paid a visit to Stonehenge, +where Sontag sang "Casta diva," and Lablache a portion of Oroveso's solo +music among the Druidical remains, so suggestive of the opera of +_Norma_. I have now before me a handsome little clock which Madame +Sontag presented to me at the end of the tour. It is inscribed: "To J. +H. Mapleson from Madame Sontag (Countess Rossi)." I may mention in +connection with this charming vocalist, whose good nature and good +temper were on a par with her talent, a peculiarity which will perhaps +astonish some of the concert singers of the present day. Instead of +avoiding, according to the modern practice, the task of either beginning +or ending a concert, she was ready and even anxious to sing both the +first piece and the last. "If I do not begin the concert people will not +come in time," she would say; "and if I do not end it they will go away +before it is over." + +In the autumn of 1850 I took on tour a company which included Roger and +Madame Viardot, the famous representatives of "John of Leyden" and +"Fides" in _Le Prophete_. Meyerbeer was in constant correspondence with +them. To avoid the expense of postage, he used to send his music written +on such fine paper that to be able to read it with any ease it was +necessary to place it on a back-ground of ordinary writing paper. + +In a subsequent tour my leading tenor was one night for some reason or +other not forthcoming. There was no one to replace him, and as I was +myself a tenor I plunged boldly into the gap. I sang with success, but +it occurred to me even as I was singing that I had need of further +instruction. On my return to London I called on Sims Reeves, and sang to +him; when he at once recommended me to go to Milan, and place myself +under Signor Mazzucato, director and principal professor of singing at +the celebrated Conservatorio. Reeves was kind enough to give me a letter +to Mazzucato, under whom he had himself studied, with results which need +not here be set forth. + +Before taking farewell of England in order to go through a three years' +course of training in Italy I did a little work as musical critic for a +journal called the _Atlas_, which for years past has ceased to exist, +but which, at the time I speak of, enjoyed a good reputation, especially +in connection with literary and artistic matters. The proprietor, and +ostensible editor, was a well-known journalist, Mr. George Francis, +author of "The Orators of the Age," a series of papers which made some +stir when, before appearing in book-form, they were published in the +pages of _Frazer's Magazine_. Mr. Francis had, I believe, gained his +experience of our British orators in the gallery of the House of +Commons, where he was for many years one of the principal reporters of +the _Times_ staff. Mr. Francis was also a brilliant foreign +correspondent, and it afterwards became a speciality of his to assist +and preside at the birth of new journals. His fee as accoucheur on these +occasions was, I believe, a considerable one. After a time nothing would +satisfy him but to have a paper of his own. He bought the _Atlas_, and +while entrusting most of the editorial work to a Mr. Joyce, who was my +immediate chief, appropriated to himself all free admissions that +reached the office. Accordingly, when it became my duty to write an +account of the first production of _Le Prophete_ at the Royal Italian +Opera, I received instructions from my editor about sending in "copy," +but was not furnished with a stall. I was to manage, somehow or other, +to hear the opera, and I was in any case to send in a notice of it. I +endeavoured to buy a ticket, but everything was sold. + +In my despair I chanced to meet the American philanthropist, Mr George +Peabody, well known by his charitable deeds, and who hastened on this +occasion to perform a good work towards me. He assured me that the +difficulty which troubled me was not so great as I imagined. It was now +late in the afternoon. The performance was to take place that evening, +and Mr. Peabody suggested that first of all the best thing I could do +was to dine with him at the "Hummums." Thence, after finishing a bottle +of excellent port, we walked quietly to the gallery entrance of the +opera--at that time under the piazza, next door to the Bedford +Hotel--bought our tickets, and found places in the very front row. + +Soon, however, I was to start for Milan, where, studying constantly with +Professor Mazzucato, I spent nearly three years. Then an engagement was +offered to me at Lodi, where I was to make my first appearance on any +stage as "Carlo" in _Linda di Chamouni_. + +Manners and customs at the Lodi Opera-house were at that time rather +peculiar. Refreshments of all kinds used to be served in the audience +department between the acts. Every box was furnished with a little +kitchen for cooking macaroni, baking or frying pastry, and so on. The +wine of the country was drunk freely, not out of glasses, but in +classical fashion from bowls. Attired in the brilliant uniform of my +part I was in the middle of the pit draining one of these bowls, when +suddenly the signal was given for the rising of the curtain. All seemed +lost. But I hurried back to the stage, and fortunately was not very late +for my entry. + +My success in Lodi was such that I was offered four pounds a month to +sing at Verona. Here my first duty was to replace Bettini (not the +husband of Madame Trebelli Bettini, but the dramatic tenor of that +name) in the important part of "Manrico." _Il Trovatore_ had but lately +been brought out, and was then in the first period of its success. I had +never heard the work, but the tenor part had been sent to me, and I had +to master it in four days, my final study being made in the diligence, +with no musical instrument to aid me except a tuning-fork. I studied the +part all day and, by the light of a candle, all night, and before I +reached Verona knew it perfectly. The prima donna of the cast was Mdlle. +Lotti, afterwards known in London and elsewhere as Madame Lotti Della +Santa, the second part of her name being derived from her husband, +Signor Della Santa, who, during my stay at Verona, played the part of +the "Count di Luna" to the "Leonora" of his future wife. Bettini married +a sister of Max Maretzek, afterwards well known as conductor and +impresario in the United States. I made a sufficiently good impression +at Verona to cause Signor Bettini, who on my arrival was seriously ill, +to get perfectly well after I had made but two appearances. + +Returning to London early in 1854, I gave a grand concert with the +following eminent artists:--Mdme. Clara Novello, Miss Dolby, Mr. Sims +Reeves, Herr Formes, and Mdme. Arabella Goddard. I also took part in it. +My throat, however, had become affected, and after I had been very +thoroughly operated upon by Dr. Billing, I found myself deprived alike +of tonsils, uvula, and voice. + +My path had now been marked out for me. For the future I might be a +musical agent, a concert director, or an impresario; but not a vocalist. + +In 1855 the two principal members of the touring party I was directing +were Miss Hayes and Mdme. Gassier. + +In the year 1856 I started a musical agency in the Haymarket, the first +established in London. Both Mr. Lumley and Mr. Gye applied to me for +singers. As I was well known in Italy, numbers of artists inscribed +their names on my books. I did a good business, and was making a large +income. My business relations bound me more particularly to Mr. Lumley, +the manager of Her Majesty's Theatre, and he had enough confidence in me +to entrust me with the work of adapting Balfe's _Bohemian Girl_ to the +Italian stage. This was about the time of the gala performances in +honour of the marriage of the Crown Prince of Prussia (late Emperor of +Germany) to the Princess Victoria of England, when a number of +Shakespearian representations were given at Her Majesty's Theatre, with +Mr. Phelps in the principal parts. + +No Italian version of Balfe's work existed previously, and I received +for mine the sum of L50. Operatic translations are often severely +judged, but it is no easy matter to adapt the words of a song so that, +while other more obvious requirements are duly fulfilled, the accents +shall fall in exact accordance with the composer's music. + +In the early part of this year (1858) the late E. T. Smith, then lessee +of the Theatre Royal, Drury Lane, called upon me at my office, in the +Haymarket, requesting me to aid him in the formation of an Italian Opera +Company, which he wished to secure for his theatre during the coming +summer months. He had so many enterprises on hand that he asked me to +undertake the superintendence and management of the Italian Opera season +he had in view. I explained to him that the business I was then carrying +on required all my care and attention, and that it was far more +profitable than any interest he could offer me in his contemplated +enterprise. + +But won over by his solicitations, and influenced by my love of the +divine art, I consented, and found myself at once drawn into the +artistic vortex. My knowledge and experience fitted me well enough for +the conduct of the undertaking, which, however, I considered rather a +hazardous one. + +On the one hand would be ranged against me Her Majesty's Theatre, under +the late Mr. Lumley's able management, with such artists as Piccolomini, +Alboni, Giuglini, and the new and successful Therese Titiens, who had +already fully captured London; and on the other hand the Royal Italian +Opera, Covent Garden, newly rebuilt, under the skilful direction of Mr. +Gye, with Grisi, Mario, Costa, and a host of celebrities. I felt the +great responsibility of the position I had undertaken. I, however, set +to work and engaged the services of Salvini-Donatelli, Viardot, +Persiani, Naudin, Badiali, Marini, Rovere, Charles Braham and other +tried artists. + +My first object was to secure an able conductor. I discovered Signor +Vianesi (afterwards of the Royal Italian Opera, and now of the Grand +Opera, Paris), and appointed him to the post at a salary of L8 a month. +Much trouble was experienced in forming an efficient orchestra on +account of the two great Italian Operas, and still more in obtaining a +stage military band. This latter difficulty I surmounted when one day in +Leicester Square I lighted upon a very excellent one composed of +itinerant Italian musicians performing in the open street. + +The season opened in due course, and the public gave ample support to +the undertaking. I will not fatigue the reader by entering into details +with respect to that season, which I began five days before the opening +of the new Royal Italian Opera, Covent Garden, just rebuilt, in order +that the singers might at all events give two public performances before +the whole attention of the town would be centred on the new theatre. + +On one occasion I encountered a slight difficulty, when the opera of _La +Traviata_ had, in consequence of the illness of one of the singers, to +be suddenly substituted for the work originally announced. It was +already half-past seven o'clock at night, and we were without a stage +band. + +I sent the call-boy down all the likely thoroughfares where my Italian +wanderers might be playing, and I myself started to look for them in +another direction. I ultimately traced them to a small restaurant in +Soho, where they were eating macaroni. I gave them orders to come on +immediately to the theatre to perform behind the scenes in _La +Traviata_, and hurried back to the theatre. On arriving there I found +the call-boy had brought another street band, which now refused to quit +the stage. At one time things looked very serious, as the Italians of +the opposing bands, with their stilettos drawn, vowed vengeance on one +another. Ultimately all was satisfactorily arranged. + +The interest of this first season was kept up until its close, in the +latter part of July. The only other incident here worth mentioning was +the performance, on the 17th July, of Mozart's _Don Giovanni_ with the +following powerful cast:-- + + "Donna Anna" Madame Pauline Viardot. + "Donna Elvira" Madame Rudersdorff. + "Zerlina" Madame Persiani. + "Don Giovanni" Signor Badiali. + "Leporello" Signor Rovere. + "Commendatore" Signor Marini. + "Masetto" Signor Insom. + "Ottavio" Signor Naudin. + +The evening prior to its performance I met Mr. E. T. Smith, who +horrified me by saying that in order to "strengthen up the bill," it +being his benefit, he had added _The Waterman_, in which Charles Braham +would play "Tom Tug," and moreover, introduce into the piece a new song +dedicated by Mr. E. T. Smith to the Metropolitan Board of Works, who, +said Smith, with a knowing wink, were "a most useful body." + +I paid no attention to this at the time, thinking it was only a joke; +but on looking at the _Times_ newspaper on the day of the performance, I +found that the announcement, as communicated to me by Mr. E. T. Smith, +had really been made. The performance, too, of the _Waterman_, with the +introduced song, was really given. + +I waited with interest to see what the newspapers would say as to my +closing representation. Only one paper mentioned the performance; and it +confined itself to stating that _Don Giovanni_ had been played the +previous evening "by a body of singers whose united ages amounted to +nearly 500 years." + +Mr. E. T. Smith, the manager, had made money by our season; and he +remunerated me very handsomely for my labours. In the meantime, +notwithstanding the phenomenal success of Mdlle. Titiens at Her +Majesty's Theatre, Mr. Lumley's difficulties had been constantly +increasing; and Her Majesty's Theatre now closed, never to open again +under his management. + + + + +CHAPTER II. + + INJUNCTION AGAINST THE BIRDS ON THE TREES--DRURY LANE SEASON OF + 1859--DEBUTS OF VICTOIRE BALFE, MONGINI, AND GUARDUCCI--MY + CONTRALTO MARRIES A DUKE--THE DUKE AND DUCHESS AT NAPLES. + + +EFFORTS were now made to obtain the lease of Her Majesty's theatre, but +it was so entangled with legal difficulties that it was resolved, on my +advice to remain another year at Drury Lane. I therefore set to work to +secure a very powerful company for the London season of 1859. + +During the latter part of 1858 the baritone Graziani had called +repeatedly upon me, stating that as Mr. Gye had not renewed his +engagement, and as there were some arrears outstanding, he was very +desirous that I should engage him for the forthcoming season. After +lengthy negotiations, some time during the month of March, 1859, I +signed with him, and added him to the list of artists in the official +programme. + +On the prospectus being issued, law proceedings were immediately +commenced by Mr. Gye, who asked for an injunction to restrain Graziani +from appearing at Drury Lane. + +Application was made before Vice-Chancellor Wood, and the most eminent +counsel were engaged on both sides. Mr. Gye retained Rolt, Giffard, +Martindale, etc., whilst Mr. E. T. Smith was represented by Sir Hugh +Cairns, Hawkins, Swanstone, Serjeant Ballantine, Cottrell, Daniel, &c. +The case was heard on the 11th and 12th May, 1859, when an injunction +was granted. At this I felt somewhat astonished, inasmuch as Graziani's +engagement had never been renewed by Mr. Gye, although in a period of +more than eight months the eminent baritone had made more than a dozen +applications for a renewal; neither had his salary been paid him. + +I have repeatedly failed to obtain injunctions against my singers, both +here and in America, though the engagements which they had broken were +in every respect perfectly in order. I recollect a case in which one of +my principal singers was announced to appear at the Crystal Palace in a +concert, notwithstanding a written engagement whereby he contracted that +I should have his exclusive services, and that he would sing nowhere +without my written consent. No salary was owing to him, and I felt +perfectly sure of obtaining an injunction, for which I duly applied, in +order to restrain him from committing the contemplated breach of +engagement. + +A formal injunction was, in fact, granted; but the case was immediately +afterwards brought before the Lords Justices for a full hearing. As I +was very much occupied at the theatre with rehearsals, and felt sure the +injunction would be confirmed, and, moreover, that the case would occupy +but a few minutes, I did not attend; but at the end of my day's labours, +feeling a little curious, I called on my solicitor on my way home, when +I was informed by his clerk that he was still in Court and that my case +was not concluded. I went there. Sure enough, there were the counsel +still arguing. Two attendants were busily employed handing in law-books +every minute or two, with pieces of paper between the leaves indicating +pages for reference. The counsel on the other side was forcibly +explaining the case by supposing a similar one between a vendor and a +purchaser of sacks of flour. I could not believe that it was my case +they were proceeding with. + +Later on "---- _v._----, page----," was quoted, and now sacks of corn +and of linseed were brought in. The candles of the Court were burnt low +down in the sockets, and the three Lords Justices were evidently very +tired, when one of them spoke thus-- + +"I cannot conceive how Mr. Mapleson could expect to retain the exclusive +services of any vocalist. In my opinion, sweet musical sounds should be +for the benefit of everybody, and Mr. Mapleson might just as well apply +for an injunction to restrain the birds from singing on the trees." + +The other Justices concurred in the view that a singer must be free to +sing where he liked. + +In the United States I have been invariably unsuccessful in my +applications for an injunction, or of even getting the Courts to define +the meaning of a singer's engagement. The legal mind cannot grasp the +idea. Were it a contract for the erection of buildings or machinery, or +the sale of goods, or the exclusive manufacture of a piece of cotton +printing, the matter would be clear enough. But no evidence on the part +of musical experts is ever by any chance understood by the Court. + +The Drury Lane season of 1859 opened on the 25th April with _La +Sonnambula_, when I was fortunate enough to introduce two new singers, +who both met with unequivocal success. One was Mdlle. Victoire Balfe +(afterwards Lady Crampton, and subsequently Duchess de Frias), who +appeared as "Amina;" the other, Signor Mongini, whose triumph was +instantaneous in the part of "Elvino." This was his first appearance in +England. + +For this season two conductors had been engaged, Signor Arditi and Mr. +(afterwards Sir Julius) Benedict. Both were excellent, but neither +wished to be mistaken for the other. Both, moreover, were bald, and I +remember on one occasion, when a grand combined performance was to take +place, Benedict going into the prima donna's dressing-room, taking up a +brush, and carefully arranging his scanty hair so as to cover as much as +possible of his denuded cranium. + +"What are you about, Benedict?" I asked. + +"Nothing particular," he replied; "only I don't want, whilst wielding +the baton, to be mistaken for Arditi." + +Soon afterwards Arditi appeared, and with a couple of brushes began +operating on his hair so as to leave as much as possible of his bare +skull exposed to view. He explained his action by exclaiming-- + +"I don't want to be mistaken for Benedict." + +On the following night I brought forward Mdlle. Guarducci, who appeared +as "Leonora" in _La Favorita_, with Giuglini as "Fernando." Guarducci's +success was instantaneous, her lovely voice being the object of +universal admiration. + +A very strange thing occurred in connection with Guarducci's _debut_. +She had arrived in London only two days before, in the belief that she +would have two or three weeks to prepare the part which she had +undertaken to perform. By a careful process of cramming we got her +through; and she made one of the most marked successes London had +witnessed for many years. I thereupon announced the opera for repetition +four days afterwards, when to my great astonishment Guarducci informed +me that she did not know a note of her part, and it took ten days' +rehearsals for her to learn it in systematic style. + +Later on I produced Mercadante's Giuramento, which, however, met with +indifferent success. Mdlle. Titiens shortly afterwards appeared as +"Lucrezia Borgia," when her phenomenal voice attracted such a house as +had rarely been seen. Her performances throughout the remainder of the +season were a series of triumphs never to be forgotten. + +Arrangements were afterwards made for an operatic tour in the provinces, +which we commenced in Dublin. + +About this time the attentions of an Italian nobleman towards Mdlle. +Guarducci became rather conspicuous, and at Mdlle. Titiens' suggestion I +resolved to ask him what his intentions towards her really were. As no +satisfactory answer could be obtained, Mdlle. Titiens took Guarducci +entirely under her charge, and all communication with the Italian +nobleman was put an end to. + +Shortly afterwards he visited me, assuring me his intentions were most +honourable, and begging me to intercede so that he might again meet +Guarducci. Mdlle. Titiens' reply was-- + +"Yes, as her husband, not otherwise;" and to this ultimatum he +consented. + +In the course of a few days preparations were made for the marriage, but +many difficulties presented themselves. The duke's father would have to +be consulted, together with the Neapolitan Government, the Pope, and a +few other powers. + +About this time Mr. E. T. Smith appeared on the scene, and he assured +the priests that of his certain knowledge the proposed marriage would be +most agreeable to the duke's father; whilst I, on my side, induced the +Consul of the then King of Naples and of the Two Sicilies to affix the +Government stamp to the contract. I also had a marriage settlement +drawn, whereby it was stipulated that if Mdlle. Guarducci at any time +after the marriage should feel disposed she should have liberty to +resume the exercise of her profession, and take the whole of the +benefits she might derive therefrom for her own use; the duke engaging, +moreover, that on the day he succeeded to his father's property and +title he would assign to her L50,000 for her sole and separate use. The +marriage was celebrated in the Metropolitan Church of Dublin, with full +choral service, in which Piccolomini, Titiens, Aldighieri, Giuglini, and +others took part. The scene was most impressive. + +Within a week afterwards the marriage had made such a stir in Italy that +the new duchess had to leave me, and, accompanied by the duke, take her +departure for Italy. + +I did not meet them afterwards until the year 1863, when at my hotel in +Naples a gorgeous equipage drove up, in which were the Duke and Duchess +di Cirilla, with a beautiful little child. It appeared that he had +succeeded to his titles and estates, that he had already handed over the +large sum of money promised in the settlement, and that they were the +happiest couple in the world. They insisted upon my spending several +days with them at their palace; and as it was the closing day of the +Carnival we amused ourselves from the balcony of the Palazzo by throwing +the most gorgeous sweetmeats, dolls, and other things at the heads of +the populace. I was afterwards invited by the duke to a wild-boar hunt. +He had charge of all the King's preserves at Caserta, and by his +hospitable attentions he enabled me to pass the time most pleasantly. + +Looking over my papers I find, what had really escaped my memory, that +in order to ensure, so far as we could, the execution of the Duke's +promise in regard to the settlement on his wife, Mr. E. T. Smith and +myself made him sign a bond by which he bound himself, should he fail to +fulfil his pledge, to pay to each of us the sum of L5,000. + +Here is an exact copy of the deed; the like of which could scarcely be +found in the archives of any Opera House in the world:-- + +"Know all Men by these Presents that I Alfonso Catalano Gonzaga de Duchi +de Cirella formerly of Naples but now stopping at Gresham Hotel Dublin +am held and firmly bound unto Edward Tyrrel Smith of Pensylvania Castle +Dorset England and Lessee of the Theatre Royal Drury Lane London but now +stopping at Gresham Hotel Dublin and James Henry Mapleson of 12 +Haymarket London Gentleman but now stopping at Gresham Hotel Dublin in +the sum of Ten thousand pounds sterling good and lawful money of the +United Kingdom of Great Britain and Ireland to be paid to the said +Edward Tyrrel Smith and James Henry Mapleson or their lawful Attorney +Executors Administrators or assigns to the which payment to be made I do +bind myself my heirs executors and administrators firmly by these +presents Sealed with my seal and dated the eighth day of August in the +year of our Lord one thousand eight hundred and fifty-nine. + +The Condition of the above obligation is such that if the above bound +Alfonso Catalano Gonzaga de Duchi de Cirella his heirs executors or +administrators shall and do well and truly pay or cause to be paid unto +the above named Edward Tyrrel Smith and James Henry Mapleson their +executors administrators or assigns the just and full sum of Five +thousand pounds sterling of good and lawful money of the United Kingdom +of Great Britain and Ireland according to the covenant on his part +contained in a certain Indenture of Settlement bearing even date +herewith and made between Carolina Guarducci of the first part the said +Alfonso Catalano Gonzaga de Duchi de Cirella of the second part and the +said Edward Tyrrel Smith and James Henry Mapleson of the third part and +shall also fully perform all and singular the other covenants and +agreements on the part of him the said Alfonso Catalano Gonzaga +contained in the aforesaid Settlement without fraud or further delay +that then the above obligation is to be void and of none effect or else +to stand and remain in full force and virtue in law + +ALFONSO CATALANO GONZAGA + DE DUCHI DE CIRELLA + +Signed sealed and delivered in the presence of by Alfonso Catalano +Gonzaga de Duchi de Cirella the same having been first truly read +explained and interpreted to him by J H Mapleson + + THOMAS FITZGERALD + Solicitor 20 Saint Andrew St Dublin + THOS SNOWE + Neapolitan Vice Consul + +I hereby certify that the within named James Henry Mapleson took a +solemn oath administered by me that he had truly read explained and +interpreted the true contents of the annexed Bond to the within named +Carolina Guarducci and Alfonso Catalano Gonzaga de Duchi de Cirella + + Neapolitan Vice Consulate + Dublin 10th August 1859 (nine) + THOS SNOWE + V Consul" + +[Illustration: SEAL.] + + + + +CHAPTER III. + + NOCTURNAL NEGOTIATIONS--REOPENING OF HER MAJESTY'S THEATRE--SAYERS + AND HEENAN PATRONIZE THE OPERA--ENGLISH AND ITALIAN OPERA + COMBINED--SMITH AND HIS SPECULATIONS--DISCOVERY OF ADELINA + PATTI--MY MANAGEMENT OF THE LYCEUM. + + +EARLY in the spring of 1860 I opened negotiations again with Lord +Dudley, on behalf of Mr. Smith, to obtain the lease of Her Majesty's +Theatre. After spending two days at Witley Court with his lordship I +returned to London with the lease, and loaded with game. + +The next step was to secure the services of Mdlle. Titiens, Giuglini, +and others who still were bound to Mr. Lumley; and for that purpose Mr. +Smith and myself started for the Continent. Mr. Lumley met us at +Boulogne; the Channel, as in the previous year, being still too breezy +for him to cross. + +On our arrival we found that Mr. Lumley had prepared a sumptuous +banquet. Every kind of expensive wine was on the table, together with +the most famous liqueurs. The Bordeaux, the Burgundy, the Champagne, +the Chartreuse, the Curacao, and the Cognac were for us; whilst Mr. +Lumley, like a clever diplomatist, confined himself to spring water. +After I had made several attempts to broach the subject of our visit, +which Lumley pretended not to understand, he showed himself quite +astonished when he heard that Mr. Smith contemplated engaging his +artists. To me fell the duty of conducting the negotiations between +these two wily gentlemen; and it was not until about three or four +o'clock the following morning that things began to get into focus. Mr. +Lumley, in the meantime, had kept ordering innumerable syphons and +_fines champagnes_ for Mr. Smith, before whom the bottles were +perpetually empty. As Mr. Smith warmed up, he wanted extensions for the +following autumn, to which Lumley, reluctantly, of course, agreed. In +the end the transfer was to cost some L16,000--I having obtained a +reduction of L3,000 or L4,000 from the original price insisted on by +Lumley. I afterwards had to draw an engagement that would prove +satisfactory to both parties; a matter which was not finally settled +until nearly six o'clock in the morning. + +Mr. Smith having observed that he would see to the financial part being +promptly carried out, Mr. Lumley replied that he would prefer to have +bills drawn and handed over to him at once, payable at different dates, +for the whole of the amount. He feared, he said, that some hostile +creditor might attach any moneys in Smith's hands payable to him. Smith +regretted that in France they could not purchase bill stamps, otherwise +he would have been delighted to meet Mr. Lumley's views. Mr. Lumley, +however, in getting a brush from his little hand-bag found some papers +he could not account for, but which had somehow got in there; and these, +to the astonishment of both Lumley and Smith, proved to be bill stamps. +The next thing was to draw the various bills; and Smith remarked before +leaving the banqueting-room that it would be better to finish the +remains of the bottle then before him, lest the hotel servants should do +so and get drunk. Mr. Lumley, instead of going to bed, went back to +Paris by the early morning train, while Smith and myself returned to +London. + +The company for the season of 1860 was a marvellously attractive one. + +Admirable, too, were the works produced. + +Mr. Smith about this time had acquired various restaurants in London, +besides the Alhambra, Cremorne Gardens, Drury Lane, and a variety of +other establishments. The management of the opera was, therefore, left +entirely to me, except that I received occasional visits at the most +unseasonable hours from Mr. Smith, who arrived with the strangest +suggestions. About this time the celebrated fight for the championship +took place between Sayers and Heenan, and as the Covent Garden people +were getting rather ahead of us, Mr. Smith, with a view to increased +receipts, insisted on my announcing that Messrs. Sayers and Heenan, who +had fought the day previously, would attend the opera in their bruised +state. It was with the greatest difficulty that I afterwards got the +announcement withdrawn from the papers. Both men appeared, nevertheless, +that evening--one worse-looking than the other--in a private box which +Smith had prepared specially for them on the grand tier; one corner +being filled with brandies and sodas, and the other with bottles of +champagne. Both men were so fatigued with their business of the previous +day that before the end of the first act they went home, much to my +relief. + +Shortly afterwards Smith proposed that the Champion's belt (which had +been divided in two) should be presented on the stage between the acts +of the opera. This, too, I overruled, and the ceremony ultimately took +place at the Alhambra. + +On another occasion Mr. Smith suggested to me an idea that had occurred +to him for closing up Covent Garden, by giving a grand double +performance of _Il Trovatore_ without any increase of prices. He +proposed dividing the stage into two floors, as in the opera of _Aida_, +with the occupants as follows:-- + + Top floor. Bottom floor. + "Manrico" ... Mongini ... Giuglini. + "Conte di Luna" ... Aldighieri ... Everardi. + "Azucena" ... Alboni ... Borghi-Mamo. + "Leonora" ... Grisi ... Titiens. + +The singers were alarmed, as the matter became serious. This project, +however, like previous ones, I ultimately succeeded in setting aside. I +pleaded that the preparations for the production of Oberon, now resolved +upon, needed all my attention. Benedict, the favourite pupil of Weber, +had undertaken to adapt the famous opera for the Italian stage by +introducing recitative and excerpts from some of Weber's other works, +whilst Planche, the author of the libretto, undertook the _mise en +scene_. A really grand performance took place, with the following cast +of characters:-- + + "Sir Huon," Mongini; "Scerasmin," Everardi; "Oberon," + Belart; "Fatima," Alboni; "Rezia," Titiens. + +Despite the artistic successes of the season, matters, as usual with +operatic managers, did not go well in a financial sense. This, in a +great measure, was to be accounted for by the drain on our exchequer +caused by Mr. Smith's numerous outside speculations; for the receipts +from the various establishments were all lumped into one banking +account. + +On one occasion I recollect having a deal of difficulty with the +Sheriff's officers, who had got possession of the wardrobes. We were on +the point of producing the _Huguenots_, and the whole of the dresses for +that opera were under ban. One afternoon Smith came in; and after some +little time it appeared that the officers had agreed not to take the +_Huguenots_ until we had had two performances out of it. + +In fact, there was always some trouble going on, and it was with the +greatest difficulty that we got through the season. + +In the Boulogne contracts Lumley's artists were ceded not only for a +summer, but also for an autumn season at Her Majesty's. As, however, +they were to sing but three times a week, it occurred to me that English +opera might be tried with advantage on the alternate nights. +Arrangements were accordingly entered into, through the kindness of Mr. +Thomas Chappell, with Mrs. L. Sherrington, Mr. Sims Reeves, and Mr. +Santley. Charles Halle was at the same time engaged as conductor. + +Negotiations were also entered into with Macfarren for the production of +an English work entitled _Robin Hood_, the libretto by Oxenford. The +opera met with very great success, so much so that the chief attentions +of the public were directed to the evenings on which _Robin Hood_ was +performed. I then opened negotiations with Vincent Wallace to prepare an +opera to follow, entitled the _Amber Witch_, libretto by Chorley, in +which Mr. Sims Reeves, Mrs. L. Sherrington, Santley, Patey, and others +appeared. + +But again the war cloud seemed to hover over the establishment, and +again the Sheriff's officers appeared in force. It was thought advisable +to transfer the _Amber Witch_ to Drury Lane, leaving the myrmidons of +the law in possession of the theatre and its belongings. The _Amber +Witch_ wardrobe (which somehow had fallen off the portico of the theatre +early one Sunday morning) found its way to the other theatre. Here the +part of the "Amber Witch" was undertaken by Madame Parepa, _vice_ +Sherrington. + + * * * * * + +Mr. Edward Tyrrel Smith, with whom I had business relations for some +three or four years, was an extraordinary personage, whose like could +only be met with in our own time, and in such capitals as London or +Paris, where the population in general has certainly not the faintest +idea how some small part of that population lives. Mr. E. T. Smith had +made up his mind early in life to be the possessor, or at least the +handler, of considerable sums of money; and he at one time found it +worth his while, so as never to be without funds, to hire daily, at the +rate of L1 a day, a thousand-pound note, which was obligingly entrusted +to him by a money-lender of the period, one Sam Genese. + +There are not many persons to whom such a loan would be worth the +thirty-six and a half per cent. interest which Mr. E. T. Smith paid for +it. He was an adept, however, at all kinds of business, and his +thousand-pound note enabled him to make purchases on credit, which, +without deposit money, he would have been unable to effect. Attending +sales he would buy whatever happened to suit him, with a view to +immediate resale, offering his thousand-pound note as a deposit, to +discover, as a matter of course, that it could not be changed, and have +the article for which he had bid marked down to him all the same. Then +he would resell it, and pocket the difference. + +The mere exhibition of the thousand-pound note secured him a certain +amount of credit, and he was not likely ever to meet with an auctioneer +able to change it. Before offering his (or rather Mr. Genese's) note he +took care to write his name on the back of it. Afterwards his usurious +friend would replace the note that had been endorsed by a brand new one, +and occasions presented themselves in which it was a distinct advantage +for E. T. Smith to be known as a gentleman who, in the course of a +comparatively short space of time, had inscribed his name on several +bank-notes, each for a thousand pounds. + +Once, when St. Dunstan's Villa, in the Regent's Park, was knocked down +to Smith for ten thousand pounds, the thousand-pound note which he had, +as usual, in his waistcoat pocket was just what was wanted to satisfy +the auctioneer's immediate demands. Smith handed up the note with the +observation that he would turn the place into a second Cremorne Gardens, +in which character it could not fail to attract thousands of people and +bring in lots of money. At this announcement the auctioneer drew back +and informed the apparently eager purchaser that the house could be +converted to no such purpose. + +One day, when I had run down to Brighton with Mr. Smith, then associated +with me in the management of Drury Lane, we missed, by about half a +minute, the return train we had intended to catch; and we had now two +hours to wait. Smith could not remain idle, and strolling with me along +the Parade his attention was attracted by a corner house which was for +sale, and which, it at once struck him, might be turned to profitable +account as a milliner's shop. He inquired as to the rent and other +conditions, bought the house there and then, and at once ordered that +the windows on the ground floor should be replaced by much larger ones +of plate glass. + +That night he started for Paris, and in the Passage du Saumon, where +bonnets of almost the latest fashion can be purchased for moderate +prices, laid in a stock of millinery for his Brighton "_magasin des +modes_." While making his purchases in Paris he secured the services of +two eligible young women, who were brought over to direct the Brighton +establishment. This, within a very short time, he duly opened under the +name of "Clementine," and the house of Clementine did such good business +that a few weeks afterwards its spirited proprietor was able to sell it +at seven hundred pounds' profit. + +On the occasion of a melancholy event which compelled all the London +managers to close their theatres, Mr. E. T. Smith saw in this day of +national gloom a tempting opportunity for a masked ball. It was to be +given at Her Majesty's Theatre, and earnestly as I sought to divert him +from his project he insisted on carrying it out. I had no right of veto +in the matter, and the masked ball took place. The sum of one guinea +entitled a ticket-holder to entrance and supper, and a day or two before +the entertainment fires were lighted in the property-room, the +painting-room, and the wardrobes, in order to cook some hundreds of +fowls which had been purchased in the market, after ordinary market +hours, at a very cheap rate. + +Wine would be an extra charge. In order to suit the tastes of +connoisseurs, Mr. Smith made large purchases of Heidsieck, Pommery +Greno, Perrier Jouet, and other favourite brands somewhere in +Whitechapel, where they can be secured at a much less cost than at +Epernay or Rheims. When the wine came in he showed it to me with a look +of pride, and opened a bottle of someone's _cuvee reservee_ in order to +have my opinion. I told him frankly that the bottles, labels, and the +names branded on the corks seemed all that could be desired, and that I +found nothing bad except the wine. This he seemed to look upon as an +unimportant detail, and the Whitechapel champagne was sold to infatuated +dancers at ten and twelve shillings a bottle. + +About this time I chanced to hear of an extraordinary young vocalist, +who had been charming the Americans, and, although hardly nineteen, +seemed to have obtained a firm hold on the sympathy and admiration of +their public. I opened negotiations at once, in order to secure her +services for the forthcoming season at Her Majesty's, and a contract was +duly entered into on behalf of Mr. Smith, whereby the little lady +undertook to sing four nights on approval, when, in case of success, she +was to have a salary of L10 a week. I likewise concluded an engagement +with Mario, whose term had expired at Covent Garden, and with Madame +Grisi; while Costa undertook to join the following year on the +expiration of his existing contract with Mr. Gye. + +In fact, all looked very promising for the year 1861. But, as the time +approached, I found more difficulty than ever in communicating with Mr. +Smith, who seemed to be out of the way. I then accidentally learned that +owing to the extreme financial difficulty in which he was placed through +his numerous outside speculations he had been compelled to accept an +offer from Mr. Gye of L4,000 on condition of his not opening. + +In accordance with this arrangement Her Majesty's Theatre remained +closed. + +Some time in the month of April the little lady from America arrived and +sent me up her card, bearing the name of Adelina Patti. She was +accompanied by Maurice Strakosch, her brother-in-law. They wished to +know when Mr. Smith's season was likely to begin. I could give them no +information beyond the current report which they had already heard +themselves. The little lady, who was then seated on a sofa at the +Arundel Hotel, at the bottom of Norfolk Street, Strand, suggested that I +should try the speculation myself, as she felt sure she would draw +money. I thereupon asked her to let me hear her, that I might judge as +to the quality of her voice, to which she responded by singing "Home, +Sweet Home." I saw that I had secured a diamond of the first water, and +immediately set about endeavouring to get Her Majesty's Theatre. But +this was a hopeless business, as Smith, who still held the lease, was +nowhere to be found. Shortly afterwards, however, I met Smith by chance, +and proposed renting Drury Lane from him, without saying what for. + +Two days later he brought me an agreement which he requested me to sign. +I said that I should like first to glance over it. He pointed out to me +that I might give operas, dramas, pantomimes, ballets, in fact +everything; and that I should have no difficulty in making a very fine +season. But on the top of the page overleaf my eye caught sight of a +parenthesis, within which were the words "Italian Opera excepted." I +thereupon put down the pen, raised some question about the deposit, and +afterwards kept clear of Mr. Smith. + +But many years after he had ceased to be connected with theatres I one +day received a letter from him, in which he told me he was in the metal +trade, and asked me to send him a couple of stalls for himself and his +"old woman." The heading of the letter announced the character of his +new business, and he added in a postscript: "Do you ever want any tin?" + +Nothing now remained but to secure the Lyceum; the only other theatre +available. This I did. It having been occupied but two or three years +previously by the Royal Italian Opera, I considered the locale would be +perfectly suited for my purpose. I thereupon started off to Paris to +find Mr. Lumley, from whom I now wished to secure for myself the singers +still engaged to him. Mr. Lumley had unfortunately left for Marseilles. +I myself started for Marseilles, but in passing Avignon I thought I saw +black whiskers in the passing train resembling those of Mr. Lumley. But +I was not sure. I therefore continued my journey. + +"Mr. Lumley, est parti," I was told on my arrival. I returned to Paris, +and was informed that he had gone to England, which I knew was not +possible, except on a Sunday. This being Saturday, I determined to stop +at Boulogne and make inquiries; and in the same hotel where I had +conducted the negotiations some two or three years previously I found +him. I soon completed my arrangements, undertaking to give him half my +total gross nightly receipts in exchange for Titiens and Giuglini. I +undertook to provide the whole of the expenses, with Alboni, Patti, and +others among my other singers. I returned joyfully to London, and at +once went to the Arundel Hotel to inform Miss Patti and Strakosch of my +good luck. They did not seem overjoyed, or in any way to participate in +my exuberant delight. + +Maurice Strakosch told me that as their last L5 note had been spent he +had been obliged to borrow L50 of Mr. Gye, which intelligence at once +reduced my height by at least two inches; and after a deal of difficulty +I ascertained that he had signed a receipt for the said loan in a form +which really constituted an engagement for the Royal Italian Opera, +Covent Garden. + +In short, I found myself manager of the Lyceum Theatre, with an +expensive Company, and with Mdlle. Patti opposed to me in the immediate +vicinity at Covent Garden. + +My season opened at the Lyceum on Saturday, the 8th June, 1861, the +opera being _Il Trovatore_, "Manrico," Signor Giuglini; "Il Conte di +Luna," Signor delle Sedie, the eminent baritone, who made his first +appearance in England; "Ferrando," Signor Gassier; whilst "Azucena" was +Mdme. Alboni, and "Leonora," Mdlle. Titiens; Arditi conducting the +orchestra, which was composed of the members of the Philharmonic Society +and Her Majesty's private band. On the second night I gave _Lucrezia +Borgia_, with Giuglini, Gassier, Alboni, and Titiens in leading parts. + +In the meanwhile I placed Verdi's new opera, _Un Ballo in Maschera_, in +rehearsal in order that I might have the honour of representing it for +the first time in this country; and by dint of almost superhuman effort +on the part of Arditi and the principal artists, I produced it some few +days before Covent Garden, although it had been in rehearsal there for +over six weeks. I well recollect how, after a fatiguing performance of +such an opera as _Les Huguenots_, _Lucrezia Borgia_, or _Norma_, Mdlle. +Titiens, Giuglini, and other artists would go in the direction of Eaton +Square to take supper with Signor Arditi, and at about half-past one in +the morning begin rehearsing. The rehearsals terminated, the full blaze +of the sun would accompany us on our way home to bed. This was done +night after night. + +But our efforts were rewarded by the immense success the opera achieved +at its first performance. + +During the first weeks of my management I had a strong +counter-attraction operating against me in the shape of a large fire +raging in Tooley Street, which it seemed to be the fashionable thing to +go and see. Thousands attended it every evening. + +Before the close of the season I gave a grand combined performance +composed of excerpts from various operas--a kind of representation never +popular with the British public; but, this being the last night of my +season, the house was crowded from top to bottom. During the evening the +choristers had banded together, threatening to refuse their services +unless I complied with an exorbitant claim which I considered they had +no right to make. + +Prior to the curtain rising for the final section of the +performance--the entire fourth act of the _Huguenots_--I was sent for. +All reasoning with the chorus singers was useless. I therefore left the +room, telling them to remain until I returned, which they promised to +do. I then instructed Mdlle. Titiens and Giuglini that the +"Conspirators' Chorus" ("Benediction des Poignards") would be left out, +and that the act must commence, as it was now very late, with the entry +of "Raoul" and "Valentine" for the grand duet, whereby I dispensed with +the services of the chorus altogether. + +No sooner did they hear that the opera was proceeding than they one and +all surrendered. I, however, had the pleasure of telling them that I +should never require one of them again--and I never did. + +This really was the origin, now common at both Opera-houses, of the +introduction of choristers from Italy. I may mention that the members of +my refractory chorus were people who had been some thirty or forty +years, or even longer, at the Opera-houses and other theatres in London, +and it was really an excellent opportunity for dispensing with their +services. + +At the close of the opera season, on balancing my accounts, I found +myself a loser of some L1,800. Thereupon, I resolved to carry on the +Opera again in a larger locale next year in order that I might get +straight; vowing, as the Monte Carlo gambler constantly does, that as +soon as I got quite straight I would stop, and never play again. I have +been endeavouring during the last thirty years to get straight, and +still hope to do so. + + + + +CHAPTER IV. + + AT HER MAJESTY'S THEATRE--VERDI'S CANTATA--GIUGLINI AT THE + SEASIDE--POLLIO AND THE DRUM-STICK--AN OPERATIC + CONSPIRACY--CONFUSION OF THE CONSPIRATORS. + + +EARLY in the following spring, I succeeded in securing a promise of the +lease of Her Majesty's Theatre for 21 years, for which I deposited +L4,000 pending its preparation. I hastened to make public announcement +of the fact. Lord Dudley, however, kept varying the conditions of +payment, which I understood originally to have been a deposit of L4,000 +to remain as security for the payment of the rent throughout the +tenancy. His lordship contended, however, that the sum deposited was in +part payment of the first year's rent, and that another L4,000 must be +paid before I could obtain possession. + +This was indeed a terrible set-back to me, and I was at my wits' end +what to do. However, through the kindness of my friend Mitchell, who +subscribed largely, together with various members of the trade, I +secured the remainder; and on the first day of April--ominous day!--I +passed through the stage door with the key of the Opera in one pocket +and L2--my sole remaining balance--in the other. I stood in the middle +of the stage contemplating my position. I was encouraged by the +celebrated black cat of Her Majesty's; which, whether in good faith or +bad, rubbed herself in the most friendly manner against my knees. + +Prior to the opening of my season of 1862 I made an increase in the +number of stalls from seven to ten rows, my predecessor having increased +them from four to seven. This removed the Duke of Wellington, who was an +old supporter of the house, much farther from the stage, it having +always been his custom to occupy the last number. Thus in Mr. Lumley's +time he occupied No. 82, in Mr. Smith's time 163, whilst this increase +of mine sent back His Grace to 280. Nothing but the last stall would +satisfy him; he did not care where it was. + +Prior to my opening the most tempting offers were made by Mr. Gye to my +great prima donna Titiens. Her name, which closed my list of artists, +was mentioned in my prospectus with the subjoined prefatory remarks: +"The Director feels that with the following list of artists nothing more +need be said. Of one, however, a special word may not be out of place, +since she may without exaggeration be said to constitute the last link +of that chain of glorious prime donne commencing with Catalani. It is +seldom that Nature lavishes on one person all the gifts which are needed +to form a great soprano: a voice whose register entitles it to claim +this rank is of the rarest order. Melodious quality and power, which are +not less essential than extended register, are equally scarce. Musical +knowledge, executive finish, and perfect intonation are indispensable, +and to these the prima donna should add dramatic force and adaptability, +together with a large amount of personal grace. Even these rare +endowments will not suffice unless they are illumined by the fire of +genius. By one only of living artists has this high ideal been +reached--by Mdlle. Titiens." + +The subscriptions began pouring in, and all appeared _couleur de rose_, +when Mr. Gye's envoy, the late Augustus Harris, again appeared, Titiens +not having yet signed her contract with me; and he produced a contract +signed by Mr. Gye with the amount she was to receive in blank. She was +to fill in anything she chose. It was indeed a trying moment, and +various members of her family urged her to give consideration to this +extraordinary proposal. She, however, replied in few words: "I have +given my promise to Mr. Mapleson, which is better than all contracts." +My season, therefore, commenced in due course. + +I had got together a magnificent company, and as the public found that +the performances given merited their support and confidence, the +receipts gradually began to justify all expectations, and within a +short time I found myself with a very handsome balance at my bankers. +This may be accounted for by the very large influx of strangers who came +to London to visit the Exhibition of 1862. One day, about this time, in +coming from my house at St. John's Wood, I met Verdi, who explained to +me that he was very much disappointed at the treatment he had received +at the hands of the Royal Commissioners, who had rejected the cantata he +had written for the opening of the Exhibition. I at once cheered him up +by telling him I would perform it at Her Majesty's Theatre if he would +superintend its direction, Mdlle. Titiens undertaking the solo soprano +part. The cantata was duly performed, and the composer was called some +half-dozen times before the curtain. At the same time the work was +purchased by a London publisher, who paid a handsome price for it. Verdi +appeared very grateful, and promised me many advantages for the future. + +Early in the season I produced the opera of _Semiramide_, in which the +sisters Marchisio appeared with distinction. Afterwards came Weber's +romantic opera of _Oberon_; J. R. Planche, the author of the libretto, +and Mr. Benedict, Weber's favourite pupil, taking part in its +reproduction. + +This was followed by the remounting of Meyerbeer's _Robert le Diable_, +with Titiens in the part of "Alice," the whole of the scenery and +dresses being entirely new. Mdlle. (now Mdme.) Trebelli shortly +afterwards arrived, and on May 4th appeared with brilliant success as +"Maffio Orsini" in _Lucrezia Borgia_, her second appearance taking place +four days afterwards in the part of "Azucena" (_Trovatore_), when her +permanent reputation seemed to be already ensured, as it in fact was. + +About this time I had a great deal of difficulty with the tenor, +Giuglini, who, like a spoilt child, did not seem to know what he really +required. He went down to Brighton accompanied by a certain notorious +lady, and all persuasion to induce him to return proved useless. He said +he had the "migraine." Thereupon I hit upon a device for making him +return, which succeeded perfectly. + +On the day of my visit I announced the _Trovatore_ for performance, with +Naudin, the tenor whom I had introduced some two years previously to +London, in the principal _role_. I spoke to a friendly critic, who +promised, in the event of Naudin's meeting with the success which I +anticipated, to make a point of recording the fact; and on the following +morning at Brighton, as I was accidentally walking with Giuglini, I +purchased the paper in which my friend wrote and handed it to the lady +who was absorbing all Giuglini's attention. I casually observed that +Giuglini might now remain at Brighton for a lengthened period. In the +course of an hour the tenor was on his way to London, volunteering to +sing the same evening if necessary; adding, however, a condition which +really caused me some inconvenience. + +He now informed me that he had written a better cantata than Verdi's, +and that unless I performed it I could no longer rely upon his services; +if, however, his work were given he would remain faithful to me for the +future. The work was duly delivered, in which I remember there was a +lugubrious character destined for Mdlle. Titiens, called "Una madre +Italiana." Giuglini further required 120 windows on the stage, from each +of which, at a given signal, the Italian flag was to appear; and no +smaller number than 120 would satisfy him. We were at our wits' end. But +the difficulty was met by arranging the scene in perspective; grown-up +people being at the windows nearest the public, then children at those +farther removed, until in the far distance little dolls were used. + +At a given signal, when the orchestra struck up the Garibaldi hymn, +these were all to appear. I need scarcely say that the cantata was given +but for one night. Poor Arthur Bacon, of the Ship Hotel, backed up +Giuglini's own opinion when he declared it to be "a fine work." + +The business meanwhile kept on increasing. In fact, I kept the theatre +open on and off until nearly Christmas time, and always to crowded +houses. + +During my autumn provincial tour of 1862 I had much trouble in finding a +substitute for my contralto, at that time Mdlle. Borchardt, who was +suffering from a sudden attack of "grippe;" an illness which, at least +in the artistic world, includes influenza, low fever, and other maladies +hard to define. The opera announced was _Lucrezia Borgia_, and my +difficulty was to find a lady capable of singing the part of "Maffio +Orsini." I improvised a substitute who possessed good will, but was +without knowledge of music and had scarcely a voice. In an apology to +the public I stated that Mdlle. Borchardt being indisposed, another +artist had at a moment's notice kindly consented to sing the part of +"Maffio Orsini," but that "with the permission of the audience she would +omit the brindisi of the third act." + +This seemed little enough to ask, though the part of "Maffio Orsini" +without the famous drinking song, "Il segreto per esser felice," was +only too much like the celebrated performance of _Hamlet_ with the part +of the Crown Prince of Denmark left out. + +It being quite understood, however, that the brindisi was to be omitted, +the singer left out on her own account and by my special directions +(scarcely necessary, it must be admitted) the legend of the opening +scene. Cut out the legend and drinking song, and nothing of the part of +"Maffio Orsini" remains except the few bars of defiance which this +personage has to address to "Lucrezia Borgia" in the finale of the first +act. These, however, can be sung by some other artist, and an audience +unacquainted with the opera will probably not complain if they are not +sung at all. The brindisi of the banqueting scene could not, of course, +have been omitted without explanation. But the necessary apology having +been frankly made there was nothing more to be said about the matter. + +I hoped that Mdlle. Borchardt would be sufficiently recovered to +undertake next evening the part of "Azucena" in _Il Trovatore_. But "la +grippe" still held her in its clutches. She would have sung had it been +possible to do so, but all power of singing had for the time left her, +and it was absolutely necessary to replace her in the part which she was +advertised to play. + +In the first act of _Il Trovatore_ "Azucena" does not appear, and I had +reason to believe, or at least to hope, that before the curtain rose for +the second act I should succeed in persuading my _seconda donna_ to +assume in the second and succeeding acts--in which "Leonora's" confidant +is not wanted--the character of "Azucena." + +At the last moment my eloquence prevailed, and the _seconda donna_ +declared herself ready to undertake the part of the gipsy. As for +singing the music, that was a different question. Already instructed by +me, she was to get through the part as well as she could without +troubling herself to sing. + +Meanwhile I had desired Titiens, Giuglini, and Aldighieri to exert +themselves to the utmost in the first act; and it was not until after +they had gained a great success in the trio which concludes this act +that I ventured to put forward an apology for my new and more than +inexperienced "Azucena." + +It was necessary first of all to see to her "make up," and as soon as +the requisite permission had been given, I myself covered her face--and +covered it thickly--with red ochre. Unfortunately, in my haste and +anxiety I forgot to paint more than her face and the front part of her +neck. The back part of her neck, together with her hands and arms, +remained as nearly as possible a pure white. I had told my new "Azucena" +to sit on the sofa, resting her head upon her hands, and this, at the +risk of bringing into too great contrast the red ochre and the pearl +white, she obligingly did. + +I had arranged that after the anvil chorus, the opening scene of the +second act should terminate; the duet between "Manrico" and "Azucena" +being thus left out. We passed at once to the "Count di Luna's" famous +solo, "Il balen," and so on to the finale of this act. In the third act +"Azucena" was simply brought before the Count and at once condemned to +imprisonment. In the fourth act she had been strictly enjoined to go to +sleep quietly on the ground, and not to wake up until "Manrico" was +decapitated. + +Thus treated, the part of "Azucena" is not a difficult one to play; and +how else is it to be dealt with when the contralto of the Company is +ill, and no adequate substitute for her can possibly be found? + +The devices, however, that I have set forth are obviously of a kind that +can only be resorted to once in a way under stress of difficulties +otherwise insurmountable. + +Accordingly, when the third day came and Mdlle. Borchardt was still too +unwell to sing, there was nothing left for me but to announce an opera +which contained no contralto part. The one I selected was _Norma_, a +work for which our principal tenor, Signor Giuglini, had conceived a +special hatred and in which he had sworn by the Holy Virgin and Madame +Puzzi never to sing again. I must here break off for a moment to explain +the origin of this peculiar detestation. + +About a year before Giuglini had been playing the part of "Pollio" to +the "Norma" of Mdlle. Titiens; and in the scene where the Druid +priestess summons by the sound of the gong an assembly which will have +to decide as to the punishment to be inflicted upon a guilty person +unnamed, Mdlle. Titiens, on the point of administering to the gong an +unusually forcible blow, threw back the drum-stick with such effect, +that coming into violent contact with the nose of Signor Giuglini, who +was close behind her, it drew from it if not torrents of blood, at least +blood in sufficient quantity to make the sensitive tenor tremble for his +life. He thought his last hour had come, and even when he found that he +was not mortally wounded still nourished such a hatred against the +offending drum-stick that he uttered the solemn combination oath already +cited, and required, moreover, that the drum-stick should never more be +brought into his presence. If not destroyed, it was at least to be kept +carefully locked up. + +Mdme. Puzzi had been to Giuglini more than a mother. Frequently, indeed, +this lady helped him out of scrapes in which a mother would probably not +have cared to interfere. She rescued him, for instance, more than once +from enterprising young women, who, by dint of personal fascinations, of +flattery, and sometimes of downright effrontery, had got the +impressionable singer beneath their influence. When things were at their +worst, Giuglini would write or telegraph to "Mamma Puzzi," as he called +her; and his adopted mother, to do her justice, always came to his +relief, and by ingenuity and strength of will freed him from the tyranny +of whatever siren might for the time have got hold of him. + +When, therefore, he swore by Madame Puzzi he was serious, and when he +pronounced his grand combination oath, "By the Holy Virgin and Madame +Puzzi," it was understood that he had spoken his last word, and that +nothing could ever move him from the determination arrived at under such +holy influences. + +Giuglini was in many things a child. So, indeed, are most members of the +artistic tribe, and it is only by treating them and humouring them as +children that one can get them to work at all. + +The only two things Giuglini really delighted in were kites and +fireworks. Give him kites to fly by day and rockets, roman candles, or +even humble squibs and crackers to let off at night, and he was +perfectly happy. Often in the Brompton Road, at the risk of being +crushed to death by omnibuses, he has been seen lost in admiration of +the kite he was flying, until at last the omnibus men came to know him, +and from sympathy, or more probably from pity for the joy he took in +childish pleasures, would drive carefully as they came near him. + +His fireworks proved to him more than once a source of serious danger. +On one occasion, in Dublin, for instance, when he was coming home from +the theatre in company with Mademoiselle Titiens, who had just achieved +a triumph of more than usual brilliancy, the carriage, already stuffed +full of fireworks, was surrounded by a number of enthusiastic persons +who, heedless of the mine beneath them, smoked cigars and pipes as they +at the same time leaned forward and cheered. + +Let us now return to the doings of Signor Giuglini in connection with +the opera of _Norma_, in which he had sworn his great oath never again +to appear. + +I have said that the artist is often child-like; but with this +childishness a good deal of cunning is sometimes mixed up. The one thing +he cannot endure is life under regular conditions. Exciting incidents of +some kind he must have in order to keep his nerves in a due state of +tension, his blood in full circulation. It annoys him even to have his +salary paid regularly at the appointed time. He would rather have an +extra sum one day and nothing at all another. The gratuity will give +him unexpected pleasure, while the non-payment of money justly due to +him will give him something to quarrel about. + +The artist is often suspicious, and in every Opera Company there are a +certain number of conspirators who are always plotting mischief and +trying to bring about misunderstandings between the manager on the one +hand, and on the other the vocalists, musicians, and even the minor +officials of the establishment. + +Needless to say that the singer on the night he sings, his nerves +vibrating with music, cannot at the end of the performance go to bed and +get quietly to sleep; and on one occasion, at Edinburgh, I passed on my +way to my bed the room in which Signor Giuglini was reposing, with a +cigar in his mouth, between the sheets and listening to the tales, the +gossip, the scandal, and the malicious suggestions poured into his ears +by the _camorristi_ of whom I have above spoken. + +All I heard was, uttered in exciting tones, such words as "extra +performance," "almanac," "imposition," "Mapleson," and so on. + +I knew that some plot was being hatched against me, but what it could be +I was unable to divine; nor, to tell the truth, did I trouble myself +much about it. + +Meanwhile I had spoken to Mr. Wyndham, manager of the Edinburgh Theatre, +about the necessity, should Mademoiselle Borchardt still remain ill, of +performing some opera in which there was no part for a contralto. He saw +the necessity of what I suggested, and agreed with me that _Norma_ would +be the best work to play. I, at the same time, informed him that +Giuglini had sworn "by the Holy Virgin and Madame Puzzi" never more to +appear in that work, and I had no reason for believing that he had +forgotten either his impressive oath or his bruised nose. + +It was resolved, therefore, to announce Signor Corsi for the part of +"Pollio." This might have suited Giuglini, from the superstitious point +of view; but it put him out in the project which, prompted by the +_camorristi_, he had formed for extorting from me a certain sum of +money. He was engaged to play sixteen times a month at the rate of sixty +pounds a performance. I had wished to have his services four times a +week; and in signing for sixteen performances a month it did not occur +to me that now and then in the course of the year the tenor might be +called upon to give a seventeenth. This was the point which he and his +fellow-conspirators had been discussing in his bedroom on the night when +it had struck me that some sort of dark scheme was being prepared for my +confusion. + +It had been pointed out to Giuglini that if he sang on the 31st of the +month, as I originally intended him to do, he would be singing once too +often--once more than had been stipulated for in his engagement; and +thereupon he would be in a position to enforce from me whatever penalty +be might choose to impose. This he deigned to fix at the moderate sum of +L160; and his claim was sent in to me just before--in consequence of the +continued illness of Mdlle. Borchardt--I had decided to change the +opera, and out of respect for Signor Giuglini's own feelings, to assign +the tenor part in _Norma_ not to him, but to an artist who was not bound +to keep clear of this opera either by a peculiarly solemn oath or by +painful recollections of a dab on the nose from a vigorously-handled +drum-stick. + +The opera, then, was announced with Signor Corsi in the part of +"Pollio;" and there seemed to be no reason why the performance should +not go off successfully. I noticed, however, some ominous signs, and, +for one reason or another, it seemed to me that the carefully-laid mine, +if it exploded at all, would burst that evening. + +Giuglini was in a very excited condition, and I knew that whenever he +felt unduly agitated he sent for "Mamma Puzzi" to come and soothe his +irritated nerves. I did not know where Mdme. Puzzi was; but I _did_ know +that she might at any moment arrive, and I therefore gave orders that +she was not, under any circumstances, to be admitted. The stage door was +closed absolutely against her. With or without explanations, she was not +to be let in. + +When the night for the performance arrived I took care to see that +Signor Corsi, at the proper time, was fitly attired for the character +of "Pollio." He had often played the part before in company with Mdlle. +Titiens, and I saw no reason for believing that his performance would +not on this, as on previous occasions, be thoroughly satisfactory. The +house was crowded. "Oroveso" had sung his air, and was being warmly +applauded. I stood at the wing close to the first entrance and waited +for Corsi to appear. The music in announcement of "Pollio's" entry was +played; but no "Pollio" was to be seen. I motioned to Arditi, and the +introductory strains were heard again. Still no "Pollio." + +I rushed to Corsi's room in order to find out the meaning of the delay, +when, to my consternation and horror, I saw Corsi seated in a chair with +Mdme. Puzzi--Mdme. Puzzi, to whom all access to the theatre had been so +strictly forbidden!--pulling off his fleshings (she had already divested +him of his upper garments) while Giuglini was hurriedly taking off his +costume of ordinary life in order to put on the uniform of the Roman +soldier. + +Giuglini, I found, had some days before telegraphed to Mdme. Puzzi at +Turin begging his "mamma" to hurry to Edinburgh, where her child was in +a terrible difficulty; and to Edinburgh she had come. + +Mdme. Puzzi, refused admission at the stage door, had before the raising +of the curtain gone round to the pit entrance, paid for her place, +climbed over into the stalls, and then clambered from the stalls to the +orchestra, and--most difficult of all these gymnastic +performances--from the orchestra to the stage. She had then made her way +to the dressing-rooms, and, finding Corsi already costumed for the part, +had by persuasion or force induced him to change clothes with the +excited tenor, who, by the very lady who was now helping him to break +his vow, had sworn never to play the part he was on the point of +undertaking. + +The curtain, meantime, had been lowered, amidst deafening protests from +the audience; and it was difficult to know what to do, until Giuglini, +having, with due assistance from his "mamma," completed his toilette, +declared himself ready to sing the part of "Pollio" provided one hundred +pounds were stopped out of the receipts to pay him for his extra +performance! + +On my afterwards taunting Giuglini with having broken his vow, he +declared that Mdme. Puzzi possessed the power to liberate him from it. + +When the audience were informed that the part of "Pollio" would be +played by Signor Giuglini, they were naturally delighted. The +performance was begun again from the beginning. The drum-stick, however, +in accordance with Giuglini's earnest prayer, was kept in the +property-room under lock and key, and Mdlle. Titiens struck the gong +with her hand. + +Afterwards Giuglini showed himself a little ashamed of his conduct; and +of the hundred pounds paid to him for the extra performance he +presented fifty to Mrs. Wyndham, with a request that she would expend +the money in the purchase of a shawl. Mrs. Wyndham, however, would do +nothing of the kind. She considered that I had been very badly treated, +and made over the sum to me. + +The remaining fifty pounds had to be shared between Giuglini and the +conspirators who had put him up to the trick, each of them having +bargained beforehand for a share in such plunder as might be obtained. + +Then a claim was put in by Mdme. Puzzi for her travelling expenses from +Turin. This her affectionate child was not prepared to allow, and some +violent language was exchanged between him and his "mamma." How the +delicate matter was ultimately arranged I forget; but in the end, when +he had satisfied all demands made upon him, Giuglini could scarcely have +gained much by his too elaborate stratagem. + + + + +CHAPTER V. + + RUNNING OVER A TENOR--TITIENS IN ITALY--CASHING A CHEQUE AT + NAPLES--A NEAPOLITAN BALL--APPROACHING A MINISTER--RETURN TO + LONDON. + + +ONE afternoon about four o'clock, during the month of November, 1862, +Giuglini sent word that he would be unable to sing the part of "Lionel" +in _Martha_ that evening, having had some dispute at home. All my +persuasion was useless; nothing would induce him, and as at that period +of the year there were no tenors to be found in London, I was at my +wits' ends to know what to do, and I ultimately decided to close the +theatre, having no alternative. I therefore got into a hansom and drove +off to inform Mdme. Trebelli, also Mdlle. Titiens, who was dining at her +house, that there would be no need of their coming down. + +On turning the corner of the Haymarket, Piccadilly, the horse's head +struck a gentleman and forced him back on to the pavement. The cab was +stopped, and a policeman came up. The gentleman was not, however, +injured, and to my great astonishment he turned out to be an English +tenor, who had been lately in Italy. On learning this I politely took +him into my cab and inquired what had brought him back to England. He +said that he had been performing at various Italian theatres, and that +he was now very desirous of obtaining a _debut_ in this country. + +I at once informed him that nothing could be easier, and that it would +be best for him to make his appearance immediately, without any further +preparation, for thus he would have no time to reflect and get nervous. +I then quite casually, as we were going along, asked him if he knew the +opera of _Martha_, to which he replied that he knew nothing of the music +and had never seen the work. This for the moment wrecked all my hopes as +to saving my receipts that evening, the booking for which exceeded L600. + +My impulse was to stop the cab and put him out; but first I sang to him +a few bars of _M'appari_. This romance he said he knew, having +occasionally sung it at concerts, but always with the English words. I +thought no more of ejecting him from the cab, and continued my drive up +to St. John's Wood. + +On my relating to Mdlle. Titiens and Mdme. Trebelli how by good luck I +had nearly run over a tenor they both said it was useless to think of +attempting any performance. + +I assured, however, my newly-caught tenor that if he would only be +guided by me and appear forthwith he would make a great success. I at +once set to work and showed him the stage business in the drawing-room, +requesting Mdme. Trebelli to go through the acting of the part of +"Nancy," and Mdlle. Titiens through that of "Martha." I explained to the +tenor that on entering he merely had to come on with his friend +"Plunkett," go to the inn table, seat himself, drink as much beer as he +liked, and at a given signal hand over the shilling to enlist the +services of "Martha" at the Richmond Fair, after which he would drive +her away in a cart. This would complete Act I. + +In Act II. he simply had to enter the cottage leading "Martha," and +afterwards to attempt to spin (two drawing-room chairs served as +spinning wheels), until at last the wheels would be taken away by the +two ladies. When the spinning quartet began he was merely to laugh +heartily and appear joyous. In the third act I explained that he might +sing his song provided always that he confined himself to Italian words. +It did not much matter, in view of the public, what he sang if he only +kept clear of English; and I advised him to keep repeating _M'appari_ as +often as he felt inclined. This he did, and in consequence of a printed +apology which I had previously circulated in the theatre, to the effect +that Signor Giuglini had refused his services without assigning any +reason, my new tenor was warmly applauded, receiving for his principal +air a double encore, and afterwards a recall. In the last act there was, +of course, nothing for him to do, and the newspapers of the next morning +were unanimous in his praise. + +The singer who rendered me these services was Mr. George Bolton, who +some years later (his voice having by that time become a baritone) +played with great success the part of "Petruchio" to Minnie Hauk's +"Katherine" in Goetz's _Taming of the Shrew_. + +In the course of the season, which ended about the 18th December, I had +accepted an engagement for Mdlle. Titiens to sing at the San Carlo of +Naples. The contract was made direct with the Prefect, at the +recommendation of the "Commissione." The leading soprano engaged by the +manager had not given satisfaction, and the "Commissione" had the power, +before handing over the subvention, of insisting on the engagement of a +capable artist so as to restore the fortunes of the establishment. + +Naturally, then, on my arrival with the great prima donna every possible +difficulty was thrown in our way. At length the _debut_ took place, when +Titiens appeared as "Lucrezia Borgia." The vast theatre was crowded from +floor to ceiling, the first four rows of stalls being occupied by the +most critical "cognoscenti," who literally watched every breath and +every phrase, ready in case of need to express hostile opinions. At +length the boat came on, and "Lucrezia" stepped on to the stage amidst +the most solemn silence; and it was not until the close of the +_cabaletta_, of the first aria that the public manifested its +approbation, when it seemed as if a revolution were taking place. Mdlle. +Titiens' success went on increasing nightly, and the theatre was +proportionately crowded. + +I recollect on one occasion after I had made four or five applications +to the Prefect for the money payable for the lady's services he handed +me a cheque the size of a sheet of foolscap paper. The amount was L800 +for her first eight nights' services. On presenting myself at the bank I +was referred from one desk to another, until I was told that I must see +the chief cashier, who had gone out to smoke a cigar, and would not +return that day. I went again the following day, and after waiting a +considerable time at length saw him, when he told me to go to a certain +counter in the bank where I should be paid. + +I endorsed the cheque in the presence of the cashier, who told me, +however, that he could not hand me the money for it unless my signature +was verified by the British Consul. On going to the British Consul I +found that he had gone to Rome, and would not be back for a couple of +days. At length I obtained the official verification of the signature, +and presented myself for the seventh time at the bank, when I was +invited by the cashier to go down into the cellars, where a man told me +off the amount in bags of silver ducats, which he drew from a large iron +grating. He did not count the sacks he was giving me, but only those +remaining behind; which left me one bag short. This he did not care for; +he only wanted his own remainder to be right. + +Eventually the manager of the bank insisted on my having the amount +stated in the cheque, and I was then left to myself, surrounded by my +bags, with no porters to move them for me. + +On my returning to the manager, who was very polite, and telling him +that I wished for the money in gold napoleons, he said it would be very +difficult, and that in the first place I must hire men to carry the bags +of silver up into the gold department. Thereupon I bargained with four +ill-looking individuals who were brought in out of the streets, and who +moved the bags at my risk to the gold department, when a vast premium +had to be paid. On my leaving the bank with the gold I saw my four +lazzaroni who had helped to move the silver, with hundreds of others, +all extending their hands and following me. + +I drove with difficulty to the British Consul, who happened to be a +banker, followed by this vast multitude; for such a sum of money had not +been seen for a long time in or about Naples. I had now to pay another +large premium to get a bill on London for my gold, and this concluded +the matter, which had occupied me altogether seven days and a half. + +After the next payment had become due I went three or four times to the +Prefect, but could never find him. One day, however, about twelve +o'clock, I was told he was within, but that he had a headache, and could +not see anyone. I nevertheless insisted on the necessity of his +receiving me, saying that otherwise the night's performance at the San +Carlo might be jeopardized. I was invited upstairs, where his Excellency +was eating macaroni in the grand ball-room, lying on a sofa, which had +served as a bed, he having returned home too late to mount the stairs, +whilst about eighty Bersaglieri were rehearsing a selection from +_Rigoletto_ for a ball he was going to give that evening. The sound was +deafening. + +The Prefect was very polite, and gave me another of those large cheques, +which with a little manipulation I induced the British Consul to change, +and get me a bill for it. The Prefect invited me very courteously to the +ball he was giving, at which over 2,000 persons were present. It was a +most magnificent affair, the four angles of the large room being +occupied by wild boars roasted whole (with sundry fruits, wines, etc.), +to which the guests after every dance or two helped themselves, and then +continued their dancing. + +At that time I was very anxious to secure the lease of the San Carlo +Opera-house, and by the aid of my friend the Prefect so far advanced +the matter, that it wanted but the sanction of the Minister at Turin to +complete it. The pay-sheet of the orchestra contained over 150 names, +but as the salaries varied from six to eight shillings a week I made no +objection to this. The heaviest salary was that of the conductor +Mercadante (composer of _Il Giuramento_, &c.), who received L5 a week. + +On leaving Naples I went to Turin to present myself to the Marquis +Braham, but before I could get my card forwarded, even to the first +room, I was obliged to make a monetary advance. On reaching the second +room I was referred to another room on the entresol. It was impossible +to gain entrance, or even get my card sent further, without the help of +a napoleon. On going into the fourth room another tax was laid upon me, +and it being evening I thought it better to go home and reserve my money +offerings towards meeting the Marquis Braham until the next day. I +returned, armed with sundry five-franc pieces and napoleons; but it was +not until the fourth day, when I gave an extra douceur, that I could +approach him at all. It then appeared that someone had anticipated me, +and I was recommended to wait another year. I left for England, and the +matter dropped. + + + + +CHAPTER VI. + + PRODUCTION OF GOUNOD'S "FAUST"--APATHY OF THE BRITISH PUBLIC--A + MANAGERIAL DEVICE--DAMASK CRUMB CLOTH AND CHINTZ HANGINGS--HEROIC + ATTITUDE OF A DYING TENOR--PRAYERS TO A PORTMANTEAU. + + +ON my return from Italy I set to work preparing for my grand London +season of 1863, and entered into several important engagements. About +this time I was told of an opera well worthy of my attention which was +being performed at the Theatre Lyrique of Paris. I started to see it, +and at once decided that Gounod's _Faust_--the work in +question--possessed all the qualities necessary for a success in this +country. On inquiry I found that Mr. Thomas Chappell, the well-known +music publisher, had acquired the opera for England. The late Mr. Frank +Chappell, on the part of his brother, but acting in some measure on his +own responsibility, had bought the Faust music for reproduction in +England from M. Choudens, of Paris; and I have heard not only that he +acquired this privilege for the small sum of L40 (1,000 francs), but +moreover that he was remonstrated with on his return home for making so +poor a purchase. + +The music of an opera is worth nothing until the opera itself has become +known, and Messrs. Chappell opened negotiations with Mr. Frederick Gye +for the production of _Faust_ at the Royal Italian Opera. The work, +however, had not made much impression at the Theatre Lyrique, and Mr. +Gye, after going to Paris specially to hear it, assured his stage +manager, the late Mr. Augustus Harris, who had formed a better opinion +of Gounod's music than was entertained by his chief, that there was +nothing in it except the "Chorus of Soldiers." After due consideration +Mr. Gye refused to have anything to do with _Faust_, and the prospect of +this opera's being performed in London was not improved by the fact +that, in the Italian version, it had failed at Milan. + +Meanwhile I had heard Faust at the Theatre Lyrique, and, much struck by +the beauty of the music, felt convinced that the work had only to be +fitly presented to achieve forthwith an immense success in London. Mr. +Chappell was ready to give L200 towards the cost of its production, and +he further agreed to pay me L200 more after four representations, +besides a further payment after ten representations. + +Certain that I had secured a treasure, I went to Paris and bought from +M. Choudens a copy of the score, the orchestral parts, and the right for +myself personally of performing the work whenever I might think fit in +England. I then visited Gounod, who for L100 agreed to come over and +superintend the production of what he justly declared to be his +masterpiece. + +I was at that time (as indeed I always was when anything important had +to be done) my own stage manager. My orchestral conductor was Arditi; +Titiens undertook the part of "Margherita;" Giuglini that of "Faust;" +Trebelli was "Siebel;" Gassier "Mephistopheles;" and Santley +"Valentine." + +Far from carrying out his agreement as to superintending the production +of the work, Gounod did not arrive in London until nearly seven o'clock +on the night of production; and all I heard from him was that he wanted +a good pit box in the centre of the house. With this, for reasons which +I will at once explain, I had no difficulty whatever in providing him. + +One afternoon, a few days before the day fixed for the production of the +opera, I looked in upon Mr. Nugent at the box-office and asked how the +sale of places was going on. + +"Very badly indeed," he replied. + +Only thirty pounds' worth of seats had been taken. + +This presaged a dismal failure, and I had set my mind upon a brilliant +success. I told Mr. Nugent in the first place that I had decided to +announce Faust for four nights in succession. He thought I must be mad, +and assured me that one night's performance would be more than enough, +and that to persist in offering to the public a work in which it took no +interest was surely a deplorable mistake. + +I told him that not only should the opera be played for four nights in +succession, but that for the first three out of these four not one place +was to be sold beyond those already disposed of. That there might be no +mistake about the matter, I had all the remaining tickets for the three +nights in question collected and put away in several carpet bags, which +I took home with me that I might distribute them far and wide throughout +the Metropolis and the Metropolitan suburbs. At last, after a prodigious +outlay in envelopes, and above all postage stamps, nearly the whole mass +of tickets for the three nights had been carefully given away. + +I at the same time advertised in the _Times_ that in consequence of a +death in the family, two stalls secured for the first representation of +_Faust_--the opera which was exciting so much interest that all places +for the first three representations had been bought up--could be had at +twenty-five shillings each, being but a small advance on the box-office +prices. The stalls thus liberally offered were on sale at the shop of +Mr. Phillips, the jeweller, in Cockspur Street, and I told Mr. Phillips +that if he succeeded in selling them I would present him with three for +the use of his own family. Mr. Phillips sold them three times over, and +a like success was achieved by Mr. Baxter, the stationer, also in +Cockspur Street. + +Meanwhile demands had been made at the box-office for places, and when +the would-be purchasers were told that "everything had gone," they went +away and repeated it to their friends, who, in their turn, came to see +whether it was quite impossible to obtain seats for the first +performance of an opera which was now beginning to be seriously talked +about. As the day of production approached the inquiries became more and +more numerous. + +"If not for the first night, there must surely be places somewhere for +the second," was the cry. + +Mr. Nugent and his assistants had, however, but one answer, "Everything +had been sold, not only for the first night, but also for the two +following ones." + +The first representation took place on June 11th, and the work was +received with applause, if not with enthusiasm. I had arranged for +Gounod to be recalled; and he appeared several times on the stage, much, +I think, to the annoyance of Arditi, to whom the credit of a good +_ensemble_ and a fine performance generally was justly due. The opinions +expressed by several distinguished amateurs as to the merits of Gounod's +admirable work were rather amusing. The late Lord Dudley said that the +only striking pieces in the opera were the "Old Men's Chorus" and the +"Soldiers' March;" which was going a step beyond Mr. Gye, who had seen +nothing in the work but the "Soldiers' Chorus." + +Another noble lord, when I asked him what he thought of _Faust_, +replied-- + +"This demand is most premature. How am I to answer you until I have +talked to my friends and read the criticisms in the morning papers?" + +The paucity of measured tunes in the opera--which is melodious from +beginning to end--caused many persons to say that it was wanting in +melody. + +The second night _Faust_ was received more warmly than on the first, and +at each succeeding representation it gained additional favour, until +after the third performance the paying public, burning with desire to +see a work from which they had hitherto been debarred, filled the +theatre night after night. No further device was necessary for +stimulating its curiosity; and the work was now to please and delight +successive audiences by its own incontestable merit. It was given for +ten nights in succession, and was constantly repeated until the +termination of the season. + +So successful was _Faust_ at Her Majesty's Theatre that Mr. Gye resolved +to produce it at once; and he succeeded in getting it out by July 2nd. + +The following was the cast of the work at the Royal Italian +Opera:--"Margherita," Miolan-Carvalho (the creator of the part at the +Theatre Lyrique); "Siebel," Nantier Didiee; "Mephistopheles," Faure; +"Valentine," Graziani; "Faust," Tamberlik. + +The success of _Faust_ at the Royal Italian Opera was so great that it +enabled the manager to keep his theatre open until long beyond the +usual period. On the 15th May of the following year _Faust_ was +reproduced with Mdlle. Pauline Lucca and Signor Mario in place of Madame +Miolan-Carvalho and Signor Tamberlik. Three weeks afterwards, June 7th, +the part of "Margherita" was assumed for the first time by Adelina +Patti. + +Mr. Gye, who had purchased of M. Gounod "exclusive rights" over the +work, sent to inform me that he did not wish to interfere with my +arrangements during the season already begun, but that for each +performance given at Her Majesty's Theatre he should expect in future to +be paid, and that meanwhile he had a claim against me of L800 for +performance of the work given in London and the provinces during 1863 +and 1864. I, of course, resisted this extraordinary pretention on the +part of Mr. Gye; for, as the reader has already been informed, I had, +before producing _Faust_, purchased from the Paris publishers the right +of performing it wherever I personally might think fit. Mr. Gye brought +his action, of which the result was to establish the fact, painful +enough for M. Gounod, that, owing to some defect in regard to +registration, no exclusive rights of performance could be secured for +_Faust_ in England by anyone. + +After the close of the season of 1863 I made a concert tour in the +autumn, a recital of _Faust_ being the chief attraction. The company +comprised Mdlle. Titiens, Mdme. Trebelli, Mdlle. Volpini, Signor +Bettini--who had just married Trebelli--and Signor Volpini. After we had +been out about two or three weeks Signor Volpini became very ill, and +whilst at Birmingham sent for a leading physician, who, on examining +him, said he would require a deal of attention, but that he hoped to +bring him round in about a couple of weeks. The patient replied that on +no account would he separate himself from his wife, who had to travel to +some fresh city daily, but that the doctor must do what he could for him +until he left the following morning with the Company. This he insisted +upon doing. + +From Birmingham we went to Bristol, and on arriving the sick tenor was +at once put to bed and the leading physician sent for, who, on examining +him, asked who had been attending him. On the name of the Birmingham +physician being mentioned, the Bristol physician rejoined: "A very able +man. One of the very first in the profession." The patient had been in +good hands. + +But on seeing the last prescription the doctor was astonished that his +predecessor should have written such a thing; in fact, he could scarcely +believe it, and it was fortunate for the patient he had left Birmingham +and come to place himself under his care. + +The patient informed the physician that on no account could he part from +his wife, and that he would have to move off with the Company the +following morning to Exeter. + +From Exeter we went to Plymouth, from Plymouth to Bath, from Bath to +Oxford, and so on during a space of some two or three weeks, the sick +tenor being carried from the hotel to the railway and from the railway +to the hotel, and each medical man of eminence making the same +observations with regard to his esteemed colleague in the previous town; +each one exclaiming that had Volpini remained in the previous city he +must have died. He was carried to London, and there he remained, as all +thought, on his death-bed, at the Hotel Previtali, Panton Square. He was +not yet, however, destined to die, and, as I am about to relate, it was +a miracle that saved his life. + +About this time I had engaged Sims Reeves to sing the _role_ of "Faust" +on certain evenings at Her Majesty's Theatre, and one day received a +telegram from the eminent tenor, dated "Crewe," expressing his +astonishment that I had announced him for that evening, when the +engagement was for the following one. + +I at once went off to Sims Reeves's house, and learned from the butler +that his dinner had been ordered for half-past seven o'clock. I +thereupon informed the man that the orders had been changed, and that +the dinner was to be served at twelve o'clock instead of the time +originally fixed. I ascertained that Mr. Reeves was to arrive at Euston +Station, and there met him, accompanied by Mrs. Sims Reeves. + +While she was busying herself about the general arrangements, I got the +tenor to myself and told him the difficulty I was in, to which he +replied that it was quite impossible for him to sing that evening, as he +had ordered his dinner at home. I at once explained that I had postponed +it for a few hours, and that a light dinner was being prepared for him +in his dressing-room at the theatre. + +The suddenness of my proposition seemed rather to amuse him, as he +laughed; and I was delighted to get a kind of half-promise from him +that, provided I mentioned the matter to his wife, he would consent. + +At this moment she appeared, asking me what I was talking about to her +husband. One of us began to state what the object in view was, when she +exclaimed-- + +"It's all nonsense; but I can well understand. Mapleson is an +impresario, and wants to ruin you by making you sing." + +She then asked me how I could possibly think of such a thing when the +chintz and the crumbcloth of his dressing-room had not been fixed? + +It was the custom of Mrs. Reeves to hang the walls with new chintz and +place a fresh-mangled white damask cloth on the floor the nights her +husband sang; and on this occasion the sacred hangings had gone to the +wash. + +I explained that I had provided other chintz, but to no effect. Reeves +was hurried to his brougham and driven away, his wife remarking as she +looked scornfully at me: "He's only a manager!" + +It being now half-past six I was in a nice state of mind as to how I +could possibly replace the great tenor in _Faust_. Signor Bettini, it +was true, had on the concert tour sung portions of the garden scene and +the duet of the prison scene in the recital of _Faust_ which we had +given throughout the provinces. Signor Volpini, moreover--only he was on +his death bed--knew the introduction and the trio of the duel scene. +Putting all this together I decided on my course of action. + +First I called on Signor Bettini, requesting him to oblige me by going +to the theatre. + +I next presented myself at Volpini's hotel, when I was informed that I +must step very quietly and say but few words. On entering I was told by +the invalid in a faint whisper that it was very kind of me to call upon +him; and he wished to know whether I had really come to spend the +evening with him. I told him that I had been informed on entering that +my visit must be a short one. + +He asked me again and again what could possibly be done to save his +life, as he had tried all the doctors, but in vain. I said I would give +him my advice if he would only follow it. I then assured him that he had +but one chance of recovery. He must first allow me to mix him a pint of +Chateau Lafite and a couple of raw eggs, beaten up with powdered sugar, +and come down with me to the theatre, where, after drinking it, if he +was to die, he could die like a man before the footlights. + +A faint smile came over his pallid countenance. Of course he thought I +was joking. But in due course the Chateau Lafite appeared, and the eggs +were beaten up, and I managed to make him swallow the stimulating +beverage. I put him on his flannel dressing-gown, took the blankets off +the bed, and, wrapping him up in them, carried him myself in a +four-wheeler down to the theatre. + +I explained to him that he would have very little to do, beginning +simply with the few bars of the introduction; after that nothing but the +music he had been in the habit of singing on the concert tour. I +explained to him that although "Mephistopheles," the Prince of Darkness, +would in the eyes of the public transform him from an old man into a +young one, there would be no difficulty about this inasmuch as Bettini +would continue the part. Later on he could sing the trio in the duel +scene, where with his lovely voice a great effect would be produced. + +The long and short of it was I induced him to dress; and all now seemed +in good order. I explained the matter to Titiens, Trebelli, and Arditi; +and as I had not touched a particle of food since nine o'clock that +morning, I went next door to Epitaux's, where I ordered a very small +repast, pending the commencement of the opera. + +I had hardly seated myself at the table when my servant rushed in, +stating that there was a general row going on amongst the artists, and +that they were all going home. The doors of the theatre had been opened, +and the apology for the absence of Sims Reeves, which I had posted on +the outer doors, had been accepted by the public. This was evident from +the fact that over L650 of money was now in the house. The audience must +be already a little irritated by the disappointment, and I knew that any +further one might be attended with serious consequences. I believed that +there would be a riot unless the representation took place. + +On entering the stage-door I met Mdlle. Titiens, who was about to step +into her carriage, going home. She told me it was useless to think of +performing. This was at ten minutes past eight. I begged her to remain. +I gave orders to the hall-keeper not to let anyone out of the place, and +to get two policemen to assist him. I then crossed the stage to the +dressing-room, where high words were going on--first between the two +tenors, and afterwards between their two pretty wives. Mdme. Volpini's +voice was uppermost, and I heard her say to Trebelli-- + +"Of course you will rejoice! My poor sick husband brought out at the +risk of his life, and then simply to undertake an old man's part, with +grey hair and beard concealing his beauty; whilst your husband is to +come on and make all the love in the garden scene, and get all the +applause." + +Mdme. Trebelli responded by snapping her fingers at Mdme. Volpini, and +taking her husband, despite my entreaties, from the theatre. All this +excitement tended to work Volpini up; and, like a true artist, he said +he would do his best--even if he had to walk through the scenes in which +he was unacquainted with the music--rather than let me be disappointed. + +It was now half-past eight, and the opera was on the point of +commencing. This I had ordered should be done punctually. Meanwhile I +had followed Mdme. Trebelli to her apartments in Regent Street. The +excitement had made her quite ill, and she was totally unable to appear +in consequence. I appealed forcibly to her husband, begging him if he +would not sing "Faust" to help me by taking the part of "Siebel." He was +a very good musician, and as at this time he never quitted his wife's +side I knew that he must be intimately acquainted with the music. I +thereupon got him down to the theatre in time for the garden scene, had +his moustache taken off, and put him into his wife's clothes. Everything +went off brilliantly, the male "Siebel" and the dying "Faust" sharing +with the admirable "Margherita" the applause of the evening. + +The sudden exertion, the unwonted excitement, had really the effect of +saving Volpini's life; and he lived happily for many years afterwards. + +During the worst stage of poor Volpini's illness, when, as already set +forth, he persisted in being moved from town to town, wherever his +charming wife had to go, they were both astonished one night to find +that their little girl, a child of three or four years of age, had got +out of bed, and apparently was praying to a large travelling trunk which +accompanied them on all their journeys. Kneeling before the huge box, +the little thing was heard to say: "And make my dear papa well again, or +I will believe in you no more." + +The explanation of this touching mystery was that the little girl had +been in the habit of saying her prayers before an image of the Holy +Virgin, which the family carried with them from town to town. The image, +or picture, was now enclosed within the travelling trunk which had not +yet been unpacked, and the affectionate child addressed it where she +knew it to be. + + + + +CHAPTER VII. + + GARIBALDI VISITS THE OPERA--GIUGLINI'S TROUBLE AT ST + PETERSBURG--GIUGLINI VISITED BY TITIENS--ALARM OF FIRE--PRODUCTION + OF "MEDEA"--GRISI'S LAST APPEARANCE--AN ENRAGED TENOR. + + +IN 1864 my season opened brilliantly, and on the fifth night I induced +Garibaldi, who was then in this country, to visit the theatre; which +filled it to overflowing. On that evening Titiens and Giuglini really +surpassed themselves; and at the close of the opera Garibaldi told me he +had never witnessed such a spirited performance, and that he had been +quite carried away by the admirable singing of the two eminent artists. +The opera was _Lucrezia Borgia_. + +Some few nights afterwards I placed Nicolai's opera, the _Merry Wives of +Windsor_, before the public, under the name of _Falstaff_, introducing a +charming contralto named Bettelheim; who undertook the _role_ of "Mrs. +Page," whilst Titiens impersonated "Mrs. Ford," Giuglini "Fenton," +Bettini "Slender," Gassier "Mr. Page," Santley "Mr. Ford," &c., &c. The +magnificent new scenery was by Telbin. The opera met with most +unequivocal success, and was repeated for several consecutive nights. +But, as with so many other operas, the public were so slow in expressing +their approbation that it gradually had to drop out of the _repertoire_. +Shortly afterwards I produced, remounted, Beethoven's _Fidelio_, with +Titiens as the heroine, which was given some seven or eight nights in +succession to the most crowded houses. In the winter I gave my usual +extra performances in the provinces and in London. + +Prior to the close of the London season of 1864 Giuglini signed an +engagement for St. Petersburg, receiving a very large honorarium for his +services. Regarding himself as the only representative of "Faust," he +had not taken the precaution of stipulating for his appearance in this, +or, indeed, any other part in his _repertoire_. On his arrival he was +much mortified to find the Covent Garden artists, of whom there were +several, always working and intriguing together; and to Giuglini's great +dismay the part of "Faust" was assigned to Signor Tamberlik; Patti being +the "Margherita" and Nantier Didiee the "Siebel." Now passed some two or +three weeks before Giuglini could obtain a _debut_. One afternoon, about +three o'clock, he was informed by the intendant that he was called upon +to perform the _role_ of "Faust," Tamberlik being taken suddenly ill. +This was indeed good news, and he set about arranging his costumes and +looking over the music. Towards six o'clock he heard it rumoured that +Madame Patti would be too indisposed to sing the _role_ of "Margherita," +and that he would have to appear with some _debutante_. + +This thoroughly unnerved him, and he himself became indisposed, which he +at once notified to the intendant. At the advice of some friends he was +induced to take a walk, and pay a visit to some acquaintances to spend +the evening. + +About ten o'clock the door was rudely opened without any warning, and an +_employe_ entered, accompanied by two officials, one of whom politely +raised his hat and said, "Signor Giuglini, I believe?" to which the +Signor replied that he was Giuglini. They thereupon immediately left. +Nothing more was heard of this matter until about a fortnight +afterwards. It being pay day for the principal artists, that afternoon +the Imperial Treasurer called at Giuglini's house with a roll of rouble +notes, requesting him to sign the receipt for his month's pay, which +Giuglini at once did. But on leaving, the treasurer begged to draw his +attention to the notes, as a deduction of L150 had been made from his +monthly stipend in consequence of his having left the house on the day +he was reported to be indisposed. He got into a towering fit of rage, +requesting the balance to be handed to him, as he was allowed certain +days of indisposition according to the terms of his contract. The +treasurer replied that according to the provisions of that clause he +should have remained at home in his house on the day of his reported +illness. The arguments became very warm, and Giuglini, in a fit of rage, +threw the whole bundle of rouble notes into the stove, which was then +burning; and from that moment his reason seemed to have left him. + +On the termination of my spring concert tour in 1865 we began a season +of opera in the beginning of March at Dublin, Giuglini promising to join +us at the conclusion of his St. Petersburg engagement, which ended about +that time. + +One morning at breakfast I received a telegram from London: "Come on at +once. Giuglini arrived." I was indeed delighted, and, having notified +the good news to the Dublin press, left immediately for London. On my +arrival at Giuglini's house in Welbeck Street I was told that he was +very much indisposed in consequence of the fatigues of the journey, and +that his mind did not seem quite right. I went upstairs to him at once. +He was very pleased to see me, but to my astonishment he had no trousers +on. Otherwise he was all right. + +I talked with him some time, and advised him to put on the necessary +garment, so that we might start that evening for Dublin. By force of +persuasion I at last obtained his consent to let me put his trousers on +for him, and in the course of an hour succeeded in getting one leg in. I +then ordered some oysters for him, and talked to him whilst I was +coaxing in the other leg. This I at length managed to do, when to my +horror I found the first leg had come out again. After wasting the whole +of the day I found myself too late to catch the Irish mail, and the +Signor still with one leg only in his pantaloons. + +Whilst Giuglini was sleeping I inquired as to the full particulars of +his condition, and was informed that he had arrived from St. Petersburg +in charge of a hired courier, who simply wanted a receipt for him. At +the same time his magnificent fur coats and other costly clothing were +all missing. He had made the journey in second-class, wearing a summer +suit although it was the depth of winter; and on examining his jewel +case I found that the stones had been taken out of everything he +possessed, although the articles themselves were there. It was indeed a +sad affair. I was advised to place him for a short time under the care +of Dr. Tuke, and I had then to hurry back to Ireland. + +On my return to London I went to pay Giuglini a visit at Chiswick, +Mdlle. Titiens insisting on accompanying me. We waited some time during +which we were particularly cautioned not to approach him. At length he +entered; he was delighted to see us and talked quite rationally. We +persuaded the doctor to allow us to take him for a drive, the signor at +the same time expressing a wish to be driven to the Star and Garter, at +Richmond, to dine. To this the keeper, who was on the box alongside the +coachman, objected, promising Giuglini that if he would return to the +doctor's he should have a nice large plate of meat, which seemed greatly +to please him. Giuglini had previously complained to me that he was made +to drink sherry, a wine which he particularly disliked, his ordinary +drink being claret or claret and water. He afterwards sang us "Spirto +gentil" from the _Favorita_, followed by "M'appari" from _Martha_, +singing both airs divinely. The only thing peculiar was that his tongue +was drawn very much to the right, and that he had to stop after every +ninth or tenth bar to straighten it. + +When we got back to the doctor's Mdlle. Titiens and myself stayed to +dinner. During the repast Giuglini, who had been looking forward to his +plate of meat, came into the room exhibiting on a very small plate a +very small piece of meat. + +"Look what they have given me, Therese," he said to Titiens. "I am +afraid to eat it," he added, in a tone of irony; "it might give me an +indigestion." + +My firm belief is that if I could have got both Giuglini's legs into his +trousers the day that he arrived in London I should have saved him. +Living something like his ordinary life, among his old companions, he +would have had at least a chance of getting well. + +Thus matters went on until the London season of 1865 opened, which took +place on the Saturday night of the Easter week. I had made a series of +improvements throughout the theatre, by reducing considerably the number +of the private boxes, and enlarging those I retained. I likewise removed +the twelve proscenium boxes, ten each side of the stage, thereby +advancing the drop curtain some 16 feet nearer the public. This gave me +much more room behind the scenes. + +Amongst the new singers I introduced was Miss Laura Harris, who +afterwards, as Mdme. Zagury, achieved brilliant success throughout the +whole of Europe; also Mdlle. Ilma de Murska, a lady who at once took +high rank from her phenomenal vocal qualities. I also presented Signor +Foli, a young artist, who was engaged at the Italian Opera in Paris, and +who soon became a public favourite; likewise Signor Rokitanski, another +eminent basso. Despite the blow I had received in the loss of Giuglini I +went to work with renewed energies, and presented to the public +Beethoven's _Fidelio_, with a magnificent cast, including Titiens, the +incomparable "Leonora." I, moreover, mounted in great style Mozart's +_Flauto Magico_, Titiens being the "Pamina," Ilma de Murska the "Queen +of Night," Sinico the "Papagena," and Santley the "Papageno;" whilst the +subordinate parts were all undertaken by principal artists. + +During the last act an accident occurred, which might have been very +serious, inasmuch as the house was crowded from the stalls right up to +the back of the gallery. In preparing for the final scene some of the +gauze, which had been used for clouds during the evening, caught fire +over the gas battens. Instantly the alarm was given, when one of the +flymen, at the risk of his neck, flung himself across the stage, +balancing himself on a "batten" (a narrow strip of wood, some forty feet +long), while he cut the ropes with his knife, causing the burning gauze +to fall down on to the stage, where it was extinguished by the firemen. +Mr. Santley, who was undertaking the _role_ of the "Bird-catcher," +remained on the stage unmoved. He walked forward to the audience, and +addressed them in these eloquent words-- + +"Don't act like a lot of fools. It's nothing." + +This speech had an immediate effect; and Santley continued his song as +if nothing had happened. But for his presence of mind the loss of life +would have been most serious. + +I likewise produced Cherubini's tragic opera, _Medea_; a work considered +by musical amateurs one of the finest dramatic compositions ever +written. No musician ever exercised more influence on his art than +Cherubini. His compositions are of the first authority, so that no +musical library, whether of the professor or the amateur, can claim to +be considered complete without them. The part of "Medea" was represented +by Mdlle. Titiens. In assuming this _role_ Mdlle. Titiens certainly +added the final touch of lustre to her lyric crown. I need scarcely say +the opera was magnificently mounted, even to the smallest detail. It +was particularly successful, and still retains its place in the +_repertoire_. I was interested to find in what large numbers the +relatives and descendants of Cherubini were attracted to my theatre by +the announcement of his Medea. Naturally they all expected free +admissions, even to great-grandchildren and third cousins. + +The season was a very successful one. In the autumn I started the +regular provincial opera tour, Mario being my principal tenor, vice +Giuglini. We commenced in Manchester, where Mario's unrivalled +performances in _Faust, Rigoletto, Martha, Ballo in Maschera_, and _Don +Giovanni_ attracted crowded houses. We afterwards visited Dublin, +proceeding thence to Belfast, Liverpool, etc., terminating, as usual, +about Christmas. + +In the early part of January, 1866, I made a very successful concert +tour, giving no less than one hundred and twenty concerts in some +seventy cities in sixty successive days, with two very strong parties: +Titiens, Trebelli, Santley, Stagno, and Bossi in one; and Grisi, +Lablache, Mario, Foli, and Arditi in the other; ending up with a +brilliant series of operas with casts combined from the two parties in +the northern capital and at Glasgow, where Mdme. Grisi distinguished +herself in the _roles_ of "Lucrezia Borgia," "Norma," "Donna Anna," etc. + +Thus matters went on until the London season. On each occasion when I +visited Giuglini I found no improvement, and it was ultimately decided +that a sea trip might benefit him. He, therefore, left London in a +sailing ship for Italy. I never saw him afterwards. I need scarcely add +that his loss was irreparable. + +I opened my London season of 1866 early in April, for which I engaged a +very powerful Company, including Mdme. Grisi. I announced her engagement +in the following terms:-- + +"Mr. Mapleson has the gratification to announce that he has prevailed on +Mdme. Grisi to revisit the scene of her early triumphs, and again to +appear at the Theatre, her previous connection with which formed one of +the most brilliant epochs in operatic history. Mdme. Grisi will once +more undertake some of the parts which she created, and in her +impersonations of which will be revived the traditions obtained direct +from Rossini, Donizetti, and Bellini. These representations can only +extend for a few nights, and they will derive additional interest from +the fact that Mdlle. Titiens has consented to take part in them as a +mark of respect to one who for so many years reigned absolutely without +a rival on the lyric stage." + +I was justified in making this announcement in consequence of the +magnificent style in which Mdme. Grisi had been singing during our +spring opera tour. + +Grisi seemed interested and affected by her return to the old house of +which she had taken leave twenty years previously. The old _habitues_ +came in large numbers to see her, to hear her, and naturally to support +her with their applause on her first (which proved also to be her last) +appearance. This took place on the evening of May 5, 1866. The Prince +and Princess of Wales were both present. + +When the gondola came down, from which, in the first act of _Lucrezia +Borgia_, the heroine makes her entry, there was breathless attention +throughout the house. The great vocalist had the command of all her +resources, and sang the two verses of "Com'e bello" admirably, omitting, +according to her custom, the _cabaletta_, which Titiens and all other +"Lucrezias" made a point of giving. + +Well as she sang, I noticed some signs of nervousness. She had been +visited by misgivings before the performance began. I had done my best, +however, to reassure her, and was under the impression, judging from the +apparent result, that I had succeeded. But her hands, I remember, just +as she was going on, were extremely cold. I took them in my own, and +found that they were like stone. + +At the end of the first act, on the conclusion of the scene in which +"Lucrezia" is taunted and reproached by her victims and their friends, +Mdme. Grisi, accustomed to the stage of the Royal Italian Opera, +remained too far in front, though at a point where, at Covent Garden, +the curtain would have fallen between her and the audience. It was +otherwise at Her Majesty's Theatre (I refer, of course, to the old +building), where the stage advanced far into the audience department; +and when the curtain came down the "Lucrezia" of the evening found +herself kneeling on the ground (in which attitude she had defied the +conspirators) and cut off by the curtain from the stage behind. This +placed the unfortunate singer in a ludicrous and, indeed, painful +position; for she had a stiffness in one of her knees, and was unable on +this occasion to rise without the help of the stage attendants. + +Mdme. Grisi was, of course, much distressed by this _contretemps_. She +had recourse, however, to the homeopathic remedies which she always +carried with her, and after a time was herself again. These remedies +were for the most part in the form of stimulants, which, however, Mdme. +Grisi took only in the smallest quantities. Her medicine-chest contained +a dozen half-pint wicker-covered bottles, which held, besides orgeat and +other syrups, brandy, whisky, hollands, port-wine, and bottled stout. + +In the second act Mdme. Grisi got on very well, especially in the scene +with the bass preceding the famous trio. In the passionate duet with the +tenor, just when the Duke, after administering the poison to "Gennaro," +has gone away, she made an unsuccessful attempt to reach the A natural; +and the failure caused her much confusion. She got through the +performance; but she ran up to me immediately the curtain fell and +exclaimed that it was all over with her, and that she never could appear +again. + +The notices next morning were sufficiently favourable; but it was +evident that the career of the great vocalist was now, indeed, at an +end. Let me here say a word about Mdme. Grisi's pecuniary affairs. + +After the duel between her husband, M. de Meley, and Lord Castlereagh a +separation took place; and the injured spouse made an arrangement by +which he was to receive out of his wife's salary the moderate income of +two thousand a year. This she was to pay as long as she remained on the +stage. In order that the famous singer might enjoy the use of her own +earnings, I made an agreement with her by which on my provincial tours +she was to sing for me gratuitously, while I at the same time engaged to +pay Signor Mario L300 a week. For this salary the two admirable artists +were ready to sing as often as I liked. They were most obliging; full of +good nature, and without any of the affectation or caprice from which so +few singers at the present day are free. They took a pleasure in their +performances, and thought nothing of playing three or four times a week. +They would have sung every night had I been unreasonable enough to ask +them to do so. + +Far from insisting that she should never be called upon to do anything +that was not expressly set down for her in her written contract, Mdme. +Grisi would often volunteer her assistance in cases where it was really +very useful. In _Don Pasquale_, for instance, while Mario was singing +the beautiful serenade "Com'e gentil!" she would direct the chorus +behind the scenes, singing herself and marking the time on the +tambourine. + +She was invaluable to Mario in many ways, not only in connection with +his art, but also with the occupations of his ordinary life. She was +always punctual, and, indeed, a little before the time; whereas Mario +was invariably late. He had always his cravat to tie or a fresh cigar to +light just when the last moment for catching the train had arrived. He +was the most inveterate smoker I ever knew. He had always a cigar in his +mouth, except when he was on the stage and actually in the presence of +the audience. When he came off, if only for a moment, he would take a +puff at his still burning cigar, which he had carefully left in the +wings where he would be sure to find it again. "Faust" in the garden +scene passes for a few moments behind some bushes at the back of the +stage. During those moments Mario had just time to enjoy a few whiffs, +after which he returned to continue his love-making. + +Mario spent large sums of money on his favourite weed, and thought +nothing of giving away a box of cigars to a friend for which he had paid +(to some friendly tobacconist who had cheated him) L5 or L6 a hundred. + +About this time I charged Mr. Telbin and his talented sons to paint me +the whole of the scenery for Meyerbeer's _Dinorah_, which was brought +out in due course, Ilma de Murska appearing as the demented heroine, +Gardoni as "Corentino," and Santley as "Hoel." It was a truly +magnificent performance, well worthy the reputation of the theatre. + +Shortly afterwards I produced another classical opera, which was gladly +welcomed by all musical amateurs. The work I refer to was Gluck's +_Iphigenia in Tauris_--a work not less remarkable for its intrinsic +merits than for having been the cause of one of the most fierce and +prolonged artistic controversies on record. Paris, ever the _champ de +bataille_ of such contests, was, figuratively speaking, shaken to its +foundations by the antagonistic Gluckists and Piccinists; and the +dispute was only ended by Gluck leaving France. + +This work was likewise magnificently put upon the stage, Titiens, +Santley, and Gardoni really surpassing themselves. + +I afterwards had the honour of introducing Mozart's comic opera, _Il +Seraglio_, in which Mdlle. Titiens appeared as "Constanza," the +remaining personages being entrusted to Dr. Gunz, Signor, Stagno, +Rokitanski, &c. + +One evening, when the opera of _Rigoletto_ was being performed, with +Mongini as the "Duke," feeling tired, as I had been working in the +theatre throughout the day, I went home just before the termination of +the third act. I had been at home about three-quarters of an hour when +my servant hurried up in a cab to inform me that the curtain had not +yet risen for the final act, and that a dreadful disturbance was going +on in consequence of some question with Mongini, who was brandishing a +drawn sword and going to kill everybody. I immediately slipped on my +clothes and went down to the theatre. + +At the stage door, without her bonnet, I met the tenor's charming wife, +the only person, as a rule, who could control him in any way; and she +entreated me not to go near him, or there would be bloodshed. I +insisted, however, on going to his room without delay, as the curtain +was still down and the public was getting tumultuous. I took the +precaution of buttoning my overcoat across my chest, and in I went, my +first words being-- + +"This time, Mongini, I hear you are right (_Questa volta sento che avete +ragione_)." + +With this preliminary we got into conversation, but he still remained +walking up and down the room with nothing but his shirt on and a drawn +sword in his hand. I saw that I had to proceed very slowly with him, and +began talking on indifferent matters. At last I asked him the details of +all the trouble. He thereupon explained to me that the master tailor, +who had been requested by him in the morning to widen his overcoat by +two inches, had misunderstood, and contracted it by two inches. I wished +to have a look at the dress, which, however, was lying on the floor torn +to pieces. I assured Mongini that the man should be cruelly punished, +and he and his family put upon the streets to starve early the next +morning. + +He then got calmer, and I casually observed, "By-the-bye, is the opera +over yet, Mongini?" to which he replied, "No, it is not." + +"Never mind that," I continued; "the public can wait. Everyone, by the +way, is talking of the magnificent style in which you have been singing +to-night." + +His eyes brightened, and he said he should like to go on with the opera. + +"Not at all a bad idea!" I remarked. + +"But I have no dress," said Mongini, rather sadly; "it is destroyed." + +I suggested that he should wear the dress of the second act, putting on +the breastplate and the steel gorget with the hat and feathers, and he +would then be all right, and "La Donna e Mobile" would make amends for +the delay. He dressed and followed me to the stage, when I made the sign +for the stage manager to ring up the curtain, greatly to the +astonishment of Mongini's wife, who was fully expecting to hear that I +had been run through the body. + +The next day at twelve o'clock, as per appointment, Mongini came to my +office to be present at the punishment of the master tailor. I had taken +the precaution to inform the tailor, who was a single man, that he had a +wife and four children, and that he was to be sure and recollect this. +I called him into my room in the presence of Mongini, and told him +gravely that he with his wife and children must now starve. There was no +alternative after the treatment Mongini had received the previous +evening. + +Mongini at once supplicated me not to let the children die in the +gutter, as it might injure him with the public, and he ended by +promising that if I would retain the tailor in my service he would sing +an extra night for nothing. + + + + +CHAPTER VIII. + + PAYMENT AFTER PERFORMANCE--DISCOVERY OF MADGE ROBERTSON--MARIO AND + THE SHERIFF--GENEROSITY OF THE GREAT TENOR--DEBUT OF CHRISTINE + NILSSON--DESTRUCTION OF HER MAJESTY'S THEATRE--A GREAT + PHILANTHROPIST. + + +AT the close of the London season of 1866 we went to Ireland for the +usual autumn operatic tour, stopping _en route_ at Liverpool to give a +morning concert. The rush was so great that all the metal cheques for +the half-crown seats were exhausted and we had to use penny pieces. +Numbers of the public found out, therefore, a ready way of getting in +without payment. As soon as I observed this, and as there were still +many hundreds unable to obtain admission, I conducted them across to +another door which led into the orchestra. There being no money-taker, I +let some four hundred of them crowd in, impressing upon them that they +would have to pay half-a-crown apiece as they came out; and I must add +that every one paid up punctually. + +We left Liverpool after the concert for Dublin, where we fulfilled a +very profitable engagement. + +After leaving Dublin we went, early in October, to Leeds, and afterwards +to Hull, at which latter place I recollect well that a full rehearsal of +_Les Huguenots_ was necessary in consequence of a new "Queen" having +joined the company. Both Mario and Titiens complained of the incident +and wondered how they were to finish the rehearsal in time to dine by a +quarter past three, it being a general rule with artists not to eat +later than that hour when they have to sing the same evening. We began +the rehearsal early; and it was not until after two that it was +concluded. The dinner being nearly ready at the hotel, I went in a +carriage to fetch Mario and Titiens back from the theatre without loss +of time. At a quarter past three I found them both seated in the stalls, +witnessing a morning performance, at which a Miss Madge Robertson was +playing in a piece called _A Wolf in Sheep's Clothing_. So rivetted to +the spot were Titiens and Mario--both exclaiming "Do not disturb us, let +us wait a little longer"--that it was nearly five o'clock before I got +them home, when it was, of course, too late to dine. Not that they +regretted this. They both told me that I ought to write to every London +manager telling them what a charming actress they had discovered. I need +hardly say that the Miss Robertson of those days is now Mrs. Kendal, +more perfect in her art than ever. + +I again started my concert tour in the early part of January, 1867, with +Titiens, Trebelli, and others; and was as usual pre-eminently successful +all along the line. Mario joined us about the 7th March in Scotland. + +About this time he experienced considerable worry through being served +with various writs for bills of exchange, for which he had received no +consideration whatever, and which had been accumulating for many years. +In more prosperous times preceding the period in question he had +frequently assisted young artists, painters, sculptors, and Italians +generally, who had come to this country with recommendations to him, and +who had nearly all proved most ungrateful. It was computed that over +L40,000 had been distributed by the great tenor on various occasions +amongst his compatriots and others seeking aid. + +I recollect meeting at Fulham one Sunday at dinner a young sculptor who +had arrived with a letter of recommendation to Mario, and who on +presenting himself exclaimed that he had not come to borrow money, +hearing how much victimized Mario had been by others. All he wanted was +to bring a piece of sculpture from Rome to London, for which he already +had a purchaser in view; and if Mario would but accept a bill at two +months, which he then had with him, he would within a month have sold +his work and the money could be put to Mario's credit, so that the bill +would be punctually met. In fact, every possible device was resorted to +by persons well acquainted with his generous nature--which brings me to +the case in point. + +We had gone through a most arduous tour, and Mario had been singing four +times a week throughout the whole time, and with most brilliant voice. +As he had sung four nights running during the week I am speaking of, and +was to be replaced the following evening (Saturday) by Signor Tasca in +the _Huguenots_, he devoted his last day to the packing of his luggage, +intending to leave by an early train for York, whence, after a night's +rest, he would go on to London, presenting himself on the Monday for +rehearsal at the Royal Italian Opera, Covent Garden, where the season +was to commence on Tuesday. + +In the hall at the Edinburgh Hotel, where Mario had put up, a Sheriff's +officer was waiting for him with a writ or an attachment for L100; and I +thought to help him out of the dilemma by the following device, knowing +how delicate and sensitive he was. I called to bid him good-bye, taking +with me a closed envelope containing a L100 note. I by degrees gave him +to understand that I had been looking about the city for some little +souvenir, but without success, and as his taste was so superior to mine, +if he would select one in memory of the pleasant time we had spent +together, I should feel obliged. I at the same time handed him the +envelope. I was on the point of leaving the room when a note was +brought to me, requesting me to come to the theatre at once, as Tasca, +the new tenor, had been taken ill at the rehearsal, and was obliged to +go home. Mario, noticing signs of displeasure across my brow, insisted +upon knowing the reason; and after some pressure I informed him that the +new tenor, who was to replace him, had fallen sick, and that I must be +off to see how the matter could be remedied. + +My dear friend patted me on the shoulder, and said he knew of a way. The +opera to be performed being _Les Huguenots_, for the benefit of Mdlle. +Titiens, he would try, he said, to satisfy the public in the part of +"Raoul," and thus help me out of my difficulty. I readily acceded, and +asked him to name any terms he liked; but he assured me that he should +consider himself amply repaid if I would be present at Covent Garden on +the following Tuesday, when he was to appear as the "Duke" in _Un Ballo +in Maschera_, as that would encourage him. I thanked him, and was again +leaving when he called me back to express his displeasure at my having +offered him the hundred-pound note in the envelope, requesting me at +once to take it back. This I, of course, declined to do, until at last +he said-- + +"If no one is to have it, it had better go into the fire; but sing I do +not unless you allow me to return it to you at once." + +All argument was useless. Then reluctantly I left him. + +The following Monday night I started for London, where I attended the +opening of the Royal Italian Opera the next evening, and had the +pleasure of applauding Mario, and complimenting him in his +dressing-room, after the second act. He could not express sufficiently +his delight at my being present. + +The London season of 1867 was remarkable for the first performance in +England of Verdi's _Forza del Destino_. + +Prior to the commencement of this season my attention had been drawn to +a young Swedish singer, named Christine Nilsson, who had appeared at the +Theatre Lyrique of Paris, and was attracting a certain amount of +attention. I went over and heard her in the _Magic Flute_, and was +delighted with the purity of her voice. She was also singing _La +Traviata_ and _Martha_. I at once concluded an engagement with her. + +Before disclosing the fact to Arditi, or any other member of my Company, +I invited Mdlle. Titiens and Mdme. Trebelli, with Signor and Mdme. +Arditi, over to Paris for a fortnight's holiday prior to the +commencement of our laborious London season. Amongst the places of +amusement we visited was the Theatre Lyrique, where the Swedish singer +was that night filling the _role_ of "Martha." I must say I was not +impressed myself, whilst the remainder of the party thought nothing +whatever of her. I, therefore, refrained from even hinting that I had +already engaged her. As the time approached, the lady insisted on making +her _debut_ as "Martha." I plainly foresaw that it would be the +greatest possible mistake to acquiesce in her desire; and, after a +lengthy discussion, Verdi's _Traviata_ was decided upon. I at once +instructed a Bond Street dressmaker to make her four of the most elegant +toilettes possible, discarding _in toto_ the costume of the 16th century +so far as "Violetta" was concerned. + +At all times it is a difficult thing for a manager to employ with +advantage assistants placed among the audience to support either a new +singer or a new piece; for grave mistakes are sure to be made, thus +defeating the object for which the supporters were intended. I have +often known singers send in friends to applaud; but they invariably +begin their uproar on the appearance of the singer, even before he or +she has uttered a sound. + +On one occasion I recollect at Her Majesty's Theatre a singer appearing +in _Il Trovatore_, and about a dozen bouquets falling at her feet from +the top boxes before she had sung a note. + +I saw that great judgment was necessary, while convinced in my own mind +that I possessed a jewel of the first water. I, therefore, gave the very +simplest instructions as to the amount of encouragement necessary for my +fair Swede in order to ensure the rapture of London; knowing that when +once serious attention had been drawn to her she could do the rest +herself on her own merits. Being very fond of rowing in my spare time on +the River Thames, I made an arrangement with the head-boatman at Essex +Stairs, near where I resided, to supply me with some twenty-five +horny-handed watermen, who were merely told that they should receive one +shilling apiece provided they did _not_ applaud Mdlle. Nilsson--the lady +who would appear on the stage at the beginning of the opera, wearing a +pink dress. They were moreover informed that when the first act was over +and the curtain down, they would be paid a shilling apiece for each time +they could get it up again; and I believe they succeeded some five or +six times in their repeated attempts. That was all that was ever done +for Mdlle. Nilsson; her extraordinary talent did the rest. At all +events, it gave her a fair start, and her _debut_ was the talk of +London. + +Mdlle. Nilsson's performances were continued throughout the season with +increasing success, she appearing successively as "Martha," "Donna +Elvira," and the "Queen of Night" in the _Magic Flute_. She repeated the +_Traviata_ again and again, bringing the season to a most brilliant +termination. + +After a short holiday I recommenced my regular autumn tour in Dublin, +repeating the usual Liverpool morning concert with the usual success. + +After visiting Liverpool and Manchester, I returned to London and opened +my season on the 28th October. + +In consequence of my having engaged a female harpist I received a round +Robin from the orchestra, threatening to leave at the end of the week +unless I at once replaced her by a male performer. I insisted on +receiving the week's notice to which I was entitled, and, seeing +evidence of a conspiracy, took out a summons against every member of my +orchestra. On the day fixed for the hearing the musicians excused +themselves, through their solicitor, from appearing, their case not +being ready. Afterwards I myself was unable through indisposition to +appear on the day to which the case had been adjourned. At this there +was much groaning among the defendants, and threats were uttered. The +Trade Unions were very active just then throughout the country, and the +players had been promised unlimited support towards maintaining their +menaced strike. At last the case was heard; but on the very day before +the one fixed by the Magistrate for giving his decision an occurrence +took place which rendered all further proceedings in the matter +unnecessary. + +Towards the end of November an insurance agent called upon me urging the +necessity of effecting an insurance on my properties, scenery and +dresses, which had been accumulating since the beginning of my tenancy. +I replied that in consequence of the high rate of premium it was better +to let things take their chance. Besides, there was no probability, +under my management, of the theatre ever being destroyed by fire. +Eventually we came to terms as to the rate to be charged. + +About this time a proposition was made to let the theatre to Professor +Risley for his Japanese performances, to run from Christmas to February. +A large sum of money was to be paid to me, and it was verbally agreed +that my treasurer should be retained by the new-comers to superintend +the front of the house and the monetary arrangements. + +On the 7th December, during a rehearsal of _Fidelio_, my insurance agent +called to complete the insurance. I showed him the inventories of the +different departments, and agreed to insure for L30,000; but as the +costumier's list was not at hand, and the costumier himself was out at +dinner, the agent suggested my giving him L10 on account and keeping the +matter open until the following Monday, when he would call again. Just +as he was leaving the room my treasurer came in, stating that he had +just heard that the Japanese people did not intend to avail themselves +of his services after he had given them all the information respecting +the working of his department. + +I asked whom they _had_ engaged. He mentioned the name of Mr. Hingston, +at which I started, and said-- + +"If Hingston is engaged, good-bye to the theatre. It will make the +fifteenth that will have been burnt under his management." + +On hearing this, the insurance agent stepped across the room and again +suggested that I should hand him the L10 to keep me right till Monday. + +I jokingly said: "There is no fear;" and he took his departure. + +I remained working in my office at Pall Mall until about six o'clock +that evening. As I was engaged to dine at Mdlle. Titiens's in St. John's +Wood, I had but a few moments to put my head into the box-office, which +was just closing, and ask Mr. Nugent for some opera tickets for the +following night. I did not, according to my custom, go through his +office on to the stage (which I might have done while he was getting out +the tickets), fearing I should be too late for the dinner. + +About half-past eleven o'clock that evening our party was alarmed by a +violent ringing of the bell. Then my servant rushed in with his clothes +very much torn, uttered some inarticulate sounds, and fell on a chair, +pointing upwards. On looking out of the window we saw that the sky was +bright red, although we were four miles from the fire. Mdlle. Titiens +and Signor Bevignani exclaimed with one voice: "It's the theatre!" + +I hastened down at once, accompanied by Bevignani, only to find +impassable barriers of soldiers and populace, and it was not without +great difficulty I could approach the building. On my pointing out to +the firemen certain doors which they ought to break open in order to +recover wardrobes, music, &c., I was told to "mind my own business." +They then went to quite another part and began chopping and breaking, +whereas had they allowed themselves to be guided by me they might have +saved a considerable portion of my property. It was not until three +hours afterwards that the fire reached that part of the theatre which I +had pointed out as containing things which might have been saved. + +Lord Colville was very kind, and with his assistance I reached one +portion of the building, to which he accompanied me, enjoining me to +save engagements or any important documents in my private rooms at Pall +Mall. But I was so bewildered that all I could do was to seize a dress +coat and an opera hat, with which I came downstairs, leaving all my +papers and documents on the table. I remained until two or three in the +morning. Then, my presence being useless, I went home to change my +clothes, which were freezing on me, and next hurried to Jarrett, my +acting manager. + +Jarrett was in bed. But he had already heard of the calamity, and +expressed great regret. I desired him at once to go over to Chatterton, +the then lessee of Drury Lane, who resided in the neighbourhood of +Clapham, and endeavour to secure his theatre from March till the end of +July before he could hear of my disaster. + +"Go as quickly as possible," I said, "and if the newspaper is lying +about be careful he does not see it." + +On arriving at Chatterton's the first thing Jarrett saw, lying on the +hall table, was the _Times_ newspaper. He threw his top coat over it, +and waited quietly downstairs until Chatterton, who was dressing, could +receive him. Then, like the able diplomatist he was, without appearing +at all anxious, he concluded a short agreement whereby I was to have +the use of Drury Lane for the following spring and summer seasons, with +a right to renew the occupation for future years. By half-past nine +o'clock Mr. Jarrett was able to hand me the agreement, and it was not +until half-past ten that Mr. Gye drove up to Mr. Chatterton's to inform +him of the disaster Mapleson had met with, and at the same time to offer +him L200 per week provided he did not let Drury Lane for Italian Opera. + +The day after the fire I received letters of sympathy from all parts of +the country; likewise telegrams of condolence, including one from Her +Majesty the Queen, which greatly affected me. In fact, my nerves were so +unstrung that I was hardly master of myself. In the course of the next +day His Royal Highness the Prince of Wales came to see me. I showed him +over the ruins of what the day before had been the Opera-house. After +his departure I was so unnerved that I took to my bed in the adjoining +hotel, and remained there some two weeks. + +The Monday after the fire the insurance agent, with whom I had neglected +to do business, called upon me to assure me of his deep sympathy, since +if I had paid him the L10 on account of the proposed insurance he would +now have had to give me a cheque for L30,000. I told him that I was +exceedingly glad I had not paid him the L10, as I certainly should have +been suspected of having myself caused the fire, and should never +afterwards have been able to set myself right with the public. + +Prior to my recovery, amongst the numerous callers was one particularly +sympathetic gentleman, who came in a carriage and pair, and said he +would see that the theatre was rebuilt, asking, as it were, my +permission for this. I was deeply touched by his kindness. Some short +time afterwards he wrote saying that he thought it better, for my sake, +that Covent Garden should be closed, and that he had seen Mr. Gye and +made terms for its purchase. On a later occasion he called upon me, and +stated that the site of Her Majesty's Theatre, which had then been +cleared by Lord Dudley, being such a desirable one, he was in treaty +with the Bank of England to lease it to them at a considerable ground +rent, they erecting the building. By this means, he explained, the +L80,000 then lying in consols for the purpose of re-erecting the theatre +could be handed over to me. But he ultimately consented that I should +give him half. + +Notwithstanding all my troubles, within three weeks after the fire I was +already on the road with a strong concert company for the usual spring +tour; all my spare time being utilized in the creation of a new +wardrobe, music library, etc. Whilst at Manchester Mdlle. Titiens aided +me kindly in the purchase of various goods, stuffs, cottons, needles, +etc., etc.; all the prime donne of the Company volunteering their +services as dressmakers in order to have everything ready for my Opera +season, which was to commence early the following month in Glasgow. + +Being under the belief that this fire had cancelled the contract I had +already made at the Theatre Royal, Glasgow, I got entangled, in my +mistake and hurry, into an engagement at another theatre, the Prince of +Wales's; and as the time approached for my coming to Scotland both +managers threatened me with an attachment if I did not fulfil my +engagement. In fact, I found myself announced at both houses, with war +to the knife threatened by the two rival managers. At one time they +proposed to combine against me and leave me, with my expensive Company, +outside in the cold. But about ten days before the date fixed I paid a +visit to each, when, out of consideration for me personally, they both +agreed to have me alternately at their theatres. This caused great +excitement in the city, and as the adherents of each manager mustered in +force the receipts at both houses were very great, so that eventually +each manager had taken more money in the half number of representations +than he would have received had I given him the full number. + +Prior to the opening of my London season of 1868 I received another +visit from my philanthropic friend, Mr. Wagstaff. He told me that he had +purchased Mr. Gye's interest, showing me the agreement, and he +considered that it would be more desirable that Covent Garden for the +future should be run by a Company, of which I should be the manager, +receiving some L20,000 cash as a consideration for my goodwill and for +any property I might have in music or other effects, with a salary of +L3,000 a year as long as I chose to retain my post, and a fair share in +the profits. + +I became quite uncomfortable at having so much wealth suddenly thrust +upon me, and wished I were back in my old position of trouble and +anxiety. In due course all the necessary documents were signed, Mr. Gye +at the same time writing a letter to a high personage, in which he +stated that his long-sought desire to quit the cares of management had +at length been satisfied, and strongly urged that all patronage should +now be transferred to me, as the shattered state of his health would +preclude him for the future from taking part in operatic affairs. On +entering upon my duties I began to reorganize the establishment by, in +the first place, relieving myself of some sixty old choristers who had +been engaged from time immemorial, and introducing in their stead my +fresh, full-voiced young Italians whom I had imported the previous year. + +One evening a card was brought to me from a young gentleman, the son of +an old musical friend of mine, requesting an interview. He told me that +he had been promised the secretaryship of the Grand Opera (meaning Her +Majesty's and Covent Garden, united under the new arrangement) for seven +years at a salary of L800 a year, provided he lent L200 for a month to +my philanthropic friend, who had organized the whole thing. It appeared +to me like a dream. I could not understand it; but still, as nothing +astonishes me in this world, I took it as a matter of course, and later +in the day went over to Wandsworth to call on Mr. Gye, in order to see +how matters stood. + +On my entering, Mr. Gye said how pleased he was to leave operatic +management for ever, and that he wondered how he had found the nerve to +continue it so long. Before I could say a word to him, he desired me to +be seated and handed me a cigar, when he began to inform me of his plans +for the future. He told me he had secured by private treaty a vast +estate in Scotland of some 20,000 acres, with the right of shooting and +fishing. He was arranging, moreover, to purchase a large estate in +Oxfordshire. Various guns had been ordered, with fishing rods and other +appurtenances. Steps, too, had been taken for the sale of the house in +which he was then living. + +I made two or three attempts to get a word in, but without success; and +at last I had scarcely the courage to hint that the projected +arrangements might, possibly, not be carried out. + +I explained, however, that on the following Monday a small payment of +L10,000 would be due to me; also that a further deposit on Drury Lane +would become payable, and that I should make that deposit, as it was +probable, nay, very possible, that I should be called upon to resume my +position at Drury Lane, instead of Covent Garden. I at the same time +recommended Mr. Gye at all events to be prepared to open Covent Garden, +as it wanted but some three or four weeks to the beginning of the +season. This he replied he could not do, as the deposit he was to +receive would not be payable before some three or four weeks. He still, +moreover, doubted all I had been telling him. + +On the Monday following I attended at the Egyptian Bank, which had been +specially hired for the occasion, and on entering with my order for the +payment of L10,000, found one small boy seated on a very high stool, +drawing figures on a sheet of blotting paper. On my demanding L10,000 +the boy turned deadly pale and was at first inclined to run. I explained +to him that it was not his fault if the money was not forthcoming, but I +requested him, in the presence of a witness I had brought with me, to +present seven letters which I already had in my pocket, each one +containing notice to the Directors that, they having failed to pay me my +money at the appointed time, my contract as general manager was at an +end. I at once informed Gye of what had occurred, recommending him again +to get his Company together and re-engage Costa and the orchestra, as my +own prospectus was to come out the middle of that week. + +From what I afterwards learned, the L200 my musical friend's son was to +have advanced prevented some thousands of circulars from being posted +for want of stamps, and the printer from delivering the remainder of the +circulars he had prepared for want of a deposit. I must add that Mr. Gye +repeatedly thanked me for my straightforward conduct in preventing him +from being practically ruined. + +Considerable changes were necessary in adapting the Theatre Royal, Drury +Lane, for Italian Opera. I was obliged to have sundry discussions with +the Committee before I could be allowed to alter the floor of the pit +and boxes, and to take about twenty feet off the stage, its removal +enabling me to add some two or three rows of stalls. I had, moreover, to +decorate, clean, and carpet the house from top to bottom, the outlay for +which, irrespective of the rent, cost me from L3,000 to L4,000. A +further difficulty presented itself, as there were some six or seven +hundred renters who were at that time allowed free admission to any part +of the theatre, and it was only by temporizing with their +representatives that I ultimately made an equitable arrangement +satisfactory to all parties. + +The season opened in due course, and a magnificent Company I was enabled +to introduce: Mdlle. Titiens in the zenith of her powers; Christine +Nilsson, who had made such a prodigious success the previous season at +Her Majesty's; also Miss Clara Louise Kellogg, Mongini, Fraschini, +Santley, etc. The performances were really of the first order, and +Mozart's masterpieces were given with such strong combined casts as to +attract the whole of London. In fact, the success was such as to +paralyze the efforts of the rival manager. + + + + +CHAPTER IX. + + PROPOSAL FOR AN OPERATIC UNION--TITIENS IN DUBLIN--HER SERVICES AS + A PACIFICATOR--AUTUMN SEASON AT COVENT GARDEN--THE COMBINATION + SEASON--IMMENSE SUCCESS--COSTA'S DESPOTISM--AN OPERATIC + CONSPIRACY--LUCCA AND HER HUSBANDS. + + +DURING my successful Drury Lane season, in the month of June, 1868, a +letter addressed to me was left by an unknown person in the hall. The +superscription on the envelope was in a disguised hand, but the letter +enclosed was in the writing of Mr. Gye. + +The manager of the Royal Italian Opera proposed a coalition with the +manager of Her Majesty's Theatre, and Mr. Gye suggested a personal +interview on the subject. Here, however, is his letter:-- + + [COPY.] + "Springfield House, + "Wandsworth Road, + "June 19th, 1868. + +"DEAR MR. MAPLESON, + +"The last time you were over here I believe we were pretty well agreed +that our interests lay rather in the combination of the two operas than +in fighting one another. As we shall both of us be making our +engagements for the next year, if anything is to be arranged between us +it is time it were thought about. I should be very glad to see you on +the subject if you still remain in the same mind as when I saw you last. +It would perhaps be well if we did not meet either at Drury Lane or at +Covent Garden. Would you mind coming over here, or would you prefer our +meeting somewhere in town? This matter, for obvious reasons, had better +remain strictly _between ourselves_ for the present. + + "Yours very truly, + "(Signed) FREDERICK GYE. +"James Mapleson, Esq." + + * * * * * + +When I met Mr. Gye by appointment his first proposition was that we +should work together at either of the two theatres, the other one being +kept closed; and that I should take a quarter of the profits. + +I suggested, as a more equitable adjustment, an equal division of +profits; and to that Mr. Gye at last agreed. + +Articles of partnership were then drawn up binding us to remain together +for three years on the basis of half profits, and our agreement was to +be kept secret for the next six months. + +At the close of my engagement at Dublin, in the beginning of October, +1868, a great demonstration took place in honour of Mdlle. Titiens, it +being the last night of the season. Weber's opera of _Oberon_ was +performed, and after Titiens had sung the exacting air of the third act, +"Ocean, thou Mighty Monster," a most animated scene took place, many +requiring the great air to be repeated, whilst others called out the +names of different Irish songs. The uproar lasted upwards of fifteen +minutes before silence could be restored, when it was decided that "The +Last Rose of Summer" should be given. + +But the orchestra had no music and the conductor would not venture a +performance without it. Further delay and further uproar took place, +until at length Signor Bettini, who had undertaken the _role_ of +"Oberon," came from the wing, pulling on a cottage piano, whilst Titiens +helped the conductor to get out of the orchestra in order to accompany +her. As Bettini was turning the piano round, in consequence of the slope +of the stage it fell right over, causing an immense cheer from the gods, +when no less than five demons (who were to appear in the next scene of +_Oberon_) rushed from the wings to raise it up again on its legs. At +length order was restored, and such was the silence that when Mdlle. +Titiens was on the point of beginning the beautiful air I remember +taking a pin from my collar and dropping it on the stage in order to +give a practical and effective illustration of the old saying that you +"could hear a pin drop." + +No sooner had the singer finished the last verse than a roar of +admiration was heard, so loud, so overpowering, that I can only compare +it to the belching forth of huge pieces of artillery. At the close of +the opera a great crowd, composed of the public and the medical students +who habitually occupy the gallery (always without their coats, sometimes +without their waistcoats, occasionally without their shirts), was +awaiting the Queen of Song's departure. They had actually cut the traces +of her carriage, and from a ship chandler's opposite had got two long +coils of rope which they fastened to the vehicle. Titiens shortly +afterwards appeared, amidst deafening cheers, and the procession +started. No less than a dozen of the singer's most enthusiastic admirers +were on the roof letting off fireworks. All went on in something like +order until with our two long strings of volunteer horses we arrived at +Dawson Street, when, in consequence of no previous arrangement having +been made, one half of the team went up Dawson Street and the other half +down Nassau Street, the result being a violent collision against +Morrison's Hotel. It was not without considerable difficulty and delay +that things could be readjusted. + +On our arriving at Shelbourne Hotel the police found themselves +powerless to cope with the multitude. But we had been accompanied by a +young man, who, standing on the carriage step, had repeatedly addressed +Mdlle. Titiens both in German and in French, telling her that she had +"nothing to fear." On arriving at the door of the Shelbourne he gave a +shrill whistle as a call for volunteer special constables, when a +passage was at once cleared. It being a wet night the enthusiasts around +us made a carpet for Titiens to walk on by throwing their coats on to +the pavement. The crowd remained opposite the hotel for over an hour, +during which time repeated calls were made for a song. But the gas of +Mdlle. Titiens's sitting-room had been turned low, and the blinds being +drawn down she hoped it might appear that she had retired for the night. + +Shortly afterwards, however, a deputation came up accompanied by one of +the chief constables, stating that if madame could not disperse the +crowd the consequences would be very serious, as it refused to move. She +at last felt compelled to go to the window of her hotel, when, after +entreating for silence, she addressed the crowd in these words: "I will +sing you 'The Last Rose of Summer' provided you promise to go home +immediately afterwards like mice." + +And sure enough they did, for at the conclusion of the song the crowd +melted away in dead silence, not one person being left. + +The inspector afterwards remarked to Mdlle. Titiens that if ever a +revolution broke out in Ireland they would send over for her to quell +it. + +During the stay of my Opera Company at Dublin I allowed some of the +principal artists to sing in various churches for charitable purposes. +Mdlle. Titiens's services were sought for far and wide, and she was +always ready to devote her Sunday, which was the only day of rest she +had during the week, to the cause of charity. On one occasion I +recollect her singing in a poor neighbourhood near Thomas Street, when +many persons actually stooped to kiss the ground where she had trodden. +She was held in the highest esteem by the clergy. + +One Saturday evening, after the termination of the opera, several of my +Italian choristers were wending their way home when they were accosted +by some rowdy, good-natured Irishmen, who insisted upon having a drink +with them. They, not comprehending the language, thought the men were +robbers, and placed themselves in a position of defence, whereupon they +were boldly attacked by the sons of Erin, and a free fight ensued, in +which some two or three Irishmen got stabbed. About noon the following +day it was notified to me that some four or five of my choristers were +in prison on account of this serious affair, and would be kept there +until the wounded men, who were then in hospital, were sufficiently +recovered to appear against them. I at once sought Mdlle. Titiens's aid, +who went with me to one of the priests, with whom we afterwards visited +the prison where our choristers were. They insisted that it was only a +small affair, and that they had defended themselves against their +aggressors. + +They seemed also in great distress because the police authorities had +taken away their week's salary which they had in their pockets, together +with such pieces of jewellery or keys they had about them. By the advice +of the priest we afterwards visited the hospital, and I, accompanied by +the surgeon, inspected their wounds, which were triangular, as if caused +by an Italian stiletto. + +My clerical friend was very kind, and after a deal of whispering with +the hospital surgeons, and afterwards with the wounded men themselves, +he stated that they might have done it in accidentally falling down, but +that it was not their intention to appear against the choristers, who +were afterwards bailed out by Mdlle. Titiens. They duly appeared the +next morning at the police-court and were dismissed, no one appearing +against them. + +I omitted to inform the reader that on the conclusion of the partnership +agreement with Mr. Gye, which was to be kept a secret for the next six +months, I rented the Royal Italian Opera for the autumn of 1868 for this +double reason: first, that Her Majesty's Theatre was in ashes, and that +I had no place wherein to give my autumn performances; and secondly, +that my being seen about Covent Garden would in that case cause no +surprise, whilst it would enable me occasionally to meet Mr. Gye in +order to discuss our coming arrangements. + +During my autumn season at Covent Garden I discovered Mdlle. Scalchi, +the eminent contralto--then singing at a building which had been a +circus. Struck with the lovely quality of her voice I engaged her for +five years, events fully confirming my judgment on that occasion. About +this time I first brought to this country Miss Minnie Hauk, a young +singer about 18 years of age. She made her _debut_ at Covent Garden as +"Amina" in _La Sonnambula_, her next part being that of "Cherubino" in +Mozart's _Nozze di Figaro_. + +After due discussion with Mr. Gye it was decided that our joint +enterprise should be carried on at the Royal Italian Opera pending the +rebuilding of my new theatre. + +As the time for opening the season approached Mr. Gye suggested that we +should ourselves make all engagements with the orchestra, instead of +leaving that duty, as heretofore at the Royal Italian Opera, to Mr. +Costa. This famous conductor was a despot, not only in the musical +direction of his orchestra, but in other ways. He made his own +engagements, and, leaving, of course, the manager to pay the appointed +salaries, took care to be always present on pay day; when, in the case +of any short-coming on the part of a musician, he would stop a portion +of the salary payable to him, if not the whole amount. It was his custom +to arrive at the theatre half-an-hour before the time fixed for the +beginning of the evening's performance. He then took up a position as if +of inspection, and, as he sat on the stage, the players passed him one +by one as if in order of review. I remember on one occasion a young +violinist arriving with mud on his boots, and in a frock coat. Costa +pulled him up short, and asked him how he could venture to present +himself in such a condition. The musician replied that he had just +arrived from the Crystal Palace, and had not had time to make his +toilet. + +"Go home instantly," said Costa, "and come back with clean boots and in +evening dress." + +By the time the violinist (who lived in some distant suburb) got back +the second act of the opera was nearly over; and when on pay-day the +offender presented himself for his monthly salary he was informed that +by reason of his absence on the occasion in question one week's salary +was stopped. This sort of treatment the musicians had to put up with, +or, as the only alternative, to accept their dismissal, which really +meant the loss of the provincial festivals and of the Sacred Harmonic +Society. + +It must be added in favour of Costa's despotic ways that he never +allowed any musician that he had engaged to be replaced by a substitute, +even at rehearsal; a practice which in orchestras less severely governed +has become only too frequent, to the great detriment of the +performances. + +Costa, meanwhile, by mere force of will, had gained so much authority at +the Royal Italian Opera that the manager feared him, and was most +anxious to be rid alike of his services and of his tyranny. + +When it was intimated to Costa that the joint managers proposed to +reserve to themselves the right of making direct engagements with the +musicians for the orchestra, he would not hear of such an arrangement, +and, much to Mr. Gye's satisfaction, resigned his post. + +In view of the new works we proposed to give, and of the large number of +rehearsals that would be required, two conductors were now engaged, +Arditi and Vianesi. + +Long before the theatre opened we had abundant signs of a prosperous +season, and as the event drew near money poured in from various sources. +We received in private subscriptions as much as L12,000. The +booksellers' subscriptions amounted to L29,000 more, and in the course +of the season the box-office sales alone brought in another L29,000. +Altogether, counting profits from the Floral Hall concerts and sums +received for the services of singers at public as well as private +concerts, we received during the season of 1869 a grand total of +L80,000. + +On the other hand, we paid away in artists' salaries L22,000; for +working expenses (including chorus), L13,000; orchestra, L7,500; sundry +charges, L2,000. + +Our whole expenditure came to L44,000, leaving us a clear profit of +about L36,000. + +Out of my half-share of this profit I had to pay for insurance and poor +rates L3,000. Against this Mr. Gye put the use of the theatre, which was +his property. + +By our articles of partnership Mr. Gye had stipulated that he should +"take no part in the management of the theatre unless he wished to do +so." This wish came upon him after about a fortnight. + +Our success during this season proved that though two rival Italian +Operas can scarcely be carried on without loss on both sides, one +Italian Opera can be made the source of very considerable profit. Even, +however, with a monopoly there are two things essential to success. The +operatic manager who would prosper must appeal to the public with a very +strong Company, and with new works. Such casts as we secured for some of +the recognized masterpieces of dramatic music could not fail to fill the +theatre. + +Among the new works or revivals produced at the Royal Italian Opera +during the season of 1869 may be mentioned: Fidelio, The Magic Flute, +Robert le Diable, Cherubini's Medea, Hamlet (first time in England), +with Nilsson as "Ophelia," and Don Bucefalo (also first time in +England). Medea had before been given at my own establishment with +Mdlle. Titiens in the tragic part of the heroine. In Le Prophete, +Titiens and Mongini appeared together, Titiens, of course, as "Fides," +Mongini as "John of Leyden." Don Giovanni was played with Titiens as +"Donna Anna," Nilsson as "Donna Elvira," and Patti as "Zerlina;" while +the part of the dissolute hero was taken by Faure, and that of "Don +Ottavio" by Mario. + +About this time the secret oozed out that Mr. Jarrett, who had come with +me from Her Majesty's Theatre to the Royal Italian Opera, had made +engagements with Mongini, Ilma de Murska, Trebelli, Christine Nilsson, +Santley, Foli, Faure, and Arditi. Mr. Jarrett, who in after years became +known as the agent of Mdme. Nilsson, and especially of Mdlle. Sarah +Bernhardt, held at that time a post with vague duties attached to it at +the Royal Italian Opera, as previously at Her Majesty's Theatre, which +during the combination season of 1869 was being rebuilt. Jarrett also +acted as agent to Mongini, Ilma de Murska, Trebelli, and Bettini--Mdme. +Trebelli's husband. Many years before he had been in partnership with +Mr. George Wood, representing the firm of Cramer and Co., the well-known +music publishers, for the direction of an Opera Company, and had been +left by his associate in the lurch, Mr. Jarrett being called upon to +meet single-handed liabilities which would have been far too much even +for the partners combined. + +Nor was Jarrett particularly well disposed towards the manager of the +Royal Italian Opera, in whose orchestra he had once played the horn, and +who in one of those orchestral strikes so common in the history of +Opera-houses had taken a leading part as against the manager. Mr. Gye +had thereupon dismissed him; and he now objected to have in his +employment an agent receiving percentage on the salaries of his +singers. + +If, then, in the opposition he proposed to organize against the Royal +Italian Opera Jarrett injured Mr. Gye, he would not be sorry; while if +as a result of a failure at Drury Lane he injured Mr. Wood, he would be +very glad. Naturally, however, he worked chiefly with a view to his own +success. + +Whether Wood mistrusted Jarrett, or whether after entering into +partnership with him he mistrusted the success of the project, can never +be decided; but it is certain that after securing Drury Lane Theatre for +an operatic campaign, Mr. Wood repented of what he had done, and, +unknown to Jarrett, entered into negotiations with Mr. Gye. + +The advantages of an operatic monopoly were too obvious for Mr. Gye not +to be anxious once more to secure it. This he was prepared to do, even +at a considerable sacrifice; only it was I, his associate, not he +himself, who was to make it. He proposed to me that Mr. George Wood +should be taken into partnership, and that the profits for the season +should be thus divided: Half to Gye, one quarter to Mapleson, one +quarter to Wood. Mr. Gye was ready at that time to take in any number of +partners who seemed in a position to threaten his justly-cherished +monopoly, provided always that their share in the profits came to them +out of my half, not out of his. For me the smallest fraction was deemed +sufficient; he himself, however, could accept nothing less than a clear +moiety. + +After some amusing negotiations between Mr. Gye and myself, it was +arranged that Mr. Wood should be taken into the concern on a basis of +equal shares. Each, that is to say, was to receive one-third of the +profits. The seceding artists, whose services we could not wish to +lose--apart from the effect they might have in creating against us a +formidable opposition--had all signed with Mr. Wood; and by the new +arrangement these vocalists (Christine Nilsson, Mongini, Ilma de Murska, +Trebelli, Faure, Santley, etc., with Arditi) were all to form part of +the Royal Italian Opera Company. Our profits would still be large, +though both Gye and myself would have to cede a portion of our gains to +the new-comer. + +Mr. Gye, Mr. Wood, and myself were all seated round a table in Mr. Gye's +private room at Covent Garden Theatre, on the point of signing the +contract which was to bind us together for the season of 1870, when +suddenly a gentle tap at the door was heard, and, like "Edgardo" in the +contract scene of _Lucia_, Jarrett appeared. He had, as he afterwards +informed me, entirely lost sight of Mr. Wood, who was supposed to be out +of town, gone abroad, anywhere except in London; whence, however, he had +not stirred. Jarrett had not traced his slippery partner to the Royal +Italian Opera. He assured me that having no indications whatever to act +upon he had come there guided simply by instinct. He was a man whose +instinct seldom misled him. + +While Mr. Gye and myself were a little surprised at the sudden +apparition, Mr. Wood was lost in confusion. Jarrett meanwhile was +absolutely calm. Standing at the door, he took a pinch of snuff, and for +a few moments remained silent. Then, addressing his partner, he simply +said: "Mr. Wood, can I have a minute's conversation with you outside?" +Mr. Wood rose, and left the room, but returned in less than a minute, +when Gye whispered to me: "It is all right; he is sure to sign." But +when he was asked to put his name to the document which only awaited his +signature to constitute a perfect contract between him, Gye, and myself, +he hesitated, spoke of the necessity in which he found himself of first +consulting his friends, and finally did not sign. + +The conversation which had taken place outside the room, as it was +afterwards repeated to me by Jarrett, was short and simple. + +"The singers you have engaged," said Jarrett, "are under contract to +sing at Drury Lane, and nowhere else. If, then, you join Mapleson and +Gye they will not come to you at Covent Garden, and you will have to pay +their salaries whether you open at Drury Lane or not." + +Wood could only reply that he would not sign with Mapleson and Gye. + +There was no money made that season at the Royal Italian Opera; whilst +Mr. Wood's season at Drury Lane was simply disastrous. The moneyed +partner soon proposed to shut up; but Jarrett, to whom Mr. Wood was +bound, would not hear of this. + +"I have no more money," said Wood. + +"But you have a number of pianofortes," replied Jarrett. "You have music +shops here and in Scotland whose contents and goodwill can be sold." + +"You wish to ruin me?" asked Wood. + +"You did not mind ruining me in 1854," answered Jarrett, "when we +carried on Opera together and you left me to bear the burden of your +losses." + +It is bad enough for a manager to lose money, hoping night after night +that by some new and successful stroke, or some change of taste on the +part of the capricious public, the tide of luck may at last turn in his +favour. But Mr. Wood had no such sanguine delusions to maintain him in +his adversity; his losses were irretrievable. They increased as the +season went on without any chance of being even arrested; and in the end +anyone but a man of Mr. Wood's indomitable energy and courage would have +been ruined beyond hope of recovery. + +During the Wood season at Drury Lane many interesting performances were +given, including Wagner's _Flying Dutchman_, with Ilma de Murska as the +heroine and Santley as the hero; _Mignon_, with Mdme. Christine Nilsson; +also Weber's _Abu Hassan_, each for the first time in England. But the +enterprise could not stand against the superior attractions of the Royal +Italian Opera, while the Royal Italian Opera, on its side, suffered in +its receipts from the counter attraction presented by Drury Lane. + +Towards the end of the season, war having been declared between France +and Germany, Mdme. Pauline Lucca became anxious about her husband, who +was an officer in a Prussian cavalry regiment, and now under campaigning +orders. She was anxious, therefore, to see him before his departure with +the army moving towards the French frontier. Some weeks afterwards, at +the battle of Mars la Tour, a portion of the Prussian cavalry was +sacrificed in order to hold in check the French, who were seeking to +leave Metz in order to march towards Paris. Mdme. Lucca's husband, Baron +von Rhaden, was dangerously wounded in the charge; and the Baroness +received special permission to visit him in the field hospital, where he +was lying, outside Metz. Another officer of the same regiment, also +wounded, came in for a good share of her attentions; and afterwards, +being at that time in the United States, she applied in the New York +Courts for a divorce from Baron von Rhaden in order to marry Baron von +Wallhofen, the officer, who--as just mentioned--had, like Von Rhaden, +been severely wounded at Mars la Tour. The New York Tribunal granted the +divorce on Mdme. Lucca's simple affidavit; and before her husband (No. +1) had had time to reply by a counter affidavit from Berlin the second +marriage had been celebrated. Such being the case the decree of +divorce, so hastily pronounced, could not well be interfered with. So, +at least, said the judges to whom the matter was referred; and Mdme. +Pauline Lucca remained as she is now, Baroness von Wallhofen. + + + + +CHAPTER X. + + GYE'S FRATERNAL EMBRACE--LAW-SUITS INTERMINABLE--DISSOLUTION OF + PARTNERSHIP--RETURN TO DRURY LANE--ARRIVAL OF ALBANI--DEBUT OF + CAMPANINI--THE ANNUAL ONSLAUGHTS OF MR. GYE. + + +I SOON found that Mr. Gye, on the principle of embracing _pour mieux +etrangler_, had taken me into partnership in order to stifle me at his +ease. + +In the early part of June, 1869, Mr. Gye suggested to me that it would +be very desirable to renew my lease of Her Majesty's Theatre in order to +get rid of a provision in the existing one, under which the Earl of +Dudley had the power to determine it in the month of February in any +year. Gye expressed his intention of seeing the Earl of Dudley on the +subject, and at this interview it was agreed that the Earl should grant +a new lease for seven, fourteen, or twenty-one years, Mr. Gye requesting +that it should be granted either to himself alone or to Gye and Mapleson +conjointly. The Earl decided the latter to be more desirable, requesting +that the new lease should be signed on or before the 1st September. In +due course we were informed that the lease was ready for signature. + +As the duration of my partnership with Mr. Gye was only for three years +(one of which had already nearly expired), I naturally desired to know +what my position would be at the expiration of the partnership if we +were joint managers of Her Majesty's Theatre for twenty-one years; as it +appeared to me that it would leave him in command of a monopoly at the +Royal Italian Opera, whilst I on my side, unable to perform Opera at Her +Majesty's Theatre, would be called upon to pay half the rent of the +building, which meantime would remain closed. I, therefore, took the +precaution, when the day arrived for approving the draft lease, to +append the following words:--"I am willing to execute the enclosed lease +in conjunction with Mr. Gye upon the understanding as between him and me +that our acceptance of the lease is not to affect in any way our +relative rights under the articles of partnership. We shall respectively +have the same rights under the proposed new lease as we now have or are +subject to in respect of the subsisting lease under the articles of +partnership, and on determination of our partnership this lease shall be +exclusively vested in me for the residue of the term, I indemnifying Mr. +Gye and his estate against any future liability for rent and covenants, +or obtaining his release from the same." + +This gave great umbrage to Mr. Gye, who thereupon refused to affix his +signature to the lease. + +In the meantime, the 1st of September (the date stipulated by the Earl +for signature) having passed, Mr. Gye contended that by attaching a +condition to my signing of the lease I had not accepted the lease at +all. Besides, therefore, refusing to sign the joint lease, he insisted +upon having a lease of Her Majesty's Theatre for himself alone. A deal +of correspondence and trouble took place about this time, which I will +not weary the reader with, and hundreds of letters passed between us and +our solicitors. It was threatened, in short, that the lease would be +granted by the Earl of Dudley to Mr. Gye alone, to my exclusion. I was, +therefore, compelled in my own defence to file a bill in Chancery, +making Mr. Gye and the Earl of Dudley defendants, to restrain them from +carrying out their plan. + +I ultimately, however, terminated our joint relations with more haste +than I perhaps should have shown in consequence of the abject +despondency, together with absolute physical prostration, into which Mr. +Gye had been thrown through the turn lately taken by operatic affairs. +As he lay exhausted on the sofa there seemed, indeed, but little chance +of his ever rising again to take part in the active business of life. He +could scarcely speak. He was pale, agitated, and such was his feverish +condition that it was necessary from time to time to apply wet bandages +to his forehead. In his state of exhaustion, combined with a certain +nervous irritability, it seemed cruel to delay the signature he so much +desired; and the effect of my putting pen to paper was, indeed, to cause +him instantaneous relief. Never before did I see such a change. His +despondency left him. He rose from the sofa, walked about with an +elastic step, a cheerful air, and had he been anything of a vocalist +would, I feel sure, have sung. + +By the terms now agreed to between Mr. Gye and myself I was freed from +all outstanding claims upon the theatre, and received a payment in +money. I at the same time agreed to withdraw the Chancery proceedings +against Dudley and Gye. + +Immediately afterwards I set about forming a Company for my provincial +operatic tour of 1870; also renting Covent Garden from Mr. Gye for the +autumn, as I found it impossible to obtain Her Majesty's, being informed +by Lord Dudley's solicitors that it had been let to Mr. Gye. The ensuing +spring I returned to my old quarters at Drury Lane, my first act being +to secure the services of Sir Michael Costa, who forthwith began forming +his orchestra, whilst I went to the Continent in quest of vocal talent. +I will not trouble the reader about my provincial opera tour, which, as +usual, was very successful indeed; nor with my spring concert tour of +1871, with Titiens, Trebelli, Santley, Foli, and other eminent artists. + +I opened my London season of 1871 under brilliant auspices, the Prince +of Wales having taken a box as well as all the leading supporters from +the old house. About this time I secured the services of Mdlle. Marimon, +who drew enormous receipts, but unfortunately fell sick after the third +night. It was only on rare intervals that she appeared again during the +season. I, however, got safely through; producing several standard +works, under the able direction of Sir Michael Costa, in addition to a +revival of _Robert the Devil_, also _Semiramide_, with Titiens and +Trebelli, who in this work always drew crowded houses. I also produced +_Anna Bolena_. The season finished up satisfactorily, and I was glad to +get a fortnight's well-earned rest prior to my autumn tour of opera, +which was pre-eminently successful. I returned to London to take up my +autumn season afterwards at the Royal Italian Opera, Covent Garden, +which terminated early in December, after which I gave a few concluding +operatic performances at Brighton. + +Early the following year I again started on my spring concert tour; +during which I gave 48 concerts in 48 cities in 48 days, followed by a +spring opera season at Edinburgh. + +I have omitted to state that prior to the opening of my successful Drury +Lane season of 1871, the Earl of Dudley became the plaintiff and Mr. Gye +the defendant with regard to Her Majesty's Theatre. Finding I was at +Drury Lane, and in open opposition to the Royal Italian Opera, Mr. Gye +did not seem to think it desirable that he should execute the lease; +whereupon Lord Dudley took proceedings against Gye for L7,500, as +arrears of rent for Her Majesty's Theatre. + +About this time Jarrett, in reply to my constant applications, informed +me that Mdlle. Nilsson was about to be married, and, in fact, that her +future husband had already arrived in America, but that he, Jarrett, had +succeeded in inducing her to give four performances the next season +prior to the marriage, which was to be postponed until the following +year. He explained in his letter that as her performances were to be +limited to four I was not to complain of the only terms he could get the +lady to assent to; namely, L200 for each representation. He explained +that L800 would be the total sum; "and what," he asked, "is that where +thousands are concerned, in addition to the prestige it will give to +your house, as well as the influence on the subscription list?" I +thereupon authorized him to close the matter for the season of 1872. + +About this time my attention was drawn by my friend Zimelli, the manager +of the theatre at Malta, to a most charming young soprano, who he +assured me was destined to take a very high rank; and about the same +time I received a letter from a regular subscriber to the house, a +distinguished officer, pointing out the excellence of this young lady. I +at once opened negotiations which ultimately led to favourable results. +Colonel McCray, I may add, had written to me from Florence on the same +subject. The name of the young singer was Emma Albani; and having, as I +thought, secured her services--positively promised in a letter written +to me by the lady--I found myself deprived of them by Mr. Gye; who I +find, now that I look back on the past, paid me an attention of this +kind--sometimes greater, sometimes less--regularly every year. + +On her arrival Mdlle. Albani was to sign the contract; and as soon as +she got to London she, with perfect good faith, drove to what she +believed to be my theatre. She had told the cab-man to take her to the +manager's office at the Italian Opera. She was conveyed to the Royal +Italian Opera, and, sending in her card to Mr. Gye, who had doubtless +heard of her, was at once received. On Mdlle. Albani's saying that she +had come to sign the contract which I had offered her, Mr. Gye, knowing +that I never made engagements but with artists of merit, gave her at +once the agreement she desired. + +To do Mr. Gye justice I must here mention that after the contract had +been signed he, in the frankest manner, avowed to Mdlle. Albani that he +was not Mr. Mapleson, for whom she had hitherto mistaken him. He +explained to her that there was a manager named Mapleson who rented an +establishment somewhere round the corner where operas and other things +were from time to time played; but _the_ opera, the permanent +institution known as such, was the one he had the honour of directing. +If, he concluded, Mdlle. Albani was sorry to have dealt with him she +might still consider herself free, and he would at once tear up the +contract. + +Mdlle. Albani, however, was so impressed by the emphatic manner in which +Mr. Gye dwelt on the superiority of his theatre to mine that she +declared herself satisfied, and kept to the contract she had signed. +Colonel McCray called on me soon afterwards to beg that out of +consideration for the lady I would give up the letter in which she +declared herself ready to sign with me. I assured him that I had no +intention of making any legal use of it, but that I should like to keep +it as a souvenir of the charming vocalist who had at one time shown +herself willing to be introduced to the London public under my auspices. + +Why, it may be asked, as a simple matter of business--indeed, as an act +of justice to myself--did I not take proceedings for an enforcement of +the agreement which Mdlle. Albani had virtually contracted? I, of +course, considered the advisability of doing so, and one reason for +which I took no steps in the matter was that Titiens, Nilsson, Murska, +and Marimon were members of my Company, and that even if Mdlle. Albani +had come to me I should have found it difficult to furnish her with +appropriate parts. + +The young lady duly appeared at Covent Garden about the beginning of +April in _La Sonnambula_, and at once achieved a remarkable success, +which caused me very much to regret the loss of her. She afterwards +appeared as "Elsa" in _Lohengrin_ in an Italian version, which had been +made for me by Signor Marchesi, husband of the well-known teacher of +operatic singing, and himself an accomplished musician. + +I had ordered from Signor Marchesi as long before as 1864 an Italian +version of _Tannhaeuser_, which I duly announced in my prospectus for +that year, but which I was dissuaded by some critical friends, who did +not believe in Wagner, from presenting to the public. I had been +advised, and there was certainly reason in the advice, that if I had +quite decided to run such a risk as would be necessarily incurred +through the production of an opera by Wagner (whose _Tannhaeuser_ had +three years previously been hissed and hooted from the stage of the +Paris Opera-house) I should at least begin with his most interesting and +most attractive work, the poetical _Lohengrin_. Accordingly, reserving +_Tannhaeuser_ for a future occasion, I determined to begin my Wagnerian +operations with the beautiful legend of Elsa and the Knight of the Swan; +and I commissioned Signor Marchesi to execute such a version of +_Lohengrin_ as he had previously given me of _Tannhaeuser_--a version, +that is to say, in which, without any departure from the meaning of the +words or from the forms of the original versification, the musical +accents should be uniformly observed. + +But in England the laws relating to dramatic property seem to have been +made for the advantage only of pirates and smugglers. I had printed the +Italian translation of _Lohengrin_ which Signor Marchesi had executed +for me, and for which I had paid him the sum of L150. But I had not +secured rights of representation in the work by going through the +necessary farce of a mock performance before a sham public; and anyone, +therefore, was at liberty to perform a translation which in any country +but England would have been regarded as my property. How Signor +Marchesi's translation of _Lohengrin_ got into Mr. Gye's hands I do not +know. But the version prepared for me at my cost was the one which Mr. +Gye produced, and which somehow found its way to all the Italian +theatres. + +It has amused me in glancing through the history of my operatic seasons +since 1861 to see how persistently Mr. Gye endeavoured by some +stroke--let us say of policy--to bring my career as operatic manager to +an abrupt end. + +In 1861, when at Adelina Patti's own suggestion I was engaging a Company +and taking a theatre with a view to her first appearance in England, he +entangled her in an engagement by means of a fifty-pound loan. + +In 1862, just when I was on the point of opening Her Majesty's Theatre, +the late Mr. Augustus Harris, Mr. Gye's stage manager and adviser on +many points, approached Mdlle. Titiens with an offer of a blank +engagement. + +In 1863 Mr. Gye's insidious but unsuccessful advances towards Mdlle. +Titiens were repeated. + +In 1864 Mr. Gye having, as he pretended, bought exclusive rights in +_Faust_ over my head, tried by means of an injunction, impossible under +the circumstances (since the right of representing Faust at my own +theatre had been duly purchased by me from the Paris publishers), to +prevent me from performing the most successful opera I had yet secured. + +In 1865 Mr. Gye did not renew his annual attack until my season was +almost at an end. But on the last night, or nearly so, just when I had +been promising good things for the ensuing season, he attempted to +spring a mine upon me in my own house. I was sitting calmly in my box +watching a particularly good performance of _Faust_, with Titiens, +Trebelli, Gardoni, Junca, and Santley in the principal parts, when the +old Duke of Leinster came in and said-- + +"Look here, Mapleson; what is the meaning of this?" + +He handed me a printed announcement which I found had been placed in +every seat in my theatre, and which I here reproduce with all possible +precision, not excepting the typographical peculiarities by which the +name of the "Right Hon. the Earl of Dudley" is made to appear in large +capitals, and that of Mr. Gye in larger capitals still. Here is the +astonishing document which if, on reflection, it filled me with mirth, +did also, I freely admit, cause me for a few moments considerable +surprise:-- + +=Mr. GYE= has the honour to announce that he has transferred the +proprietorship of THE ROYAL ITALIAN OPERA, COVENT GARDEN, to a +Public Company. + +=Mr. GYE= will occupy the position of General Manager. + +The Company has now made arrangements for purchasing of THE RIGHT +HON. THE EARL OF DUDLEY his Lordship's interest in HER MAJESTY'S +THEATRE, HAYMARKET. + +The Prospectus of the Company will be issued in a few days. + + ROYAL ITALIAN OPERA, + COVENT GARDEN, + JULY 29TH, 1865. + +On inquiry I found that an emissary from Covent Garden had bribed one of +my box keepers, who, for the small sum of one sovereign, had betrayed +his trust, and deluged my theatre with daring and mendacious +announcements from the opposition house. + +In 1866 Mr. Gye tried to carry out the arrangement with which he had +audaciously threatened me in my own theatre just as the season of 1865 +was terminating. I happened to hold a twenty-one years' lease of Her +Majesty's Theatre; and to purchase Lord Dudley's interest in the +establishment was a very different thing from purchasing mine. But what +at once put a stop to Mr. Gye's action in the matter was an injunction +obtained by Colonel Brownlow Knox to restrain Mr. Gye from dealing with +the Royal Italian Opera as his property until the seemingly interminable +case of Knox _v._ Gye had been decided. + +In 1867 Mr. Gye may have been nurturing I know not what deadly scheme +against my theatre. But this year a fatal accident came to his aid, and +he was spared the trouble of executing any hostile design. It was in +1867 that Her Majesty's Theatre was destroyed by fire. + +In 1868 came the proposition for partnership. Mr. Gye wished to grapple +with me at closer quarters. + +In 1869 Mr. Gye was intriguing with Lord Dudley to get Her Majesty's +Theatre into his hands. + +In 1870 Mr. Gye made his droll proposal to the effect that I should go +equal shares with him in paying the rent of Her Majesty's Theatre, I +binding myself not to open it. + +In 1872 Mr. Gye engaged Mdlle. Albani, already under contract to me, and +helped himself to my version of _Lohengrin_. + +In 1873 he offered an engagement to one of my two leading stars, Mdlle. +Nilsson; and I had myself to write explaining to him very clearly that +she was engaged to me. + +For two whole years Mr. Gye remained quiet as towards me. But in 1876, +when I was on the point of completing the capital necessary for carrying +out my grand National Opera project on the Thames Embankment, he wrote a +letter which somehow found its way into the _Times_, denouncing the +whole affair, and proving by an extraordinary manipulation of figures +that my rent would be something like L40,000 a year. + +In 1877 Mr. Gye, knowing that I had engaged Gayarre, and well assured +that I should not have done so had not Gayarre been a good artist, +offered him double what I was to pay him. Gayarre, with all the +innocence of a tenor, explained to me that the temptation presented to +him was irresistible. I brought an action against him all the same, and +obtained in the Italian Courts a judgment for L8,000, which I have not +yet been able to enforce by reason of his having no property in Italy. + + + + +CHAPTER XI. + + ADELINA'S SUCCESSOR--A PRIMA DONNA'S MARRIAGE NEGOTIATIONS--POUNDS + _V._ GUINEAS--NILSSON AND THE SHAH--PRODUCTION OF + "LOHENGRIN"--SALVINI'S PERFORMANCES AND PROFITS--MARGUERITE + CHAPUY--IRONY OF AN EARL. + + +HAVING relied upon Mdme. Nilsson's services for my Drury Lane season of +1871, I felt in a position of great difficulty. I thereupon set about +inquiring for a capable prima donna to supply her place. About two days +afterwards I received a letter from America informing me of a most +extraordinary singer, the writer further setting forth that his father +had, some twenty years previously, recommended me Adelina Patti, and +that he could equally endorse all that was now said of this coming star. +Without one moment's hesitation I accepted, feeling sure the "tip" must +be a good one, and in due course the lady arrived. She was of short +stature and remarkably stout, which I considered at once a drawback; but +so unbounded was my confidence in the recommendation that I persuaded +myself these defects would be of no consequence whatever in the general +result. + +At the conclusion of the first rehearsal Sir Michael Costa came down in +a most mysterious way, asking me if I was sure as to the prima donna's +talents. I told him he need be under no apprehension whatever on the +subject. + +At length the general rehearsal arrived, and a message came from Sir +Michael, begging me to ask the little lady to sing out, as up to the +present time nobody had heard her voice at any of the rehearsals. I came +on to the stage, but as our new _Diva_ was conducting herself with great +importance, and moreover seemed to be busy with the preparation of her +music, I told Sir Michael that he need labour under no misapprehension, +as she was guaranteed to take the town by storm. + +Evening came, and a more dismal _fiasco_ I do not recollect. Such +unbounded faith had I placed in my American friend's recommendation, +together with the laudatory notices which had appeared in the numerous +journals he had sent, that I confess I was on this occasion taken in. + +This is the only instance in the course of my lengthened career in which +an artist introduced by me has not been forthwith accepted by the +public, and I admit that the result in this particular case was entirely +due to my own neglect in not hearing her beforehand. + +It was rather hard lines on the "Faust" of the evening, M. Capoul, who +made his first appearance in England on this occasion; likewise on +Moriami, the favourite baritone, and Rives, a young French artist, who +sustained the _role_ of "Mephistopheles" with great credit. + +The following evening I produced _Robert le Diable_, in which Signor +Nicolini made his first appearance in England, enacting the _role_ of +"Roberto" to perfection. Belval, the first bass of the Paris opera, was +the "Bertramo," Mdme. Ilma de Murska the "Isabella," and Titiens the +"Alice." In the excellence of this performance my "Margherita" of the +previous evening was soon forgotten, and I booked her an early passage +back to America, where, strange to say, she still retained a first-class +position, and did so for many years afterwards. + +As matters were still unsettled between Lord Dudley and his would-be +tenant, Gye, I again secured Drury Lane for my season of 1872. Prior to +concluding Mdlle. Nilsson's engagement, as she was still unmarried, her +Paris agent, who advised her, called upon me, stating that in the event +of my requiring her services I had better notify to him that the +marriage must be postponed until the close of my proposed opera season. +To this I consented, and I attended at a meeting where I met the future +husband and the agent, when it was explained to the former that Mdlle. +Nilsson was ready and willing to perform her agreement to marry him, but +that in that case she would lose her London engagement, and would be +very angry; whereupon it was agreed the marriage should be further +postponed. Papers were drawn up, and the proper stamps affixed, whereby +Mdlle. Nilsson was to return to me for my season of 1872. + +On the 28th May she made her reappearance, after an absence of two +years, renewing her success as "La Traviata," followed by _Faust_, +_Trovatore_, etc. + +During this season I produced Cherubini's Water-carrier, in which +Titiens sang; also _Lucia di Lammermoor_, with Nilsson for the first +time as the heroine, which drew enormous houses; followed by the +_Marriage of Figaro_, in which Titiens and Kellogg appeared, Nilsson +acting the "saucy page" to perfection. A most successful season was the +result, and in lieu of appearing only four times Mdlle. Nilsson sang +never less than twice a week until the close. The terms I was paying her +caused a deal of trouble between Patti and Gye; for _la Diva_ had heard +of Nilsson's enormous salary. Gye had ultimately to give in; but L200 a +night would not satisfy Mdme. Patti, although previously she had been +contented with L80; and it was ultimately arranged that she should have +more than Nilsson. Gye managed this by paying her 200 guineas nightly, +whilst Nilsson had only 200 pounds. + +Some two or three weeks after the opening of the season I heard of a +desirable tenor in Italy, named Campanini, and at once endeavoured to +add him to my already strong Company. My agent reached Rome before Mr. +Gye, and secured the prize. I thereupon set to work to create all the +excitement I possibly could, knowing that unless this were done no +curiosity would be felt by the public as to his first appearance. I said +so much of him that general expectation was fully aroused. In the +meantime I was anxiously awaiting his arrival. One evening, about nine +o'clock, the hall-keeper brought me word that there was someone "from +Campini, or some such name." I immediately brightened up, and said, +"Send the messenger in," who accordingly entered. He had a coloured +flannel shirt on, no shirt collar, a beard of two or three days' growth, +and a little pot-hat. He, in fact, looked rather a rough customer. In +reply to my interrogation he informed me that Campanini had arrived, and +was in London. I replied, "Are you sure?" Thereupon he burst out +laughing, and said that he was Campanini. I felt as if I should go +through the floor. + +However, the night arrived for his first performance, which took place +on May 4th, when he appeared as "Gennaro" in _Lucrezia Borgia_, with +Titiens and Trebelli, and with Agnesi as the "Duke." The house was +crowded from floor to ceiling, and I must say the tenor fulfilled every +anticipation, and, in fact, surpassed my expectations. The salary I paid +him was not a large one, and I had engaged him for five years. After ten +or twelve days an agent arrived from America who had heard of his +success, and offered him L1,000 a month, which was five times what I was +to pay him. I need hardly say that this offer, coupled with his great +success, completely turned his head, and he became partially +unmanageable. Marie Roze, I may add, made her first appearance in +England during this season. + +At its close Mdlle. Christine Nilsson was married to M. Rouzaud at +Westminster Abbey, surrounded by a numerous circle of friends, the +ceremony being performed by Dean Stanley. The wedding party were +afterwards entertained by the Cavendish Bentincks at their splendid +mansion in Grafton Street, where a sumptuous _dejeuner_ was served. + +After two or three weeks' holiday at Aix-les-Bains, I started my autumn +tour, as usual, at Dublin, for which I engaged Titiens, Marimon, de +Murska, Trebelli, Scalchi, Agnesi, Campanini, Fancelli, Foli, etc. This +season of fourteen weeks, which carried us up to Christmas, was an +unbroken series of triumphs, the receipts being simply enormous; whilst +on the spare days when certain of my singers were not required I filled +in sometimes as much as L1,000 a week from concerts, without the regular +service of the tour being disturbed. We visited Dublin, Cork, Belfast, +Glasgow, Edinburgh, Manchester, Liverpool, Birmingham, Bristol, and +Brighton. This was followed by the usual spring concert tour of 1873, +when we did, as usual, our 60 or 70 towns, concluding with a spring +opera tour in the north. + +For my season of 1873, which again took place at Drury Lane--Her +Majesty's Theatre, although built, being still without furniture or +scenery--I re-engaged Mdme. Nilsson, paying her L200 per night, in +addition to my regular company, which, of course, included Titiens; also +Ilma de Murska, Marie Roze, Trebelli, etc., etc. I, moreover, introduced +Mdlle. Valleria, Mdlle. Macvitz, an excellent contralto; Aramburo, a +tenor possessing a marvellous voice, who has since achieved European +fame; Signor Del Puente, the eminent baritone, and many others. + +I likewise engaged Mdme. Ristori, who appeared in several of her +favourite characters alternately with the operatic performances. Her +success was striking, notably in the parts of "Medea," "Mary Stuart," +"Elizabeth," and "Marie Antoinette." In the latter impersonation she +moved the audience to tears nightly by her pathetic acting. + +During this season, early in the month of July, it was intimated to me +that His Majesty the Shah of Persia would honour the theatre with his +presence. I thereupon set about organizing a performance that would give +satisfaction both to my principal artists and to the Lord Chamberlain, +who had charge of the arrangements, and decided that the performance +should consist of the third act of La Favorita, Mdlle. Titiens enacting +the _role_ of "Leonora," the first act of _La Traviata_, and, after a +short ballet, the first act of _Mignon_, Mdme. Nilsson taking the title +_role_ in the two latter operas. Mdlle. Titiens, who rarely created +difficulties, took rather an exception to commencing the evening, and +said that it would be better to divide the two appearances of Nilsson by +placing the act of _La Favorita_ between them; Mdme. Nilsson, on the +other hand, objected to this arrangement. Two days before the +performance Mdme. Nilsson suddenly expressed her willingness to commence +the evening with the act of _La Traviata_, she having ascertained from +the Lord Chamberlain, or some other high personage (as I afterwards +discovered), that His Majesty the Shah could only be present from +half-past eight until half-past nine, being due at the grand ball given +by the Goldsmiths in the City at about ten o'clock. + +Mdme. Nilsson had ordered, at considerable expense, one of the most +sumptuous dresses I have ever seen, from Worth, in Paris, in order to +portray "Violetta" in the most appropriate style. On the evening of the +performance His Royal Highness the Prince of Wales arrived punctually at +half-past eight to assist in receiving the Shah, who did not put in an +appearance; and it was ten minutes to nine when Sir Michael Costa led +off the opera. I shall never forget the look the fair Swede cast upon +the empty royal box, and it was not until half-past nine, when the act +of _La Favorita_ had commenced, that His Majesty arrived. He was +particularly pleased with the ballet I had introduced in the _Favorita_. +The Prince of Wales, with his usual consideration and foresight, +suggested to me that it might smooth over the difficulty in which he saw +clearly I should be placed on the morrow in connection with Mdme. +Nilsson, if she were presented to the Shah prior to his departure. + +I thereupon crossed the stage and went to Mdme. Nilsson's room, +informing her of this. She at once objected, having already removed her +magnificent _Traviata_ toilette and attired herself for the character of +"Mignon," which consists of a torn old dress almost in rags, with hair +hanging dishevelled down the back, and naked feet. After explaining that +it was a command with which she must comply, I persuaded her to put a +bold face on the matter and follow me. I accompanied her to the +ante-room of the royal box, and before I could notify her arrival to His +Royal Highness, to the astonishment of all she had walked straight to +the farther end of the room, where His Majesty was then busily employed +eating peaches out of the palms of his hands. + +The look of astonishment on every Eastern face was worthy of the now +well-known picture on the Nabob pickles. Without a moment's delay Mdme. +Nilsson made straight for His Majesty, saying-- + +"Vous etes un tres mauvais Shah," gesticulating with her right hand. +"Tout a l'heure j'etais tres riche, avec des costumes superbes, expres +pour votre Majeste; a present je me trouve tres pauvre et sans +souliers," at the same time raising her right foot within half an inch +of His Majesty's nose; who, with his spectacles, was looking to see what +she was pointing to. He was so struck with the originality of the fair +prima donna that he at once notified his attendants that he would not go +to the Goldsmiths' Ball for the present, but would remain to see this +extraordinary woman. + +His Majesty did not consequently reach the Goldsmiths' Hall until past +midnight. The Lord Mayor, the Prime Warden, the authorities, and guards +of honour had all been waiting since half-past nine. + +On the close of my London season of 1873 I had considerable difficulty +in obtaining a renewal of Mdme. Nilsson's contract for the ensuing year; +in fact, she declined altogether to discuss the matter with me. I was +fully aware that she was very jealous of the firm position which Mdlle. +Titiens enjoyed in the good opinion of the British public. This had +manifested itself on the occasion of Titiens's benefit, when _Nozze di +Figaro_ had been selected for the closing night of the season. Much +correspondence took place, in the course of which it was asserted that +M. Rouzand would not allow his wife to put on "Cherubino's" trunks, he +having decided that her legs should never again be seen by the public. +I, therefore, had to substitute Mdme. Trebelli, who, as an experienced +contralto, could make no objection on such points. + +Mdme. Nilsson's agent, Mr. Jarrett, succeeded at last in inducing her to +sign a contract, and he then explained to me that Mr. Gye had been +repeatedly making offers to her during the previous week, which, in +spite of his notorious friendship for Mr. Gye, he had the greatest +difficulty in making her refuse. + +Ultimately an engagement had been prepared, and Jarrett asked me to sign +it at the station just as Mdme. Nilsson was about to start for Paris. +Before doing so I requested permission at all events to glance it over, +when Mdme. Nilsson replied-- + +"The train is going. Either sign or leave it alone. I can make no +possible alteration." + +I mechanically appended my signature; the train started. + +On perusing the engagement I discovered that she had reserved for +herself the exclusive right of playing "Norma," "Lucrezia," "Fidelio," +"Donna Anna," "Semiramide," and "Valentine" in _Les Huguenots_. But +having omitted the words "during the season," and inasmuch as her +engagement for 1874 did not commence until the 29th day of May, I had a +clear period of eleven weeks during which another prima donna could play +the parts Mdme. Nilsson claimed without overstepping her stringent +condition. + +I, moreover, felt placed in great difficulty with regard to Mdlle. +Titiens, who was then at the Worcester Festival, and to whom it was, of +course, necessary to mention the matter. I decided to go to Worcester at +once and unbosom myself. + +The great prima donna, on hearing what I had to tell her, smiled and +said-- + +"By all means let her play the parts she wants; and, if the public +prefers her rendering of them to mine, by all means let her keep them. +But during the first eleven weeks they are open to other singers, and I +will repeat them one by one so that the public may have a fair +opportunity of judging between us." + +The great artist was, therefore, on her mettle during the early +performances of 1874, prior to Nilsson's arrival. + +The season opened with _Semiramide_, followed immediately by _Fidelio_, +_Norma_, _Huguenots_, _Lucrezia_, etc., which were played one after the +other until the arrival of Nilsson, who sang first in _Faust_, and +immediately afterwards in Balfe's _Talismano_, after which I called on +her to appear as "Lucrezia." + +The next morning I had a visit from her agent requesting me not to press +the matter, as she was not quite prepared. I thereupon said "Semiramide" +would do as well; to this he offered some objection; but at length, on +my urging "Fidelio," he explained to me that if I insisted upon her +playing any of those characters which she had expressly stipulated for +I should mortally offend her. I could not even induce her to appear as +"Donna Anna." Not one of those parts which she had reserved for her +exclusive use was she able to undertake. We, therefore, had to fall back +on _Faust_, alternated with _La Traviata_. + +Finally a compromise was made whereby Mdme. Nilsson undertook the _role_ +of "Donna Elvira" in _Don Giovanni_, Mdlle. Titiens retaining her great +impersonation of "Donna Anna," in which she was acknowledged throughout +the world of music to be unrivalled. This happy combination having been +brought about, the season concluded with my benefit, when _Don Giovanni_ +was given to some L1,200 receipts. + +During the autumn of 1873 I made my usual operatic tour, commencing in +Dublin about the middle of September, where we remained three weeks, +afterwards visiting Belfast, Glasgow, Edinburgh, Newcastle, Liverpool, +Manchester, Birmingham, Bristol, Bath, and Brighton, where we concluded +on the 20th December. + +Early in January, 1874, I again gave my usual forty-eight concerts in +the various cities, opening the Edinburgh opera season about the middle +of February. We afterwards visited other places, which brought us on to +the London season, when I again occupied Drury Lane Theatre. + +During this year I produced Auber's _Crown Diamonds_, and afterwards +Balfe's _Talismano_, in which Mdlle. Nilsson undertook the principal +_role_, Marie Roze appearing as the "Queen." Balfe's opera was very +successful, and this, coupled with the alternate appearances of Titiens +and Nilsson in other characters, followed by the revival of the _Magic +Flute_, in which the whole Company took part, brought the season to a +successful conclusion. + +In the autumn of 1874 I opened, as usual, at Dublin, with a very +powerful company, and continued out in the provinces until the latter +part of December. I then went on the Continent in search of talent for +the ensuing year, and returned in time to be present at my first +concert, which took place in Liverpool early in January, 1875. We +afterwards went through Ireland and the English provinces, commencing in +the beginning of March the regular Italian Opera season in the northern +capital, followed by Glasgow, Liverpool, &c. + +Ilma de Murska was punctual with a punctuality which put one out quite +as much as utter inability to keep an appointment would have done. She +was sure to turn up on the very evening, and at the very hour when she +was wanted for a representation. But she had a horror of rehearsals, and +never thought it worth while, when she was travelling from some distant +place on the Continent, to announce that she had started, or to give any +idea as to when she might really be expected. Her geographical +knowledge, too, was often at fault, and some of the routes--"short cuts" +she called them--by which she reached London from Vienna, were of the +most extraordinary kind. She had taken a dislike to the Railway Station +at Cologne, where she declared that a German officer had once spoken to +her without being introduced; and on one occasion, partly to avoid the +station of which she preserved so painful a recollection, partly in +order to get to London by a new and expeditious route, she travelled +from Vienna to St. Petersburg, and from St. Petersburg took boat to +Hull, where she arrived just in time to join my Opera Company at the +representations that I was then giving in Edinburgh. We had not heard of +her for weeks, and she came into the dressing-room to find Madame Van +Zandt already attired for the part Mdlle. de Murska was to have played, +that of "Lucia." She argued, with some truth, that she was in time for +the performance, and declared, moreover, that in entrusting the part of +"Lucia" to another singer she could see a desire on my part to get rid +of her. + +The prima donna has generally a parrot, a pet dog, or an ape, which she +loves to distraction, and carries with her wherever she goes. Ilma de +Murska, however, travelled with an entire menagerie. Her immense +Newfoundland, Pluto, dined with her every day. A cover was laid for him +as for her, and he had learned to eat a fowl from a plate without +dropping any of the meat or bones on the floor or even on the table +cloth. + +Pluto was a good-natured dog, or he would have made short work of the +monkey, the two parrots, and the Angora cat, who were his constant +associates. The intelligent animal hated travelling in the dog-truck, +and he would resort to any sort of device in order to join his mistress +in her first-class carriage, where he would, in spite of his immense +bulk, squeeze himself beneath the seat. Once I remember he sprang +through the closed window, cutting himself severely about the nose in +his daring leap. + +The other animals were simple nuisances. But I must do the monkey the +justice to say that he did his best to kill the cat, and a bare place on +Minette's back showed how badly she had once been clawed by her +mischievous tormentor. + +The most expensive of Mdlle. de Murska's pets were probably the parrots. +They flew about the room, perching everywhere and pecking at everything. +Once at the Queen's Hotel, Birmingham, they tore with their beaks the +kid off a valuable set of chairs, for which the hotel-keeper charged +L30. The hotel bill of this reckless prima donna was always of the most +alarming kind. She had the most extraordinary whims, and when Signor +Sinico, Mdme. Sinico's first husband, in order to show the effect of +parsley upon parrots, gave to one of Mdme. de Murska's birds enough +parsley to kill it, nothing would satisfy the disconsolate lady but to +have a post-mortem examination of the bird's remains. This was at +Glasgow, and the post-mortem was made by two very grave, and I have no +doubt very learned, Scotch practitioners. Finding in the parrot's maw +some green matter for which they could not satisfactorily account, they +came, after long deliberation, to the conclusion that the bird had been +eating the green wall-paper of the sitting room, and that the arsenic +contained in the colouring matter had caused its death. The cost of this +opinion was three guineas, which Mdlle. de Murska paid without a murmur. + +I again returned to Drury Lane for my London season of 1875. After +lengthy negotiations with a great Italian tragedian, engagements were +signed, and he duly arrived in London, and appeared the second night of +my season in the character of "Otello." I need scarcely say that this +tragedian was Salvini, who at once struck the public by his magnificent +delineation of Shakespeare's hero. I was now compelled to open my +theatre seven times every week (four for opera, three for tragedy), from +the early part of March until the latter end of July. I produced various +works, notably Wagner's _Lohengrin_, in which Mdlle. Titiens, who very +kindly undertook the _role_ of "Ortruda," really excelled herself. This, +with Mdlle. Christine Nilsson as "Elsa," Campanini as the "Knight of the +Swan," and Galassi as "Telramund," with an increased orchestra under Sir +Michael Costa's able direction, caused me to increase the prices of +admission; and even then it was impossible to get a seat during the +remainder of the season. + +About this time the usual annual proposals were made for Mdlle. +Titiens's services at a series of concerts to be given in the United +States of America, by which she was to receive L160 a night guaranteed, +and half the receipts beyond a certain amount. After some time I +consented to this arrangement. + +At the close of Salvini's engagement I handed him L8,000 for his +half-share of the profits, retaining a like amount for myself. + +In July, 1875, one of the most charming vocalists that it has been my +pleasure to know, a lady who as regards voice, talent, grace, and style +was alike perfect, and who was as estimable by her womanly qualities as +by her purely artistic ones, made her first appearance at my temporary +Operatic home, Drury Lane, as "Rosina," in _Il Barbiere_. This was +Mdlle. Marguerite Chapuy, and no sooner had the news of her success been +proclaimed than Adelina Patti came, not once, but twice running to hear +her. + +At the first performance Mdlle. Chapuy made such an impression on the +public that in the scene of the music lesson she was encored no less +than four times; particularly successful among the various pieces she +introduced being the "Aragonese" from Auber's _Domino Noir_, and the +waltz from Gounod's _Romeo and Juliet_. Sir Michael Costa hated +encores, but on this occasion he departed willingly from his usual rule. + +Marguerite Chapuy charmed everyone she came near; among others a young +French sergeant, a gentleman, that is to say, who had enlisted in the +French army, and was now a non-commissioned officer. Her parents, +however, did not look upon the young man as a fit husband for such a +prima donna as their daughter, and it was true that no vocalist on the +stage seemed to have a brighter future before her. Mdlle. Chapuy +remained meanwhile at Drury Lane, and the success of her first season +was fully renewed when in the second she appeared as "Violetta" in _La +Traviata_. A more refined impersonation of a character which requires +very delicate treatment, had never been seen. + +It struck me after a time that my new "Violetta" was not wasting away in +the fourth act of _La Traviata_ alone. She seemed to be really perishing +of some malady hard to understand; and when the most eminent physicians +in London were called in they all regarded the case as a difficult one +to deal with since there was nothing definite the matter with the +patient. Gradually, however, she was fading away. + +There could be no thought of her appearing now on the stage; and at her +own desire, as well as that of her father and mother, who were naturally +most anxious about her, she was removed to France. No signs of +improvement, however, manifested themselves. She got weaker and weaker, +and when she was seemingly on the point of death her hard-hearted +parents consented to her marriage with the young sergeant. My consent +had also to be given, and I naturally did not withhold it. + +Mdlle. Chapuy had signed an engagement with me for several years. But +everyone said that the unhappy vocalist was doomed; and such was beyond +doubt the belief of her parents, or they never would have consented to +her throwing herself away on an honourable young man who was serving his +country for something less than a franc a day, when she might so easily +have captured an aged banker or a ruined Count. + +Shortly afterwards I met her in Paris looking remarkably well. She told +me that her husband had received his commission soon after their +marriage, and that he now held some local command at Angouleme. As I had +not released her from her engagement, I suggested to her, and even +entreated, that she should fulfil it. Her husband, however, would not +hear of such a thing. He preferred that they should live quietly on the +L120 a year which he was now receiving from the Government. I offered as +much as L200 a night, but without effect. + +All I could get was a promise from Mdlle. Chapuy that in the event of +her returning to the stage she would give me her services in accordance +with the terms of the contract she had previously signed. Later on she +told me that she still sang once a year for charitable purposes; and I +still hope for her return to the lyric stage. + +I here append the letter she addressed to me just after her marriage:-- + + "Angouleme, 8 Decembre, 1876. +"CHER MONSIEUR MAPLESON, + +"Je vous remercie de votre bonne lettre et je m'empresse d'y repondre +pour vous assurer que je m'engage aussi formellement que vous pouvez le +desirer a ce que l'engagement que nous avions ensemble soit remis en +vigueur si jamais je reprends la carriere theatrale: je vous promets +aussi que vous pourriez compter sur moi pour la grande saison de Londres +qui suivrait ma rentree sur la scene. Vous avez ete trop bon et trop +aimable pour moi, pour que j'hesite un instant a vous faire cette +promesse. Du reste, il me serait bien agreable, si je reprenais le +theatre, de reparaitre sur la scene de Londres, car je n'ai pas oublie +combien le public Anglais a ete bienveillant pour moi. + +"En attendant votre reponse veuillez agreer cher Monsieur Mapleson +l'assurance de mes sentiments devoues. + + "MARGUERITE ANDRE-CHAPUY, +"Rue St. Gelais, 34. + +"Mon mari, ma grande-mere, et ma mere sont bien sensibles a votre +aimable souvenir et vous font tous leurs compliments." + + * * * * * + +There are two ways of judging a singer--by the vocalist's artistic +merits, and by the effect of his or her singing on the receipts. In the +first place I judge for myself by the former process. But when an +appearance has once been made I fall back, as every manager is bound to +do, on the commercial method of judgment, and calculate whether the +amount of money drawn by the singer is enough to justify the outlay I am +making for that singer's services. The latter was the favourite system +of the illustrious Barbaja, who, when he was asked his private opinion +as to this or that member of his Company, would say-- + +"I have not yet consulted my books. I must see what the receipts were, +and I will answer your question to-morrow." + +Referring to my books, I find with great satisfaction that the charming +artist, whom I admired quite as much before she had sung a note at my +theatre as I did afterwards, when she had fairly captivated the public, +drew at her first performance L488, and at her second L538; this in +addition to an average nightly subscription of L600. + +Thus Mdlle. Chapuy made her mark from the first. + +Other vocalists, even of the highest merit, have been less fortunate. +Thus Mdlle. Marimon, when she appeared at my theatre in 1871, drew at +her first performance (that of "Amina," in _La Sonnambula_) L73, at her +second L280, at her third L358, at her fourth L428. To these sums, as in +the case of Mdlle. Chapuy, the nightly proportion of the subscription +has, of course, to be added. + +As with singers, so with operas. I choose a work which, according to my +judgment, ought to succeed, and cast it as well as I possibly can. It +will not in any case please the public the first night; and I have +afterwards to decide whether I shall make sacrifices, as with _Faust_, +and run it at a loss in the hope of an ultimate success, or whether I +shall cut the matter short by dropping it, even after a vast outlay in +scenery, dresses, and properties, and after much time and energy +expended at rehearsals. + +When I brought out Cherubini's admirable _Deux Journees_ (otherwise _The +Water Carrier_) I was complimented by the very best judges on the beauty +of the work, and also (how little they knew!) on its success. I received +congratulations from Jenny Lind, from Benedict, from Halle, from +Millais, from the Baroness Burdett-Coutts. But there was not more than +L97 that night in the treasury. Thereupon I made my calculation. It +would have cost me L1,200 to make the work go, and I could not at that +moment afford it. I was obliged, then, to drop it, and that after five +weeks' rehearsals! + +Some time afterwards I produced Rossini's _Otello_ with a magnificent +cast. Tamberlik was the "Otello," Faure the "Iago," Nilsson the +"Desdemona." The other parts were played by Foli, Carrion (an excellent +tenor from Spain), and others. All my friends were delighted to find +that I had made another great success. I listened to their flattering +words. But the treasury contained only L167 3s., for which reason +_Otello_ was not repeated. + +In rebuilding Her Majesty's Theatre Lord Dudley did not think it worth +while to consult me or any other operatic manager. He had the +opportunity of erecting the only isolated theatre in London, and the +most magnificent Opera-house in the world, for the shops in the Opera +Colonnade and the adjoining hotel in Charles Street might at that time +have been purchased for comparatively small sums. The Earl, however, as +he himself told me, cared only to comply with the terms of his lease, +which bound him to replace the theatre which had been destroyed by +another of no matter what description, provided only that it had four +long scenes and four short ones. + +Messrs. Lee and Paine, the architects entrusted with the duty of +covering the vacant site, acted after their own lights, and they +succeeded in replacing two good theatres by a single bad one. The old +Opera-house, despite its narrow stage, had a magnificent auditorium, and +the Bijou theatre, enclosed within its walls, possessed a value of its +own. It was let to Charles Mathews, when theatrical property possessed +less value than now, for L100 a week; and Jenny Lind sang in it to +houses of L1,400. + +When the new theatre had been quite finished Lord Dudley was shown over +it by the delighted architects. His lordship was a tall man, and his hat +suffered, I remember, by coming into collision with the ceiling of one +of the corridors. Turning to the senior partner, who was dying to catch +from his aristocratic patron some word of satisfaction, if not of +downright praise, the Earl thus addressed him-- + +"If narrow corridors and low ceilings constitute a fine theatre you have +erected one which is indeed magnificent." + +The architect, lost in confusion at being addressed in terms which he +thought from his lordship's finely ironical demeanour must be in the +highest degree complimentary, did nothing but bow his acknowledgments, +and it was not until a little later that some good-natured friends took +the trouble to explain to him what the Earl had really said. + + + + +CHAPTER XII. + + THE NATIONAL OPERA-HOUSE--FOUNDATION DIFFICULTIES--PRIMAEVAL + REMAINS--TITIENS LAYS THE FIRST BRICK--THE DUKE OF EDINBURGH THE + FIRST STONE--THE OPERA AND PARLIAMENT--OUR RECREATION ROOMS. + + +DURING all this time I was busily engaged selecting plans for the +construction of my new National Opera-house, which I then considered a +most desirable investment, inasmuch as Her Majesty's Theatre, which had +been hastily built, was ill-adapted for the requirements of Italian +Opera, whilst Covent Garden was heavily encumbered with liabilities. +Indeed, more than one negotiation had already taken place with the Duke +of Bedford with a view to its purchase and demolition. I, therefore, saw +that sooner or later London would be without a suitable Opera-house. In +order to expedite the works it was considered desirable that the +foundations should be proceeded with pending the final settlement of the +drawings, taking out the quantities, etc., and deciding who the +contractors should be. + +Mr. Webster, who constructed the best part of the Thames Embankment, was +deemed to be the fitting man, and I therefore had an interview with him +on the subject. In this interview he told me he would execute the whole +of the foundations up to the datum level for the sum of L5,000. + +On consulting with my architect he advised that it would be more +economical that this preliminary work should be paid for by measurement, +which Mr. Webster ultimately agreed to. No sooner had they dug to a +certain depth than it was discovered that no foundation could be +obtained. Afterwards screw piles were attempted and all other kinds of +contrivances to obviate the expense with which we were threatened in the +prosecution of the works. The digging proceeded to a depth of some 40 or +50 feet without discovering anything but running springs and quicksands, +covered by a large overlying mass of rubbish, being the accumulation of +several ages in the history of Westminster. Many relics of olden times +came to light, including the skulls and bones of wild elks and other +primitive animals that once roamed about the Thames Valley and were +hunted by ancient Britons in the days of the Druids. Various swords, +gold and inlaid, often richly-fashioned, told of the feuds of York and +Lancaster; while many other objects, concealed for centuries, now came +forth to throw a light on the faded scroll of the past. + +As the builders had got considerably below the depth of the Thames and +consequently that of the District Railway, the water began to pour in, +which necessitated some fifteen or twenty steam-pumping machines being +kept at work for several months. At length the London Clay was reached, +which necessitated various cuttings, some 16ft. wide, down which had to +be placed some 40ft. of concrete. + +At length the foundations were completed, and the sum I had to pay, +according to measurement, was not L5,000, but L33,000. This was really +one of the first blows to my enterprise. + +Early in September the first brick of my new National Opera-house, prior +to the commencement of the substructure, was laid. A number of friends +were on the ground at one o'clock, and in a short time a great throng of +spectators had assembled around the spot. Punctually at 1.30 Mdlle. +Titiens arrived, under the escort of Lord Alfred Paget, Mr. Fowler, the +Architect, and myself. The party passed along the wooden platform, and +descended a handsomely-carpeted staircase, which led to the foundation +of concrete upon which the "brick" was to rest. On reaching the bottom, +Mdlle. Titiens, as she leaned on the arm of Mr. Fowler, was presented +with an elaborately-engraved silver trowel by Mr. Webster, the +Contractor. The fair singer was then conducted to the spot, where a +thin, smooth layer of white mortar had been spread on the concrete. The +foreman of the masons placed a brick in the midst of this, and Mdlle. +Titiens then in a formal manner laid the first brick, using the +plumb-line to ascertain that the work had been properly done. Second, +third, and fourth bricks were afterwards laid by Mr. Fowler, Lord +Alfred Paget, and myself. Hearty cheers were then given for Mdlle. +Titiens by the 600 workmen congregated around, who wished the Queen of +Song success and happiness on her approaching Atlantic voyage. + +Prior to her departure, Mdlle. Titiens gave four farewell concerts in +Ireland; and it was with great difficulty after the last one, at Cork, +that she escaped from the concert room at all, so numerous were the +encores. The steamer having been signalled, she had to rush straight +from the concert room, in her concert dress, with all her jewellery on, +to catch the train leaving for Queenstown. + +In the autumn of 1875 Mdlle. Titiens was replaced on the provincial tour +by Madame Christine Nilsson; and the business again was highly +successful. The tour continued until Christmas. I came up to London on +the 16th December, to be present at the laying of the first stone of the +new Opera-house by H.R.H. the Duke of Edinburgh. + +The following was the programme of the ceremonial, which was duly +carried out:-- + + CEREMONY OF LAYING THE FIRST STONE + OF THE + GRAND NATIONAL OPERA-HOUSE, + _VICTORIA EMBANKMENT_. + _Holders of Cards of Invitation will not be admitted after 1.15_. + + "The bands of the Coldstream Guards and Honourable Artillery + Company will be in attendance, and a Guard of Honour will line the + entrance. + + "His Royal Highness the Duke of Edinburgh and suite will arrive at + the entrance on the Victoria Embankment at half-past one o'clock. + + "His Royal Highness will be received by Mr. W. H. Smith, M.P., Sir + James Hogg, Chairman of the Metropolitan Board of Works, Mr. F. H. + Fowler, the Architect, and Mr. J. H. Mapleson, the Director of the + National Opera. + + "On arrival at the platform an address will be read to the Duke of + Edinburgh in the name of the founders of the Grand National + Opera-house. + + "His Royal Highness the Duke of Edinburgh will then proceed to lay + the first stone. + + "The trowel will be handed to His Royal Highness by Mr. Mapleson, + the Director; the plumb-rule and level by Mr. F. H. Fowler, the + Architect; and the mallet by Mr. W. Webster, the Builder. + + "On the completion of the ceremony His Royal Highness will make a + brief reply to the address. + + "The Duke of Edinburgh will then be conducted to his carriage at + the entrance by which His Royal Highness arrived, and will drive to + the St. Stephen's Club. + + "16th December, 1875." + +The following address was then read by Sir James McGarel Hogg:-- + +"YOUR ROYAL HIGHNESS,-- + +"On behalf of the founders of the Grand National Opera-house, I have the +honour to present to your Royal Highness the following address in which +the objects of the undertaking are set forth:-- + +"The establishment of a National Opera-house in London has long been +contemplated, the obstacle to which, however, was the impossibility of +finding a suitable site, and it was not until that vast undertaking was +carried out by the Metropolitan Board of Works, which has resulted in +reclaiming from the Thames large tracts of land, and in throwing open +the great thoroughfare of the Victoria Embankment, that a site +sufficient to meet the requirements of a National Opera-house could be +obtained; and it is this building that your Royal Highness is graciously +pleased to inaugurate to-day. + +"The National Opera-house is to be devoted firstly to the representation +of Italian Opera, which will be confined as heretofore to the spring and +summer months; and, secondly, to the production of the works of English +composers, represented by English performers, both vocal and +instrumental. + +"It is intended, as far as possible, to connect the Grand National +Opera-house with the Royal Academy of Music, the National Training +School for Music, and other kindred institutions in the United Kingdom, +by affording to duly qualified students a field for the exercise of +their profession in all its branches. + +"The privilege, which it is the intention of the Director to grant to +the most promising of these students, of being allowed to hear the works +of the greatest masters performed by the most celebrated artists, will, +in itself, form an invaluable accessory to their general training. + +"Instead of being compelled to seek abroad further instruction when +their prescribed course at the various establishments is finished, they +will thus be able to obtain this at home, and more quickly and +efficiently profit by example. + +"In Paris, when sufficiently advanced, the students can make a short +step from the Conservatoire to the Grand Opera; so it is hoped that +English students will use the legitimate means now offered and afforded +for the first time in this country of perfecting their general training, +whether as singers, instrumentalists, or composers, according to their +just claims. + +"In conclusion I beg leave to invite your Royal Highness to proceed with +the ceremony of laying the first stone of the new Grand National +Opera-house. + + "Grand National Opera house, + Victoria Embankment, + 16th December, 1875." + +In designing this, I intended it to be the leading Opera-house of the +world; every provision had been made. The building was entirely +isolated; and a station had been built beneath the house in connection +with the District Railway, so that the audience on leaving had merely to +descend the stairs and enter the train. In the sub-basement +dressing-rooms, containing lockers, were provided for suburban visitors +who might wish to attend the opera. A subterranean passage, moreover, +led into the Houses of Parliament; and I had made arrangements by which +silent members, after listening to beautiful music instead of dull +debates, might return to the House on hearing the division-bell. The +Parliamentary support thus secured would alone have given an ample +source of revenue. + +Having plenty of surplus land, I had arranged with the Lyric Club to +lease one corner, whilst the Royal Academy of Music had agreed to take +another. The buildings, moreover, were to include a new concert room, +together with a large gallery for pictures not accepted by the Hanging +Committee of the Royal Academy, to be called the "Rejected Gallery." + +There were recreation rooms, too, for the principal artists, including +billiard tables, etc., besides two very large Turkish baths, which, it +was hoped, would be of service to the manager in cases of sore throat +and sudden indisposition generally. + +The throat doctors appointed to the establishment were Dr. Morell +Mackenzie and Mr. Lennox Brown. + +Sir John Humphreys had arranged for the purchase of a small steamer to +act as tug to a large house-boat which would, from time to time, take +the members of the Company down the river for rehearsals or recreation. +The steamer was being built by the Thorneycofts. The house-boat was of +unusually large dimensions, and contained a magnificent concert-room. + +The nautical arrangements had been confided to Admiral Sir George +Middleton, a member of my acting committee; or, in his absence, to Lord +Alfred Paget. + +When about L103,000 had been laid out on the building another L10,000 +was wanted for the roofing; after which a sum of L50,000, as already +arranged, could have been obtained on mortgage. For want of L10,000, +however, the building had to remain roofless. For backing or laying +against a horse, for starting a new sporting club or a new music-hall, +the money could have been found in a few hours. But for such an +enterprise as the National Opera-house it was impossible to obtain it; +and, after a time, in the interest of my stockholders (for there was a +ground rent to pay of L3,000), I consented to a sale. + +The purchasers were Messrs. Quilter, Morris, and Tod-Heatly, to whom the +building was made over, as it stood, for L29,000. + +Later on it was resold for L500; and the new buyers had to pay no less +than L3,000 in order to get the walls pulled down and broken up into +building materials. + +The site of what, with a little public spirit usefully applied, would +have been the finest theatre in the world, is now to serve for a new +police-station. With such solid foundations, the cells, if not +comfortable, will at least be dry. + + + + +CHAPTER XIII. + + FIRST VISIT TO AMERICA--MAKING MONEY OUT OF + SHAKESPEARE--CHATTERTON'S SECRET AGENTS--BIDDING FOR HER MAJESTY'S + THEATRE--ILLNESS OF TITIENS--GERSTER'S SUCCESS--PRODUCTION OF + "CARMEN." + + +AT the close of the year 1875 I was invited to spend the evening with +some friends to see the old year out and the new year in. Amongst the +visitors at the house I met an American gentleman who had seen many of +my performances; and he assured me that if I would but go to America I +should do a very fine business, but that prior to making arrangements I +either ought to send over a trusted agent or go myself. So fully did he +impress me by his conversation, that, although I had never contemplated +such a thing, I went home late that night, or rather early the next +morning, put a lot of traps together, and started the same afternoon for +America, reaching Queenstown early on the morning of the 2nd January in +time to catch the steamer. + +I shall never forget my first voyage. I knew no one on board: we were +six or seven passengers in all. Few care to leave for a long voyage on +New Year's Day. The vessel was not only small, although a Cunarder, but +very unsteady. She was known amongst nautical men as the "Jumping Java." +Our passage occupied 14 days, and we had to weather several very severe +gales. One day we only made 16 knots. + +However, I arrived on the other side in due course, and was forcibly +struck with the grand country I had entered. As I could remain there +only nine or ten days I hastened to visit Chicago, Philadelphia, Boston, +Cincinnati, and other places, in addition to New York. I, however, +"prospected" by carefully noting all I saw; and afterwards returned to +England to join my touring concert party during the latter part of the +month. It was then in the provinces. I felt myself fully master of what +I intended the following year to undertake; namely, a tour of Her +Majesty's Opera Company in America, which later on in these memoirs I +shall have occasion to describe. I also organized another tour in the +English provinces, with Salvini, who appeared afterwards in all the +principal provincial towns with immense success. + +In the middle of October, 1875, I had the honour of being invited by the +Duke of Edinburgh to Eastwell Park. Thinking the invitation was only for +the day, I took nothing with me but a small bag containing an evening +suit and a single shirt. When I arrived at Ashford station I was met by +two six-foot men in scarlet liveries, who had arrived with a fourgon, +drawn by two splendid horses, into which they proposed to put my +luggage. I noticed their efforts to restrain a smile when I handed to +them my little hand-bag. Another magnificent equipage had been sent for +me personally. + +I was received with the greatest possible kindness; and it will interest +many of my readers to know that just before dinner the Duchess took me +to a buffet on which was laid out caviare, smoked salmon, salt herring +(cut into small pieces), dried mushrooms, pickled cucumbers, and the +various appetizing delicacies which, with spirits or liqueurs, form the +preliminary repast known to the Russians as _zakuska_. + +I had the honour of taking the Duchess in to dinner, where we formed a +party of four: the Duke, the Duchess, the equerry in attendance, and +myself. After dinner we adjourned to the music-room, where I noticed +piles upon piles of music-books. I soon saw that the Duchess was an +excellent musician. The Duke, too, received evidence of this; for in +difficult passages he was pulled up and corrected again and again. +Smoking being permitted and even enjoined, I lighted a cigar and smoked +in silence on the sofa, listening with interest to the musical +performances, which were in the form of duets for violin and piano, or +violin solos with pianoforte accompaniment. + +The next morning we were up early, and I was taken over the estate. The +Duchess pointed out to me her own particular fish-pond, in which she +sometimes angles with a view to the table. + +Then I went out shooting with the Duke; a rather trying business, for I +had neither shooting-clothes nor, far worse, shooting-boots. Of course +it began to rain, and I was soon wet through to the skin, my ordinary +walking boots being soaked in such a manner that when I got back to the +house, by which time the leather had partially dried and contracted, I +had considerable difficulty in getting them off. The Duke was kind +enough to lend me an overcoat. + +At luncheon the Duchess asked for the key of the wine cellar, at which +the Duke expressed surprise and curiosity. He was reproached for his +inquisitiveness, but was not at the time enlightened as to the object +for which the keys were wanted. + +It appeared later on at dinner that the Duchess had been visiting a +curate at some eight miles distance, who was ill, and had been +recommended port wine. This, out of his meagre income, he would be +unable, she said, to afford. + +"With eighty pounds a year and five children, how," she asked, "can he +drink port wine and eat new-laid eggs?"--which the doctor had also +recommended. She had herself, therefore, driven over in the afternoon +through the pouring rain to take them to him. + +After lunch we had more shooting, the weather being now a trifle +better. We got home in good time for dinner, and in the evening played +at billiards. The Duke is an infinitely better player than I am; but by +a series of flukes I got ahead of him, and at last found myself within +two points of the game, and with the balls so left that it was most +difficult for me to avoid making a final cannon. I saw, however, from +the expression of the Duchess's countenance, that she had set her heart +upon her husband's defeating me; and I must now confess that if I +succeeded in not making that cannon, so difficult to miss, I did so +simply out of regard for Her Royal Highness's feelings. The Duchess +during the game acted as marker. + +It was the Duchess's birthday, and in the course of the evening a +courier from Russia, who had been anxiously expected all day, arrived +with innumerable presents of jewellery. To these offerings the Duchess +paid little or no attention. All she cared for was a letter she was +awaiting from her father, and, on receiving it, she was soon absorbed in +the perusal of its contents. + +A few months afterwards, when the Duchess was present at a performance +of _Fidelio_ given at Her Majesty's Opera, I had a new proof of Her +Royal Highness's musical knowledge and of her delicate ear. She arrived +before the beginning of the overture, and brought with her two huge +orchestral scores. The Duchess sat on the floor of the box reading one +of them, and turning of course very rapidly over the leaves during the +stretto of the "Leonora" overture. Suddenly she noticed an uncertain +note from the second horn, and exclaimed, as if to set the musician +right, "B flat!" After the act I asked Sir Michael Costa whether +something did not go wrong with one of the horns. "Yes," he said, "but +only a person with a very fine ear could have perceived it." I repeated +to Her Royal Highness Costa's remark precisely as he had made it. + +I opened my season again at Drury Lane early in 1876; but the lessee, +Mr. Chatterton, who had been secretly treating with Salvini, did not +think it right that in the great national theatre under his control I +should be making so much money out of Shakespeare. The only contract I +could now get from him had practically the effect of excluding Salvini, +and this was really the beginning of Chatterton's ruin. Although I was +to pay him the same amount of rental he insisted on retaining the +Wednesday and Friday evenings and Saturday mornings for himself. I had +therefore to rent another theatre wherein to place Salvini. Mr. +Chatterton brought over another Italian tragedian, Signor Rossi, and put +him to perform at Drury Lane in opposition to Salvini, whom I had to +present at the Queen's Theatre in Long Acre. The consequence was that +both of us dropped money, and Mr. Chatterton's losses during that time +were, I believe, considerable. + +To my Opera Company I had added M. Faure, while retaining all the +favourites of the previous year, including Titiens, Trebelli, Nilsson, +&c.; Sir Michael Costa remaining as conductor. + +At the close of 1876 I again visited the provinces, beginning my usual +Italian Opera season at Dublin, with Mdlle. Titiens, who had returned +fresh from her American triumphs, supported by Marie Roze, Valleria, +Ilma de Murska, Emma Abbot, Trebelli, etc., etc. The tour was indeed a +most prosperous one, and it terminated towards the latter part of the +December of that year. + +Early in 1877, when I applied for the renewal of my lease of the Theatre +Royal, Drury Lane, Mr. Chatterton showed much ill-will, which I +attributed to his jealousy at my previous success with Salvini, and to +my having declined to allow him to engage the Italian tragedian on his +own account. He insisted that I should have the theatre but three days a +week, and then only from ten in the morning till twelve at night. Not +only was I precluded from using the theatre on the other days, but I was +to finish my performance always by midnight and then hand him the key. +As my rehearsals invariably have to take place on the "off days," when +there is no opera, I should have been prevented by this arrangement from +rehearsing at all. In fact, I found nothing but impossible clauses and +conditions in the contract now offered. + +At this time Mr. Chatterton was very anxious to find out whether or not +the Earl of Dudley was prepared to let me Her Majesty's Theatre; and to +ascertain this the good offices of some highly attractive young ladies +performing in the pantomime were employed. Lord Dudley gave Mr. +Chatterton to understand that though he was willing to sell the theatre, +of which he saw no probability, he would not under any circumstances let +it to Mapleson or any other man. Hence Chatterton continued to insist on +his stringent conditions, although I had been his tenant for some eight +or nine years, paying a very large amount of rent in addition to +cleaning and carpeting his theatre every year, which was very much +required after the pantomime. + +On learning, in a direct manner, Lord Dudley's decision, I saw that it +was hopeless to approach him in the character of a tenant. A purchaser I +did not wish to be, as my new Opera-house, it was anticipated, would be +ready for opening the following spring. All I, for the present, desired +was a theatre where I could, unmolested, continue my season. I therefore +made offers to Lord Dudley with a view to purchase, at the same time +explaining to him my inability to pay the whole of the amount he then +demanded, namely, L30,000. All I could do was to give him a deposit of +L6,000 on account, and a further L6,000 in the following November, +leaving L18,000 still due, with a clause, in case of any default being +made in regard to the second instalment, by which the first was to be +forfeited. To this his lordship assented. I had been ready to pay him +L7,000 as rent for a single year, but this he would have refused. By +paying an instalment of L6,000 I saved L1,000, and equally obtained the +use of the theatre. In due course the matter was completed. + +During the month of February I entered into possession. There was not a +single seat in the house, not a particle of paper on the walls; neither +a bit of carpet, nor a chair, nor a table anywhere. I therefore had to +go and see Blundell Maple, the well-known upholsterer, who, out of +regard for me and the advertisement I promised him, consented to give me +a few things I required for the sum of L6,000. It involved the +furnishing of the whole of the dressing-rooms, the auditorium, and +corridors. + +About four miles of carpeting were required, there being so many +staircases and passages, all of which were luxuriously covered. New +amber satin curtains, the traditional colour of the house, had to be +manufactured specially. Stall chairs, appointments, fittings, and +looking-glasses were also, of course, required. A room had to be built +through solid masonry for the Prince of Wales, as a retiring-room. In +fact, it was a very heavy affair; and on my inviting a few friends and +members of the Press to a dinner I gave at my club some two days before +the opening, they confessed to having believed that the theatre could +not be opened for two months. Maple, in order to show what he could do +in a short space of time, had purposely left all to the last day, when +he sent in some 200 workmen and upholsterers, together with about 300 +girls and carpet-sewers, so that the effect was really like the magic of +Aladdin's Palace. The theatre, I need scarcely say, was finished in +time, and gave great satisfaction. + +The new theatre opened on 28th April, Titiens appearing as "Norma;" and +a grand performance it was. Sir Michael Costa directed the orchestra, +which went _a merveille_. + +The day following it became evident that the great prima donna was +suffering from a complaint which caused her the most serious +inconvenience. The next evening Mdlle. Salla appeared with some success +in _Il Trovatore_. On the succeeding Saturday, Mdme. Christine Nilsson +made her _rentree_ in _La Traviata_; but immediately afterwards she too +fell ill. + +It seemed as if the new theatre was to bring nothing but bad luck, as it +since has done to all connected with it. Mdlle. Titiens, however, had to +make an effort, and she appeared again the next night as "Norma," and +the Saturday afterwards in the _Trovatore_. Meantime Mdme. Nilsson +recovered and reappeared on the following Thursday. Mdlle. Titiens was +sufficiently well to appear at St. James's Hall, for Mr. Austin's +benefit, at which she sang superbly, Mr. Austin, after the performance, +assuring me that he had never before heard such magnificent singing. +Mdlle. Titiens now informed me that she felt considerably better, and +would appear on the following Saturday, 19th May, as "Lucrezia Borgia," +which she in fact did. But, as the evening progressed she felt she could +hardly get through the opera. Her voice was in its fullest perfection; +but her bodily ailments caused her acute agony, and it was not until +some time after the conclusion of the opera that she was able to leave +the theatre. + +The best advice was sought for, and it was decided by the lady herself +that the operation, which ultimately caused her death, should be +performed. At the end of three weeks, having recovered from the effects +of the operation, as she thought, she expressed a wish to return to her +duties at the theatre. But, alas! that wish was never to be fulfilled, +and I had to go through the season with a loss, as it were, of my right +hand. + +She lived on in hopes of being able to recover, and she was even +announced to appear at the usual period in the following September. But +as time drew on it was clear that she was not long for this world. I +last saw her on the 29th day of September. Early on the morning of the +following Wednesday, October 3rd, she passed away. + +I continued the London season of 1877 as best I could without the +invaluable services of Mdlle. Titiens, although from time to time we had +formed hopes of her reappearing. I again brought Mdme. Nilsson to the +front, but found it incumbent on me to discover a new planet, as Mdme. +Nilsson, finding she was alone in the field, became somewhat exacting. +At last I found one; but, unfortunately, she was just on the point of +being married, and nothing could induce her future husband to defer the +ceremony. However, by dint of perseverance I succeeded in persuading +him, for a consideration, to postpone the honeymoon; and in addition to +this I was to pay a very large extra sum per night, while his wife's +appearances were strictly limited to two each week. + +About this time a great deal of intrigue was going on in order to +prevent the success of the new star. I, however, discovered the authors +of it, and worked accordingly. Thus I induced several members of the +Press to attend after they had been positively assured that she was not +worth listening to. Mdme. Gerster's success was really instantaneous, +and before her three or four nights were over I had succeeded in again +postponing the honeymoon--still for a consideration. Her success went on +increasing until the very close of the season, by which time her +receipts fairly balanced those of Mdme. Nilsson. + +The charges for postponing the honeymoon were put down under a separate +heading lest they should by any mistake be regarded as a portion of the +prima donna's salary and be used as a precedent in connection with +future engagements. At last, when several large payments had been made, +the season came to a close, and the young couple, after several months' +marriage, were at liberty to begin their honeymoon. + +After a journey through Italy and Germany in search of talent I returned +to England, when I found the great prima donna's case was hopeless. +Although it had been fully anticipated that she would make her +reappearance in Dublin, she being in fact announced to sing there, it +was, unhappily, decreed otherwise; and on the third night of our opening +I had to substitute Mdlle. Salla in _Il Trovatore_, in which Titiens had +been originally announced. I received early that day (October 3, 1887) a +telegram stating that she was no more. The Irish public on hearing the +sad news at once left the theatre. It cast a gloom over the entire city, +as it did throughout the musical world generally. A grand and gifted +artist, an estimable woman, had disappeared never to be replaced. + +After visiting several of the principal towns I returned to London and +reopened Her Majesty's Theatre, reviving various operas of repute, and +producing for the first time in this country _Ruy Blas_, which met with +considerable success. My season terminated on the 22nd of December. + +At Christmas time I reopened the theatre with an admirable ballet, +composed expressly by Mdme. Katti Lanner, in which none but the children +of my National Training School for Dancing took part. I afterwards +performed a series of English operas, which were successful, Sir Julius +Benedict conducting. Concurrently with this I continued my regular +spring concert tour, which did not terminate until the middle of March. + +The London season of 1878 opened inauspiciously, the loss of the great +prima donna causing a cloud to hang over the theatre. However, Mdme. +Nilsson duly arrived, likewise Mdme. Gerster, and each sang so as to +enhance her reputation. + +Prior to the commencement of the season I had heard Bizet's _Carmen_ in +Paris, which I contemplated giving; and my decision was at once taken on +hearing from Miss Minnie Hauk of the success she was then making in that +opera at Brussels. + +I therefore resolved upon engaging her to appear as "Carmen." In +distributing the parts I well recollect the difficulties I had to +encounter. On sending Campanini the _role_ of "Don Jose" (in which he +afterwards became so celebrated), he returned it to me stating he would +do anything to oblige, but could not think of undertaking a part in an +opera of that description where he had no romance and no love duet +except with the _seconda donna_. Shortly afterwards Del Puente, the +baritone, entered, informing me that the part of "Escamillo," which I +had sent him, must have been intended for one of the chorus, and that he +begged to decline it. + +In vain did Sir Michael Costa order the rehearsals. There was always +some trouble with the singers on account of the small parts I had given +them. Mdlle. Valleria suggested that I should entrust the part of +"Michaela" either to Bauermeister or to one of the chorus; as on no +account would she undertake it. + +This went on for some time, and I saw but little prospect of launching +my projected opera. At length, by force of persuasion, coupled with +threats, I induced the various singers, whether they accepted their +parts or not, to attend a general rehearsal, when they all began to take +a great fancy to the _roles_ I had given them; and in due course the +opera was announced for the first representation, which took place on +the 22nd June. + +The receipts for the first two or three performances were most +miserable. It was, in fact, a repetition of what I had experienced on +the production of _Faust_ in 1863, and I frankly confess that I was +forced to resort to the same sort of expedients for securing an +enthusiastic reception and thus getting the music into the heads of the +British public, knowing that after a few nights the opera would be sure +to please. In this I was not mistaken, and I closed my season with +flying colours. + + + + +CHAPTER XIV. + + FIRST AMERICAN CAMPAIGN--DIFFICULTIES OF EMBARKATION--CONCERT ON + BOARD--DANGEROUS ILLNESS OF GERSTER--OPERA ON WHEELS--"THE + DRESSING-ROOM ROW"--A LEARNED THROAT DOCTOR--GERSTER SINGS BEFORE + HER JUDGE--THE PIANOFORTE WAR--OUR HURRIED DEPARTURE. + + +AT the end of the season I went abroad to complete my Company for the +first American tour, which was to begin about the middle of October. I +started my Opera Company from London on the 31st August on its way to +America, numbering some 140 persons, including Gerster, Minnie Hauk, +Trebelli, Valleria, Campanini, Frapolli, Galassi, Del Puente, Foli, +etc., with Arditi as conductor. This also comprised a magnificent chorus +of some 60 selected voices, together with the whole of the _corps de +ballet_ and principal dancers; and I had decided to give some three or +four weeks' performances in Ireland prior to sailing, in order to get +things in working order, as well as to recruit the exchequer for my +costly enterprise. Although immense success attended the appearance of +my new singers in the Irish capital, they were not sufficiently known to +draw the great houses more famous artists would have done. Etelka +Gerster almost drove the gods crazy with her magnificent singing; but as +she was totally unknown, never having been in Ireland before, the +receipts were not commensurate with her artistic success. Minnie Hauk, +again, had never appeared in that country; nor had the opera of _Carmen_ +been heard, its very name seeming to be unknown. However, the artistic +success was beyond measure, and the representations, moreover, served as +a kind of general rehearsal for my coming performances in America. On +reaching Cork I found the receipts were again below what they ought to +have been, and I began to realize that in lieu of increasing my +exchequer prior to starting for America I ran the chance of totally +exhausting it. + +I therefore telegraphed to my representative in New York for L2,000, in +order that I might straighten up my position, and pay the balance of our +passage money, the boat being then off Queenstown. + +I was really anxious on this occasion, and it was not until late in the +day that my cable arrived, notifying to me that the money was at my +credit in the Bank of Cork. With some difficulty, it being after banking +hours, I obtained admittance, when lo! the money was all payable in +Irish notes. These the singers pronounced to be useless for their +purpose in America. They absolutely refused to embark, and it was not +until towards evening that I was enabled with great difficulty to find +gold at the various hotels and shops in exchange for my Irish notes. + +At length we departed from Queenstown; though it was late in the evening +before I succeeded in getting the last squad on board. Some of the +Italian choristers had been assured by Irish humorists that the streets +of New York were infested by crocodiles and wild Indians; and these they +were most unwilling to encounter. We had a splendid passage across. The +day before our arrival in New York it was suggested to give a grand +concert in aid of the sufferers by the yellow fever then raging in New +Orleans. I recollect on the occasion of the concert the collection made +amongst the passengers amounted to some L3 or L4. One Western gentleman +asked me particularly, in the presence of the purser, if the money would +really be devoted to the relief of the sufferers. He, moreover, demanded +that Captain Brooks, the officer in command, should guarantee that the +money would reach them. The collection was made by those two charming +young pianists, Mdlles. Louise and Jeanne Douste, and by the equally +charming young dancer, Mdlle. Marie Muller; and at the conclusion of the +concert, in which he had encored every one of the pieces, the careful +amateur from the West gave the sum of sixpence. Gerster, Minnie Hauk, +Campanini, and the others were irate, at the result of their united +labours; and as they thought it might injure them on their arrival in +New York, were the public to know of it, they privately subscribed L20 +apiece all round to make the return look a little decent. + +On our arrival in New York we were met by thousands of people, +accompanied by military bands, etc., and although I had left, as it +were, a winter behind me, we landed in the midst of a glorious Indian +summer. + +I set about making my preparations for the opening of my season, which +was to commence on the 16th October, and to prepare the way for the +_debut_ of Madame Etelka Gerster, who since our arrival had scarcely +been her usual self. This I attributed to the sea voyage. Two days +before the opening I gave a dinner, to which I invited several +influential friends including members of the New York Press. As I was +just about responding to the toast of the evening, wishing health to +Madame Gerster and success to the Opera, the waiter beckoned me to the +door, whispering that a gentleman wanted to speak to me for one moment. +I went out, when Dr. Jacobi, the New York physician, called me into an +adjoining room, where the eminent specialist, Dr. Lincoln, was waiting. +They had just visited Madame Gerster, and regretted to inform me that a +very bad attack of typhoid fever had developed itself, and that +consequently there would be no probability of her appearing the +following Wednesday, while it was even doubtful in their minds if she +would survive. She was in a very bad state. + +This was indeed a great blow to me; but I returned to the room, +continued my speech, and then went on with my dinner as if nothing had +happened. + +Making it a point never to think of business when I am not in my office, +I decided to turn matters over the following morning, which was the day +preceding the opening of the house. Being so far away, it would be +impossible to replace Mdme. Gerster. I thereupon persuaded Miss Minnie +Hauk to undertake her part in _La Traviata_, which she did with success. +Del Puente, our principal baritone, refused, however, to sing the part +of the father, in consequence, I presume, of this change. + +This was a most fortunate thing for the other baritone, Galassi, who +replaced Del Puente. It virtually made his fortune. He possessed the +ringing quality of voice the Americans are so fond of. He literally +brought down the house that evening. I cannot recall a greater success +at any time, and henceforth Galassi became one, as it were, of the idols +of the American public. + +I opened my theatre in London the following night with a very powerful +Company, Mdme. Pappenheim making her _debut_ as "Fidelio"; for I was now +working concurrently the London and the New York Operas. This I did for +the whole of that season, closing Her Majesty's Theatre on the 21st +December, though the American "Academy" was kept open beyond. + +Costumes, properties, and even singers, were moved to and fro across the +ocean in accordance with my New York and London requirements. Franceso, +who was ballet-master on both sides of the Atlantic, made again and +again the voyage from New York to Liverpool, and from Liverpool to New +York. On one occasion the telegraph played me false. I had wired to my +acting-manager at Her Majesty's Theatre, with whom I was in daily +telegraphic communication, desiring him to send me over at once a "2nd +tenor." The message was inaccurately deciphered, and out came "2 +tenors;" one of whom was kneeling on the quay at New York returning +thanks for his safe arrival, when I requested him to re-embark at once, +as otherwise he would not be back at Her Majesty's Theatre by Monday +week in time to sing the part of "Arturo" in the _Lucia_, for which he +was already announced. + +I afterwards produced Carmen at the Academy of Music, which met with +very great success, as likewise did _Faust_, _Don Giovanni_, etc. It was +not till the 8th November that Mdme. Gerster was declared out of danger, +and I was in constant attendance upon her until the 18th November, when +she appeared as "Amina" in La _Sonnambula_. Her success was really +electric, the public going quite wild about her. + +I afterwards produced all the great operas I had been giving in London, +including the _Magic Flute_, _Talismano_, _Robert le Diable,_ etc., +etc., my season continuing without intermission some six months, during +which time I visited Boston, where public breakfasts and other +entertainments were given to my singers. A special train was fitted up +expressly for my large Company, and all the carriages elegantly +decorated. I had also placed at my disposal by the Railroad Company a +carriage containing writing-room, drawing-room, bedrooms, and kitchen +stocked with wines and provisions, under the direction of a _chef_. + +Whilst at Boston I had the honour of making the acquaintance of +Longfellow, who, being anxious to hear Mdme. Gerster, occupied my box +one evening, the attention of the audience being very much divided +between its occupant and Mdme. Gerster, who on that occasion was singing +"Elvira" in _I Puritani_. He likewise attended the final morning +performance, which took place on the last Saturday of our engagement, +when Gerster's receipts for "Lucia" reached no less than L1,400. We left +that evening for Chicago, a distance of some 1,100 miles, arriving in +that city just in time to commence the opera the following Monday, when +Gerster appeared and created an excitement only equalled by that of +Jenny Lind. I recollect, by-the-bye, an amusing incident that occurred +the second night, on the occasion of the performance of _Le Nozze di +Figaro_. + +On the right and left-hand sides of the proscenium were two +dressing-rooms alike in every respect. Madame Gerster, however, selected +the one on the right-hand side, which at once gave the room the +appellation of the prima donna's room. On the following evening _Le +Nozze di Figaro_ was to be performed, in which Marie Roze was to take +the part of "Susanna," and Minnie Hauk that of "Cherubino." In order to +secure the prima donna's room Minnie Hauk went to the theatre with her +maid as early as three o'clock in the afternoon and placed her dresses +in it, also her theatrical trunk. + +At four o'clock Marie Roze's maid, thinking to be the first in the +field, arrived for the purpose of placing Marie Roze's dresses and +theatre trunks in the coveted apartment. Finding the room already +occupied, she mentioned it to Marie's husband, who with a couple of +stage men speedily removed the trunks and dresses, put them in the room +opposite, and replaced them by Marie's. He then went back to his hotel, +desiring Marie to be at the theatre as early as six o'clock. + +At about 5.30 Minnie Hauk's agent passed by to see if all was in order +and found Marie Roze's theatrical box and costumes where Minnie Hauk's +were supposed to be. He consequently ordered the removal of Marie Roze's +dresses and trunk, replaced those of Minnie Hauk, and affixed to the +door a padlock which he had brought with him. + +Punctually at six o'clock Marie Roze arrived, and found the door locked. +By the aid of a locksmith the door was again opened, and Minnie Hauk's +things again removed to the opposite room, whilst Marie Roze proceeded +to dress herself in the "prima donna's room." + +At 6.30 Minnie Hauk, wishing to steal a march on her rival, came to +dress, and found the room occupied. She immediately returned to Palmer +House, where she resided, declaring she would not sing that evening. + +All persuasion was useless. I therefore had to commence the opera minus +"Cherubino;" and it was not until the middle of the second act, after +considerable persuasion by my lawyers, that Minnie Hauk appeared on the +stage. This incident was taken up throughout the whole of America, and +correspondence about it extended over several weeks. Pictures were +published, also diagrams, setting forth fully the position of the trunks +and the dressing-rooms. The affair is known to this day as "The great +dressing-room disturbance." + +During all this visit to Chicago there was one unbroken line of +intending buyers waiting to secure tickets at the box office; and +frequently I had to pay as much as twenty dollars for wood consumed +during the night to keep the purchasers warm. + +About the middle of the second week I produced Bellini's _Puritani_, +with Gerster as "Elvira," Campanini as "Arturo," Galassi as "Riccardo," +and Foli as "Giorgio." On this occasion the house was so crowded that +the outer walls began to crack, and in the managerial room, in which I +was working, I could put my hand through one of the corners where the +two walls met. I communicated with Carter Harrison, who was then Mayor. +He at once proceeded to the theatre, and, without creating any alarm, +and under the pretext that the house was too full, caused upwards of a +thousand people to leave the building. So pleased were they with the +performance that they all refused to have their money returned. + +We terminated one of the most successful Chicago seasons on record, and +the Company started the following morning for St. Louis. As I was +suffering from a sharp attack of gout I had to be left behind, and but +for the kindness of Lord Algernon Lennox (who had acted as my +aide-de-camp at one of our Easter sham-fights) and Colonel Vivian I do +not know what I should have done. Both these gentlemen remained in the +hotel with me, interrupting their journey to do me this act of kindness, +for which I felt very grateful. + +On the Company's arriving at St. Louis, Mdme. Gerster declared her +inability to sing the opera of _Lucia_ that evening. My son Henry, who +had charge of the Company until I could rejoin it, explained to madame +that it would be necessary to have a medical certificate to place before +the public. Mdme. Gerster replied she was too honourable an artist to +require such a thing, and that when she said she was ill, she was ill. +My son, however, brought in a doctor, who insisted upon seeing her +tongue. She merely, in derision, said, "There!"--rapidly putting it out +as she left the room. The doctor immediately put on his spectacles, and +proceeded to write his certificate, saying that there was a little +irritation in the epiglottis, that the uvula was contracted, together +with the muscles of the throat, and that the tonsils were inflamed. On +Mdme. Gerster's husband showing the certificate to his wife she got so +angry that she insisted upon singing--just to show what an "ass" the +doctor was. Of course, this answered my purpose very well, and my large +receipts were saved. + +On leaving the hotel at the end of that week the eminent physician +presented Mdme. Gerster with a bill of $60 for medical attendance. This, +of course, she resisted; and she gave bonds for her appearance when +called upon, in order to save her trunks from seizure, which the M.D. +had threatened. + +Whilst I am on this subject, I may as well inform the reader that two +years afterwards when we visited St. Louis the matter was brought before +the Court. Feeling sure that this attempt at extortion would not be +allowed, and that the Court proceedings would be of very short duration, +I attended at nine o'clock, the hour set down for trial, leaving word +that I should be home at about half-past ten to breakfast. It was not +until eleven that I was called up to the witness-stand. On my +mentioning to my counsel that I felt very faint, as I had not yet eaten +anything, he repeated it to the judge, who at once adjourned the Court +in order that I might have my breakfast. He enjoined me not to lose too +much time in "mastication," and ordered the reassembly of the Court at +half-past eleven. On my return my evidence was duly given; but when the +defendant, Etelka Gerster, was summoned, the call-boy from the theatre +appeared, stating to the judge that as she had to sing "Lucia" that +night, and was not very well, it would jeopardize the whole performance +if she left the hotel. + +His honour, thereupon, considerately ordered the Court to adjourn to +Mdme. Gerster's rooms at the Lindell House, where the trial could be +resumed. On our arrival there counsel and others amused themselves by +looking at various pictures until the prima donna appeared, accompanied +by her two dogs, her birds, etc., when the judge entered into +conversation with her on musical matters. Later on his honour solicited +Mdme. Gerster to kindly sing him a song, especially the "Last Rose of +Summer," which he was very partial to, being from the Emerald Isle. At +the close of the performance he thought it was useless troubling Mdme. +Gerster to go further into the case, which was at once decided in her +favour. + +Talking of law, I may mention another lawsuit in which I was concerned. + +Whilst in Boston in January, 1879, Mdme. Parodi, who lived in an hotel +close by the theatre, had need of medical attendance, and the theatrical +doctor, who had the _entree_ to the house, was naturally selected to see +what the matter was. He prescribed a gargle for Mdme. Parodi; and Mdlle. +Lido, who had been attending on the patient, having shown the doctor her +tongue as he went out, he merely said "You want a little +Friedrichshall," and left the room. + +Nothing more was heard of the matter until January, 1880, when, as I was +seated at the breakfast table in the hotel with my wife and family, two +Deputy-Sheriffs forced their way unannounced into the room to arrest me +for the sum of 30 dollars, which the doctor claimed as his fee. This was +the first intimation I had had of any kind, and it was afterwards shown +in evidence that the doctor had debited Parodi and Lido in his day-book +separately with the amount which he also charged to them collectively. +Finding that both ladies had left the city he thought it better to +charge the attendance to me. Rather than be arrested, I of course paid +the money, but under protest. + +The next day I commenced proceedings against the doctor, as well as the +Sheriff, for the return of my money, which I contended had been handed +over under duress, and was not a voluntary payment on my part. The +doctor's counsel contended on the other hand--first, that I had derived +benefit from the treatment he had given these ladies; secondly, that I +was liable. In due course the matter went to trial, and was heard by +Judge Parmenter in the Municipal Civil Court at Boston. It was proved +that the doctor was the regular physician to the Boston Theatre, and +that in consideration of free entrance he attended without fee members +of the Company who played there. The Judge, after commenting on the +testimony, decided the matter in my favour. I was, however, baulked of +both money and costs; for the same afternoon the doctor went home and +died. + +On my return to New York for the spring opera season I produced +_Dinorah_, in which Mdme. Gerster again achieved a triumph. The business +went on increasing. About this time a meeting of the stockholders of the +Academy of Music was convened, and I ultimately signed a new lease for +three more years, commencing October 20th following. + +During my first sojourn in America I gave 164 performances of opera, +likewise 47 concerts. Concurrently with this I gave 135 operatic +performances and 48 concerts in England. The season in New York extended +from October 16th to December 28th, 1878, also from February 29th to +April 5th, 1879. At Boston the season lasted from December 30th, 1878, +to January 11th, 1879; at Chicago from January 13th to 25th; at St. +Louis from January 27th to February 1st; at Cincinnati from February 3rd +to 8th; at Philadelphia 10th to 18th, at Baltimore and Washington 19th +to 25th. During this period _Lucia_ was performed twenty times, +_Sonnambula_ nineteen times, _Carmen_ twenty-six times, _Faust_ sixteen +times, _Trovatore_ nine times, _Flauto Magico_ eight times, _Puritani_ +eight times, _Nozze di Figaro_ seven times, _Rigoletto_ five times, _Don +Giovanni_ five times, _Traviata_ four times, _Lohengrin_ ten times, +_Barbiere_ twice, _Ruy Blas_ twice, _Dinorah_ twice, _Talismano_ ten +times, _Robert le Diable_ twice, _Huguenots_ six times, _Freischutz_ +three times; making altogether twenty-four morning performances and one +hundred and forty evening performances. + +About this time the disastrous floods took place at Szegedin, in +Hungary. This being Mdme. Gerster's birth-place I proposed a grand +benefit concert for the sufferers, in which my prima donna at once +joined. By our united efforts we raised about L800, which was remitted +by cable to the place of disaster within five days of its occurrence, +much (I need scarcely add) to the relief of many of the sufferers. + +My benefit, which was fixed for the last night of the season, took place +on Friday, April 4th. At quite an early hour crowds collected right down +Fourteenth Street and Irving Place, and within a very short time every +square inch of available room in the house was occupied. The enthusiasm +of the auditors was immeasurable, and they began to show it as soon as +the performance opened. The representation consisted of the third act of +the _Talisman_, with Mdme. Gerster as "Edith Plantaganet," and +Campanini as "Sir Kenneth;" followed by the fourth act of _Favorita_, in +which Mdme. Marie Roze undertook the _role_ of "Leonora;" and concluding +with an act of _La Traviata_, with Mdme. Gerster as "Violetta." Mdme. +Gerster's performance was listened to with the deepest attention, and +rewarded at the end with enthusiastic cheers. Mdme. Gerster afterwards +came out three times, but her courtesies were of no avail in quieting +the multitude. It was necessary, at the demand of the public, to raise +the curtain and repeat the entire act. Then nothing would satisfy the +audience but my appearance on the stage; when I thanked the ladies and +gentlemen present for their support, notifying, moreover, that, +encouraged by my success, I should return to them the next autumn. This +little speech was vehemently applauded, especially the references I made +to the singers and to the conductor, who, I promised, would come back +with me. + +During our stay in New York we were supplied with pianos both for the +artists individually as well as for use at the theatre by Messrs. +Steinway and Sons; and before we left the following flattering but just +letter of compliment and of thanks was addressed to the firm:-- + + "Academy of Music, New York, + "December 28, 1878. + +"GENTLEMEN, + +"Having used your pianos in public and private during the present Opera +season we desire to express our unqualified admiration of their +sonority, evenness, richness, and astonishing duration of tone, most +beautifully blending with and supporting the voice. These matchless +qualities, together with the precision of action, in our opinion, render +the Steinway pianos, above all others, the most desirable instruments +for the public generally. + + "(Signed) ETELKA GERSTER, MARIE ROZE, + MINNIE HAUK, C. SINICO, + CAMPANINI, FRAPOLLI, GALASSI, FOLI, + DEL PUENTE, ARDITI." + +Messrs. Steinway now offered and undertook to supply each leading member +of the Company with pianos in whatever town we might visit throughout +the United States. + +On our arrival in Philadelphia I was surprised to find that every artist +in the Company had had a magnificent Steinway placed in his or her +bedroom; this in addition to the pianos required at the theatre. But +while the Company were dining, a rival pianoforte maker, who had shown +himself keenly desirous of the honour of supplying us with instruments, +invaded the different bedrooms and placed the Steinway pianos outside +the doors, substituting for them pianos made by his own firm--that of +Weber and Co. The Webers, however, were ultimately put outside and the +Steinways replaced. + +Shortly afterwards a pitched battle took place in the corridors between +the men employed by the rival firms, when the Weber men, being a more +sturdy lot, entirely defeated the Steinway men and ejected them bodily +from the hotel. The weapons used on this occasion were piano legs, +unscrewed from the bodies of the instruments. + +Not only did physical force triumph, but the superior strength exhibited +by the Weber side was afterwards supplemented by cunning. That very +night Weber gave a grand supper to the whole of my Company, and I was at +once astonished and amused the next day to find that a new certificate +had been signed by them all stating that Weber's pianos were the best +they had ever known. A paper to that effect had been passed round after +sundry bottles of "Extra Dry," and signatures appended as a matter of +course. + +Such was the impartiality of my singers that they afterwards signed on +behalf of yet a third pianoforte maker, named Haines. + +In accordance with numerous solicitations, I agreed to give a Farewell +_matinee_ the next day. But the steamer had to sail for Europe at two +o'clock in the afternoon; and this rendered it necessary that my morning +performance should commence at half-past eleven, the box-office opening +at eight. In the course of a couple of hours every seat was sold. +Towards the close of the performance, Arditi, the conductor, got very +anxious, and kept looking up at my box. It was now half-past one, Madame +Gerster's _rondo finale_ in _La Sonnambula_ had absolutely to be +repeated, or there would have been a riot; and we were some three miles +distant from the steamer which was to convey us all to Europe. + +At length, to my relief, the curtain fell; but the noise increased, and +I had again to show myself, while Arditi and the principal singers and +chorus took their departure, Signor Foli, with his long strides, +arriving first. I afterwards hastened down in a carriage I had expressly +retained. As the chorus had scarcely time to change their dresses, many +of them rushed down as best they could in their theatrical attire, +followed by a good portion of the audience, who were anxious to get a +last glimpse of us all. + +Arriving on board the Inman steamer _City of Chester_, I found it +crowded with personal friends, many of whom had been there at least an +hour. Hearty embraces were exchanged by the men as well as the women, +and numerous bottles of champagne were emptied to fill the parting cups. +The cabins of the steamer were literally piled up with flowers. Trunks +and boxes containing the wardrobe of the morning performance were lugged +on board. + +"All ashore!" shouted the captain. Prior to my arrival, the bell had +rung for the seventh and positively last time. The steamer's officers +now urged all but passengers to get on shore, and hinted at the +probability of some of them being inadvertently carried over to Europe. +The women hurried back to escape that dreadful fate. + +Ole Bull, whom I had invited to go to Europe with me, darted across the +gang-plank carrying his fiddle in a box. The whistle then blew, and the +bell rang for the eighth and now absolutely last time. At length the +steamer took her departure. A band of music on the wharf had been +playing lively airs, to which my chorus responded by singing the grand +prayer from _I Lombardi_. + +To my dismay, I discovered that the prima donna had been left behind; +also the property-master, the ladies' costumier, one of the ballet, and +five of the chorus. The latter had nothing with them but the theatrical +costumes they carried on their bodies. They had previously sent all +their worldly belongings on board the ship, and we now saw them +gesticulating wildly on the quay as we passed down the bay. They were +treated very kindly after our departure; ordinary day clothes were +provided for them, and they were sent over by the next steamer. + +On entering my cabin I found a silver epergne, a diamond collar-stud, +any quantity of literature, several boxes of cigars, bottles of brandy, +etc., which had been left anonymously; also an immense basket of fruit. +There were, moreover, two large set-pieces of flowers in the form of +horse-shoes that had been sent me from Boston, likewise a basket of +rose-buds, lilies, and violets, and an embroidered table-cover. + +A few minutes later, a tug carrying a large American flag at the side of +an English one steamed up to the pier and took on board a number of +ladies and gentlemen who, accompanied by an orchestra, followed the +steamer down the bay, giving the Company a farewell ovation of cheering +as the vessel passed the Narrows and got out to sea. + + + + +CHAPTER XV. + + RECEPTION OF A TENOR--BELOCCA AND LADY SPENCER--MARIMON'S + SUPERSTITIONS--HER LOVESICK MAID--AN ENCOURAGING TELEGRAM--MARIMON + IN THE CATHEDRAL--DISAPPEARANCE OF A TENOR + + +FOR my London season of 1879, in addition to Gerster, who was already a +prime favourite, Marie van Zandt, Clara Louise Kellogg, Minnie Hauk, +Ambre, Marie Roze, Caroline Salla, Helene Crosmond, Trebelli, Nilsson, +etc., I engaged Fancelli, Brignoli, Frapolli, and Campanini. I moreover +concluded an engagement with Signor Masini, the renowned tenor, who +shortly afterwards arrived in London. I was informed the following +morning by his agent that he felt very much hurt that I myself, Sir +Michael Costa, and some of the leading artists of the theatre had not +met him at the station; the agent kindly adding that "If I would come +round to his hotel with Costa he might put the thing straight." + +I told him we were too busy to do anything of the kind, but that I +should expect Signor Masini to call on me, when I would present him to +Sir Michael Costa. + +We were within two days of his announced appearance, and I had not yet +seen him. That afternoon the agent, who was very anxious to keep things +pleasant, rushed in to tell me that Masini was passing along the +colonnade outside the theatre smoking a cigar, and that if I went out +quickly with Costa we might meet him, and so put an end to all +difficulties. I told him I was too busy, and that he had better bring +Masini into my office. The signor at length appeared, and in very few +words asked me in what opera he was to make his _debut_. I told him he +had already been announced to appear as "Faust," in accordance with his +engagement; to which he replied that he should like to know who the +other singers were to be. I told him that Christine Nilsson would be +"Margherita," Trebelli "Siebel," and Faure "Mephistopheles," and that I +trusted this distribution of parts would suit him. He was good enough to +say that he would have no objection to sing with the artists I had +named. He then left. + +A few minutes afterwards Sir Michael Costa entered the room, and I told +him what had happened. He ordered a rehearsal for the following morning +at twelve o'clock for all the artists. Nilsson, Faure, and Trebelli were +punctually at the theatre, but not Masini; and just as the rehearsal was +being dismissed in consequence of the tenor's non-attendance his agent +appeared with the suggestion that a rehearsal was not necessary. If Sir +Michael Costa would step round to the hotel Masini, said the envoy, +would show him the _tempi_ he wished to be observed in his performance +of the part of "Faust." Sir Michael Costa left the room, and never +afterwards made the least reference to this audacious proposition. + +On going round to Masini's hotel the next morning to see how he was +getting on--for he was to perform that evening--I was informed that the +previous night he had taken flight, and that he was now on his way back +to Italy. + +I afterwards heard that an influential friend of Masini's at the Italian +Embassy had frightened him by saying that Sir Michael Costa was a man of +considerable importance, who was not to be trifled with, and who would +probably resent such liberties as Masini had attempted to take with him. + +Masini's flight put me to considerable inconvenience. I followed him up +on the Continent, harassing him in every city where he attempted to +play; though I ultimately let him off on his paying my costs, which came +to some L200. + +The fact of Signor Masini's asking Sir Michael Costa to come round to +his hotel in order to hear the _tempi_ at which the arrogant tenor liked +his airs to be accompanied, must have taken my readers by surprise. But +in Italy, I regret to say, the practice is only too common for singers +to treat conductors as though they were not their directors, but their +subordinates. A popular tenor or prima donna receives a much larger +salary than an ordinary conductor--or for that matter a first-rate one; +and a favourite vocalist at the end of the season often makes a present +to the _maestro_ to reward him for not having objected to some effective +note or cadenza which is out of place, but which the "artist" is in the +habit of introducing with a view to some special effect. In his own +country it would have been nothing extraordinary for a tenor so eminent +as Signor Masini to ask the conductor to step in and learn from him how +the different _tempi_ should be taken. + +On one occasion a renowned prima donna about to make her first +appearance in England took the liberty of enclosing to Sir Michael Costa +with her compliments a hundred-pound note. The meaning of this was that +she wished to be on good terms with the conductor in order that he might +not cut her short in any little embellishments, any slackening or +hastening of the time, in which she might think fit to indulge. On +receiving the note Sir Michael Costa requested the manager to return it +to the singer, and at the same time declared that he or the offending +vocalist must leave the Company. Needless to say that it was not the +conductor who left. + +Another remark as to Signor Masini's having expected that Sir Michael +Costa, myself, and all the leading members of the Company would meet him +at the railway station on his arrival in London. This sort of thing is +not uncommon with artists of rank, and when Mdme. Patti comes to London +a regular "call" is sent to the various members of the Company directing +them, as a matter of duty, to be at the station at such an hour. + +A good many artists, on the other hand, have a strong preference for not +being met at the station. They travel third-class and in costumes by no +means fair to see. + +Costa would have been horrified at the way in which operatic enterprises +are now too frequently conducted--especially, I mean, in a musical point +of view; works hurriedly produced, and in some cases without a single +complete rehearsal. Often, no doubt, the prima donna (if sufficiently +distinguished to be allowed to give herself airs) is in fault for the +insufficient rehearsals or for rehearsals being altogether dispensed +with. When such singers as Mdme. Patti and Mdme. Nilsson stipulate that +"the utility of rehearsing" shall be left to their judgment--which means +that they shall never be called to any sort of rehearsal--all idea of a +perfect _ensemble_ must, in their case, be abandoned. Sir Michael would, +I am sure, have protested against the acceptance of such conditions. +Nothing would satisfy him but to go on rehearsing a work until +everything, and especially until the _ensemble_ pieces, were perfect. +Then he would have one final rehearsal in order to assure himself that +this perfection was maintained; and the opera could be played the night +afterwards. Costa was born with the spirit of discipline strong within +him. As a singer he would never have made his mark. In his original +occupation, that of second tenor, his remarkable qualities were lost. As +a conductor, on the other hand, his love of order, punctuality, +regularity in everything, stood him in excellent part. + +At many operatic theatres the performance begins some five or ten +minutes after the time announced; at no theatre where Sir Michael Costa +conducted did it ever begin a minute late. The model orchestral chief +arrived with a chronometer in each of his waistcoat pockets; and when, +after consulting his timepieces, he saw that the moment for beginning +had arrived, he raised his _baton_, and the performance began. He did +not even take the trouble to see that the musicians were all in their +places. He knew that, with the discipline he maintained, they must be +there. + +Among other difficulties which an operatic manager has often to deal +with is one arising from questions of precedence between the singers. +Who is to have the best dressing-room at the theatre? Who the best suite +of apartments at the hotel? Naturally the prima donna. But suppose there +is more than one prima donna in the Company, or that the contralto +claims to be an artist of greater eminence than the principal soprano? + +I remember once arriving at Dublin with a Company which included among +its members Mdlle. Salla, who played leading soprano parts, and Mdlle. +Anna de Belocca, a Russian lady, who played and sang with distinction +the most important parts written for the contralto voice. Mdlle. Belocca +and Mdlle. Salla entered at the same time the best suite of apartments +in the hotel; upon which each of them exclaimed: "These rooms will do +for me." + +"For you?" said Mdlle. Salla. "The prima donna has, surely, the right of +choice, and I have said that I wish to have them." + +"Prima donna!" exclaimed Belocca, with a laugh. "There are but two prime +donne: _moi et_ Patti." + +"You will not have these rooms all the same," continued the soprano. + +"We will see about that," returned the contralto. I was in despair, for +it was now a matter of personal dignity. Neither lady would give way to +the other. Leaving them for a time together I went downstairs to the +hotel-keeper, Mr. Maple, and said to him-- + +"Have you not another suite of rooms as good, or nearly so, as the one +for which these ladies are disputing?" + +"I have a very good suite of rooms on the second floor," said Maple; +"quite as good, I think, as those on the first floor." These rooms had +already been pointed out to Mdlle. de Belocca through the window. But +nothing, she said, would induce her to go upstairs, were it only a step. + +"Come with me, then," I said to Maple. "Mind you don't contradict me; +and to begin with, it must be understood that these rooms on the second +floor have been specially retained by Lady Spencer"--Lord Spencer was at +that time Viceroy of Ireland--"and cannot on any account, or under any +circumstances, be assigned even for a brief time to anyone else." + +Maple seized my idea, and followed me upstairs. + +"What is the meaning of this?" I said to him, when we were together, in +the presence of the two excited vocalists. "Are these the only rooms you +have to offer us? They will do for one of these ladies; but whichever +accepts them the other must be provided with a set of apartments at +least as good." + +"I simply have not got them," replied Maple. "There is a charming set of +apartments on the floor above, but they are specially retained for the +Countess Spencer, and it would be more than my business is worth to let +anyone else take possession of them." + +At these words Belocca opened her beautiful eyes, and seemed to be +struck with an idea. + +"At least we could see them?" I suggested. + +"You could see them," returned Maple, "but that is all." + +"Let us go and have a look at them," I said. + +Maple and myself walked upstairs. Belocca silently followed us. We +pretended not to see her, but as soon as the door of the apartments +reserved for the Countess Spencer was thrown open the passionate young +Muscovite rushed into them, shut the door, and locked it, declaring that +Lady Spencer must be provided for elsewhere. + +On the conclusion of my London season of 1879 I immediately started for +the Continent in search of talent for my next New York and London +seasons, which both commenced on the 18th October. + +On the issue of my New York prospectus, every box, together with +three-fourths of the _parquet_, likewise the first two rows of balcony, +were sold out for the season; so good an impression had my performances +left the previous spring. + +I must here mention a circumstance which greatly inconvenienced me. On +the day of sailing from Liverpool I received notice that Mdme. Gerster +was in a delicate condition, which was confirmed afterwards by a cable +which reached me on my arrival in New York. I replied, entreating the +lady to come over, if only for a couple of months, when she could +afterwards return. All my proposals failed, though it was not until I +received five doctors' certificates from Italy sealed by the Prefetto +and vised by the Consuls that I gave up begging her to appear. + +I was really at my wits' ends, for there was no possibility of replacing +the favourite artist. I, however, engaged Mdlle. Valleria, also Mdlle. +Ambre, a Moorish prima donna of some ability and possessing great +personal charms. + +Despite all I could do, the Press and the public became excited about +the absence of Gerster; and either she or Lucca or Nilsson, or someone +of equal calibre, was urgently wanted. It was too late for either of +these distinguished ladies to entertain my proposals. I, therefore, +addressed Mdlle. Marimon, who was then in Paris. + +About this time the members of my orchestra, who all belonged to the +Musical Union, struck for a ten per cent. increase of pay in consequence +of the success I had met with the previous year. I flatly refused to +comply with their demand, whereupon the main body of the players +informed me that they would not enter the orchestra on my opening night, +unless their terms were conceded. I explained that the previous year I +had paid them no less than 50,000 dollars, being more than double the +price of my London orchestra, but it was all to no avail. However, I +induced them to play at my opening performance, leaving the matter to be +decided at a conference to be held in the course of a few days. + +To return to Mdlle. Marimon; time being of importance, all our +correspondence had to be carried on by cable, I having to pay the +answers. As at the time I speak of the price was some fifty cents or two +shillings a word, and as the correspondence went on for over a +fortnight, I found at last that I had spent over L160 in cables alone. +The lady insisting that the money should be deposited beforehand at +Rothschild's, in Paris, this, too, had to be transmitted by cable. + +At length a day was fixed for her departure, and I awaited with +impatience her arrival. Some four days later I received a cable from my +agent, Jarrett, who had gone over at my request to Paris, informing me +that Marimon had not started and that a new element of trouble had +arisen. + +Mdlle. Marimon having lost her mother some time before in the foundering +of the _Pacific_ steamship was nervous about going to sea, and would not +start unless accompanied by her maid. The maid, however, objected to go +with her mistress to America on a visit which might last some months. +She was attached at the time to an actor at the Gymnase, and preferred +remaining in Paris. She knew her mistress to be very superstitious, and, +in order to avoid starting, resolved to play on her weak point. +Pretending, therefore, to be ignorant of Marimon's intentions, she +imparted to that lady the secret of a terrible dream with which she had +been visited three nights in succession, to the effect that she and her +mistress had embarked in a big ship for a long voyage, and that upon the +third day at sea the vessel had collided with another and both had gone +to the bottom. This fable had the desired effect. With blanched cheeks +the frightened Marimon, who was still in Paris, informed Jarrett that +it was impossible for her to go, and that she wished to have her +engagement cancelled. To this I refused to accede, the engagement being +complete and the money having been paid. + +Volumes of cable messages were now again commenced. Here is a copy of +one of my replies:-- + +"Tranquil sea. Charming public. Elegant city. Luxurious living. For +Heaven's sake come, and duplicate your Drury Lane triumphs.--MAPLESON." + +At length tact and diplomacy overcame her terrors, and she started in +the _City of Richmond_ the following day. + +I was expecting her with the greatest anxiety, for several days had now +passed beyond the ordinary time, when on the morning of November 24th I +read in the morning papers the following telegram from Halifax:-- + +"The steamer _Circassia_ of the Anchor Line, with the American mail, +came into port this morning, having picked up the disabled ship the +_City of Richmond_, encountering heavy weather, with a broken shaft, off +Sable Island, 180 miles from Halifax, the second officer having been +washed overboard and lost. Amongst the saloon passengers were Mdlle. +Marimon and her maid." + +I thereupon despatched messengers to Halifax, and in due course Mdlle. +Marimon reached New York. + +On her arrival she immediately insisted on going to the Catholic +Cathedral, in Fiftieth Street, to offer up thanks and a candle for her +narrow escape. Despite all my entreaty to cease praying, in consequence +of the extreme cold in the vast Cathedral--it was now near the close of +November--madame remained prostrate for another half-hour, during which +time my rehearsal was waiting. I had hoped to get her to attend by +inviting her to have a look at the interior of the theatre where she was +to perform. + +The result, meanwhile, of her devotions was that she caught a violent +cold and was obliged to lie in bed for a week afterwards. + +I was next much troubled by a renewed outbreak in the orchestra, the +occasion being the first performance of _Linda di Chamouni_, when to my +astonishment more than half the musicians were absent. I was too +perplexed with other matters to worry beyond appealing to the public, +who sympathized with me. + +A kind of operatic duel was now going on betwixt my two tenors, +Campanini and Aramburo. The latter, with his magnificent voice, had +quite conquered New York. Being a Spaniard, his own countrymen supported +him nightly by their presence in large numbers. But the tenor was +displeased at sundry hisses which came from unknown quarters of the +gallery, whilst two or three newspapers attacked him without any reason. +It was the eve of his performance in _Rigoletto_ when I was informed +that Senor Aramburo and the Gilda, Mdme. Adini (at that time his wife), +had suddenly sailed for Europe. The last I could trace of them was that +that very day they had both been seen in the city at five o'clock. Early +that morning Aramburo had come to me wanting to borrow 300 dollars. At +first I refused, but he pressed me, saying that he had property "in +Spain," and that he really needed money to close up certain business +transactions. I gave him the sum, and this was the last I saw of him. At +5.30, however, in the afternoon, I received a note from him, in which he +said that he would like five nice seats for that evening's performance, +as he wished to oblige some friends. I sent him the tickets, but by the +time they reached his address he must have packed up and gone. + +At length the day for Mdlle. Marimon's appearance arrived. It was not +until Wednesday, 3rd December, that she made her _debut_ in _La +Sonnambula_, when she was supported by Campanini as "Elvino," Del Puente +as "Conte Rodolfo," and Mdme. Lablache as the mother. Mdlle. Marimon +scored a positive success, and the ovations she received were something +unprecedented. I at once forgot all my troubles, for I now plainly +foresaw that she would replace Mdme. Gerster until the following year. +Anything like her success had not been witnessed since Gerster's. At one +bound, as it were, she leaped into the highest favour and esteem of the +music lovers of New York. I announced her reappearance for the following +Monday. + +But the reaction consequent on the agitation caused to her by the perils +of the sea voyage now began to manifest itself. The nervousness from +which she had suffered at sea, in the belief that her maid's dream was +about to be verified, had caused such a disturbance to her nervous +system that this, coupled with the subsequent excitement due to her +brilliant success, caused the fingers of both her hands to be drawn up +as if with cramp. She found it impossible to reappear for several days; +and it was not until the 15th, some twelve days later, that she was able +to give her second performance. She afterwards sang the part of the +"Queen of Night," in _Flauto Magico_, which terminated the New York +season. + +We afterwards left for Boston, where on the opening night Mdlle. +Marimon's success was again most marked; and from the beginning until +the end of the engagement there her receipts equalled those of Mdme. +Gerster. During the tour we visited Philadelphia, Chicago, St. Louis, +Detroit, and Cleveland. We afterwards made a second visit to +Philadelphia, the season concluding about the middle of March, 1880, +when we returned to Europe. + +During our stay in Philadelphia Mdlle. Marimon, who had met with such +great success two evenings previously, was announced to appear as +"Dinorah." About six o'clock in the afternoon she sent word that she +would be unable to sing. All persuasion on my part was useless. However, +as I was descending the staircase of the hotel I met Brignoli, who on +hearing of my trouble declared that he had a remedy and that he felt +sure he could induce Mdlle. Marimon to sing. He made it a condition, +however, that in case of success I should re-engage him for the +approaching London season. To this I readily consented, and I was +greatly surprised at hearing within half an hour that Mdlle. Marimon and +her maid had gone on to the theatre. This was indeed a relief to me, as +nearly every seat in the theatre had been sold, Meyerbeer's romantic +opera not having been performed in Philadelphia for some twenty years. + +On the rising of the curtain Mdlle. Marimon's voice was inaudible. She +was very warmly greeted, and went through all the gestures of the part; +played it, in short, pantomimically. At the close of the act I went +before the curtain, and announced that Mdlle. Marimon's voice, instead +of recovering itself, was going gradually from bad to worse; and that +the shadow scene in the second act would have to be omitted; but that, +to compensate the public for the disappointment, Signor Campanini, who +was then present in one of the boxes, had kindly consented, together +with Miss Cary, to give the concluding acts of _Il Trovatore_. This at +once restored the depressed spirits of the audience. + +Miss Cary surprised everyone by the dramatic force of her "Azucena." +Galassi was equally effective in the _role_ of the "Count di Luna." But +Campanini, in _Di quella pira_, met with more than a success: it was a +triumph. The house broke into rapturous applause, and cheered the singer +to the echo. At the conclusion he was loaded with flowers. Thus I +avoided the misfortune of having to close the theatre. + +On returning home to supper I discovered the "remedy" Brignoli had +employed, which was this: He presented himself on leaving me to Mdlle. +Marimon, and informed her that he understood Mapleson meant to close up +the Opera-house that evening, and charge her the value of the receipts, +then estimated at nearly L1,000. He, therefore, advised her to go to the +theatre, even if she walked through the part. + +One or two newspapers the following morning insisted on regarding my +speech of the previous evening as a melancholy joke. I had announced +that Mdlle. Marimon was physically unable to fulfil the demands of her +_role_, and that she would omit the shadow song. But, said the papers, +her efforts throughout the evening had all been shadow songs, the little +lady having been absolutely voiceless. + +Mdlle. Marimon, however, in settling up the account some weeks +afterwards, charged me L120 for this performance, arguing that she had +appeared and done her best under the circumstances. + + + + +CHAPTER XVI. + + SIR MICHAEL AND HIS CHEQUE--SIX MINUTES' BANKRUPTCY--SUCCESS OF + "LOHENGRIN"--PRODUCTION OF "MEFISTOFELE"--RETURN TO NEW + YORK--"LOHENGRIN" UNDER DIFFICULTIES--ELSA'S TAILS--CINCINNATI + OPERA FESTIVAL. + + +I BEGAN my London season of 1880 a few days after my return from the +United States, Mdme. Christine Nilsson appearing as "Margherita" in +_Faust_ on the opening night, followed by _La Sonnambula_, _Carmen_, +_Aida_, etc., also _Lohengrin_, for which I had specially entered into +an engagement with Richter, who after some fifteen rehearsals declared +the work ready for presentation. He at the same time informed me that on +looking through the orchestral parts he had discovered no less than 430 +mistakes which had been passed over by his predecessor, Sir Michael +Costa, and which he had corrected. + +About this time law proceedings were pretty hot between myself and Sir +Michael Costa, and as they led to my becoming a bankrupt for about six +minutes, I may as well explain to the reader how this occurred. + +My engagement with Sir Michael Costa was for a season of three months in +each year, for which I was to give him L1,500--L500 each month, payable +in advance. My season of 1875 was fixed to open on the 24th April, and +to terminate on the 24th July, which it actually did; but having at that +time secured the services of the great tragedian Salvini, I thought it +desirable to open the theatre about a fortnight earlier, giving opera +only twice or three times a week, and utilizing the other nights for the +appearances of Salvini. I mentioned my idea to Costa, who said I had +better pay him his regular cheque as from the commencement of the +season, and that the few extra nights could be settled for apart. + +On the 10th July Sir Michael Costa asked for his usual monthly cheque in +advance. I reminded him of our conversation on the subject, and pointed +out to him that I had already made him the three payments as agreed. He +told me that he wanted particularly to have the cheque, as he desired to +show it to H.R.H.; adding with a mysterious air: "You will be pleased!" +From his manner he led me to believe that he would return me the cheque +after it had been shown. I, therefore, gave it to him; and, hearing no +more of it for five years, thought he had destroyed it. However, prior +to my announcing my season of 1880, application was made for the +payment of this cheque. Sir Michael declined, in fact, to wield the +_baton_ unless the old cheque were paid. He seemed quite determined on +the subject; and I, on my part, was equally determined to resist the +demand. I made various propositions for an equitable adjustment, as also +did several influential friends; but all to no purpose. Sir Michael +Costa, like Shylock, insisted on his bond; and the law was allowed to +take its course. In the end the "blue paper" was signed by Mr. Registrar +Hazlitt constituting me a bankrupt, and I left the Court in a state of +depression quite unusual to me. + +We had scarcely got outside when a happy thought struck my solicitor, +who, hurrying back with me to the Registrar, addressed him as follows:-- + +"Pending the appointment of a trustee, which may take some eight or nine +days, your honour is, in fact, the manager of Her Majesty's Theatre, and +my client thinks it only right to take your honour's orders as to the +production of _Lohengrin_ on Saturday. Some new skirts, moreover, which +might be of calico, but which your honour would, perhaps, prefer of +silk, are wanted for the ballet in _Il Trovatore_ next Monday. But the +_Lohengrin_ matter is the more pressing of the two, and we should be +glad if you would meet Herr Richter, who, though unwilling to tamper +with the score of so great a composer as Wagner, thinks some cuts, +already on another occasion authorized by the master, might be ventured +upon in the long duet between "Elsa" and "Ortrud." There is an obstinate +tenor, moreover, whom your honour, by adopting a decided tone towards +him, might perhaps bring to reason." + +Mr. Registrar Hazlitt was amazed, and in tones of something like dismay +declared that he had trouble enough where he was, and could not +undertake the management of an Opera-house. He had not considered that, +he continued, when he signed the paper. He rang for a messenger, caused +the paper to be brought to him, and at once tore it up; thus putting an +end to my six minutes of bankruptcy. + +_Lohengrin_ met with very great success, and we ran it alternately with +_Carmen_, _Don Giovanni_, _Faust_, and several other operas, in which +Mdlle. Gerster maintained her pre-eminence. During all this time we were +busily rehearsing Boito's _Mefistofele_, which I was unable to produce +until the early part of July. The following was the cast:-- + + "Margherita" and "Helen of Troy" ... Mdme. Christine Nilsson. + "Martha" and "Pantalis" ... Mdme. Trebelli. + "Mefistofele" ... Signor Nannetti. + "Faust" ... Signor Campanini. + +The rehearsals were under the immediate personal superintendence of the +composer Boito, and the scenic department under that of the celebrated +scene-painter Magnani. The greatest pains were taken to give such a +representation of this opera as would be worthy of the composer's high +reputation. + +At last the day arrived, the 6th July; but not the properties, which +were expected in large cases from Italy, but could not be heard of and +were nowhere to be found. I went to all the likely places in London, +telegraphed to Boulogne and to Calais, but in vain. Finally, however, at +half-past six in the evening, they were brought to the stage door. + +The reader cannot, of course, understand the enormous difficulty which +arose in unpacking these hundreds of various properties, each one done +up in separate paper. At last shields, armour, spears, serpents, +goblets, torches, demon's wigs, etc., etc., were all piled up on the +stage. The supernumeraries and chorus were ready dressed, and were left +to help themselves, the supers, who were all guardsmen, picking out the +prettiest properties they could find; and it was with immense difficulty +that, with Boito's aid, we could distribute the most necessary for the +performance. The success of this opera is doubtless fresh in the minds +of most lovers of music. I look upon it as one of the most memorable on +record. It went without a hitch. Madame Nilsson as "Margherita" +impressed me by her singing and acting in the prison scene as she had +never done before. The opera was repeated every other night until the +close of the season, the receipts continually increasing. + +At the close of my London season I again went to the Continent in quest +of talent, and paid a visit to Mdme. Gerster at her elegant villa near +Bologna. She received me with every expression of delight, and we +concluded forthwith our arrangements for her return to America, she +making it a condition that the baby should accompany her. I now made +great preparations to ensure a brilliant season. Great improvements were +made by the Directors in the auditorium of the Academy of Music in New +York, and new carpet was everywhere laid down. At my suggestion, too, a +few feet were cut from the front of the stage, which improved the +proscenium boxes, and gave me two extra rows of stalls or _parquet_ +seats, numbering sixty in all. These were immediately let at high +premiums for the whole of my season. Preparations were afterwards made +for the production of Boito's _Mefistofele_, which had been such a great +success during my past London season. + +As I found it desirable not to leave myself entirely in the hands of one +principal tenor, I concluded arrangements whereby Signor Ravelli was to +form part of my Company. Ravelli made his _debut_ as "Edgardo" in _Lucia +di Lammermoor_ on the opening night, when Mdme. Gerster made her +_rentree_, after an absence of a year, as "Lucia." The house was crowded +from floor to ceiling, Mdme. Gerster receiving more than her usual +ovations. + +The following night Campanini made his re-appearance as "Fernando" in +_La Favorita_, Miss Annie Louise Cary undertaking her unrivalled +impersonation of "Leonora." + +Wishing to do all in my power to make the production of _Mefistofele_ a +representation of the first class in every respect, I caused to be +removed from each end of the orchestra some five-and-twenty parquet +seats in order that it might be enlarged, and I engaged some twenty-five +extra musicians of ability so that the _ensemble_ of my orchestra might +be equal to that of London. Arditi was indefatigable with his +rehearsals, of which he had several, in order to obtain every possible +perfection in the execution of the music, to secure even the minutest +_nuances_ in the necessary light and shade. The cast included Signor +Campanini as "Faust," Annie Louise Gary as "Martha" and "Pantalis," a +new-comer, Signor Novara, as "Mefistofele," whilst Alwina Valleria +undertook the _role_ of "Margherita"--and right well did the little lady +fulfil the task she had undertaken. She had moments at which she showed +herself quite equal to Mdme. Nilsson, especially in the prison scene. + +In the newspapers the following morning no mention whatever was made +either of the increase in my orchestra or of its performance; the +critics at that time being less discerning than they are now. This +greatly mortified Arditi, who had been working like a slave for so long +a time before the production. + +We shortly afterwards produced _Mignon_, when Arditi said one rehearsal +would do, as sure enough it did; and this time we met with great praise. +On my returning for the following spring season I dispensed with the +services of my twenty-five extra musicians; and the excellence of the +orchestra was now fully commented upon. + +About this time I remounted _Aida_ in grand style, with new properties, +scenery, and dresses, Mdme. Gerster shortly afterwards appearing as +"Elsa" in _Lohengrin_. This reminds me of an interesting occurrence. + +The fatigues incident to the continued rehearsals of Lohengrin had +rather unnerved Mdme. Gerster, who, however, made her appearance in the +_role_ of "Elsa" on the night for which the opera had been originally +announced. Her success, though great, was not what she desired, and the +next day she complained of indisposition, though she at the same time +insisted upon further rehearsals. I therefore closed the theatre at +great loss, in order that her desires might be complied with. + +At length the time for the second performance arrived. I had spent a +fatiguing day, and had finished up with directing the difficult +machinery of the scene in which the swan disappears to be replaced by +the missing child, while the dove comes down from heaven to draw the +boat which, as "Elsa" embraces her long-lost brother, bears "Lohengrin" +away. + +Feeling sure that all was in order, I went home for a short time, not +having tasted anything since early morn. I sat down to my dinner, and +ordered my servant to bring me a pint of champagne. I had hardly taken +the knife and fork into my hand when Dr. Gardini, Mdme. Gerster's +husband, put his head through the door, beckoning to me, and saying that +he wanted me for one "second" only. On my getting into the vestibule he +entreated me to come over a moment to the Everett House, where his wife +was residing, it being then about a quarter to seven (my opera was to +commence at eight). On my reaching the Everett House her maid, her +brother, and her sister-in-law desired me to step a moment into her +bedroom. On entering I smelt a powerful odour of chloroform, and on +inquiry found that her brother, who was a medical man of some standing +in New York, had been prescribing chloroform to allay a tooth-ache, or +some other ailment she was suffering from; but in the nervous condition +she was in it had acted rather too violently upon her general system, +and there she lay speechless. + +I was beside myself, and I am afraid rather rude at the moment to those +in attendance. However, I insisted upon taking the matter entirely into +my own hands. I commenced by opening the tops of the windows so as to +let the odour out, and dispatched the sister to get me a bottle of +soda-water, together with some sal-volatile, also a bottle of strong +smelling salts. By raising Mdme. Gerster's head I got her to take the +soda-water and sal-volatile, and at each respiration I took good care to +place the smelling-bottle to her nose, but all to no effect. She was in +a state of semi-unconsciousness. + +I, however, insisted upon raising her (it being then a quarter past +seven), and by the aid of the maid I put a large shawl over her, and +carried her off in my arms to the carriage, which I had ordered to be at +the door, and took her over to the Academy, where I seated her on a +chair. She now swooned on to the dressing-table. + +Whilst I continued to apply the smelling-bottle I gave directions to the +theatrical hair-dresser to be careful to come gently in and comb out her +back hair and plait in the little tails which are sometimes added by +prime donne. It was about twenty minutes to eight when Arditi came into +the room, accompanied by the call-boy, and both looked upon the matter +as hopeless. I, however, begged the maestro to go into the orchestra, +and to leave the rest to me. + +I got her to stand upright; but when I suggested the idea of singing +"Elsa" she sighed, and said-- + +"It is utterly useless. It is just eight o'clock, and the tails are not +in my hair." + +I thereupon informed her that during her unconscious state I had +carefully had the tails combed in. This brought a faint smile to her +face, and I at once saw that there was still a chance of my opera going. +I led her to the entrance, when she went on accompanied by her +attendant maidens. I then drew a long breath and went back to finish my +dinner, knowing now that the opera would continue. + +Long before the first act was completed Mdme. Gerster's energies had +returned. She was in full possession of her marvellous vocal powers, and +a triumphant evening was the result of my labours. + +About this time I commenced autumn Sunday evening concerts, in which the +whole of my singers took part, the first portion of the evening +beginning, as a rule, with a fine performance of Rossini's _Stabat +Mater_, Valleria, Cary, Campanini, Galassi, and Novara singing the music +very effectively. The houses were invariably crowded to the roof. + +About this time, I settled a grand opera festival for Cincinnati the +ensuing spring, in conjunction with the College of Music, and for that +purpose organized a chorus of some 400 extra voices, and an orchestra of +some 150 musicians; after which I left for Chicago to confer with +Colonel George Nichols as to the arrangements. + +We afterwards visited Boston, where our performances met with the +greatest possible success, each week's receipts averaging no less than +35,000 dollars, the reappearance of Mdme. Etelka Gerster creating +immense excitement. At the _matinee_ given on January 1st, at which she +appeared, upwards of 100 ladies' odd india-rubber overshoes were picked +up on the family circle staircase lost in the rush after the opening of +the doors, there being a heavy snowstorm raging at the time. The +receipts were over L1,200 notwithstanding. _Aida, Mefistofele, Carmen, +Don Giovanni_, and _Puritani_ completed the week's _repertoire_. We +afterwards left for Philadelphia, followed by Baltimore, Washington, +Pittsburg, Indianapolis, Chicago, and St. Louis, the Opera being a +signal success all along the line. We closed up on the Saturday night at +St. Louis, leaving by special train at 1 a.m., shortly after the +conclusion of the night's representation, for Cincinnati. The soloists, +choristers, and orchestra arrived at about three o'clock on the Sunday +afternoon, rather tired; and they spent this afternoon in hunting up +hotels and boarding-houses. In the evening we had a stage rehearsal of +_Lohengrin_, with chorus and part of the orchestra. My own chorus was on +hand, together with the Cincinnati contingent some 350 strong--all +present without a single absentee. But large as the stage was there was +plenty of room for all and to spare. The beautiful _Lohengrin_ choruses +were finely rendered, and the volume of tone resounding through the vast +building was truly grand. The rehearsal was afterwards dismissed, and +everyone retired to rest. + +Early the following morning the final rehearsal was called, which +terminated at twelve o'clock; and that same evening the first great +Opera Festival was inaugurated--undoubtedly the most daring musical +enterprise ever attempted in America or any other country. The sight of +the audience from the private boxes was worth a journey to see. It was +one sea of faces. Everything looked auspicious for the success of the +festival. The weather was pleasant, the crowds were large and +enthusiastic, and the singers were _en rapport_ with the audience, +whilst the chorus did its very best. + +The orchestra, also, was the finest ever heard in Cincinnati, composed +of 150 first-class musicians, who did their work splendidly. In fact, +the _ensemble_ was complete. + +The scene outside the hall was one of bewildering confusion. Myriads of +elegant carriages darting round corners, pedestrians jostling against +each other to arrive before the doors were closed, an immense rabble +outside, who had gone to catch only a glimpse of the handsomely-dressed +ladies as they went in; such was the scene, which, I must add, was +illuminated by the newly-invented electric light. In spite of the most +stringent police regulations the streets were blocked, and it is not +surprising that there were several horrible accidents. Notwithstanding +four wide exits it was an hour and a half after the performance was over +before the last carriage could get off. + +The toilettes of the ladies, for which Cincinnati is so famous, were +most elegant. Our grand performance of _Lohengrin_ was followed by +Mozart's _Magic Flute_, Mdme. Gerster singing the _role_ of the "Queen +of Night." The third opera was Boito's _Mefistofele_, for which 8,000 +reserved seats were sold. The fourth night we had _Lucia di Lammermoor_, +followed by an act from _Moses in Egypt_; the extreme back of the stage +representing a burning sun, and the whole 400 choristers joining +together with the principals in the grand prayer, "Dal tuo stellato +soglio," which terminates the opera. On the fifth night Verdi's _Aida_ +was given with entirely new scenery, painted for the occasion, together +with new dresses and properties. + +A morning performance, _La Sonnambula_, was given next day, with +Gerster. The audience, like all the previous ones, was immense. Every +seat was occupied, whilst 2,000 people who had paid two dollars apiece +were standing up. The toilettes of the ladies were simply magnificent, +baffling all description. The audience went wild over Gerster, encores +were demanded and re-demanded, people hurrahed and waved their +handkerchiefs, whilst the most expensive bouquets and flowers were +pelted on the prima donna, who at last was embowered in roses. + +On the last evening Gounod's _Faust_ was performed. The end was as +glorious as the beginning. By seven o'clock the big hall was again +filled, and at half-past seven, when Arditi took up the _baton_, the +house was packed and jammed from the top-most part of the gallery. + +The audiences throughout the week were most brilliant. Before separating +a Committee meeting was held; and it was resolved that the festival +should be renewed the following year, when Mdme. Patti and Mdme. Albani +should, if possible, be added to the list of vocalists. + +This was followed by a grand banquet at the club, where amongst others I +had the honour of making the acquaintance of Mr. Reuben Springer, the +donor of the magnificent hall in which the festival had been held. + +The profits of the week reached 50,000 dollars. We afterwards visited +Detroit, Syracuse, and Albany, returning to New York in the early part +of March. + +On the 25th March a morning performance was given of _Lucia di +Lammermoor_, when the Academy was fairly packed from _parquet_ to +gallery by a most fashionable audience, not so much to hear _Lucia_ as +to hear Mdme. Gerster. At the rush at the opening of the doors the +ticket-taker discovered a forged free pass purporting to bear my name. +On his own responsibility he handed over to the police the two men who +had come in with the ticket, and they were taken off to the +police-station, where I was immediately sent for. + +The forgery being proved they were both committed for trial, the +magistrate at the same time notifying that if we took them up at once in +an elevated train to Ninety-second Street the assizes would be on, and +their case could be at once decided. + +They were duly taken on, and the matter gone into. One of the men was +committed to prison for a year, and the other one was placed under the +care of the Commissioners of Charities and Corrections for two years on +Randall's Island. + +I got back to the Academy in time to hear the mad scene. + +On returning the following year I made inquiry as to the man who had +been sent to the Reformatory, and was informed that he had died only the +day before. So also had the judge of the Assize Court: a remarkable +coincidence. + +We remained in New York until the 9th April, when we were again called +to Boston to give six performances, each of which averaged $5,000. After +a _matinee_ on the Saturday we returned to New York by special train, in +order to give a Sunday concert, when over 4,000 dollars were taken at +the doors. We then gave six more extra farewell performances in New +York, sailing for Europe immediately on the conclusion of the last one, +and arriving in London about six days prior to the opening of my season. + +Early in the spring of 1881 I received a communication from Messrs. +Ricordi, of Milan, the publishers and proprietors of Boito's +_Mefistofele_, in which they solicited me to allow Signor Nannetti, the +basso, who was then performing the title _role_ at the Scala, to delay +his engagement with me for the period of a fortnight, in order that the +successful run of the work might not be interrupted; in exchange for +which they offered me the services of the musical director, Signor +Faccio. To this I consented, and the eminent conductor was duly +announced in my prospectus. But instead of keeping Nannetti two weeks in +Milan they kept him five, during which time my season had opened and +Mdme. Nilsson had arrived in London in order that I might take up the +successful run of _Mefistofele_ which had been interrupted only by the +close of the previous season. Mdme. Nilsson, however, refused to appear +until Nannetti came; and it was not until the 23rd June that I could +reproduce Boito's _Mefistofele_. Faccio never turned up at all. + + + + +CHAPTER XVII. + + PRODUCTION OF "IL RINNEGATO"--RAVELLI'S OPERATIC + THEORY--NEGOTIATIONS WITH COVENT GARDEN "LIMITED"--A SEARCH FOR A + PRIMA DONNA--FAILURE OF PATTI'S CONCERTS--CINCINNATI OPERA FESTIVAL + OF '82--PATTI'S INDISPOSITION. + + +MY London season of 1881 commenced at Her Majesty's Theatre, on the 7th +May. Nothing of note took place prior to the arrival of Mdme. Christine +Nilsson, who appeared on the 28th as "Margherita" in _Faust_, which +character she repeated, together with "Mignon," until the 23rd June, +when, after two postponements, we were enabled to reproduce Boito's +_Mefistofele_. The attraction of this opera had, however, considerably +diminished, possibly on account of its having been produced so late in +the previous season, when a few performances were given, and afterwards +interrupted for a period of nearly ten months. During this time +negotiations were entered into between Baron Bodog Orczy and myself for +the production of an opera composed by the Baron on a Hungarian +subject, and entitled _The Renegade_; in Italian _Il Rinnegato_. + +Baron Orczy, friend and pupil of Liszt, and a fervent admirer of +Wagner's works, had been the Intendant of the Royal Theatre at Pesth, +where he at once gave a proof of keen musical discernment by engaging +Richter as his orchestral conductor. Report said that he had given up +his important post by reason of representations made to him on the +subject of his excessive devotion to Wagnerian music. However that may +be, the Baron had shown himself by several excerpts from his opera, +performed at St. James's Hall and at the Crystal Palace, to be a +composer of no mean ability. He handled the orchestra with skill and +power, and if his opera did not prove so successful with the general +public as his friends must have desired, that result may partly be +accounted for by the over-elaboration of the score, and the importance +attached by the composer to the instrumental portions of his work. + +Composed to a Hungarian libretto, _The Renegade_, of which the subject +was derived from an historical romance by a popular Hungarian novelist, +had, with a view to production at my theatre, been translated into +Italian; and two of the leading parts had been assigned to Ravelli the +tenor, and Galassi the baritone. + +Ravelli had not long been a member of my Company; he was one of my +chance discoveries. One evening, as so often happened, I was at the +last moment in want of a tenor. The hall porter, finding that I was +sending about London in quest of a possibly suitable vocalist, told me +that a dark little man with a tenor voice had been hanging about the +stage-door, and the Colonnade in front of the theatre, for some ten days +past, and that he was sure to be somewhere in the neighbourhood. The +artist in question was found. I asked him whether he could really sing. +His answer may be guessed; and when I further questioned him as to +whether he knew the part of "Edgardo" he replied that he did, and in +some measure verified his assertion by singing portions of it. He showed +himself the possessor of a fine, clear, resonant voice; and if he +sometimes sang without true dramatic expression, and without the grace +which springs from perfect art, he at least knew how to thrill the +public with a high note effectively thrown in. + +It is not my purpose, however, for good or ill, to criticize the singing +of Signor Ravelli. I am now dealing with him only in so far as he was +connected with the opera of _Il Rinnegato_. In the second act of that +work the tenor and baritone fight a duel. In this there was no novelty. +But instead of the tenor killing the baritone, the baritone puts the +tenor to death, and this struck Signor Ravelli as far too new. He +appealed to operatic traditions and asked in an excited manner whether +such a thing was heard of before. "No!" he exclaimed, answering with +vigour his own question; and he added that though he was quite ready to +take part in the duel, he would do so on condition that not he but his +antagonist should be slain. It was useless to explain to him that in the +story upon which the opera was based the character represented by the +tenor perished, while the baritone lived on. This, he said, was just +what he complained of. "Why," he indignantly demanded, "should the +tenor's part in the opera be thus cut short? But why, above all, should +the habitual impersonator of heroes fall beneath the sword of one who +was accustomed only to play a villain's part?" + +It was impossible to get the infatuated man to hear reason on the +subject. He cried, screamed, uttered oaths, and at one time threatened +to kill with his dagger, not only his natural enemy, the baritone, but +everyone around him. "I will kill them all!" he shrieked. + +After a time, by humouring him and agreeing with him that in a +well-ordered operatic duel the tenor ought, of course, to kill the +baritone, I got him to listen to me; and I at last contrived to make him +understand that there were exceptions to all rules, and that it would be +generous on his part to overlook the species of indignity to which he +was asked to submit, the affront offered to him not having been intended +as such, either by the librettist or, above all, by the amiable +composer. It was settled then that Ravelli was to be killed. But what, +he wished to know, was to be done with his body after death? The proper +thing would be, he said, for six attendants to enter, raise the corpse, +and carry it solemnly away to a place of repose. + +It mattered little to me whether the body of Ravelli was borne from off +the stage by six, eight, or a dozen attendants. But according to the +plan of the opera he had to lie where he had fallen while the soprano, +whom in his character of tenor he had passionately loved, sang a lament +over his much-loved form. I told Ravelli that it was a great compliment +thus to be treated by a despondent prima donna. But he could not see it, +and he calculated that the soprano's air, with the orchestral strains +introducing it, would keep him in what he considered an ignominious +position for something like ten minutes. It was absolutely necessary to +promise Ravelli that his mortal remains should be removed from the stage +to some quieter resting-place by six corpse bearers, the number on which +he had set his heart; and he was honoured, if I remember rightly, with +the funeral he had stipulated for at the last rehearsal. Baron Orczy had +protested against this arrangement; but I assured him that there was +nothing else to be done, and that everything should take place according +to book at the public representation. + +On the night of performance Ravelli was, of course, left recumbent on +the stage. He must have thought more than once, as he lay writhing with +shame and anger on the boards, of rising and rushing off. But he feared +too much the laughter and derision of the public, and he had to remain +passive while the orchestral introduction was being played, and while +the prima donna's soliloquy was being sung. Many of us thought the +strain would be too much for him, and that he would go raving mad. But +when he found himself once more a free agent behind the scenes he +stabbed no one, struck no one, and, strange to say, seemed perfectly +quiet. The humiliation to which he had been subjected had somehow calmed +him down. + +If Ravelli was wild and passionate, Galassi, his associate, was a +reasonable man whose presence of mind had possibly the effect of saving +my theatre from being burned a second time. There was a good deal of +fire in _Il Rinnegato_, and in one scene the green lights surrounding an +apparition starting from a well caught some gauze, so that the well +itself burst into flames, the result being such a blaze that but for +Galassi's promptitude in dealing with it the conflagration might have +proved fatal to the building. + +While the baritone was smothering the fire with his cloak and with some +canvas on which the grass was painted--at the same time trampling the +burning embers under foot--a portion of the audience had taken alarm and +was already hurrying to the doors. At this critical moment I could not +but admire the calm air of dignity with which Baron Orczy, who was +conducting his work, continued to mark the time and to direct the +performance generally as though nothing at all extraordinary were taking +place. I feel sure that this determined attitude of the composer in the +presence of what, for a few seconds, seemed likely to lead to a terrible +calamity, had a considerable effect in allaying the general excitement. +"How can there be danger," many must have asked themselves, "when that +gentleman who is conducting the orchestra, and who is so much nearer the +supposed fire than we are, does not evince the least alarm?" + +Towards the close of this season, negotiations were again opened by the +Messrs. Gye towards purchasing my lease, goodwill, and interest, +together with a certain portion of my costumes and scenery, with a view +to an operatic monopoly. Ultimately terms were arranged, and an +agreement concluded, which was not to come into force until the shares +of the projected Company had been taken up; and it was only in August, +1882, that I was notified that sufficient shares had been placed to +justify the Company starting, and my agreement coming into force. In the +meantime I had been left to sustain the burden of the current expenses, +rates, taxes, etc., of my own theatre, until the transfer could be made. +The arrangement entered into was that I should have so much cash, and so +many shares, together with an engagement for a period of three years, at +a salary of L1,000 per annum, besides 50 per cent. of the profits made +in America, where I was to have sole control of the business. + +In the early part of October, 1881, I started with my party for New +York. The season opened on October 17th, with a performance of +_Lohengrin_ by Campanini, Galassi, Novara, Anna de Belocca, and Minnie +Hauk, which gave great satisfaction. This was followed by a performance +of _Carmen_, in which Minnie Hauk, Campanini, Del Puente, and Valleria +resumed their original parts. + +A few days prior to the sailing of the Company for America I visited +Paris, where I heard a young vocalist, Mdlle. Vachot, sing; and at once +negotiated with her for an engagement. She did not like the idea of +crossing the ocean; but she was overruled by her father, a small farmer +at Varreds. + +Being in a hurry to conclude the engagement I called upon her the next +day, with a contract in my pocket, when the servant informed me that she +and her father had gone to Varreds to consult some relatives. On +learning the name of the place I went to the station, and there heard +the manager of the Grand Opera asking the ticket-seller how to get to +Varreds. Luckily, he decided not to take that train. Thereupon I entered +it; though being desperately hungry I was sorely tempted to lunch before +doing so. + +The nearest place on the railroad was Meaux. I got there in a pelting +rain-storm to find that I had to travel nine miles across country to +Varreds. I managed to get a trap, but we had not gone more than half way +before one of the traces broke, which, after some delay, I got repaired. + +Finally I reached a clump of mud hovels; and this, I was told, was +Varreds. I asked a cowboy whom I met if he had seen Mdlle. Vachot. He +replied that he did not know her. He had seen two strangers, a lady and +a gentleman, walking towards the "hotel," which I found to be a mud hut, +with accommodation for men, women, and chickens, more especially the +latter, which were walking all over the parlour floor. Nothing was known +at this hotel, except that two strangers who had recently arrived, after +leaving a bundle of shawls, had been seen going towards the cemetery. + +On arriving at the cemetery I found the gate locked. I then went to the +cure, who said he knew nothing of Mdlle. Vachot. Finally I met a +blacksmith who knew her, and he pointed out where she was. I found her +at table with six or seven country cousins. As I was hungry, I was glad +to take pot-luck with them. + +With some difficulty I afterwards got my contract signed, and started +back for Paris. On my way to Meaux Station I met the manager of the +Grand Opera driving over towards Varreds. + +I afterwards secured a tenor of the name of Prevost, who had a +phenomenal voice, and was then singing with success at the Theatre du +Chateau d'Eau. He seemed especially adapted to the _role_ of "Arnold" +in _William Tell_. After signing with him I left for Italy, where I +ordered new and magnificent costumes, including enough for an extra +chorus of 90 male voices which I afterwards employed for the Gathering +of the Cantons in Rossini's masterpiece. + +From there I went to Parma, where the eminent _scenografo_ of the +theatre, with some persuasion, undertook to paint the scenery, which on +its arrival in New York was pronounced by all connoisseurs simply +superb. + +About this time the director of the Leipsic State Theatre proposed the +production of Wagner's _Ring des Nibelungen_ at Her Majesty's Theatre, +with a very powerful cast of characters and a magnificent orchestra +under the direction of Richter, the great master himself to superintend +personally its production. But of this "more anon." + +Mdlle. Vachot duly appeared in the early part of November as "Rosina" in +_Il Barbiere di Siviglia_. The house was crowded in every part, and +Vachot was found to have a charming personality, a beautiful voice with +a good method, together with no little dramatic talent. She was warmly +received for her pretty appearance, and heartily applauded at frequent +intervals for her delightful singing. From a good beginning she went on +to a gratifying success, fairly establishing herself before the evening +was over in the favour of her new public. + +Things were progressing favourably when about this time Mdme. Adelina +Patti arrived in New York on a speculation of her own, after an absence +of some 22 years. A great deal of excitement was thereby created, and as +Mdme. Patti's concerts were to take place within three doors of the +Academy of Music, I began to fear as to the results of my season then +progressing. Mdme. Patti's visit, however, turned out to be a most +ill-advised one. Her concerts had not been properly announced, and she +came with a very weak Company, believing that the magical name of Patti +would alone crowd the hall. Her first concert realized scarcely 3,000 +dollars, whilst the second dropped down to 1,000 only. Few people went +to see her, and she at once understood what a mistake had been made. The +charge, moreover, she demanded was ten dollars per seat! The public, +therefore, universally agreed to stay away. The paltry receipts of the +second concert proved conclusively to Patti's manager, and to herself as +well, that something had to be done to lift the sinking enterprise. + +I may mention that I gave a gentle hint to Patti that her removal to the +Academy would be most desirable by sending her a bouquet which cost some +L30, with these words on it: "To Adelina Patti, Queen of the Lyric +Stage." Two days afterwards I called to see _la Diva_ at the Fifth +Avenue Hotel, and after some negotiation was on the point of concluding +arrangements which would have been a fortune to me as well as to Mdme. +Patti herself, when at this critical moment Mr. Abbey came between us, +offering her a concert tour in which, beyond receiving a fixed salary, +she was to participate in his profits. + +Abbey's admirable handling of Bernhardt being fresh in everyone's +recollection, Patti had no reason to suppose that he would fail in her +case to obtain similar results. + +During my season at the Academy the production of Rossini's _chef +d'oeuvre_, _Guillaume Tell_, made a prodigious success, and crowded +the theatre nightly. The tenor Prevost possessed the voice of +exceptional quality necessary for the difficult _role_ of "Arnoldo." +Signor Galassi's "Tell" was a noble impersonation, marked by great +dignity of action, and sung in the broad and grand style of which he is +so complete a master; whilst the part of "Mathilde" was undertaken with +success by Mdlle. Dotti, who displayed remarkable ability. + +Shortly afterwards I reproduced Verdi's _Aida_, for which I discovered a +most capable soprano in the person of Mdlle. Paolina Rossini, whose +success went on increasing nightly; and who later on appeared in the +difficult _role_ of "Valentina" in _Les Huguenots_, at once taking a +firm hold on the public. + +We were now approaching the second great Cincinnati Opera Festival. I +will, therefore, take the reader once more with me to that city. + +The Opera Festival of 1882 opened on February 13th with immense success +by a grand performance of Meyerbeer's _Huguenots_, the audience, an +immense and distinguished gathering, numbering over 5,000 persons, the +representatives of the wealth, the beauty, and the culture of the city. + +As early as six o'clock people began to assemble outside the Music Hall, +the scene of so many previous triumphs, and long before the commencement +of the opera every seat was occupied, and every available inch of +standing room likewise. + +At a quarter to eight the opera began, a band composed of 150 selected +professors occupying the orchestra under the veteran Arditi. The opera +was a signal success, and went smoothly throughout; the grand +"Benediction des Poignards" being executed marvellously by a chorus +composed of 400 trained voices. The acoustic properties of the hall were +simply perfect. Even in the extreme rear of the gallery, from where the +artists on the stage appeared the size of Liliputians, the softest tones +could be distinctly heard. + +At the close of the performance, however, an unfortunate accident +occurred, which deprived me of my prima donna for the remainder of my +tour. + +Just as the curtain fell, when "Marcel," "Raoul," and "Valentine" were +shot by the Catholic Guards, the guns were pointed too near Mdlle. +Rossini, who got touched in the face, and was further hurt whilst +falling. She had, therefore, to be carried home. + +I omitted to tell the reader that some weeks before I had succeeded in +engaging Mdme. Patti to take part in this Festival, for which I paid her +L1,600 a night, being the largest amount this invaluable lady has ever +received in the shape of salary. + +She was announced to appear on the second evening of the festival in a +concert, followed by the fourth act of _Il Trovatore._ On arriving home, +flushed with the success of the opening night, but deeply concerned +about Mdlle. Rossini, whom I had just left, I received a letter from +Mdme. Patti's agent, informing me that she was suffering from a severe +cold, so that it was feared she would be unable to appear the following +evening. + +I at once sought Colonel Nichols, and informed him of this, desiring him +kindly to accompany me to Mdme. Patti's with the leading physician of +the city, who found the unwelcome tidings to be perfectly true. No +alternative was left but to issue an explicit announcement to the +public, postponing Mdme. Patti's appearance until the following Thursday +afternoon at two o'clock. I therefore substituted the opera _Faust_ the +following evening, refunding their money to purchasers, or exchanging +their tickets for the night on which Mdme. Patti was to appear. This, of +course, needed a great deal of care and attention, and occupied me the +greater portion of the night on account of the vast number of tickets to +be provided for in the exchanges. I am happy to say that there was no +confusion; and the public eventually became satisfied with the +arrangement made. + +On the Wednesday afternoon the opera of _Carmen_ was given, with +Campanini, Del Puente, Dotti, and Minnie Hauk in the principal +characters. In the evening _Fidelio_ was produced with a powerful cast, +and with 300 extra voices added for the celebrated Chorus of Prisoners, +the receipts reaching their maximum on that occasion. + +Mdme. Patti, unfortunately, made but slow progress towards recovery, and +it was consequently decided to further postpone her appearance until the +following Saturday night, it being again necessary to inform the public +as to the cause. + +Various conflicting rumours at once got into circulation as to the Patti +trouble. After it had been announced that the capricious Diva could not +sing many refused flatly to believe in the reason assigned, namely, that +she had a sore throat. Others declared that Patti was a little stubborn, +self-willed person, and had done this expressly "to spite Mapleson." +Inquiries were set about in all directions. + +Newspapers sent their reporters hundreds of miles to discover the state +of Patti's health before she had quitted Detroit to come on to the +Festival. Malicious people even went so far as to say that Patti, like +Rip Van Winkle, was fond of "schnapps," on the insufficient ground that, +prior to starting, she had purchased a bottle of Mumm's "extra dry." +Even this turned out to be a mistake, for, in reply to an inquiry made, +a special despatch was received from Detroit by the _Cincinnati +Gazette_, stating that "the bills of Patti at the Detroit Hotel show +that during her entire stay in that city only two quarts of wine were +consumed, and the hotel waiters state they think Nicolini drank the most +of it. Further, the landlord stated that none of the party were +noticeably intoxicated during their stay in his hotel, showing there +could be no truth whatever in the statement that Patti was under the +influence of liquor." + +An evening paper published the following:--"The explanation that Patti +caught cold whilst driving in this city is strengthened by the fact that +she at least had a good opportunity for doing so, as she was driving +most of the time during the previous day. On our reporter inquiring at +the stables, he ascertained that her carriage bill for her drive +amounted to 55 dollars." Dr. J. D. Buck, who attended her, informed the +newspaper reporter that "Mdme. Patti was undoubtedly ill of a cold, but +she was rapidly improving." + +Meanwhile Dr. F. Forchheimer, physician to the College of Music, was +also sent to inspect the larynx of the prima donna, and he confirmed +what the previous doctor had said. + +The ticket speculators, however, lost nothing by the affair, the city +being very famous for _matinee_ performances, and as the ladies came +forward in great numbers at five dollars apiece for the purpose of +showing their new toilettes, very few returned after once entering the +doors. Each of the audiences for _Carmen_ and _Fidelio_ numbered 8,000 +people. + +On Friday evening I produced Mozart's _Magic Flute_; and on Saturday a +magnificent representation with complete scenic effects was given of +_William Tell_, where again my increased chorus of 400 did very +effective work, the voices coming out with full freshness and vigour. So +good a chorus had never been heard on the operatic stage before. The +orchestra, too, particularly distinguished itself. The overture, which +musically embodies the whole opera, was given with such precision, +correctness of tempo, and delicacy of colour that it called forth at +once an encore. + +On the Saturday morning a grand performance of _Lohengrin_ was given, +and in the evening Mdme. Patti was enabled to appear, the first part +being devoted to a concert, while the second was composed of the fourth +act of _Trovatore_. + +As the success of the Festival kept on increasing we resolved to give an +extra performance, for which purpose an engagement was entered into with +Mdme. Patti for the following Monday, when she appeared as "Margherita" +in _Faust_. + +I afterwards visited Detroit, Buffalo, Cleveland, Syracuse, and Albany, +returning to New York for the usual spring season, and there performing +_Fidelio_, _Huguenots_, _Lohengrin_, _Carmen_, _William Tell_, and +_Faust_. + +In the meanwhile I had put in rehearsal Meyerbeer's _Africaine_, which +was placed on the stage at considerable expense, all the costumes, +scenery, dresses, and armour being entirely new, and the stage being +occupied by some 400 persons. The gorgeous revival of _l'Africaine_ +proved an extraordinary success. The audience fairly packed the large +house nightly, the fine spectacle presented in the third and fourth acts +causing great enthusiasm. Miss Hauk undertook the part of "Selika," and +was particularly successful from a dramatic point of view, whilst Signor +Galassi and Campanini found great opportunities for the display of their +vocal abilities. The great ship scene of the third act created a perfect +furore. So anxious was I that the acting of the Indians on boarding the +ship should create a sensation, that I went to Union Square and from the +various agencies engaged some 12 or 15 actors, who were then out of +employment, and whose make-up with the tattoo marks and their realistic +fighting made such an impression that on the conclusion of the scene the +curtain had to be raised. + +The grand march, too, in the fourth act created a sensation, equally +with the magnificent spectacle and the gorgeous palanquin in which +"Selika" enters accompanied by "Nelusko." I had requested Bradwell to +design for me a full-sized elephant with a palanquin on its back, in +which people were seated, the interior of the elephant being occupied +and kept firm by two stalwart policemen. + +The scenery was of the most gorgeous description, specially painted for +me by Magnani, who surpassed even his previous efforts. _L'Africaine_ +was repeated for five or six consecutive nights to crowded houses. + +On one occasion we had to perform _L'Africaine_ on consecutive nights in +New York and Philadelphia, which entailed the removal of the whole of +the scenery and dresses, likewise the transport of the whole of the +supernumeraries, ballet, etc., numbering altogether 400 persons; and we +had, moreover, to return the same evening after the performance to New +York, in which city the work was to be repeated the following night. + +The supernumeraries, with their blackened faces, and the Indians with +their tattoo marks, caused a great sensation at the railway station on +the return journey, as there was no time to think of washing them. We +only reached New York the next morning at six o'clock, when again the +early morning public were startled by the arrival of these sable gentry +under a blazing sun. + +We remained in New York for further representations, when I revived +Verdi's _Ernani_, _Don Giovanni_, _Huguenots_, etc. + + + + +CHAPTER XVIII. + + I ENGAGE PATTI--MY MILITARY EXPERIENCE--INFLUENCING + ELECTORS--OPERATIC JOINT STOCK COMPANY--OBJECTIONS TO ENGLISH + MONOPOLY--PATTI IN NEW YORK. + + +ABOUT this time I set to work for the purpose of engaging Adelina Patti +for my ensuing season, and sent a letter to all the 200 stockholders of +the Academy (who occupied free seats) to know what amount they would +contribute towards the accomplishment of my object. Mr. Pierre Lorillard +wrote to me that in case I should be short he would donate 1,000 dollars +beyond the amount he then contributed should Patti sing at the Academy +the next winter. I replied that I simply required each stockholder to +contribute three dollars a seat for the Patti nights in order to aid me +in carrying out this much-desired engagement. + +I regret to say that many of the stockholders sent me no response +whatever. Others destroyed the value of their consent by adding that it +was only to be given if all the other shareholders agreed to do the +same. + +Another great difficulty presented itself. I was called upon to deposit +no less than L11,000 at Belmont's bank as caution money on the signing +of the contract. This difficulty I ultimately got over through the +kindness of August Belmont, who guaranteed Mdme. Patti's deposit, I at +the same time assigning to Mr. Belmont the whole of my subscriptions. +The agreement with Mdme. Patti was, therefore, duly signed. + +The conclusion of this contract made a great sensation. When it became +known that Mdme. Patti was to return the following season, numbers of +applications were made for subscriptions, although it was six months +before the opening. + +About this time the building of the new Metropolitan Opera-house had +been resumed in earnest, in order that it might be completed by the +following spring. + +The season shortly afterwards closed with the benefits of the various +singers, I taking the last night, when I gave acts of four different +operas, namely, _Faust_, _Daughter of the Regiment_, _Ruy Blas_, and +_Africaine_, with a new ballet. + +Having secured Mdme. Patti for the ensuing season, I endeavoured to +effect an engagement also with Mdme. Gerster, who was then in New York, +having returned from New Orleans, and being now on her way to England. I +only succeeded, however, in securing her services for the following +morning, when an early _matinee_ had to be given prior to the departure +of the Company for Europe in the afternoon, the receipts on that +occasion reaching no less than 9,000 dollars. + +This year the Americans paid me the compliment of making me an honorary +member of the 22nd Regiment, with rank corresponding to my own actual +rank in the English volunteers. But beyond attending a couple of balls +and some competition drills in the uniform of the regiment I had never +time enough to profit by the privileges extended to me in so friendly a +manner. + +I must not forget among my volunteering reminiscences a rather dramatic +incident which occurred at Her Majesty's Theatre in the year 1860, when +I had just joined the Honorable Artillery Company, and, as yet but +little instructed in the mysteries of drill, was anxious to qualify +myself as soon as possible for admission into line. With this view I +spent every spare moment in practice, sometimes with the Scots Guards at +St. George's Barracks, Trafalgar Square, and often in the evening, when +some operatic representation was actually going on, at Her Majesty's +Theatre, where I utilized the services of the guard of honour in +attendance. The first time I carried out what had struck me as rather a +happy idea I was putting the squad of guardsmen through the bayonet +exercise in the Ballet practice room. I had just given the orders, +"Advance, advance, point!" when the door opened, and Lewis, the +treasurer, appeared, bearing in his hand a bag which held the receipts +of the evening. The word "point!" brought the bayonets of the guardsmen +almost into contact with the breast of the startled official, who, +uttering a shriek and dropping the money-bags, turned and fled. + +So scared was he that not until some time afterwards did he quite +recover himself. Had he fancied in his terror that the guard had +suddenly invaded the theatre and prepared an ambuscade in order to rob +the treasurer of the night's receipts? He could give no explanation on +the subject. The sight of the red-coats, the authoritative cry of +"Point!" and the rapid presentation of the bayonets, which all but +pierced him, had the effect of depriving him for a time of his wits. No +other account could poor Lewis give of the matter. + +In these degenerate times it is considered enough at one of the Royal +Theatres to station outside during the performance a sergeant's guard; +and Mr. Augustus Harris is modest enough to consider a corporal's guard +sufficient. In former days, however, Her Majesty's Theatre was almost +always during a performance under the care of a captain's guard, the +officers being provided for inside, where the captain, the lieutenant, +and the ensign occupied stalls one, two, and three, specially reserved +for them. + +Three other stalls used, at this time, to be reserved for the Captain +of the Body-Guard, the Exon in Waiting, and the Clerk of the Cheque. + +To show that my military studies and military labours of the last +twenty-eight years have not been altogether in vain, I may here append a +few letters from various commanding officers and adjutants with whom I +have at various times done duty. + +During my English provincial tours I have for many years, thanks to the +kindness of H.R.H. the Commander-in-Chief, been enabled to do duty with +a number of different regular regiments, whose officers have done me, +moreover, the honour of making me free of their mess. Sometimes, too, +the Colonel of the regiment has been good enough to place his troops +under my command. I have the pleasantest recollections of having, in the +course of my various provincial tours, worked and dined with the +officers of, I can scarcely say how many regiments. Here are some of the +letters which, on my taking leave, I received from the commanding +officers or adjutants of those corps:-- + + "Richmond Barracks, Dublin, + "Dec. 14, 1869. + +"I certify that Lieutenant-Colonel Mapleson, 6th Tower Hamlets Rifles, +has drilled regularly under my supervision from the 4th of September, +1869, until the 9th of October, 1869. During this period he went +regularly through company drill, and for the last fortnight took command +of the Battalion; he on joining being well up to his work and +thoroughly acquainted with the theory of drill. On leaving I considered +him well qualified to take command of a regiment in the field. He took +the greatest interest in his work, and went in for mastering the minutiae +of drill with great perseverance. + + "C. J. BURNETT, + "Captain and Adjutant 2/15 Regiment." + +* * * + + "Salford Barracks, Manchester, + "May 6, 1870. + +"I hereby testify to the capabilities of Lieutenant-Colonel Mapleson in +drill during the time I had command of the 100th Regiment at Manchester. +He drilled the Battalion several times, and from the report of the +Adjutant I have no hesitation in stating that few officers are superior +to him in the knowledge of battalion manoeuvres. + + "H. COOKE, + "Major Commanding 100th Regiment." + +* * * + + "Gallowgate Barracks, Glasgow, + "May 26, 1870. + +"I certify that Colonel J. H. Mapleson, Honble. Artillery Company, was +drilling with the 2nd Battalion 5th Fusiliers, then under my command, +and that he showed considerable proficiency in company and battalion +drill. + + "GEORGE CARDEN, + "Major 2nd Battalion 5th Fusiliers." + +* * * + + "Junior United Service Club, + "November 1, 1871. + +"I have much pleasure in testifying as to Colonel Mapleson's thorough +knowledge of the 'Field Exercise Book,' etc., etc., and I feel convinced +from what I saw of him whilst attached to my regiment that he could +handle it under any circumstances. + + "J. CLOWES HINDS, + "Major 40th Regiment." + +* * * + + "Beggars' Bush Barracks, Dublin, + "January 13, 1871. + +"Lieutenant-Colonel Mapleson drilled with the 1st Battalion Scots +Fusilier Guards during the autumn of 1870. He was thoroughly up in +company and battalion drill, more especially the latter, and is +perfectly able to drill the Battalion. + + "J. W. WALKER, + "Captain and Adjutant + "1st Battalion Scots Fusilier Guards." + +* * * + + "Glasgow, October 30, 1871. + +"Lieutenant-Colonel Mapleson has during the last month frequently +attended the parades of my regiment. He has both taken command of a +company at battalion drill and has also manoeuvred the Battalion +himself, in both situations, showing a thorough knowledge of the +Infantry Field Exercise. + + "J. C. RATTRAY, + "Colonel Commanding 90th Light Infantry." + +* * * + + "Edinburgh Castle, + "May 21, 1873. + +"Certified that Colonel James H. Mapleson was attached to the 93rd +Highlanders for drill. I consider him able to drill a squad, company, or +battalion according to the Field Exercise, and fully impart instruction +therein. + + "FITZROY MACPHERSON, + "Adjutant 93rd Sutherland Highlanders." + +* * * + + "Infantry Barracks, Windsor, + "July 7, 1873. + +"This is to certify that Colonel Mapleson was attached for drill to the +1st Battalion Scots Guards during the winter months; that he is +thoroughly acquainted with battalion drill, and perfectly competent to +drill the Battalion either singly or in brigade. + + "J. W. WALKER, + + "Captain and Adjutant 1st Battalion Scots + Guards." + +* * * + + "Edinburgh Castle, N.B., + "April 10, 1875. + +"I certify that during the stay of Colonel Mapleson at Edinburgh he +attended regularly all parades of the 90th Light Infantry, and +manifested thorough knowledge of company and battalion drill. He has a +good 'word of command,' and nothing could exceed his zeal for military +information, which he is fully in possession of. + + "H. W. PALMER, +"Major Commanding 90th Light Infantry." + +* * * + + "Wellington Barracks, + "January 10, 1874. + +"We certify that Lieutenant-Colonel Mapleson, of the Tower Hamlets Rifle +Brigade, is conversant with the drill of a company and of a battalion, +and able to give instruction in the same. + +"That he can command a battalion in brigade. + +"That he is competent to superintend instruction in aiming and position +drill, and to superintend blank firing and ball practice. + +"That he is acquainted with the proper mode of route marching and the +duties of guards. + +"Also that he can ride. + +"Also that he is acquainted with the mode of posting picquets and their +sentries and the duties of orderly officer. + + "L. E. PHILLIPS, + + "Colonel 2nd Battalion Grenadier Guards. + + "E. ANTROBUS, + + "Captain and Adjutant 2nd Battalion Grenadier Guards. + + "Approved + + "EDWARD SAXE WEIMAR, + + "Major-General Commanding Home District." + +Among my experiences of exercise and drill I remember an incident in +connection with a Scottish regiment which, though I cannot very well +narrate it in minute detail, I can say enough to make the whole story +intelligible to those who have worn a kilt. At Edinburgh, in 1873, the +93rd Highlanders were one morning placed under my orders in the Queen's +Park by the Commanding Officer, at that time Colonel Burroughs. The +regiment was on the slope of a hill looking downwards. I gave the word +to fire a volley at a distance of 500 yards, and my military readers are +aware that at a distance beyond 200 yards the position for firing is the +kneeling one. + +A great number of persons were looking on. Suddenly an adjutant rode up +to me, and pointing to the crowd exclaimed-- + +"For heaven's sake give the word, 'As you were!'" + + * * * * * + +Friends have often asked me how, occupied, absorbed, distracted as I +must have been by the affairs of a great operatic establishment, I could +nevertheless find time, leisure, and even strong inclination for +military pursuits. The simple explanation is that I needed diversion +from my ordinary labours, and that I found this in the active duties of +a volunteer officer. Frequently at the end of a long rehearsal I have, +without finding time to dine, had to put on my uniform, get on +horseback, and hurry to take the command of my regiment in the Regent's +or in Hyde Park. The entire change of occupation was, I am convinced, +the best possible relaxation I could have. I never could have recruited +my energies by simple idleness, which, besides being in my case +intolerable, is apt to lead one into scrapes. + +Many years ago, at the beginning of the volunteer movement, at which +time I was still associated with Mr. E. T. Smith, I qualified myself for +the duties of sergeant, and used to receive half-a-guinea a time from +the corps for drilling recruits, who came to us, naturally under the +circumstances, in the rawest condition. My reflection (not, perhaps, a +particularly new one) as to the perils of idleness was forcibly +illustrated when, a short time afterwards, I found myself at +Walton-on-the-Naze doing duty with a battery. Anything more hopelessly +dull than that place when drill was once at an end, can scarcely be +imagined. At last I could stand it no longer, and was obliged to devise +some means of diversion, which if culpable was, I hope, original. + +The people of the place told me that, though Walton was dull and +desolate, there were plenty of farmers in the neighbourhood who had +buxom wives and pretty daughters, and that when anything really worth +seeing was going on whole families would flock in, and render the place +quite lively with their presence. + +What would attract them? I put the question to myself as an impresario +just beginning his career, but already accustomed to consider such +questions. Our artillery drill was evidently not enough. The great +sensation of the moment with the British public was Blondin and his +tight-rope performances. + +Would Blondin fetch them? I asked myself; and, Blondin himself being out +of the question, would public announcements to the effect that Blondin +would appear on a certain day have the desired result? + +A day or two afterwards the walls of Walton-on-the-Naze as well as +Colchester were covered with placards setting forth that on a fixed day +Blondin would appear and walk on the tight-rope from the end of the pier +to the top of the hotel in which we were staying. + +On the day appointed the sun shone brightly, and long before the time at +which Blondin was expected an army of holiday folks from the surrounding +country came in with as many pretty girls as one could wish to see in +the somewhat similar scene of the "statute fair" in the opera of +_Martha_. + +There was no room for the carts in the stables of the place, and they +had to be packed close together on the beach. + +The regimental band played on the pier, and the holiday folk had, I am +sure, an agreeable time. Some disappointment may have been caused when +telegrams in _fac-simile_ were posted on the walls with the information +that Blondin from indisposition would be unable to appear. But this was +atoned for by an announcement that in lieu of the tight-rope +performance there would be a grand display of fireworks; and the +pyrotechnics, which the organizers of the hoax paid for, went off most +brilliantly. + +At one time, moreover, I used to find solace from my managerial cares in +the pursuit of politics, and, with or without justification, I nourish +the hope that I did something towards securing the return of Mr. W. H. +Smith for Westminster. I was an active member of his committee, both in +connection with the elections which went against him and the subsequent +one which brought him triumphantly in. After his second failure I +remember the late Mr. Lionel Lawson saying to me-- + +"The thing is impossible; I would not mind giving you a written promise +to pay you L10,000 if ever he gets in." + +Lists were at that time in the hands of the registration committees, +showing on which side each elector gave his vote. It seemed useless to +interfere with those who were marked "L," as voting firmly on the +Liberal side. But among the Westminster shop-keepers there were numbers +who were marked "LC," who apparently did not care on which side they +voted, and who generally divided their vote between a Liberal and a +Conservative candidate. With these undecided men there was evidently +something to be done; and I gave them to understand that, having strong +Conservative sympathies, I should feel it my duty to place on my free +list those of the undecided who could bring themselves to support that +side. + +As the ballot system had just been introduced when Mr. W. H. Smith was +for the first time returned, I cannot, of course, say to what extent my +advocacy and aid may have benefited him. But I hope, as before observed, +that I did something towards securing his presence in Parliament. + +On my arrival in London I was notified that the Royal Italian Opera, +Covent Garden, Limited, had not yet been floated. But this result was +daily expected. I was precluded then from taking further steps towards +opening my London season of 1882, fearing that the Company might be +floated just as I started, in which case I should have to close up +again. + +In the meantime, fire insurances, poor rates, and taxes generally kept +on accumulating, and although I notified that I was ready to hand over +possession of the theatre, I still could get no reply. The consequence +was that I had to pay all sorts of arrears whilst an action for +ejectment was brought against me for having been a few days late in +paying the fire insurance. My landlord, in order to keep his superior +lease straight with the Woods and Forests, had also paid it, so that the +Company received the money twice over. Considerable battles hereupon +commenced in the law courts with a view of ejecting me from my theatre, +and it was not till late in the season that the long-expected +notification came that the Company had been floated. + +The consideration I was to receive consisted of a payment of L2,500 in +cash and 1,000 fully paid up L10 shares in the new Company. I need +hardly inform the reader that I never saw one of the shares, and could +never get them; whilst all the cash that I received was consumed in +paying off the arrears of ground rent of Her Majesty's Theatre, +insurance, etc., whilst I was waiting for the Company to be floated. + +The main object of the Gyes and of the new Royal Italian Opera, Covent +Garden, Limited, was to obtain possession of the new Metropolitan +Opera-house, New York, which was then approaching completion. By the +terms of my agreement with the Academy of Music in New York I was +prohibited from parting with or assigning my interest or any part +thereof in that building during the remaining portion of my tenancy, +which still had two years to run. The agreement in reference to my +services for the next season at the Academy had to be drawn so as to +make it appear that I had not in any way parted with my interest or any +portion thereof; although by another agreement it was stipulated that I +ran no pecuniary risks whatever in connection with the approaching +season, simply receiving my personal expenses, my salary of L1,000 a +year, and my 50 per cent. of the profits, while retaining, as hitherto, +the sole direction of the whole concern. + +On starting from Europe, the Royal Italian Opera Company, Limited, gave +me a financial secretary to accompany me; and I was also assisted by +Commander Gye as treasurer. I formed, as I considered, a most brilliant +Company, which included Mdme. Adelina Patti, Mdlle. Savio, a new singer +whom I had heard in Italy, Mdlle. Rossini, Mdlle. Minnie Hauk, Mdme. +Fursch-Madi, Mdlle. Dotti, Mdlle. Valleria, Mdlle. Zagury, Mdme. +Scalchi, Signori Mierzwinski, Ravelli, Campanini, Nicolini, Galassi, Del +Puente, and Durat, a Parisian baritone of some note. I augmented the +strength of the chorus, and when on the point of publishing my +prospectus I found that the general manager in London had added a Mdlle. +Berghi, without my knowledge, who on her appearance later on made +probably the greatest _fiasco_ ever known in America. He also, however, +added his wife, Mdme. Albani, whose brilliant talents added lustre to +the season. We began, therefore, in grand style, and had an enormous +subscription. + +The opera troupe arrived in New York early in October, and was met in +the usual way by steamers and bands of music up the bay. These +accompanied us to the wharf, where the party landed amidst great +cheering. + +Whilst on board I organized a grand opera concert, in which the whole of +the principal singers and chorus took part, under the direction of +Arditi, in aid of the Liverpool Sailors' Orphanage. The saloon was +elegantly decorated for the occasion, and, without exception, every +passenger aided the scheme by attendance and contributions. I directed +the musical arrangements, whilst the prince of American orators, the +Hon. Daniel Dogherty, presided. Over L50 was realized for the charity. + +It was now announced by the Royal Italian Opera Company, Limited, that +on the completion of the new Metropolitan Opera-house, which Gye felt so +sure of obtaining, the Academy would be closed, so that a monopoly of +Italian Opera would thus be established in New York. + +The papers took the idea up warmly, but in a hostile spirit; the +_Herald_ declaring in a leading article that if the Royal Italian Opera, +Covent Garden, Limited, of London, ever expected to monopolize opera in +America it was very much mistaken. The people in America, it stated, +would heartily encourage them in all efforts to establish and maintain a +first-class Opera in New York; but when they talked of repeating the +London proceeding by closing up either one of the existing Opera-houses +for the purpose of monopolizing the business, they might as well +understand that they were proposing a scheme which the American public +would readily defeat. It was contended that New York was large enough +for two Italian Opera-houses, and, if the performances in both were +meritorious, both would be well supported. + +Of course all the attention of the public was concentrated on the +expected arrival of Patti, which in due course took place. There was the +usual crowd on the wharf all night awaiting the ship's arrival. I had +left orders for a telegram to be sent to me as soon as the vessel passed +Fire Island in order that I might be in time to dress and go down to one +of the specially chartered steamers with Signor Franchi, Patti's agent, +Commander Herbert Gye, and a party of artists and reporters, accompanied +by military bands, fireworks, etc. The _Servia_ was out in the middle of +the stream, and we steamed up alongside, when we saw Patti, who had been +up since half-past four in the morning, in feverish anxiety to reach +_terra firma_. + +Our band struck up "God Save the Queen" and everyone bared his head; the +Englishmen partly from traditional reverence, but most of those present +from admiration of the lyric queen who had come for another reign to the +delighted people of New York. Handshaking and greetings followed. + +After we had got the Patti through the Custom House she was placed in a +carriage and taken to the Windsor Hotel, the room being piled up with +telegrams, cards, and bouquets. There was also a large set piece with +the word "Welcome!" embroidered on it in roses. In the evening there was +a midnight serenade in front of the Windsor Hotel, and ultimately _la +Diva_ had to appear at the window, when orchestra and chorus, who were +outside, performed the grand prayer from _I Lombardi_. After three +hearty cheers for Adelina Patti people went home, and she was left in +peace. + +Mdme. Patti made her _debut_ a few days afterwards as "Lucia di +Lammermoor," followed by the _Traviata_, etc. To describe in detail her +success would be to repeat an oft-told tale. + +Amongst the numberless inquiries at the box-office several were made as +to how long Mdme. Patti remained on the stage in each of the different +operas; and the newspapers busied themselves as to the number of notes +she sang in each particular work; larger demands for seats being made on +those evenings when she sang more notes. _La Traviata_ generally carried +off the palm, perhaps because one journal had calculated the interest of +the money accruing on her diamonds, whilst she was singing in that work. + +A party of amateurs would buy a ticket between them, each one taking 20 +minutes of the ticket and returning with the pass-out check to the next. +Lots were drawn to decide who was to go in first; and in the event of +anyone overstaying his 20 minutes he had to pay for the whole ticket; +correctness of time being the essence of the arrangement. + + + + +CHAPTER XIX. + + NON-ARRIVAL OF SCALCHI--GENERAL INDISPOSITION--KING KALAKAUA + ENNOBLES PATTI--RAVELLI CONSULTS HIS DOG--THE COMPANY + VACCINATED--PATTI EATEN BY MICE--ARRIVAL OF ALBANI--CINCINNATI + OPERA FESTIVAL OF '83--FREEDOM OF THE CITY. + + +I was getting very anxious about the arrival of Scalchi, who had never +yet appeared in New York, and who had lately been singing in Rio Janeiro +and at Buenos Ayres. It was not until the 20th November that I received +notice of the sighting of her ship, the _Plato_, from Rio Janeiro, which +at length arrived on the 24th, after a tempestuous voyage of twenty-two +days. The vessel had been laden with coffee, hundreds of boxes of which +had been thrown overboard to lighten it. Provisions running short, the +passengers had mostly to live on biscuit and coffee, so that Mdme. +Scalchi on her arrival was in a very feeble state; and in lieu of going +down to the Academy to rehearsal, as I proposed, took to her bed and +remained there for nearly a month. I was almost daily in attendance upon +her. + +Early in December I was within a very close shave of closing the +theatre. The opera announced for the evening in question was _William +Tell_. At about four o'clock I received a doctor's certificate from +Mdlle. Dotti, who performed the principal female character, notifying me +that she had been attacked with diphtheria. I therefore had to set about +to find a substitute, having decided to give the opera anyhow. Shortly +after a notification came from Mierzwinski, the tenor, who was also +indisposed, though after a deal of trouble he promised to go on and do +his best. + +I was, however, compelled to change the opera to _Lucia di Lammermoor_, +as the lady who had undertaken to replace the prima donna in _William +Tell_ was in such a nervous state. There was no time for a rehearsal; I +therefore decided to give _Lucia_ instead. On the notice being sent to +Mdlle. Laura Zagury, the soprano, she informed me that although _Lucia_ +was in the _repertoire_ she furnished me on her engagement she had never +sung that _role_. The opera therefore had to be changed to _Aida_. +Orders had just been given to the various departments as to the scenery, +dresses, music, etc., when the news came that Mdlle. Rossini, whom I had +counted upon for the principal part, was lying ill at her house in Fifth +Avenue. + +I now changed the opera to _Rigoletto_; but Mdme. Zagury was not ready +with the part of "Gilda," and absolutely refused to appear. _Les +Huguenots_ was next announced, it being now half-past five. Everything +was set in motion for the production of that opera, when Mdme. +Fursch-Madi declared her inability to assume the part of the heroine, as +she had taken some medicine, believing that her services would not be +required until the early part of the following week. Thereupon an attack +was made on Mdme. Savio, who, however, regretted that she was unable to +appear as "Valentine." + +Nothing was left but to try _La Favorita_; but Signor Ravelli, who had +just finished a _Carmen_ rehearsal, declared it would be utterly +impossible for him to sing the _role_ of "Fernando." Then Minnie Hauk +was sought for; but she was saving herself for her appearance in +Brooklyn on the morrow, and distinctly declined. + +I now took a decision either to perform _La Favorita_, or to close up, +as it was already 6.30 p.m. I at length persuaded Signor Clodio, one of +the tenors, to assume the part of "Fernando." But a new difficulty +arose, as, being a very portly gentleman, there were no costumes in the +house to fit him. The tailors were then set to work, who promised to +have the dress ready in time. At this juncture word came from Mdme. +Galassi, who was to have taken the part of "Leonora," that she was in +bed suffering, and that it would be impossible for her to appear. I +immediately went off to Mdme. Galassi myself. She assured me of her +willingness to do her best; but she had two large boils under her right +arm which caused her acute agony. At that moment she nearly swooned from +the pain. To fetch Dr. Mott, our talented theatrical surgeon, was the +work of a moment. We raised her up and the boils were lanced, which at +once gave her relief, and I got her down to the theatre just at five +minutes to eight. She had time to dress, as "Leonora" does not appear +until the second act. The performance went off successfully; I had got +out of another serious difficulty after changing the opera seven times. + +In the midst of my trouble a deputation arrived from Kalakaua I., King +of the Sandwich Islands, informing me that they were commanded by his +Majesty the King of Hawaii to confer on Mdme. Patti the Royal Order of +Kapirlani. They had the diploma and jewels with them, and they were +accompanied by the King's Chamberlain. I had to entreat them to wait "a +moment" while I got through my troubles. That moment must have been +nearly two hours. + +At length we all went off to Patti's hotel, when the Order was conferred +upon her in the presence of some intimate friends. The Order consisted +of a jewelled star, suspended by a red and white striped ribbon, +accompanied by the following parchment document:-- + +"Kalakaua I., King of the Hawaiian Islands, to all who shall see these +presents greeting, know that we have appointed and commissioned, and by +these presents we appoint and commission, Mdme. Patti to be a Knight +Companion of our Royal Order of Kapirlani, to exercise and enjoy all the +rights, pre-eminences, and privileges to the same of right appertaining, +and to wear the insignia as by decree created. + +"In testimony whereof we have caused these letters to be made patent, +and the seal of the Order to be hereunto affixed. + +"Given under our hand, at our palace at Honolulu, this 8th day of +November, in the year of our Lord 1882. + + "KALAKAUA REX. + +"By the King, the Chancellor of the Royal Order of Kapirlani. + + "(Signed) CHARLES H. JUDD." + +The season continued, and _Lohengrin_, _Africaine_, _Huguenots_ and +other important operas were produced. The unfortunate illness of Scalchi +had long delayed me from producing _Semiramide_, which, however, was at +length brought out on the 20th December, being the last night but two of +the season. Never shall I forget the enthusiasm of the crowded and +fashionable audience of that evening. Mdme. Patti's exquisite purity of +intonation and her breadth of phrasing filled the large audience +assembled with delight. At length Mdme. Scalchi appeared, and she at +once proved herself an artist of extraordinary excellence, and a true +dramatic singer, with a contralto of unusual richness, volume, and +compass. The enormous success achieved by Scalchi inspired _la Diva_, +and it was generally pronounced that her singing on this occasion was +the best she had ever given in America, being, indeed, the perfection of +vocal art. The whole performance was beyond criticism. + +For the morning of the following Saturday, the 23rd, I announced the +opera of _Carmen_. This was to be the closing _matinee_ of the regular +winter season, and the announcement drew one of the largest assemblages +of ladies, there being very few gentlemen, to the doors of the Academy. + +It was about three-quarters of an hour before the opening of the doors +when Ravelli sent word that he could not sing. It was then too late to +change the opera. I therefore rushed off to his hotel, leaving word that +the doors were on no account to be opened until I returned. + +I found him in bed. Hearing me enter he slunk under the clothes, and I +could not get him to answer my questions. I approached the bed to remove +the sheets, when a dog sprang out at me, Ravelli's favourite dog +Niagara. + +"Laissez moi dormir!" muttered the sluggard, as he turned over on the +other side. + +"Get up," I exclaimed; "don't you understand that you are imperilling my +enterprise by lying in bed and refusing to sing when there is nothing +the matter with you?" + +He told me that he was very tired, that he was quite out of sorts, that +his voice was not in good order, and so on. + +With the aid of his wife, I succeeded in making him get up. He dressed +himself. Then taking him to the piano I tried his voice, and found that +there was nothing whatever the matter with it. He could sing perfectly +well. + +Ravelli, however, for some minutes still hesitated. In his difficulty he +determined to consult Niagara. Appealing to an animal whose superior +intelligence he recognized, Ravelli said in the French language-- + +"Est ce que ton maitre doit chanter?" + +The dog growled, and Ravelli interpreted this oracular response as an +order not to sing. He tore his clothes off, sprang hurriedly into bed, +and left me to my own resources. + +In London I had raised poor Volpini almost from the dead to make him +sing the part of _Faust_, when but for his services I should have had to +close my theatre. I had induced George Bolton (of whom I knew nothing at +the time, except that he had a tenor voice, and that I had nearly run +over him in a cab) to undertake literally at a moment's notice the part +of "Lionel" in _Martha_, of which he knew nothing until I coached him, +except one air. But neither a Bolton nor a Volpini was now to be found, +and thanks to my lazy, superstitious, dog-ridden tenor, I had to close +my theatre and send away one of the most brilliant audiences that New +York could produce. + +I wrote a hurried notice which was put up in manuscript just as I had +scribbled it down, to the effect that in consequence of Ravelli's +refusing without explanation to sing, the theatre was closed for that +morning. + +The excitement outside was prodigious. Everyone, of course, said that it +was through my fault the doors were shut. + +"It is all that Mapleson," one charming lady was heard to exclaim. +"Wouldn't I scratch his face if I had him here!" + +Worst of all, the "scalpers" went off with the money they had received +for tickets sold outside the theatre. + +Let me here explain what "scalper" means. I am afraid that in America +our excellent librarians who do so much for the support of the Opera +would be called "scalpers;" a scalper meaning simply one who buys +tickets at the theatre to sell them at an advance elsewhere. The +ferocious name bestowed upon these gentry shows, however, that their +dealings are not quite so honourable as those of our "booksellers." For +when they had disposed of their tickets, and the performance changed, or +the theatre by some accident closed, they would walk off without any +thought of restoring the money they had received for tickets now +unavailable. At times, too, I have caught them exhibiting a gallery +diagram, and selling gallery places as orchestra stalls. They are now +obliged, by a just law, to take out licenses, and register their places +of abode. Nor do managers allow any one of them to buy more than four +tickets for each representation. + +Meanwhile the New York fall season of 1882 finished up grandly with +_Semiramide_, the receipts reaching 14,000 dollars, and the public mad +with enthusiasm. + +I afterwards started with the Company for Baltimore, where we opened +with rather less than our usual success, on account of the small-pox +which was raging all over the city. Very few notices were given of the +opera in consequence of three and four columns a day being occupied with +the crusade undertaken against the small-pox by Mayor White, who had +telegraphed for a large number of vaccination physicians from various +States, determined as he was to stamp out the disease. + +The whole of the twenty wards of the city had been placed under properly +constituted medical authorities, and there everyone had to be +vaccinated, including the whole of my Company. Prima donnas had to be +vaccinated on the legs, whilst ballet-girls were vaccinated on the arms; +in fact the theatre at one time became quite a hospital. + +However, we managed to get through our engagement with success, though +Mdme. Patti remained over at Philadelphia, being afraid to enter the +city of Baltimore. + +The production of _L'Africaine_, which was new to Baltimore, was a +marked success. On terminating our engagement we went over to +Philadelphia, where Patti made a splendid opening in _La Traviata_, the +vast theatre being crowded from floor to ceiling. + +The next night we produced _Aida_, the Directors of the Academy of Music +having caused to be painted specially for the occasion some of the most +gorgeous Egyptian scenery I have ever seen. + +At five o'clock Mdme. Scalchi sent me word that she was very ill, and +unable to sing. I thereupon went for the physician, whom I conducted +forthwith to her hotel. On our arriving at the door of her apartment I +saw a waiter going in with some lobsters, salad, and roast duck. I +immediately asked for whom he was catering, and he replied: "Mdme. +Scalchi." I waited a few minutes in order to give her time to begin +operations on the duck and the lobsters; and she was recounting some +amusing story which ended in loud laughter, when I took this as my cue +for entering. + +Mdme. Scalchi could no longer plead indisposition, and in due time she +came to the theatre. + +_Aida_ was a great success. At two o'clock the following afternoon we +performed _Lucia_ with Adelina Patti to a house containing over 14,000 +dollars. In the evening we gave _L'Africaine_, magnificently placed on +the vast stage, to receipts not far inferior to those of the morning. + +Prior to the close of our very successful engagement sad alarm was +created all over the city by a report in some of the leading morning +papers that Mdme. Patti the preceding night had been devoured by mice. +Several persons had already applied at the box office for the return of +their money on the ground that _la Diva_ had ceased to breathe. + +On inquiry it turned out that Mdme. Patti had been bitten by a mouse on +the left ear. I had better tell the story in the _Diva's_ own words, as +given to the reporter of the _Philadelphia Press_. + +"'So you were bitten by rats last evening?' the reporter said. + +"'Oh, no, it was not so bad as that,' replied Patti, laughing heartily +as she recalled the adventure. 'I hardly, however, like to mention it at +all, for I am really so comfortable in this hotel. They do all they can +to please me. When I went to bed last evening my maid turned the clothes +over for me to get in, when out jumped six mice--a complete family, in +fact; nice fat little fellows. I was not frightened; at least, I was +only astonished. I took my bon-bon box and scattered some sweetmeats on +the carpet so that the tiny intruders should have some supper, and I +went to sleep without any apprehension. In the middle of the night, +however, something disagreeable occurred, and I was awakened by a sharp +pain in my ear. I put my hand to my head when a mouse jumped to the +floor, and I felt blood trickling on the side of my cheek. I got up and +called my maid, and examination showed a bite on my left ear. It bled a +good deal, and to-day my ear is much swollen. I shall not put any +bon-bons down to-night,' continued Mdme. Patti, 'and when I sleep in the +day time I shall place my maid to act as sentry.'" + +The reporter, feeling that he had passed one of the most delightful +quarters of an hour in his life, now left the apartment. + +When the news got about that Patti had been bitten by a mouse, +enterprising makers and patentees of mousetraps approached her from all +sides with specimens of their various mouse-catching contrivances. Some +of these were very curious. One was prompt and severe in its action, +despatching the mouse at the moment of capture by a single cutting blow. +Another was apparently the work of some member of the Society for the +Prevention of Cruelty to Animals. Far from killing the mouse, it +provided the little creature with a wheel, which, as long as it was +allowed to live, it could amuse itself by turning. + +About this time two "sensations" occurred. One was connected with +Commander Gye, who was leaving the city at an early hour, when he was +robbed of his black leather travelling-bag, containing money, pins, +rings, Roman coins, cigarette boxes, a cheque book, a cheque for 4,400 +dollars, which I had signed for Mdme. Patti's previous night's salary, +with other documents of less value, including Nilsson's broken contract. + +The reports of this robbery, as usual, were considerably enlarged, and +it afterwards got into circulation that amongst the things lost were +Mdme. Albani's jewels, worth several thousands of pounds. This cost +Captain Gye a deal of inconvenience, for it brought down the Inland +Revenue authorities on him. He was accused of having smuggled in the +diamonds from abroad, and some considerable time passed before all the +excitement subsided. + +The other "sensation" was the invasion of the basso Monti's room while +he was in bed and the theft of 400 dollars worth of jewellery belonging +to him. This, too, caused a deal of talk in the papers. + +Our last night was, indeed, a gala night. The most brilliant audience of +the whole season filled every corner of the theatre, so great was the +curiosity of the public to see Mdme. Patti and Mdme. Scalchi together in +the same opera. About five o'clock the crowd outside the Academy was +already immense, and it was not until seven that we opened the doors. + +The rush was great, and a sad incident now took place. A lady in the +crowd who had purchased her ticket beforehand was taken up from the +bottom of the staircase to the top, though she died before reaching the +first landing from disease of the heart, rendered fatal by the +excitement. Borne upwards by the dense crowd she did not fall till she +reached the gallery. Fearing the alarm this occurrence might cause, the +servants, in order that I should not hear of it, had placed the lady on +the floor of a little top private box, where she remained during the +whole of the performance; her body not being removed by her friends +until the next morning. + +After leaving Philadelphia we visited Chicago, where the advance sale of +seats prior to our opening reached the enormous sum of 16,000 dollars. + +On the evening of our arrival I received a telegram from Mdme. Albani +stating that she would arrive early the following morning. I met her at +the station. She was accompanied by her husband, Mr. Ernest Gye, and his +brother, Commander Gye. She had just returned from some concerts which I +had arranged in Albany and in New York, where she had met with the most +enthusiastic reception. + +She appeared on the fifth evening of my first week in _I Puritani_, when +the cold weather did not deter the holders of tickets from claiming +their places in the theatre. At an early hour, and long before the +curtain ran up for the first act, there was absolutely not a vacant spot +in the theatre. Albani was welcomed with an enthusiasm that even Patti +might have been proud of. She was queen in the hearts of all who were +present that evening. + +On leaving Chicago we went to St. Louis, where our triumphs were again +repeated; Mdme. Albani, Mdme. Patti, and Scalchi all contributing to the +immense success. + +About this time several of my songbirds began to take cold, the weather +having suddenly changed. Mdme. Patti had to remain at home, Mdme. +Scalchi took to her bed, as also did Mdme. Fursch-Madi and Mdme. Albani. +The duty, therefore, of singing fell to Mdlle. Dotti, who for three +nights in succession sustained the prima donna duties, giving much +satisfaction under the circumstances. + +Patti, however, was able to resume work the following night in _La +Traviata_; Mdme. Albani singing "Lohengrin" at the morning performance +of the next day, whilst Mdlle. Dotti closed the season by singing +"Margherita" in _Faust_ the same evening. + +I was naturally very anxious about my singers. We had to leave by +special train at one o'clock in the morning in order to reach +Cincinnati; and as it was now some 40 degrees below freezing point, I +left the ballet, chorus, and orchestra to sleep in the railway +carriages, which were shunted up a siding. Those who went to the hotel +had the greatest difficulty in reaching it. + +On ascertaining that nearly every place had been sold for the whole of +the Festival week, I entered at once into arrangements for giving two +additional nights in the succeeding week, on which I arranged that Patti +should sing "Aida" and Albani "Margherita" in _Faust_. + +The first performance at the great Festival was _La Traviata_, followed +by _L'Africaine_, magnificently placed upon the stage. On the Wednesday +afternoon Mdme. Albani appeared as "Amina" in _La Sonnambula_, and in +the evening _William Tell_ was given, with Mierzwinski, Galassi, and +Dotti. This drew the largest number of people of any night during the +week, the great choruses of the Gathering of the Cantons eliciting the +loudest expressions of admiration. On the Thursday evening we performed +Rossini's _Semiramide_, Patti and Scalchi surpassing themselves. On the +following evening Wagner's _Flying Dutchman_ was produced, with Ravelli, +Galassi, and Albani. The next morning came _Don Giovanni_; with +Fursch-Madi as "Donna Anna;" Dotti as "Elvira;" and Patti as "Zerlina." +The first week was brought to a fitting close by a splendid performance +of _Lohengrin_; Mierzwinski performing the "Knight of the Swan;" +Galassi, "Telramund;" Monti, the "King;" Scalchi, "Ortruda;" and Albani, +"Elsa." + +This Festival, without going into details, surpassed the two preceding +ones. + +Everyone, I believe, made money. All the spring fashions were introduced +in the leading stores of the city, whilst visitors came in from many +hundreds of miles. The hotels were crowded, and people were sleeping +even in the corridors. The railways were making money, and the cabmen +making fortunes, from the high charges they taxed the public with. + +The Music Hall was nightly crowded to its utmost limit, there being +never less than 7,000 people present; and one representation surpassed +the other till all ended in one great excitement. The newspapers in the +city were taken up almost exclusively with the Festival. Nothing was +thought of but the Festival, and all business appeared to be suspended. +The toilettes of the ladies were something to be remembered. + +On February 18, 1882, prior to my leaving Cincinnati, a meeting was held +at the Mayor's Office, when my attendance was requested. To my +astonishment and delight the highest possible compliment was now paid +me; for I was presented with the freedom of the city, which was given to +me in a valuable casket, Mayor Means explaining that since the history +of the city no similar compliment had been paid even to one of their own +citizens, much less to an Englishman. This was followed by a grand +banquet at the Club, where, amongst others, I had the honour of making +the acquaintance of Mr. Reuben Springer, the donor of the magnificent +hall in which the Festival had been held. + +I omitted, however, to mention that my friend Abbey was determined, if +possible, to injure this Festival, for which purpose he brought Madame +Nilsson into the town, and kept her there during the whole of the week, +with a Company of artists, who sang at some small theatre. I need hardly +say that no harm whatever was done to the receipts, which totalled up to +40,000 dollars more than any of the preceding Festivals had brought. + + + + +CHAPTER XX. + + GALASSI DISTINGUISHES HIMSELF--POLITENESS OF PRIME DONNE--ENGLISH + WELCOME IN CANADA--CONCERT AT THE WHITE HOUSE--VALUE OF PATTI'S + NOTES--PHANTOM SHIP WRECKED--NILSSON'S CONTRACT--PATTI'S + CONTRACT--RETURN TO ENGLAND. + + +THE Company now left for Detroit. Our season opened with Albani as +"Lucia;" and for the following night _Semiramide_ was announced, with +Adelina Patti and Scalchi. Unfortunately Mdme. Patti had taken cold, and +was unable to sing. It appeared that on arriving at the station she had +had to walk through piles of snow for some distance in order to reach +her carriage. + +At one time the public threatened to demolish the building, so +disappointed were they; especially as Mdme. Patti had also failed to +appear in that same city the previous year. + +It was at once put down (as these things generally are) to caprice on +the part of the prima donna, or a trick on that of the operatic manager. +I, therefore, at once sought Dr. Brodie, an eminent physician of +Detroit, and he furnished a certificate as to the _Diva'_ illness. + +Despite the change of the bill, a good-sized audience remained for +Verdi's tragic opera of _Il Trovatore_. + +On the closing night we performed _Guillaume Tell_, in which Signor +Galassi particularly distinguished himself. According to one of the +journals, which appeared the following morning, so dexterously did he +shoot the apple off his son's head that he might always be sure of a +warm welcome whenever he returned to that city. + +Rival prime donne--those, at least, who have the habits of polite +society--are very particular in calling on one another, though these +visits are sometimes of a highly formal kind. During my American season +of 1883 I was associated with Mr. Gye; and it so happened that Nicolini +and Patti, Ernest Gye and Albani (Mrs. Ernest Gye) were staying at +Detroit in the same hotel where I also had put up. Patti and Nicolini +having just gone for a drive, Madame Albani, seeing them pass beneath +her window, called out to her husband-- + +"Ernest, they have gone out. We had better leave cards on them at once." + +On returning home Madame Patti duly received the cards; and an hour or +two afterwards, when Albani and Mr. Gye had just gone to the theatre, +where there was to be a rehearsal, said to Nicolini-- + +"Ernest" (his name, also, was Ernest), "they have gone to the theatre. +Now is the time for returning their visit." + +As Madame Patti was still suffering from a very severe cold, I thought +it prudent to leave her behind at Detroit, for the purpose not only of +re-establishing herself, but of assuring the public that she was really +ill. She remained there some four or five days after we had left. + +The whole Company, except Madame Patti, had to muster at the station +about 2 a.m. to start for Canada. By some mismanagement on the part of +the railway company, there being two competing lines, with but one set +of rails running into the joint station, the artists were kept waiting +at this station for over a couple of hours, the wind bitterly cold, and +the thermometer some fifty degrees below freezing point. At length, to +the joy of all, our special was drawn up alongside the platform, and we +were enabled to make a start, arriving at Toronto the following +afternoon. + +The next morning the musicians all came to me in great despair, the +Canadian Custom House authorities having seized the whole of their +instruments as liable to duty. The same difficulty occurred with the +wardrobes and properties; and it was not until very late in the day, by +going through a course of red-tape, which reminded one of the old +country, that they could be released, I giving an undertaking that the +troupe should leave Canada within two days. + +A right royal English welcome did our Company receive there. Prior to +the performance I requested Arditi to play the National Anthem. The +whole of the audience stood up, and, on its conclusion, gave three +hearty cheers. Nearly all the private box, dress circle, and stall +ticket-holders arrived in open sleighs, the snow being very thick. + +The opening performance was _Il Trovatore_, in which Mierzwinski, +Galassi, Scalchi, and Fursch-Madi appeared, giving great satisfaction. +The excellence of the representation was quite a revelation to the +public, as it were. + +On the following night Madame Albani appeared as "Lucia," when the +_parquette_, balconies, and boxes were crowded with the _elite_ of the +city, the Lieutenant-Governor occupying the gubernatorial box. + +The galleries were likewise crowded to their fullest capacity, standing +room even being at a premium. Albani was welcomed with vociferous +cheers, and her performance throughout received the warmest approbation. + +Immediately after the conclusion of our grand two-night season in Canada +our special train was put in motion towards Buffalo, where we performed +the following evening, leaving again after the performance at 2 a.m. for +Pittsburg, at which place Mdme. Patti had arrived the previous day. + +At Pittsburg the season opened most auspiciously with _La Traviata_. +The theatre itself was not only crowded to the ceiling, but we charged +five dollars a head for standing room on the window sills. + +The following night Mdme. Albani appeared as "Margherita" in _Faust_, +supported by Ravelli, Scalchi, etc. + +A matinee was given the next day of _Il Trovatore_, followed by a +splendid performance the same evening of _William Tell_. On each +occasion the house was crammed. + +The Company had again to muster at 2 a.m. after the performance to start +for Washington, at which place we arrived the following evening, Mdme. +Albani opening the next day as "Margherita" in _Faust_. + +The next evening I had to change the performance, _la Diva_ having +contracted a sore throat during the journey. I substituted _William +Tell_, postponing Mdme. Patti's _debut_ until the following night, when +she and Scalchi captivated the audience with _Semiramide_. In a letter +to the papers the following morning a mathematician stated that by +carefully counting the notes in the part of _Semiramide_, and dividing +the result by the sum paid nightly to Patti for singing that part, he +discovered that she received exactly 42 5/8 cents for each of the notes +that issued from her throat. This was found to be just 7 1/10 cents per +note more than Rossini got for writing the whole opera. + +On the following Friday President Arthur gave a private concert at the +White House. I here append the programme:-- + + PART I. + + Duetto--"Sull'aria" (Nozze di Figaro) _Mozart._ + Mdme. Fursch-Madi and Mdlle. Dotti. + + Romanza--"Angelo Casto" (Duca d'Alba) posthumous opera + by _Donizetti_. Signor Frapolli. + + Cavatina--Tacca la notte (Trovatore) _Verdi._ + Mdme. Fursch-Madi. + + Aria Buffa--Miei rampolli (Cenerentola) _Rossini._ + Signor Corsini. + + Air--Voi che sapete (Nozze di Figaro) _Mozart._ + Mdlle. Dotti. + + An Interval of Half an Hour. + + PART II. + + Trio--Qual Volutta (Lombardi) _Verdi._ + Mdme. Fursch-Madi, Signor Frapolli, and Signor Galassi. + + Cavatina--"Nobil Signor" (Huguenots) _Meyerbeer._ + Mdme. Scalchi. + + Romanza--O tu bel astro (Tannhaeuser) _Wagner._ + Signor Galassi. + + a{Air--"Pur dicesti" _Lotti._ + b{Song--"Robin Adair" ---- + Madame Albani. + + The White House. + February 28, 1883. + +At the conclusion of the concert a splendid supper was served in the +banqueting hall. As I had to attend upon no less than five ladies, the +President observed at the close of the feast that I had had nothing to +eat myself. He, therefore, gave orders that on the departure of the +guests another supper should be served, at which he occupied the chair. +The repast was really of the first order. It was interspersed with +excellent Veuve Clicquot, and the President afterwards ordered in cigars +and related to me some most interesting anecdotes of his earlier career. +He also gave me an account of the alarm felt at New York when one Sunday +the _Merrimac_ was expected to come up the bay in order to levy +contributions on the city; there being no powder in the forts and but +few cannon balls, all of the wrong calibre. Fortunately she met the +_Monitor_, who soon gave a good account of her. + +We gave a grand _matinee_ the following day, with Patti as "La +Traviata," when people paid even for standing in the passages, where +they could only occasionally hear sounds. + +At the close of the morning performance our special train started for +Boston, where we arrived late the next day. + +Here further calculations were made in the daily papers as to the value +of Patti's notes, _Semiramide_ showing 30 cents. for every note she +sang, whilst in "Lucia" the rate of 42 1/2 cents. per note was reached. + +We afterwards performed _Faust_ with Albani, and some of the grand +operas, such as _L'Africaine_, _Les Huguenots_, _Lohengrin_, and _Aida_. +Towards the close of our engagement Wagner's _Flying Dutchman_ was given +for the first time on the Italian stage at Boston. + +A rather startling event occurred during the first act on the arrival of +the Phantom Ship, which, after sweeping gracefully round, broadside to +the audience, suddenly capsized, casting the Dutchman and his crew +promiscuously on to the stage, the masts going straight across the +occupants of the stalls and the sails covering Arditi, who was then at +the desk. + +At this juncture loud screams were heard. They came from the wife of the +principal baritone, who, witnessing the accident, had fears for her +husband's safety. The choristers, who were thrown pell-mell into the +water, and on to their stomachs, began with a great deal of tact to +strike out as if swimming, until--as soon as possible--the curtain was +lowered. The ship was soon set on its keel again, but nothing could +induce Galassi to board the vessel. + +At the close of the Boston engagement, which was highly successful, we +returned to New York, where we remained some five weeks, performing a +different opera almost nightly. + +About this time I learned that the Washington and Lee University for +promoting higher education in the South was in great need of funds. I, +therefore, notified General Lilly, of Virginia, who had been interested +in that institution for years, my willingness to assist by giving a +miscellaneous performance for that purpose. A committee of distinguished +ladies was formed to superintend the distribution of the tickets, +including Mrs. General Dix, Mrs. Franklin Edson, Mrs. August Belmont, +Mrs. G. Rives, Mrs. Livingstone, Mrs. Jay, Mrs. Pierre Lorillard, Mrs. +Frederick Kernochan, Mrs. Henry Clewes, Mrs. Pryor, Mrs. General +Hancock, Mrs. Barton French, Mrs. W. C. Whitney, Mrs. Vanderbilt, +Baroness de Thomsen, Mrs. Bowdoin, Mrs. Alonzo B. Cornell, Mrs. Benjamin +Willis, Mrs. F. B. Thurber, etc., etc. + +The appearance of the Academy, on this occasion filled by a most +brilliant audience, was a thing long to be remembered. The evening +commenced with an act of _Trovatore_, which was followed by the +appearance of Mdme. Albani in the first act of _Norma_. A more beautiful +rendering of the lovely cavatina "Casta Diva" could not have been heard, +Mdme. Albani's vocalization being really the perfection of art. She was +recalled several times, and covered with flowers. An act from +Meyerbeer's _Dinorah_ came next, with Mdme. Patti and Scalchi. Both left +the stage loaded with flowers, Patti coming forward at the close and +afterwards good-naturedly singing in front of the drop curtain "Home, +Sweet Home." + +A scene then followed not put down in the programme, in the shape of a +presentation to myself of two large and handsome silk flags, one English +and the other American, the gift of the ladies of the committee; each of +the white stars on the blue ground of the American flag having been +inserted by a member of this committee. + +I thanked the ladies in a grateful speech, shouldered my lofty flags, +and left the stage amidst loud cheering. The receipts amounted to some +L1,800. About a fortnight afterwards I was informed by General Lilley +that a chair of English literature had been established at the +University bearing my name. + +The following Saturday morning _La Traviata_ was again given, the house +being even more crowded than usual. The bank having closed prior to the +termination of the performance, the monies were all placed in the iron +safe. + +Early the following morning I was informed that one of the doors leading +to the treasury had been forced open, the floor of which was strewn with +tickets and furniture. Worse still, the iron safe had been opened and +rifled of its contents; over 21,500 dollars having been carried off. +Fortunately this amount was for the most part in cheques, which I +succeeded in stopping at the bank; but the loss in hard cash exceeded +L1,600. + +About this time further rumours were in circulation as to Mr. Abbey +trying to take away several of my best singers, notably both Patti and +Galassi. + +During the New York season I sent Mdme. Albani to sing in a concert at +Montreal, the railway directors providing a special car for her. On her +arrival she was received by the Mayor and Aldermen of the city; also by +a guard of honour of 200 men in uniform, besides the members of four +snow-shoe clubs in their beautiful and picturesque costumes. + +A reception was afterwards held at the Hotel de Ville, when a formal +address was handed to Mdme. Albani on a beautifully illuminated scroll. +All the tickets being instantly sold out, two more concerts had to be +given; and Mdme. Albani returned to New York in time to sing the +following Friday, having netted for the treasury 16,000 dollars by her +three days' visit to Montreal. + +Shortly afterwards I gave a combined performance for the benefit of the +New York Exchange for Woman's Work. Again I had a ladies' committee to +work with, including the charming Mrs. F. B. Thurber, who acted as +secretary, the president being Mrs. W. G. Choate, while the +vice-presidents consisted of some forty leading ladies of New York. The +entertainment consisted of a concert in which Mdme. Adelina Patti, Mdme. +Albani, Mdme. Scalchi, Nicolini, and others of the Company appeared. + +I append the programme, in which will be found several features of +interest, including, in particular, the singing of Mozart's delightful +duet by Patti and Albani. + + PART I. + + Overture--"Egmont" _Beethoven_ + Orchestra. + + Romanza--"O lieti, di" (Etoile du Nord) _Meyerbeer_ + Monsieur Durat. + + Aria--"Nobil Signor" (Huguenots) _Meyerbeer_ + Madame Scalchi. + + Ballade et Polonaise _Vieuxtemps_ + Herr Brandt. + + Cavatina--"Qui la voce" (Puritani) _Bellini_ + Madame Albani. + + Romanza--"Vien, vien m'e noto" (Velleda) _Lenepreu_ + Signor Nicolini. + + Valse--"Nell' ebrezza" (Romeo e Giulietta) _Gounod_ + Madame Adelina Patti. + + Ballet, Silvia _Delibes_ + Orchestra. + + PART II. + + L'invitation a la Valse _Weber_ + Orchestra. + + Ballade--"Ouvre ta porte" _Grieg_ + Signor Ravelli. + + Hungarian Fantaisie _Liszt_ + (With orchestra) + Herr Rafael Joseffy. + + Duetto, "Sull aria" (Nozze di Figaro) _Mozart_ + Madame Adelina Patti and Madame Albani. + + Gavotte--"In veder l'amata stanza" (Mignon) _Thomas_ + Madame Scalchi. + + Romanza--"M'appari" (Martha) _Flotow_ + Signor Ravelli. + + Rakoczy March _Berlioz_ + Orchestra. + +After the concert the ladies presented me on the stage with a +magnificent gold badge, bearing the English arms on one side, surmounted +with diamonds and rubies, and the American arms on the other; also an +elegant walking cane with a massive gold top, crowned by a very large +uncut sapphire of great value. + +The next morning Mr. Gye came to me with the alarming intelligence that +the lease of the new Metropolitan Opera-house had been given to Mr. +Abbey. He complained bitterly of the treatment he had received at the +hands of its Directors after the trouble he had taken in furnishing +them with the interior plans and workings of Covent Garden Theatre, in +order to assist the architect to get as complete a building as possible. +He had been negotiating with the Directors on behalf of the Royal +Italian Opera Company, Covent Garden, Limited, and, in fact, those +negotiations had never been broken off. He was still awaiting an answer +from the Committee, to whom the matter had been referred. + +Mr. Abbey having announced that he would open the New Metropolitan +Opera-house with Madame Nilsson, Mr. Gye informed me that she was under +contract to sing with our Company, and showed me the following +engagement:-- + + "London, 2nd May, 1882. + +"Madame Christine Nilsson agrees to accept an engagement with Mr. Gye to +sing either for him or for the Royal Italian Opera Company, Limited, in +London, during the season of 1883, at a salary of L200 per night. Madame +Nilsson also agrees to accept an engagement for America for the season +of 1883-1884, for fifty or sixty representations, operas, concerts, or +oratorios, at a salary of L300 per night, this to include all hotel +expenses, but not travelling. Madame Nilsson agrees also to sing for +five or six nights at Covent Garden during next July, the repertoire for +Madame Nilsson being _Mignon_, _Lohengrin_, _Don Giovanni_, +_Mefistofele_, and _Faust_ if possible, which Mr. Gye agrees to do his +best to obtain for her in London, 1883, and in America, her repertoire +to be the same, and other operas by common consent. No opera is to +belong to Madame Nilsson exclusively, except one opera that she may +create, and that for one season. Should Madame Nilsson wish to remain in +America in the summer of 1884 she is to be at liberty to do so, and +should she wish to return to England, Mr. Gye engages himself for her to +sing in London during the London season on the same conditions. Mr. Gye +binds himself to accept the engagement now in preparation. + + "(Signed) CHRISTINE NILSSON ROUZAUD." + +Despite this, however, Madame Nilsson signed with Mr. Abbey, receiving a +sum considerably in excess of the one stipulated for in the Gye +engagement. + +In the meantime further rumours were getting circulated with regard to +Mr. Abbey's razzia on my singers, and the daily papers were full of our +disputes and recriminations; with which I will not trouble the reader +just now. On the conclusion of our New York season we again returned to +Philadelphia, in consequence of the success of our previous visit, +opening there with the _Flying Dutchman_. The next night _l'Etoile du +Nord_ was performed with the peerless Adelina, followed by Lohengrin +with the charming "Elsa" of Albani. Thus we continued our triumphant +career. + +Mr. Abbey had begun his intrigues with Campanini, to whom he offered +1,000 dollars (L200) a night. He now proposed a similar amount to +Scalchi and a considerable sum to Valleria, whilst his _employes_ were +hard at work round the stage-door taking away my choruses, wardrobe +keepers, and even the stage-manager. All my people, in short, were +offered three or four times their usual salaries, merely for the sake of +injuring me, without Mr. Abbey's benefiting himself in any way. I +described him, to an interviewer, as a _guastomestiere_; a word which +sorely puzzled him, and caused him to consult his solicitor. + +I now endeavoured to make sure of Patti, and she eventually consented to +make a small reduction in her terms and to accept 4,000 dollars a night. + +In due course her contract had been prepared by her agent and a day +fixed for executing it, which happened to be a Thursday. Being much +occupied that day at the theatre in consequence of troubles of various +sorts I found it too late to get up to Mdme. Patti's hotel, but went the +following morning early. Nicolini explained to me that Mdme. Patti never +did anything on a Friday, and that I had better call the next day. The +day afterwards he informed me that, soon after I had left, Mr. Abbey had +come to Mdme. Patti saying that he could offer her a minimum of 5,000 +dollars (L1,000) a night, payment to be made on the morning of each +performance, and 50,000 deposited in the bank as payment for the last +ten nights of the engagement, and that Mr. W. H. Vanderbilt would sign +the contract and give her the requisite guarantees. + +This was not the only inducement he offered her if she would link her +fortunes with the new Metropolitan Opera-house the following season. She +was further to have a special private drawing-room and sleeping car, the +like of which had never yet been run on rails, to be specially built for +her, fitted with a conservatory, fernery, &c. + +There was no reason, however, why these propositions should interfere +with the formal acceptance of a contract already drawn up and verbally +agreed to. The next day, then, about 11 o'clock, I was going in joyously +to sign my contract when I was met by Signor Nicolini at the door, who +told me that a very dreadful thing had happened since he last saw me. On +my inquiring what it was he informed me that Mr. Abbey's visit had quite +upset Mdme. Patti, who was ill in her room. She had not even spoken to +the parrot, which was a sad sign. He then communicated to me Mr. Abbey's +proposition, as above. + +Nicolini, however, assured me that Mdme. Patti held me in the highest +esteem, and would on no account throw me over, considering that my +engagement with her would be just as good as Mr. Vanderbilt's. If I +would call later in the day, after luncheon, he hoped to get the matter +concluded. He, at the same time, gave me to understand that no +reduction could be made in the terms which had been offered by +Vanderbilt through Abbey. + +On leaving I at once consulted with Mr. Gye, the General Manager of the +Royal Italian Opera Company, Covent Garden, Limited, and he fully agreed +with me that there was no alternative but to accede to the terms, the +sum demanded being but a trifle more than Patti had been receiving +throughout the season then about to close. Gye telegraphed the +particulars to his London Directors. + +I accordingly went round in the afternoon and signed the contract. The +visit of Mr. Abbey to Mdme. Patti on the previous day had meanwhile +caused a rise of no less than 50,000 dollars (L10,000) in her demands. + +Next day Mdme. Patti sailed for Europe on the _Arizona_, Signor Franchi, +her agent, remaining behind to complete the details of the new +engagement. + +About this time Mdme. Cavalazzi, my daughter-in-law, informed me that +she had had an offer from Abbey's agent of double the amount I was +paying her. I at once told her to accept it, and that I would keep her +place open for her, when she could return the following season, by which +time Abbey would be closed up. The following season she duly returned, +Mr. Abbey, as I shall afterwards relate, having duly come to grief. + +Prior to my departure I was entertained by a number of my friends and +supporters at the Manhattan Club. The dinner was arranged partly as a +farewell to me and partly in acknowledgment of the aid I had given to +young American artists essaying an operatic career. Judge J. R. Brady +presided, and the company included the Mayor Edson, the Reverend Dr. +Hoffman, Recorder Smyth, Judge Abraham R. Lawrence, Chief Justice Noah +Davis, Judge W. H. Arnoux, the British Consul General Booker, Chief +Justice C. P. Daly, General de Cesnola, Chief Justice Shea, General +Stewart L. Woodford, General Hancock, Commissioner J. S. Coleman, Mr. +John H. Starin, Mr. F. B. Thurber, Mr. Aaron Vanderpoel, Professor Henry +Drisler, Mr. Wm. Steinway, the Reverend Professor Seabury, Professor A. +Charlier, Mr. Oscar S. Strauss, and many others. + +On the removal of the cloth Judge Brady gave the toast, "The guest of +the evening," to which I replied. Other toasts followed, and the +entertainment passed off merrily enough. Signor Clodio, Signor Ravelli, +and Signor Ronconi came in with the cigars, and pleasantly varied the +latter portion of the evening by a choice selection of operatic arias. + +At the close of the entertainment it was unanimously resolved to charter +a special steamer to accompany me the following morning down the bay +conveying those who were present at the dinner. Mr. Starin, who was +sitting at the table, offered to place one of his magnificent steamers +at their disposal, which was to leave Pier 41, North River, at a quarter +to nine the following morning. After singing "Auld Lang Syne" and "He's +a jolly good fellow" the company separated. Just prior to my departure +the following morning my friends appeared on the chartered steamer, +which followed us down the bay with a band of music, accompanied by +hearty cheers until we were out of sight. + +END OF VOL. I. + +(note of etext transcriber:) + +scarely=scarcely + +Italian verson=Italian version + +singing in Rio Janiero=singing in Rio Janeiro + +be promised to go on=he promised to go on + + + + + +End of Project Gutenberg's The Mapleson Memoirs, vol I, by James H. Mapleson + +*** END OF THIS PROJECT GUTENBERG EBOOK THE MAPLESON MEMOIRS, VOL I *** + +***** This file should be named 36143.txt or 36143.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/6/1/4/36143/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images available by The Internet Archive) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/36143.zip b/36143.zip Binary files differnew file mode 100644 index 0000000..44d211b --- /dev/null +++ b/36143.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..616e658 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #36143 (https://www.gutenberg.org/ebooks/36143) |
