ROYAL ITALIAN OPERA LIQUIDATES—GETTING PATTI OFF THE SHIP—HENRY WARD BEECHER'S CIDER—PATTI'S SILVER WEDDING—A PATTI PROGRAMME OF 1855—A BLACK CONCERT.
ROYAL ITALIAN OPERA LIQUIDATES—GETTING PATTI OFF THE SHIP—HENRY WARD BEECHER'S CIDER—PATTI'S SILVER WEDDING—A PATTI PROGRAMME OF 1855—A BLACK CONCERT.
AFTERmy departure the Directors of the Metropolitan Opera-house, convinced that they could make no arrangement with me in consequence of my engagement with the Directors of the Academy, which had still a year to run, took further steps towards securing Mr. Gye as manager; and it was proposed that he should open his season at the new theatre on November 10th, to continue for thirteen weeks. The negotiations were conducted on his behalf by his agent, Mr. Lavine. The stockholders of the Metropolitan Opera reserving seventy of the best boxes for themselves, Mr. Gye was to have the house rent free, together with a guarantee against loss, and £200 for each performance. This sum was ultimately raised to £300 for each performance.
Seeing another opera looming in the distance, I at once set to work by re-engaging Mdme. Adelina Patti on her own terms of £1,000 a night; likewise Mdme. Scalchi, Galassi, and Arditi, thus forming a very strong nucleus to start with. I afterwards learned that Gye had been making overtures to Mdme. Patti, Galassi, and others; but fortunately they had already signed contracts with me.
The Metropolitan Directors next dispatched their able attorney, George L. Rives, to Europe for the purpose of completing the arrangements with Gye.
Shortly after my return to London I learned that the Royal Italian Opera, Limited, had gone into liquidation. This, of course, snuffed out at once Gye's contract with the Metropolitan Opera Directors, who being now left without an impresario contemplated diverting the grand building to other purposes. They ultimately, however, resolved to try a German Opera rather than have no Opera at all, and they dispatched their energetic secretary, Mr. Stanton, to Europe for the purpose of engaging artists, Dr. Damrosch being appointed orchestral conductor.
During the summer months I visited various parts of the Continent for the purpose of obtaining the best talent I could find for the coming contest. Various meetings were held by my Academy stockholders in New York when they at length began to realize the justice of my demands for assistance, as it could not be expected that 200 of the best seats,for which no payment whatever was to be made, should be occupied for listening to Mdme. Patti, who was receiving £1,000 a night. After various meetings, a resolution was passed by which they agreed to give me a nightly assessment of four dollars a seat for the proscenium boxes, three for the other boxes, and two for the seats elsewhere, which during my season it was estimated by them would produce some £6,000; and a cable was sent me to that effect in order to obviate the trouble we had all fallen into in the previous year. At the same time the Directors passed a resolution to keep the theatre closed in case I did not accept their promised support.
About this time a young singer named Emma Nevada was attracting considerable attention in Europe, and after some difficulty I succeeded in adding her name to my already powerful list, which, however, did not include that of Madame Christine Nilsson, as I had contemplated; that lady having cried off at the last moment without any valid reason, after I had accepted all her conditions.
In due course the New York prospectus was issued, and a very fine subscription was the result, the demand for boxes being particularly brisk.
We sailed from Liverpool, and arrived in New York on the 1st November. I had a few hours only to give preliminary instruction regarding the commencement of my season when a telegram arrivedto the effect that theOregon, with Mdme. Patti on board, had been sighted off Fire Island.
I at once ordered the military band to go down to theBlackbird; but as no further telegram reached me from Sandy Hook they went on shore for beer. It was late in the evening when the expected telegram arrived, and the vessel had to start immediately. The only musicians I had now on board wherewith to serenade Patti were a clarinet, a trombone, and a big drum.
Stretched from mast to mast was a huge tarpaulin with the word "Welcome!" on both sides, in letters three feet long. In the lower bay of quarantine I met theOregon, and as my steamer came alongside a small group appeared, and I at once recognized Patti. Handkerchiefs were waved, and three cheers given by my friends on board theBlackbird. We had a ladder with us which just reached from the top of our paddle-box to about two feet below the sides of the vessel. I was on the point of clambering up when the captain shrieked out—
"Patti cannot be taken out to-night without a permission from the health-officer."
I at once tendered a permit I had obtained from the barge office, allowing Patti to go on shore. I passed it to the captain, who, on reading it, said—
"That is all right, but the health-officer must give me a permit before I will let her out of the ship."
I, therefore, had to steam my vessel to quarantine, and it was nearly two hours before I could find health-officer Smith, through whose kind assistance I obtained a permit to take Patti off the ship. On my returning the whole of the passengers gave three hearty cheers as Patti was let over the side into my boat, followed by Nicolini, the maid, the parrot, and the diamonds.
Mdme. Patti, Nicolini, the maid, the parrot, and the diamonds duly arrived at the Windsor Hotel that evening, and the chief of the party was, of course, interviewed forthwith as to how she had passed the previous summer.
"Delightfully," was theDiva'sreply. "We had lots of Americans stopping with us at my Castle, and the place grows dearer and dearer to me every year."
She was very much grieved to hear of poor Brignoli's death, which had occurred the previous day, and she sent a magnificent wreath to be placed on his coffin. I attended the funeral on behalf of my Company.
When the arrival of Patti became known in New York great excitement prevailed. The day afterwards the steamshipLessingarrived from Hamburg with an entire German Company for the Metropolitan Opera-house. I now felt quite at my ease, having no anxiety whatever as to the result of their season.
I opened brilliantly on the Monday following thearrival of Patti, with her inimitable performance of "Rosina" inIl Barbiere.
On Sunday I was invited by Henry Ward Beecher to visit Plymouth Church, at Brooklyn. On this occasion a number of railway guards and pointsmen had been asked; and never shall I forget the sermon he preached to them. It was magnificent, and in every way impressive. At the conclusion of the service I was invited to Mr. Beecher's house to luncheon, where there were some twenty of his relations and intimate friends present.
As the water came round he may possibly have observed a distressed look on my countenance. But certain it is that within a few minutes afterwards he said he thought he had a bottle of cider which I might prefer to the beverage then before us; and, although it was labelled cider, I discovered that the bottle contained something resembling excellent old "Pommerysec."
Two nights afterwards I invited him to my box at the opera, scarcely hoping that he would come; but shortly after the overture had commenced I was surprised to find him sitting at my side. He remained there all that evening, the eye of every one in the audience being fixed upon him.
Shortly afterwards my new prima donna, Mdlle. Emma Nevada, arrived, and in due course made her first appearance, inLa Sonnambula, when a remarkable scene occurred. At the close of the performance the audience, instead of rushing to the doorsas usual, remained, rose to their feet, and called the prima donna three times before the curtain.
This was followed by a production of Gounod'sMirella, in which Emma Nevada again appeared with brilliant success; and afterwards byLa Gazza Ladra, with Patti and Scalchi in the leadingrôles.
On the 24th November, it being the 25th anniversary of Patti's first appearance at the New York Academy of Music, great preparations were made for the purpose of celebrating her silver wedding with the New York operatic stage.
The opera selected for the occasion wasLucia di Lammermoor, being the same work in which she had appeared exactly 25 years previously on the Academy boards. Patti's first "Edgardo," Signor Brignoli, was to have appeared with her. But his sudden death necessitated an alteration of the original programme, and it was decided to give an opera which theDivahad never sung in America, namely,Martha.
The following account of Patti'sdébut, which appeared in the New York Herald, of November 25th, 1859, will be read with interest:—
"DÉBUT OFMISSPATTI.
"A young lady, not yet seventeen, almost an American by birth, having arrived here when an infant, belonging to an Italian family which has been fruitful of good artists, sang last night the favouriterôleofdébutantes, 'Lucia di Lammermoor.'
"Whether it is from the natural sympathy with the forlornfiancéeof the Master of Ravenswood which is infused into the female breast with Donizetti's tender music, or from a clever inspiration that to be unhappy and pretty is a sure passport to the affections of an audience, we cannot say. Certain it is, however, that the aspirants for the ovations, the triumphs, the glories, that await a successful prima donna almost always select this opera for their preliminary dash at the laurels. The music affords a fine opportunity to show the quality and cultivation of the soprano voice, and it is so familiar as to provoke comparison with first-rate artists, and provoke the severest criticisms by the most rigid recognized tests.
"All these were duly and thoroughly applied to Miss Adelina Patti a day or two since by a very critical audience at what was called a show rehearsal. It was then ascertained that Miss Patti had a fine voice, and that she knew how to sing. The artists and amateurs were in raptures. This was a certificate to the public, who do not nowadays put their faith in managers' announcements, unless they are endorsed. With an off-night and an opera worn to bits, the public interest in Miss Patti'sdébutwas so great as to bring together a very large audience, rather more popular than usual, but still numbering the best-knownhabituésand most critical amateurs. Thedébutantewas received politely but cordially—an indication that there was not a strongclaque, which was a relief. Her appearance was that of a very young lady,petiteand interesting, with just a tinge of schoolroom in her manner. She was apparently self-possessed, but not self-assured.
"After the first few bars of recitative, she launched boldly into the cavatina—one of the most difficult pieces of the opera. This she sang perfectly, displaying a thorough Italian method and a high soprano voice, fresh and full and even throughout. In the succeeding cabaletta, which was brilliantly executed, Miss Patti took the high note E flat, above the line, with the greatest ease. In this cabaletta we noticed a tendency to show off vocal gifts which may be just a little out of place. The introduction of variations not written by the composer is only pardonable in an artist who has already assured her position. In the duet with the tenor (Brignoli) and with the baritone (Ferri), and the mad scene, Miss Patti sang with sympathetic tenderness—a rare gift in one so young—and increased the enthusiasm of the audience to a positivefurore, which was demonstrated in the usual way—recalls, bouquets, wreaths, etc., etc. The horticultural business was more extensive than usual.
"Of course we speak to-day only of Miss Patti's qualifications as a singer. Acting she has yet to learn; but artists, like poets, are born, not made. The mereconvenancesof the stage will come of themselves. She is already pretty well acquainted with them. So far as her voice, skill, method, andexecution are concerned, we are simply recording the unanimous opinion of the public when we pronounce thedébutof Miss Patti a grand success.
"Everyone predicts a career for this young artist, and who knows but the managers may find in her their long-looked-for sensation?"
On repeating the character two days afterwards, said the same paper, "the prima donna was twice called before the curtain, and the stage was literally covered with the flowers thrown before her. The success of this artist, educated and reared amongst us, with all the vocal gifts of an Italian, and all the cleverness of a Yankee girl, is made. Everybody talked of her, wondering who and what she is, where she has been, and so on.
"She was brought out at the Academy to save the season. The manager had a good Company, plenty of fine artists, everything required for fine performances, but the great outside public, always thirsting for something new, wanted a sensation.
"They have it in 'Little Patti,' who not only pleases the connoisseurs and is the special favourite of the fair, but who has all the material for a great popular pet."
The jubilee performance was a brilliant success. At the close of the opera, after the usual number of recalls, accompanied by bouquets, etc., the curtain rose, and at the rear of the stage was an immense American eagle about to soar, beneath which was the word "Patti," and over it "1859-1884." Theband of the 7th Regiment approached the footlights, and the musicians played a march that Cappa, the bandmaster, had composed in honour of Mdme. Patti twenty-five years before. Patti walked up to him, and said, with a choking voice: "I thank you for your kindness from the bottom of my heart."
She was afterwards recalled innumerable times, and on reappearing she brought on with her Mdme. Scalchi. At the close of the opera a carriage with four milk-white steeds which I had arranged for was standing to convey its precious burthen to her hotel. Following this we had 100 torch-bearers, for the most part admirers and supporters of the opera. Mounted police were on each side of Patti's carriage. At the end of the procession was a waggon full of people letting off Roman candles and large basins of powder, which, when ignited, made the streets and sky look most brilliant. The route was up Broadway to Twenty-third Street, and thence up Madison Avenue to Patti's hotel.
I on this occasion was to have taken the command of the troops as brigadier. My horse, however, never reached me. It was found impossible to get it through the crowd. This did not prevent the illustrated papers from representing me on horseback, and in a highly military attitude.
Later on two other bands arrived, and took their stations under Patti's windows. This terminated the festivities in honour of the twenty-fifth anniversaryof her first appearance on the American operatic stage.
I may here mention that, as a matter of fact, Adelina Patti did not make her first appearance on the American stage in 1859. I find, too, that she sang at Niblo's Saloon in 1855, and subjoin the programme of one of her concerts given in that year:—
GRAND VOCAL AND INSTRUMENTAL CONCERT,IN AID OF THEHebrew Benevolent Societies,AT NIBLO'S SALOON,On Tuesday Evening, Feb. 27th, 1855.The management announces that MRS.STUART, in consequence of the severe indisposition of her mother, will not be able to fulfil her engagement this evening; also, that MME.COMETANTcannot appear in consequence of her severe indisposition. The management have much pleasure in announcing that the servicesofSIGNORINA ADELINA PATTIHave been secured, in connection with whom the followingartistes have volunteered:—SIGNORBERNARDI,SIGNORRAPETTI,HERRCHARLESWELS,T. FRANKLINBASSFORD,MR. SANDERSON.————PROGRAMME:PARTFIRST.1Grand Duet, on "William Tell," Piano and Violin—;Mr. Rapetti and Mr. WelsOsborneandDe Beriot2Grand Cavatina, of Norma, Casta Diva—;Signa. Adelina PattiBellini3"La Chasse du jeune Henri," Overture for Piano—;Mr. BassfordGottschalk4Aria, from "Don Sebastian"—;Sig. BernardiDonizetti5Ballad, "Home, Sweet Home"—;Signa. Adelina PattiBishop6Grand Duo concertando on airs of "Norma," for Two Pianos—;Messrs. Wels and BassfordWels————PARTSECOND.1"Coronation March," from the Prophet, arranged and performed by Mr. Sanderson, his First Appearance in publicMeyerbeer2Aria, from the OperaLe Châlet—;Sig. BernardiAdam3{a. The Eolian Harp}{b. Triumphal March} Composed and performed byC. Wels4Jenny Lind's Echo Song—;Signa. Adelina PattiEckert5Violin Solo, fromLa SonnambulaSig. Rapetti6Grand Fantasia, for Two Pianos, performed by Messrs. Bassford and Wels, composed byT. Franklin Bassford————ConductorMr. Charles Wels.————The Two Grand Prize Pianos, used on this occasion, are from the Music Stores of Messrs. Bassford and Brower, and are for sale at 603, Broadway.Doors open at 7 o'clock. To commence at 8 o'clock.TICKETSONEDOLLARTo be had at the Music Store of Messrs. Hall and Son, Bassford and Brower, 603, Broadway, and Scharfenberg and Louis, and at the door.
GRAND VOCAL AND INSTRUMENTAL CONCERT,IN AID OF THEHebrew Benevolent Societies,AT NIBLO'S SALOON,On Tuesday Evening, Feb. 27th, 1855.
The management announces that MRS.STUART, in consequence of the severe indisposition of her mother, will not be able to fulfil her engagement this evening; also, that MME.COMETANTcannot appear in consequence of her severe indisposition. The management have much pleasure in announcing that the services
ofSIGNORINA ADELINA PATTIHave been secured, in connection with whom the followingartistes have volunteered:—
SIGNORBERNARDI,SIGNORRAPETTI,HERRCHARLESWELS,T. FRANKLINBASSFORD,MR. SANDERSON.
The Two Grand Prize Pianos, used on this occasion, are from the Music Stores of Messrs. Bassford and Brower, and are for sale at 603, Broadway.
Doors open at 7 o'clock. To commence at 8 o'clock.
TICKETSONEDOLLAR
To be had at the Music Store of Messrs. Hall and Son, Bassford and Brower, 603, Broadway, and Scharfenberg and Louis, and at the door.
Going still further back, I may add that Adelina Patti made her very first appearance on the operatic stage in 1850, at Tripler's Hall, New York; where she sang and acted both. She was seven years old at the time.
The season continued until the latter part of December.
On my applying to the Academy Directors for an instalment of the £6,000 which had been promised me in accordance with the assessment made, I was informed by the Secretary that the assessment would only be allowed to me on Patti nights. This reduced my £6,000 by three-fourths, I having based my calculations on the amount that had been cabled to me. I in no way blame the stockholders, who had been most heavily assessed, and had paid up without a murmur. Some three-fourths of their contributions had been used for other purposes, including the decoration of the theatre.
Finding the President of the Academy Directors obdurate, I at once announced the farewell performances of Mdme. Adelina Patti, and shortly afterwards made arrangements for her appearance, together with that of the whole Company, at Boston, where I opened towards the close of December, glad, indeed, to get away from the Academy.
Our success in Boston was very great. Amongst the productions was Gounod'sMirella, in which Nevada, Scalchi, De Anna, and other artists appeared. Afterwards, of course, cameSemiramide, with Patti and Scalchi; one of our surest cards.
We remained at Boston two weeks, concluding, what was then supposed to be Patti's positive farewell to the Bostonians, with a magnificent performance ofLinda di Chamouni.
At the conclusion of a representation ofMirellagiven the following morning we started for Philadelphia,where we had a very remunerative season, the house being crowded nightly to the ceiling.
The American theatres are much better kept than ours. They are dusted and cleaned every day, so that a lady in America can go to the play or to the opera without the least danger of getting her dress spoiled; which in England, if the dress be of delicate material, she scarcely can do. The American theatres, moreover, are beautifully warmed during the winter months; so that the risk of bronchitis and inflammation of the lungs to which the enterprising theatre-goers of our own country are exposed has in the United States no existence.
Apart from the risk of getting her dress injured by dirt or dust, a lady has no inducement to wear a handsometoiletteat a London Opera-house, where the high-fronted boxes with their ridiculous curtains prevent the dresses from being seen. At the American Opera-houses the boxes are not constructed in the Italian, but in the French style. They are open in front, that is to say, so that those who occupy them can not only see, but be seen. As for the curtains, they are neither a French nor an Italian, but exclusively an English peculiarity. What possible use can they serve? They have absolutely no effect but to deaden the sound.
An interesting feature in every American Opera-house is the young ladies' box—a sort of omnibus box to which young ladies alone subscribe. The gentlemen who are privileged to visit them in the course of the evening are also allowed full libertyto supply them with bouquets, which are always of the most delicate and most expensive kind—costing in winter from £4 to £5 a-piece. The front of the young ladies' box is kept constantly furnished with the most beautiful flowers that love can suggest or money buy; and if, as it frequently does, it occurs to one or more of the young ladies to throw a few of the bouquets to the singers on the stage, their friends and admirers are expected at once to fill up the gaps.
Whilst at Philadelphia the head-waiter of the hotel informed me that a very grand concert was to take place, for which it was difficult to obtain tickets, but that a prima donna would sing there whom he considered worthy of my attention. In due course he got me a ticket, and I attended the concert, which was held in one of the extreme quarters of the city. On entering I was quite surprised to find an audience of some 1,500 or 2,000, who were all black, I being the only white man present. I must say I was amply repaid for the trouble I had taken, as the music was all of the first order.
In the course of the concert the prima donna appeared, gorgeously attired in a white satin dress, with feathers in her hair, and a magnificent diamond necklace and earrings. She moreover wore white kid gloves, which nearly went to the full extent of her arm, leaving but a small space of some four inches between her sleeve and the top of her glove. Her skin being black, formed, of course, an extraordinary contrast with the white kid.
She sang the Shadow Song fromDinorahdelightfully, and in reply to a general encore gave the valse from theRomeo and Julietof Gounod. In fact no better singing have I heard. The prima donna rejoiced in the name of Mdlle. Selika. Shortly afterwards a young baritone appeared and sang the "Bellringer," so as to remind me forcibly of Santley in his best days. I immediately resolved upon offering him an engagement to appear at the Opera-house in London as "Renato" inUn Ballo in Maschera, whom Verdi, in one version of the opera, intended to be a coloured man; afterwards to perform "Nelusko" inL'Africaine, and "Amonasro" inAida. Feeling certain of his success, I intended painting him white for the other operas.
After some negotiation I was unable to complete the arrangement. He preferred to remain a star where he was.
After the final performance of our Philadelphia engagement we started at about 3 a.m. with the whole Company for New Orleans, our special train being timed to reach that city by the following Sunday. On arriving at Louisville the gauge was broken, and the track became narrow gauge, which necessitated the slinging of every one of my grand carriages to have new trollies put under them to fit the smaller gauge. This was so skilfully managed whilst the artists were asleep that they were unaware of the operation.
PANIC AT NEW ORLEANS—THERMOMETER FALLS 105 DEGREES—BANQUET AT CHICAGO—THE COUNT DI LUNA AT MARKET—COFFEE JOHN—AN AMERICAN GEORGE ROBINS—MY UNDERTAKER.
PANIC AT NEW ORLEANS—THERMOMETER FALLS 105 DEGREES—BANQUET AT CHICAGO—THE COUNT DI LUNA AT MARKET—COFFEE JOHN—AN AMERICAN GEORGE ROBINS—MY UNDERTAKER.
ONgetting down to New Orleans we found a great change in the temperature, and although it was the month of January the thermometer stood at about 75°. It had been raining exactly six weeks prior to our arrival, and only ceased as our train went in, fine weather immediately afterwards making its appearance.
Our opening opera wasLa Sonnambulawith Nevada, which was followed byLa Traviatawith Mdme. Patti. Prior to the last act a panic was caused in the theatre by the falling of some plaster from the front of the dress circle. Someone near the exit to the stalls shouted "Fire," a cry which was repeated by numbers of men in the lobby. Consternation was seen in the faces of the audience, and a general rush was made for the doors. The situationwas serious in the extreme; but the presence of mind of some gentlemen present, aided by the equal coolness of several ladies, had the effect of allaying the general fright.
Many ladies, on the other hand, fainted from excitement, whilst numbers of persons left the theatre, so that the last act was given with a very bare house.
"A great deal of excitement," wrote a local journal, "was manifested in the street, and rumour magnified the incident. It took the shape of a fearful accident in the minds of some people, and it was some time before the public was assured that no damage had resulted to life or limb. One young lady fainted as she was about to enter her carriage in front of the theatre. She fell to the side walk, slightly cutting her mouth, and was unconscious for a few minutes. With the assistance of Dr. Joseph Scott, her friends succeeded in reviving her, and she was placed in a carriage and driven home. Mr. David Bidwell was this morning waited upon by theItemreporter, who informed him of the many rumours regarding the safety of the St. Charles Theatre. Mr. Bidwell said: 'The whole trouble comes from the fall of a small piece of plastering, three feet long by one foot and a half wide, in the left part of the theatre, back to theparquetteseats. The plastering at that place had been disturbed during the Kiralfy engagement by the moving out of some scenery. I hadthe spot repaired during the wet weather, and, from the dampness, the plastering did not hold. As regards the solidity of the theatre, you can state that it is the strongest building of its kind; the walls are in places four feet thick. Everything inside is sound and substantial, having been recently repaired and renovated. Mr. William Freret, the architect, has just been in here, and made a thorough inspection. He finds everything in first-class condition, and sound as can be. The public should not give credence to silly rumours, but listen to the voice of common sense and reason, and accept this satisfactory explanation.'"
The City Surveyor, with various architects, visited the theatre the following day to report; but all certified that the building was solid, and that probably the stamping of so many feet in applauding Patti had caused the fall of the plaster. However it may have been, my receipts being so considerably injured, I was compelled, after paying damages to the manager for not completing the engagement, to remove the Company and rent the Grand French Opera-house for the ensuing week. When my announcement was made several ladies called upon me, and a meeting was convened at one of their houses at which theéliteof the city were present. A number of gentlemen had been invited to tea, and before being allowed to leave the room each of them was required to subscribe for at least one box. In this mannerthe whole of my boxes for the remainder of the season were disposed of.
I had a deal of trouble in getting the theatre into working order, it having been closed for a considerable period. The corridors had to be whitened and the dressing-rooms to be papered, and all the business had to be conducted in French, as my stage carpenters andemployéswere all of that nationality. The manager of the other theatre had refused to allow any of his staff to assist.
During this time the great New Orleans Exhibition had been opened, to which thousands of people were attracted. My attention, however, was drawn to the Woman's Work Department, in great need just then. I therefore organized a grand benefitmatinéeon their behalf, which was promptly responded to by many of the ladies of New Orleans. Many of my principal artists took part in the concert, and I was assisted by a splendid Mexican cavalry band. A large sum of money was realized, which was afterwards handed over to the treasurer of the Woman's Department.
After a performance ofLes Huguenotswe all left that night for St. Louis. The temperature was now intolerable, the thermometer marking 75 degrees. But on reaching St. Louis the following Monday afternoon we were overtaken by a blizzard. It was literally raining ice. The streets were impassable, it being difficult to stand upright or to move a step; whilst the thermometerstood 30 degrees below zero (62° below freezing point)—being a fall of 105 degrees. I need scarcely say everyone caught sore throat, even to the chorus. One or two of the ballet girls were blown down and hurt on leaving the train, and it was with considerable difficulty that I made a commencement that evening, two hours after our arrival, with a performance ofLa Sonnambula. This was followed bySemiramidewith Patti and Scalchi, and byLucreziawith Fursch-Madi. All the artists not taking part in these works were ill in bed during the week.
Prior to our leaving St. Louis a magnificent banquet was tendered to me by the Directors of the newly-organized Opera Festival Association of Chicago. The day originally fixed was the Wednesday during that week; but it had afterwards to be transferred to Thursday, all the trains to Chicago being snowed up, whilst several thousands of freight cars blocked the line for miles. I ventured after the performance on the only train allowed out of the station for Chicago, where I arrived the following day, and visited the huge glass building, formerly the exhibition, where I marked out what I considered would be the dimensions necessary for the construction of the New Grand Opera-house. In doing so I must have rather miscalculated my measurements, as I was shortly afterwards informed that if carried out the theatre would be a mammoth one.
In the evening I attended the banquet given inmy honour, which was laid for fifty covers in the large room of the magnificent Calumet Club. The banqueting hall was picturesquely decorated with flowers. The tables were curved in the form of a huge lyre, bearing the coat of arms of the Association.
At the head of the table, which formed the base of the lyre, sat the President, Ferd. W. Peck, and at his right hand I was placed as the guest of the evening. Next to me was the Mayor, and next him the Hon. Emery A. Stores, the Vice-President of the Association. At President Peck's left hand sat the Hon. Eugene Carey and George Schneider, the treasurer of the newly-formed Association. All the city notabilities, more or less, were present on this occasion. At the conclusion of the banquet the President rose, introducing me as "The Napoleon: the Emperor of Opera," giving at the same time a brief outline of the work proposed to be accomplished. My speech was a very short one. I said: "After twenty-four years' experience in the rendition of opera I feel that my greatest success is about to be achieved here in Chicago. Never before have such opportunities been afforded me. I have this morning been over the Exposition building with an architect, and have fixed upon a large, comfortable auditorium. I also visited the hall where the extra chorus was practising, and I must say I was surprised at its excellence in every way. Never have I heard a better chorus, even in the Old World."
The Mayor afterwards rose and paid me the highest compliments.
In the small hours of the following morning, when we separated, I went to the station and thence returned to St. Louis.
At the close of the week we left St. Louis with the whole of the troupe, some 180 strong, reaching Kansas City late that evening. Most of the members of the Company went to the Coates House, Mdme. Patti, however, remaining in her private car, where the following day I paid her a visit. No sooner had I entered than we were shunted and sent some four miles down the line, much to the surprise of Nicolini, who had been speaking to me on the platform but a moment previously. We were detained a considerable time, and Mdme. Patti experienced a great shock as suddenly a goods truck, which had got uncoupled, came running down. This caused a great concussion, which broke most of the glass, and sent Nicolini's cigars, jams, the parrot, the piano, the table, and the flowers all pell-mell on to the floor. Mdme. Patti, however, took it in good part, and, assisted by her maids, commenced gathering up the broken ornaments and smashed bottles. The floor ran with Château Lafite.
Mdme. Patti visited the opera that evening, the Mayor of the town conducting her down the passage way to her proscenium box amidst such a storm of applause as is rarely heard in an Opera-house.Ladies burst their gloves in their enthusiasm, and men stood on their seats to get a view of theDiva. On reaching the box the audience rose and cried: "Brava!"
After the performance that night the train moved on in the direction of Topeka, where, through the politeness of the railway officials, I got Patti's car attached to the San Francisco express, which conveyed her to her destination in about three and a half days.
The rest of the Company remained in Topeka to give a performance ofIl Trovatore, Mdme. Dotti being the "Leonora," Mdme. Scalchi "Azucena," De Anna the "Count di Luna," and Giannini "Manrico." The success was immense, the house being full, and the receipts reaching £700.
In connection with Topeka, I must mention rather a curious incident. We had exhausted our stock of wine in the train, and those artists taking part in the performance, on entering the hotel near the theatre where it was proposed to dine, were surprised and annoyed at having water placed before them; the baritone vowing, with a knife in his hand, that unless he could have a more stimulating beverage he would refuse to play the "Count di Luna" that evening.
Inquiry was made high and low, but there was not a drop of wine or spirits of any kind officially known to be in the town. Going along the street on my return to the hotel, I met a gentleman with whom I was acquainted, and through his kindnessI was enabled to obtain from a medical practitioner a prescription. The prescription was in the Latin language, and the chemist evidently understood its meaning. There was no question of making it up. He simply handed me three bottles of very good hock.
At the conclusion of the opera, it being a most delightful evening, the various choristers and others made purchases of all kinds of comestibles, and it was a most ridiculous thing to observe some going down with chickens carried by the neck, others with cauliflowers and asparagus. The "Count di Luna" with a huge ham under his arm, and "Manrico" with a chain of sausages, took their provisions down to the cars to be cooked for supper, during which the train started for St. Joseph.
We reached St. Joseph the following day, where Mdlle. Nevada appeared inLa Sonnambula, greatly pleasing the audience, which packed the theatre full.
We arrived the next afternoon at half-past four at Omaha, where we remained one day, my advance agent having failed to conclude any arrangements for our appearance there.
Shortly afterwards we started for Cheyenne, arriving in the Magic City, as it is called, in about a couple of days; when, to my great astonishment, no announcement whatever had been made of our visit, my advance agent again, for some unaccountable reason, having gone on the road towards San Francisco without notifying even a word.
Our coming there was quite an unexpected event. Arrangements were immediately made to give a performance. This entailed a delay of a couple of days, which delighted me, although it caused some loss, as it enabled me to drive over the beautiful country and visit once more the charming Club, where I had a right royal welcome from my numerous friends of the previous year.
At four o'clock the 3rd Cavalry band, in full uniform, came to serenade me at my hotel.
The opera selected wasLucia di Lammermoor, and the receipts came to some £700.
At the close of the performance we started for Salt Lake City, where we arrived on the following Thursday. Here, to my great regret, I was compelled to change the bill in consequence of Mdlle. Nevada's indisposition, at which the inhabitants and the Press grumbled as if it were my fault. Reports of course were circulated that she had not received her salary.
Whilst at Salt Lake City many of the artists and orchestral players wandered about, visiting various places of interest; and some were attracted to a restaurant kept by one "Coffee John," in whose window was exposed a huge turtle, bearing this tragic inscription on its head: "This afternoon I am to have my throat cut;" whilst on its back was a ticket for a private box, with the statement that Coffee John had paid 40 dollars for it, and was going to visit the opera that evening.
In order to patronize this enthusiastic amateur several of our principal artists went in and ordered luncheon. Coffee John was very polite, promising to applaud them on hearing them sing, and allowing many of them to go into the kitchen to prepare their own macaroni. The price of the luncheon was very moderate, so everyone decided to go and dine at Coffee John's later on.
When dinner was over they asked the waiter how much they had to pay.
"Six dollars a head," said the waiter.
"Corpo di Bacco!" exclaimed one of the artists; "dat is too dear. Where is Coffee John, our friend, our friend?"
"He has gone to dress for the opera," replied the head waiter, "and I dare not disturb him."
As there were twelve diners the bill came to 72 dollars, so that Coffee John, who had paid 40 dollars for his box, occupied it for nothing that evening, and profited, moreover, largely by the transaction. The waiter told the astonished artists that his governor had paid 40 dollars to hear them sing without kicking, and that he expected liberal treatment in return; finally, he thought the best plan for them would be to pay their six dollars each and clear out; which they eventually had to do.
Mdlle. Nevada had taken cold at Cheyenne, and contracted what turned out to be a severe illness; and I lost her services for no less than four weeks afterwards.
The night before we reached Salt Lake City Mdme. Scalchi's parrot died, which caused the excellent contralto to go into hysterics and take to a bed of sickness. I had announcedIl Trovatore, in which the now despondent vocalist was to have taken the part of the vindictive gipsy. This I considered would amply compensate for the absence of Nevada. Only half an hour before starting for the theatre I was notified by Mdme. Scalchi's husband that she would be unable to appear that evening. I insisted, however, upon her going at all events to the theatre, as I considered the death of a parrot not sufficient reason for disappointing a numerous public. I threatened at the same time to fine her very heavily if she refused.
About an hour afterwards the call-boy came down, up to his waist in snow, to the door of my car—some little distance from the station—stating that Mdme. Scalchi had again gone into hysterics, and was lamenting loudly the loss of her beloved bird.
On my arriving at the theatre with another "Azucena," taken suddenly from the cars (this one was lamenting only that she had not dined), I found that it wanted but five minutes to the commencement of the overture. There was Mdme. Scalchi dressed as "Azucena," and it was impossible even to obtain possession of her clothing, for she was almost in a fainting condition. At last, however, she divested herself of her gipsy garments; and shewas replaced by my new "Azucena," Mdlle. Steinbach.
After the opera was over we started for San Francisco.
On reaching Ogden early in the morning I received a telegram from San Francisco notifying Mdme. Patti's arrival there, but adding that she would not come out inSemiramidein conjunction with Mdme. Scalchi, though that was the opera announced for my opening night.La Divawanted a night entirely to herself.
As every seat had been sold for the first performance, and places were at a high premium, I did not see how it was possible to make any alteration in the bill. I therefore declined. Towards the latter part of the following day, at Winnemucca, I got another telegram saying that Mdme. Patti would appear inIl Barbiere. This I declined, knowing that opera to be, in America at least, most unattractive. Nearly at every station did I receive telegrams, some of which I answered. At last I effected a kind of compromise by substitutingLinda. This change caused me a loss of some £600 or £800.
On the road I had received a telegram from my auctioneer, the famous Joe Eldridge, desiring to know if he should reserve any seats or offer the whole to the public. I replied that not a single seat was to be reserved; he was to sell all. He took me at my word, and the following day I received a telegram that not only had he sold thewhole of the pit and dress circle and boxes, but also the whole of the gallery for every night of the season, and that the premiums on the tickets alone amounted to something like £15,000 for the two weeks' season; and, although over 3,000 tickets of admission for every night of the whole season had been sold, the demand, instead of abating, kept on increasing. In many cases as much as 150 dollars per seat premium had been paid. The sale altogether surpassed that of the previous year.
I was afterwards informed by an eye-witness of the indefatigable exertions Joe Eldridge had gone through on the day of the auction. On entering the orchestra he first of all gave a graphic description of each of the different prime donne who were to take part in the season's performances, explaining also the enormous value the tickets would reach as soon as the whole of the Company arrived. He then, feeling warm, took off his hat. After a few lots had been sold he removed his cravat, afterwards his coat, followed later by his waistcoat and his shirt-collar, which he threw off into the stalls. Then, as the business became more exciting, off went his braces. Afterwards he loosened his shirt, tucking up both sleeves; and he was in a state of semi-nudity before he got rid of the last lot.
On leaving the theatre after the sale this highly esteemed gentleman, I regret to say, was attacked by pneumonia, which carried him off in a few hours. His death was a sad shock to all, for he was a general favourite.
TheSan Francisco Daily Reportwrote on the subject:—
"Joe Eldridge arrived in San Francisco in 1849, and after visiting various parts of the State returned to San Francisco, in the house of Newhall and Co. About this time he lost his right leg in a very remarkable manner. He was in the habit of signalling each sale by a hearty slap of his hand on his right thigh at the word 'gone.' The constant concussion brought on a cancer, and the leg had to be amputated. This misfortune, which would have depressed most men, more or less, for the rest of their lives, had no effect on his energy or his high spirits. He was a most charitable man, and beloved by all who knew him, being one of the founders of Mill's Seminary, whilst he was a pillar of strength at Dr. Stone's first Congregational Church."
One word as to Joe Eldridge's method of doing business. No one could get such prices as he obtained; and these he often secured by pretending to have heard bids which had never been made.
"Nine dollars," an intending purchaser would say.
"Ten dollars," Joe would cry.
"I said nine," the bidder would explain.
"Eleven!" shouted Joe. "I know your income, and you ought to be ashamed of yourself. Twelve!" he would then exclaim, supported and encouraged by the laughter and applause of the public. "And if you say another word I'll make it thirteen."
A very different sort of man was the auctioneerby whom poor Eldridge was succeeded. He called me the spirited "impresio," and sang the praises of Mdme. Bauermeister, whose name he pronounced "Boormister," and Mdme. Lablache, whom he described as the famous "Labiche." Rinaldini was another of my singers whose name, sadly as he mutilated it, had evidently taken his fancy. Mdme. Bauermeister, Mdme. Lablache, and Signor Rinaldini are excellent artists. But it was a mistake to insist so much on their merits while passing over altogether those of Mdme. Patti, Mdlle. Nevada, and Mdme Scalchi.
In due course we arrived at San Francisco, where the usual crowd was awaiting us. During the latter part of the journey one of mycorps de balletbecame seriously indisposed, and died the following Tuesday in St. Mary's Hospital. She was but sixteen years of age, and had been with me eight years, being one of my Katti Lanner school children. She had taken cold in the dressing-room at Cheyenne. During the journey, the train being twenty-three hours late, she received the attention of Dr. Wixom, Mdme. Nevada's father, also of Dr. Palmer, Mdme. Nevada's present husband.
On the day of the funeral some magnificent offerings were placed on the coffin, consisting of pillows of violets with the initials of the deceased, anchors of pansies, lilies, violets, roses, etc., likewise a beautiful cross of violets and camellias. I attended the funeral personally, accompanied by my stagemanager, Mr. Parry, and seven of the ballet girls, including a sister of the dead girl, who all carried flowers. The affair was strictly private, the experience of the previous year suggesting this on account of the crowd on the former occasion. The whole of the flowers were afterwards placed upon the grave; and a celebrated photographer, I. W. Tabor, produced some beautiful pictures which I sent to London to the family of the deceased, who received them before the news of her death.
At the conclusion of the funeral, which had been conducted by Mr. Theodore Dierck, of 957, Mission Street, the spirited undertaker begged to be appointed funeral furnisher to the Company, he having had charge of the Lombardelli interment in the previous year, which, he said, "gave such satisfaction;" and I was not astonished, though a little startled, on my last visit to find over his shop this inscription:
"Funeral furnisher by appointment to Colonel Mapleson."