MY COVENT GARDEN SEASON—PATTI'S LONDON SILVER WEDDING—RETURN TO NEW YORK—DIFFICULTIES BEGIN—RIVAL REHEARSALS—GRAND OPERA AND OPERETTA.
MY COVENT GARDEN SEASON—PATTI'S LONDON SILVER WEDDING—RETURN TO NEW YORK—DIFFICULTIES BEGIN—RIVAL REHEARSALS—GRAND OPERA AND OPERETTA.
ONmy return to London I opened Covent Garden for a series of Italian Opera performances, in which Mdme. Patti was the principal prima donna, and but for Mdme. Patti's twice falling ill should certainly have made some money.
On the opening night I was notified as late as seven o'clock that Mdme. Patti would be unable to appear in "La Traviata," having taken a severe cold. This was a dreadful blow to me. On inquiry I found that madame's indisposition arose from a morning drive she had taken on the previous day over some Welsh mountains during the journey from her castle to the station. Signor Nicolini, either from fear of the bill at the Midland Hotel, where they were to put up, or from some uncontrollable desire to catch an extra salmon, hadexposedla Divato the early morning air; an act of imprudence which cost me something like a thousand pounds.
The season nevertheless promised to be unusually successful. But within a few days I met with another misfortune,la Divahaving taken a second cold, of which I was not notified until seven p.m. There was scarcely time to make the news public before the carriages were already setting down their distinguished burdens before the Opera vestibule.
I had no alternative but to introduce a young singer who, at a moment's notice, undertook the difficult part of "Lucia di Lammermoor." I allude to the Swedish vocalist, Mdlle. Fohström, who afterwards made a very successful career under my management. Of course, on this occasion she was heavily handicapped, as people had gone to the theatre only for the purpose of hearing Mdme. Patti; whose two disappointments caused me considerable loss.
I ended my season about the third week of July, when Mdme. Patti appeared as "Leonora" inIl Trovatore, renewing the success which always attends her in that familiar impersonation.
On this night, the final one of the season, Mdme. Patti concluded her 25th consecutive annual engagement at Covent Garden. Numbers of her admirers formed themselves into a committee for the purpose of celebrating the event by presenting her with a suitable memorial, which consisted of a very valuablediamond bracelet. At the termination of the opera I presented myself to the public, saying—
"Ladies and Gentlemen,—Whilst the necessary preparations are being made behind the curtain for the performance of 'God Save the Queen,' I crave your attention for a very few moments. My first reason for doing so is, that I desire to tender my sincere thanks for the liberal support you have accorded my humble efforts to preserve the existence of Italian Opera in this country. When I state to you that I had barely ten days to form my present Company, including the orchestra and chorus, I feel sure you will readily overlook any shortcomings which may have occurred during the past season. My second reason is to solicit your kind consent to present to Mdme. Patti in the name of the Committee a testimonial to commemorate her twenty-fifth consecutive season on the boards of this theatre."
The curtain then rose, and disclosed Mdme. Adelina Patti ready to sing the National Anthem, supported by the band of the Grenadier Guards, in addition to the band and orchestra of the Royal Italian Opera. This was the moment chosen for the presentation of a superb diamond bracelet, subscribed for by admirers of the heroine of the occasion. Its presentation was preceded by my delivery of the following address from the Committee of the Patti Testimonial Fund:—
"Madame Adelina Patti,—You complete thisevening your 25th annual engagement at the theatre which had the honour of introducing you, when you were still a child, to the public of England, and indirectly, therefore, to that of Europe and the whole civilized world. There has been no example in the history of the lyric drama of such long-continued, never interrupted, always triumphant success on the boards of the same theatre; and a number of your most earnest admirers have decided not to let the occasion pass without offering you their heartfelt congratulations. Many of them have watched with the deepest interest an artistic career which, beginning in the spring of 1861, became year after year more brilliant, until during the season which terminates to-night the last possible point of perfection seems to have been reached. You have been connected with the Royal Italian Opera uninterruptedly throughout your long and brilliant career. During the winter months you have visited, and have been received with enthusiasm at Paris, St. Petersburg, Berlin, Vienna, Madrid, and all the principal cities of Italy and the United States. But you have allowed nothing to prevent you from returning every summer to the scene of your earliest triumphs; and now that you have completed your twenty-fifth season in London, your friends feel that the interesting occasion must not be suffered to pass without due commemoration. We beg you, therefore, to accept from us, in the spirit in which it isoffered, the token of esteem and admiration which we have now the honour of presenting to you."
The National Anthem, which followed, was received with loyal cheers, and the season terminated brilliantly.
After the performance an extraordinary scene took place outside the theatre. A band and a number of torch-bearers had assembled at the northern entrance in Hart Street, awaiting Mdme. Patti's departure. When she stepped into her carriage it was headed by the bearers of the lighted torches; and as the carriage left the band struck up. An enormous crowd very soon gathered; and it gradually increased in numbers as the procession moved on. The carriage was surrounded by police, and the procession, headed by the band, consisted of about a dozen carriages and cabs, the rear being brought up by a vehicle on which several men were standing and holding limelights, which threw their coloured glare upon the growing crowd, and made the whole as visible as in the daytime. The noise of the band and of the shouting and occasional singing of the very motley gathering, which was reinforced by all sorts and conditions of persons as it went along, awakened the inhabitants throughout the whole of the long route, which was as follows: Endell Street, Bloomsbury Street, across New Oxford Street and Great Russell Street, down Charlotte Street, through Bedford Square by Gower Street, along Keppel Street, Russell Square,Woburn Place, Tavistock Place, Marchmont Street, Burton Crescent, Malleton Place to Euston road, halting at the Midland Railway Hotel, where Mdme. Patti was staying. Along the whole of this distance the scene was extraordinary. The noise, and the glare of the coloured lights, and the cracking of fireworks which were let off every now and then, aroused men, women, and children from their beds, and scarcely a house but had a window or door open, whence peered forth, to witness the spectacle, persons, many of whom, as was apparent from their night-dresses, had been awakened from their sleep. Not only were these disturbed, but a number of horses were greatly startled at the unusual sound and noise. The procession, which left Hare Street just before midnight, reached the Midland Hotel in about half an hour, almost the whole distance having been traversed at a walking pace. When Mdme. Patti reached the Hotel she was serenaded by the band for a time, and more fireworks were let off. The great crowd which had assembled remained in Euston Road outside the gates, which were closed immediately after the carriages had passed through.
My season having thus terminated, I at once started for the Continent in order to secure new talent for the forthcoming American campaign.
For my New York season of 1885-6, after some considerable trouble, I succeeded in forming what I considered a far more efficient Company than I hadhad for the previous five years; except that the name of Adelina Patti was not included, she having decided to remain at her castle to take repose after her four years' hard work in America. I subjoin a copy of the prospectus:—
"ACADEMY OF MUSIC, NEW YORK.Season1885-86.PRIME-DONNE—SOPRANI E CONTRALTI.
Madame Minnie Hauk, Madame Felia Litvinoff, Mdlle. Dotti, Mdlle. Marie Engle, Madame Lilian Nordica, Mdlle. de Vigne, Mdlle. Bauermeister, Madame Lablache, and Mdlle. Alma Fohström.
TENORI.
Signor Ravelli, Signor de Falco, Signor Bieletto, Signor Rinaldini, and Signor Giannini.
BARITONI.
Signor de Anna and Signor Del Puente.
BASSI.
Signor Cherubini, Signor de Vaschetti, Signor Vetta, and Signor Caracciolo.
DIRECTOR OF THE MUSIC AND CONDUCTOR.
Signor Arditi.
PREMIÈRE DANSEUSE.
Madame Malvina Cavalazzi.
The following were the promised productions:—
For the first time in New York Massenet's famous operaMANON: words by MM. H. Meilhac and Ph. Gille. Mr. Mapleson has secured the sole right of representation, for which M. Massenet has madeseveral important alterations and additions. "The Chevalier des Grieux," Signor Giannini; "Lescaut," Signor Del Puente; "Guillot Morfontaine," Signor Rinaldini; "The Count Des Grieux," Signor Cherubini; "De Bretigny," Signor Caracciolo; "An Innkeeper," Signor de Vaschetti; "Attendant at the Seminary of St. Sulpice," Signor Bieletto; "Poussette," Mdlle. Bauermeister; "Javotte," Mdme. Lablache; "Rosette," Mdlle. de Vigne; and "Manon," Mdme. Minnie Hauk. Gamblers, croupiers, guards, travellers, townsfolk, lords, ladies, gentlemen, &c., &c. The action passes in 1721. The first act in Amiens; the second, third, and fourth in Paris. The last scene, the road to Havre.
Also Vincent Wallace's opera,MARITANA. For the first time on the Italian stage, by special arrangement with the proprietors. The recitatives by Signor Tito Mattei. "Don Cæsar de Bazan," Signor Ravelli; "The King," Signor Del Puente; "Don Josè," Signor De Anna; "Il Marchese," Signor Caracciolo; "La Marchesa," Mdme. Lablache; "Lazarillo," Mdlle. De Vigne; and "Maritana," Mdlle. Alma Fohström. Mdme. Malvina Cavalazzi will dance the Saraband.
Likewise Auber'sFRA DIAVOLO. "Fra Diavolo," Signor Ravelli; "Beppo," Signor Del Puente; "Giacomo," Signor Cherubini; "Lord Allcash," Signor Caracciolo; "Lorenzo," Signor De Falco; "Lady Allcash," Mdme. Lablache; and "Zerlina," Mdme. Alma Fohström.
Ambroise Thomas' opera,MIGNON, will be also presented. "Mignon," Mdme. Minnie Hauk; "Wilhelm," Signor Del Falco; "Lothario," Signor Del Puente; "Laertes," Signor Rinaldini; "Frederick," Mdlle. De Vigne; "Giarno," Signor Cherubini; "Antonio," Signor De Vaschetti; and "Filina," Mdlle. Alma Fohström."
The list of singers, which I give abovein extenso, would have done honour to any theatre in Europe. But, alas! the magic name of Patti not being included had at once the effect of damaging seriously the subscription. In addition to this, a strong leaning showed itself on the part of my New York supporters towards the German Opera at the Metropolitan House; while a newly-formed craze had been developed for Anglo-German Opera, or "American Opera," as it was denominated. The prospectus of the latter setting it forth as a "national" affair, everyone rushed in for it, and considerable sums of money were subscribed. Its projectors rented the Academy of Music where I was located. The upshot of it was that a considerable number of intrigues were forthwith commenced for the purpose, if possible, of wiping me entirely out. I will mention a few of them in order that the reader may understand the position in which I was placed. Just prior to leaving England, and after I had completed my Company, I was informed by the Directors that I should be called upon to pay a heavy rental for the use of the Academy, mytenancy, moreover, being limited to three evenings a week and onematinée.
Having made all my engagements, I was, of course, at their mercy, and it was with the greatest possible difficulty that I could even open my season, as they began carpentering and hammering every time I attempted a rehearsal. However, I succeeded in making a commencement on the 2nd of November with a fine performance ofCARMEN, cast as follows:—
"Don José," Signor Ravelli; "Escamillo (Toreador)," Signor Del Puente; "Zuniga," Signor De Vaschetti; "Il Dancairo," Signor Caracciolo; "Il Remendado," Signor Rinaldini; "Morales," Signor Bieletto; "Michaela," Mdlle. Dotti; "Paquita," Mdlle. Bauermeister; "Mercedes," Mdme. Lablache; "Carmen" (a Gipsy), Mdme. Minnie Hauk.
The incidental divertissement supported by Mdme. Malvina Cavalazzi and the Corps de Ballet.
This was followed by an excellent performance ofTrovatore, in which Mdlle. Litvinoff, a charming Russian soprano from the Paris Opera, made a successful appearance, supported by Lablache, De Anna, the admirable baritone, and Giannini, one of the favourite tenors of America, who after thePirawas encored and recalled four times in front of the curtain. I afterwards introduced Mdlle. Alma Fohström, who had made such a great success during my London season at the Royal Italian Opera, Covent Garden.
On the occasion of my attempting a rehearsal two days afterwards ofL'Africaine, I found the stage built up with platforms to the height of some 30 feet, which were occupied by full chorus and orchestra.
Remonstrance was useless, the Secretary of the Academy being "out of the way," whilst the conductor, Mr. Theodore Thomas, was closed in and wielding thebâtonwith such vigour that no one could approach him. I said nothing, therefore. In spite of formidable obstacles, the march and the procession in the fourth act of the opera had to be rehearsed under the platform, and, as good luck would have it, the opera went magnificently.
Rehearsals ofManonhad now to be attempted; but whenever a call was put up, so surely would I find another call affixed by the rival Company for the same hour; and as they employed some 120 choristers, who had about an equal number of hangers-on in attendance on them, the reader can guess in what a state of confusion the stage was.
The public has but little idea of the difficulties by which the career of an opera manager is surrounded. An ordinary theatrical manager brings out some trivial operetta which, thanks in a great measure to scenery, upholstery, costumes, and a liberal display of the female form divine, catches the taste of the public. The piece runs for hundreds of nights without a change in the bill, the singers appearing night after night in the sameparts. Themaladie de larynx, theextinction de voixof which leading opera-singers are sure now and then, with or without reason, to complain, are unknown to these honest vocalists; and if by chance one of them does fall ill there is always a substitute, known as the "understudy," who is ready at any moment to supply the place of the indisposed one.
The public, when it has once found its way to a theatre where a successful operetta oropéra bouffeis being played, goes there night after night for months, and sometimes years, at a time. The manager probably complains of being terribly over-worked; but all he has really to do is to see that some hundreds of pounds every week are duly paid in to his account at the bank. To manage a theatre under such conditions is as simple as selling Pears' Soap or Holloway's Pills.
The opera manager does not depend upon the ordinary public, but in a great measure upon the public called fashionable. His prices are of necessity exceptionally high; and his receipts are affected in a way unknown to the ordinary theatrical manager. Court mourning, for instance, will keep people away from the opera; whereas the theatre-going public is scarcely affected by it. The bill, moreover, has to be changed so frequently, so constantly, that it is impossible to know from one day to another what the receipts are likely to be.
What would one give for a prima donna who,like Miss Ellen Terry or Mrs. Kendal, would be ready to play every night? Or for a public who, like the audiences at the St. James's Theatre and the Lyceum, would go night after night for an indefinite time to see the same piece!
Finally, at a London Musical Theatre the prima donna of an Operetta Company, if she receives £30 or £40 a week, boasts of it to her friends. In an Italian Operatic Company a seconda donna paid at such rates would conceal it from her enemies.
HOUSE DIVIDED AGAINST ITSELF—REV. H. HAWEIS ON WAGNER—H.R.H. AND WOTAN—ELLE A DÉCHIRÉ MON GILET—ARDITI'S REMAINS—RETURN TO SAN FRANCISCO.
HOUSE DIVIDED AGAINST ITSELF—REV. H. HAWEIS ON WAGNER—H.R.H. AND WOTAN—ELLE A DÉCHIRÉ MON GILET—ARDITI'S REMAINS—RETURN TO SAN FRANCISCO.
TOreturn to my difficulties at the New York Academy of Music, I was at length compelled to rehearse where I could; one day at the Star Theatre, another at Steinway Hall; a third at Tony Pastor's—a Variety Theatre next door to the Academy.
In the midst of these difficulties I caught a severe cold and found myself one morning speechless. I was surprised that afternoon to find a bottle of unpleasant sticky-looking mixture left with the hall-keeper, accompanied by a letter strongly recommending it from an admirer, who had heard, with sorrow, that I had taken cold. Not liking the smell of it, I sent it to an apothecary's for analysis, when it was found to contain poison. Fortunately I had not tasted it.
Finding myself so heavily handicapped, I decided, pending the preparation ofManon, to get ready Auber'sFra Diavolo, which had to be rehearsed under the same difficulties. I, however, succeeded in producing it on the 20th November, and an excellent performance we gave. Fohström was charming as "Zerlina," and in therôlesof the two brigands, Del Puente and Cherubini were simply excellent. I have seen many performances ofFra Diavoloin London with Tagliafice and Capponi, whom I considered admirable; but on this occasion they were fairly surpassed in the brigands' parts by Del Puente and Cherubini. The part of "Fra Diavolo" was undertaken by Ravelli, and the scenery and dresses were entirely new; the former having been painted on the roof of the theatre, either late at night or early in the morning, with the finishing touches put in on the Sundays.
The majority of my stockholders were careful to remain away, thus leaving a very bare appearance in the proscenium boxes. They, too, were siding with the enemy, or had not quite recovered from the three-dollar assessment which they had been called upon to pay for Patti the previous year. All these intrigues, however, marked in my mind the future downfall of the Academy and its stockholders, the house being now "divided against itself."
I will quote from theEvening Post, a paper hostile to my enterprise, a criticism on theFra Diavoloperformance:—
"Fra Diavolo, as presented at the Academy last evening, was by far the most enjoyable performance given by Mr. Mapleson's Company for a long time. There was an element of brightness and buoyancy in the acting and singing of all the principals that admirably reflected the spirit of Auber's brilliant and tuneful score. Next Monday, when the season of German Opera opens at the Metropolitan withLohengrin, there will be doubtless hundreds who will be unable to secure seats. All such we earnestly advise to proceed straight to the Academy next Monday, whereFra Diavolowill be repeated; not only because they cannot fail to enjoy this performance, since it is an entertaining opera entertainingly interpreted, but because Mr. Mapleson ought to be encouraged, when he undertakes to vary his old repertory.... Ravelli sang admirably last evening, and so did Fohström, who acted her part with much grace and daintynaïveté. Lablache, Del Puente, and Cherubini were unusually good and amusing. The Academy, we repeat, ought to be crowded on Monday next."
The production ofFra Diavologave great satisfaction. Meanwhile, I made another attempt to continue my rehearsals ofManon. Not only was I excluded from the stage by the hammering and knocking of this new Anglo-German Opera Company, but they turned one of the corners of the foyer into a kind of business office, where theirchatterings greatly interrupted my rehearsals with pianoforte. These, at least, I thought, might be managed within the theatre.
On ordering an orchestral rehearsal at Steinway Hall the following morning I was surprised to find that Mr. Thomas and his orchestra had actually gone there before me; and I had to dismiss my principal singers, chorus, and orchestra for a couple of hours, when with difficulty I was enabled to make a short rehearsal.
This went on day after day much to my annoyance. The Directors now began troubling me to pay the rent; to which I replied that I would willingly do so as soon as they performed their portion of the contract by allowing me to rehearse.
About this time I was challenged to meet the Rev. H. Haweis, author ofMusic and Morals, in a discussion on Wagner to be held at the Nineteenth Century Club, at which a great number of the fashionables of New York were present. After a brief introductory address, Mr. Courtlaudt Palmer, President of the Club, introduced the Rev. Mr. Haweis. His paper was a running series of anecdotes about Wagner, many of them keeping the audience in a continual laugh. He then made an onslaught on Italian Opera, assuring the audience that its days were numbered, that Wagner for the future was the one composer of dramatic music, and that every support should begiven to his works now being represented at the Metropolitan Opera-house.
When he had concluded I rose and said, "You have told us much about Wagner, but nothing about his music. I trust I am not unparliamentary when I say that if he is to be judged by the effect of his works on the public—works that have now been for years before the world—Wagner is an operatic failure, and that what the Rev. Mr. Haweis has told us about his operas is sheer nonsense. One question he puts to me is: 'Did I ever lose money by Wagner?' I say emphatically, 'yes.' I once brought over all the material for his trilogy, theRing des Nibelungen, from Munich to London, where it was to have been produced (according to one of the conditions of the agreement) under the supervision of Wagner himself. The master did not come; but his work was produced under a conductor of his own choice, and when the series had been twice given about six thousand pounds had been lost.
"My time will come yet. I labour under many difficulties now; but when New Yorkers are tired of backing German and American Opera, and will only subsidize me with one per cent. of the millions they are going to lose, I will return and give them Italian Opera."
I remember an interesting and, I must admit, not altogether inexact account of my production of theRing des Nibelungenbeing given in theMusical Journalof New York.
"The series," wrote the American journalist, "was given under the special patronage of the Prince of Wales, who loyally remained in his box from the rising to the going down of the curtain, although he confessed afterwards that it was the toughest work he had ever done in his life. When Wotan came on the darkened stage and commenced his little recitative to an accompaniment of discords the Prince took a doze, but was awakened half-an-hour later by a double forte crash of the orchestra, and, having fallen asleep again, was startled by another climax fifteen minutes afterwards, when he found Wotan still at it, singing against time. At the end of five weeks Mapleson's share of the losses was 30,000 dollars; and the Prince told him confidentially that if Wotan appeared in any more operas he should withdraw his patronage."
By dint of perseverance, together with the aid of various managers, I succeeded in producing Wallace'sMaritana. I first performed it over in Brooklyn, where it met with the most unqualified success, nearly every piece of music being encored, while Ravelli roused the audience to frantic enthusiasm by a finely-delivered high C from the chest at the conclusion of "Let me like a soldier fall." On a third encore he sang it in English. I then returned to the New York Academy with this opera, thus fulfilling the second of my promises in the prospectus.
It wanted now but nine days to the conclusion of my season, and as I had given to the public, despitethe grumbling and cavilling, all the singers announced in my prospectus, I strained every nerve to produce the last of my promised operas, which caused more difficulty than all the others put together. This wasManon, which I succeeded in placing on the stage with entirely new scenery and dresses, and with a magnificent cast.
Glad indeed was I to shake the dust off my feet on leaving the Academy, where during a course of some eight or nine years I had given the New York public every available singer of eminence, including Adelina Patti, Etelka Gerster, Albani, Fursch-Madi, Scalchi, Campanini, Aramburo, Mierzwinski, Galassi, De Anna, Del Puente, Foli, and other celebrities. I confess I was not chagrined when I gradually saw after a couple of seasons had passed the downfall of the Anglo-German-American Opera Company, which from the very beginning had failed to benefit musical art in any way. Not a single work by an American composer was given, the repertory being entirely made up of translations of German operas. I also read without any deep regret of the total break-up of the Academy with all its belongings. It is now the home of a "variety show."
This New York season of 1885 was a most disastrous one financially, as it necessitated my closing for nearly a fortnight in order that the promised productions should all be given. It was with great difficulty that I could start the tour, as every combination seemed to be against me.
However, I opened at Boston withCarmenearly in January, 1886, to a crowded house; the other performances of that week beingFra Diavolo,Manon,Maritana,Traviata, andCarmenfor amatinée, the receipts of which exceeded even those of its performance on the previous Monday.
During the second weekFaust,Don Giovanni,Rigoletto,Martha, etc., were performed. We left the next day for Philadelphia, where we remained until the middle of the following week. From there we went on to Baltimore, Washington, Pittsburg, Chicago, opening in the last-named city very successfully with a performance ofCarmen; when a violent scene occurred during the third act from which may be said to date the disastrous consequences which followed throughout the whole of the route; one paper copying from another, with occasional exaggerations, so that in every town we visited the public expected a similar disturbance. Hence a general falling off in the receipts.
It was in the middle of the third act, when "Don José," the tenor (Ravelli), was about to introduce an effective high note which generally brought down the house, that "Carmen" rushed forward and embraced him—why I could never understand. Being interrupted at the moment of his effect, he was greatly enraged, and by his movements showed that he had resolved to throw Madame Hauk into the orchestra. But she held firmly on to his red waistcoat, he shouting all the time, "Laissezmoi, Laissez moi!" until all the buttons came off one by one, when she retired hastily to another part of the stage. Ravelli rushed forward and exclaimed, "Regardez, elle a déchiré mon gilet!" and with such rage that he brought down thunders of applause, the people believing this genuine expression of anger to be part of the play.
Shortly afterwards, on the descent of the curtain, a terrible scene occurred, which led to my receiving this letter the following morning:—
"Palmer House, Chicago,"February 9th, 1886."DEARCOLONELMAPLESON,"The vile language, the insults, and threats against the life of my wife in presence of the entire Company, quite incapacitate her from singing further, she being in constant fear of being stabbed or maltreated by that artist, the unpleasant incident having quite upset her nervous system. She is completely prostrate, and will be unable to appear again in public before her health is entirely restored, which under present aspects will take several weeks. I have requested two prominent physicians of this city to examine her and send you their certificates. Please, therefore, to withdraw her name from the announcements made for the future."As a matter of duty, I trust you will feel the necessity to give ample satisfaction to Miss Hauk for the shameful and outrageous insults to whichshe was exposed last night, and Mr. Ravelli can congratulate himself on my absence from the stage, when further scenes would have occurred."I fully recognize the unpleasant effect this incident may have on your receipts, more especially so should I inflict upon him personally the punishment he deserves."I am, dear Colonel Mapleson,"Very truly yours,"(Signed)E.DEHESSEWARTEGG."
"Palmer House, Chicago,"February 9th, 1886.
"DEARCOLONELMAPLESON,
"The vile language, the insults, and threats against the life of my wife in presence of the entire Company, quite incapacitate her from singing further, she being in constant fear of being stabbed or maltreated by that artist, the unpleasant incident having quite upset her nervous system. She is completely prostrate, and will be unable to appear again in public before her health is entirely restored, which under present aspects will take several weeks. I have requested two prominent physicians of this city to examine her and send you their certificates. Please, therefore, to withdraw her name from the announcements made for the future.
"As a matter of duty, I trust you will feel the necessity to give ample satisfaction to Miss Hauk for the shameful and outrageous insults to whichshe was exposed last night, and Mr. Ravelli can congratulate himself on my absence from the stage, when further scenes would have occurred.
"I fully recognize the unpleasant effect this incident may have on your receipts, more especially so should I inflict upon him personally the punishment he deserves.
"I am, dear Colonel Mapleson,"Very truly yours,"(Signed)E.DEHESSEWARTEGG."
The following day I received this, other epistle:—
"February 10th."DEARSIR,"My client, Baron Hesse Wartegg, has applied to me for advice concerning the indignities which Signor Ravelli, of your troupe, has offered to Mdme. Minnie Hauk on the stage. Signor Ravelli has uttered serious threats against the lady, and has on several occasions in presence of the public assaulted her and inflicted bodily injuries, notably on Monday evening last, during the performance ofCarmen. My client wishes me to invoke the protection of the law against similar occurrences, as Mdme. Hauk fears that her life is in imminent danger. Under these circumstances I am compelled to apply to the magistrates for a warrant against Signor Ravelli, in order that he may be bound over to keep the peace. The law of this State affecting offences of this character is very severe, and shouldthe matter be brought to the cognizance of our courts, Miss Hauk will not only have ample protection, but Mr. Ravelli will be punished. It is her desire, however, to avoid unpleasant notoriety, which would doubtless reflect on your entire troupe, and on your undertaking to execute a bond for 2,000 dollars to guarantee the future good conduct of Ravelli I shall proceed no further. I respectfully invite your immediate attention to this, and beg you will favour me with an early reply. Should I fail to hear from you before to-morrow evening I shall construe your silence as a refusal to secure proper protection for Miss Hauk and proceed accordingly."Miss Hauk and her husband are actuated by no other motives but those which are prompted by the lady's own safety. Please favour me with an early answer."Very respectfully yours,"(Signed)WILLIAMVOCKE,"Attorney for Miss Minnie Hauk."
"February 10th.
"DEARSIR,
"My client, Baron Hesse Wartegg, has applied to me for advice concerning the indignities which Signor Ravelli, of your troupe, has offered to Mdme. Minnie Hauk on the stage. Signor Ravelli has uttered serious threats against the lady, and has on several occasions in presence of the public assaulted her and inflicted bodily injuries, notably on Monday evening last, during the performance ofCarmen. My client wishes me to invoke the protection of the law against similar occurrences, as Mdme. Hauk fears that her life is in imminent danger. Under these circumstances I am compelled to apply to the magistrates for a warrant against Signor Ravelli, in order that he may be bound over to keep the peace. The law of this State affecting offences of this character is very severe, and shouldthe matter be brought to the cognizance of our courts, Miss Hauk will not only have ample protection, but Mr. Ravelli will be punished. It is her desire, however, to avoid unpleasant notoriety, which would doubtless reflect on your entire troupe, and on your undertaking to execute a bond for 2,000 dollars to guarantee the future good conduct of Ravelli I shall proceed no further. I respectfully invite your immediate attention to this, and beg you will favour me with an early reply. Should I fail to hear from you before to-morrow evening I shall construe your silence as a refusal to secure proper protection for Miss Hauk and proceed accordingly.
"Miss Hauk and her husband are actuated by no other motives but those which are prompted by the lady's own safety. Please favour me with an early answer.
"Very respectfully yours,"(Signed)WILLIAMVOCKE,"Attorney for Miss Minnie Hauk."
I had no option but to give the bond.
That evening Signor Arditi, on leaving the theatre, caught a severe cold, which confined him to his bed, developing afterwards into an attack of pneumonia. The assistant conductor, Signor Sapio, was attacked by a similar malady; also Mdlle. Bauermeister, who was soon indeed in a very dangerous condition.
The following evening Mdlle. Fohström appeared as "Lucia di Lammermoor," and met with very great success.
With much persuasion I induced Miss Hauk to reappear as "Carmen", replacing Ravelli by the other tenor, De Falco.
During the ensuing week Arditi's condition became worse and worse. As we were engaged to appear the following evening at Minneapolis we were compelled to leave him behind as well as various other members of the Company, who were also indisposed. Prior to my departure I saw the doctor, who informed me that he considered Arditi's case hopeless; on which I prepared a cable for his wife asking what was to be done with his remains. This I left confidentially with the waiter.
I managed to get with the remnants of my Company to Minneapolis, where a severe attack of gout developed itself, which confined me to my bed; I in turn being left behind whilst the Company went on to St. Paul.
On the Company leaving St. Paul I managed to join the train on its road to St. Louis, where we remained a week. On the last day of our stay there I was pleased to see Arditi again able to join the Company, though in a very delicate state. Mdme. Hauk arrived at St. Louis the last day we were there. The following week we performed in Kansas City, where for the opening we gaveCarmenwith Minnie Hauk, followed byFaustwith Mdme.Nordica as "Margherita." The following night at Topeka we playedLucia di Lammermoorwith Fohström.
During these lengthened journeys across the Continent to the Pacific Coast the whole of the salaries ran on as if the artists were performing regularly.
As a rule we all travelled together; but occasionally, when the distance between one engagement and the next was too great, and the time too short, we separated. Sometimes one town in which we performed was four or five hundred miles away from the next. In that case the train was either divided into two or into three pieces, as the case might be. For instance, when we left for Chicago the engineer saw that he was unable to get to that city in time for our engagement the same evening. He therefore telegraphed back to Pittsburg, and the railroad officials there telegraphed on to Fort Wayne to have two extra locomotives ready for us. Our train was then cut into three parts, and sent whizzing along to Chicago at a lively rate, getting there in plenty of time for the evening's performance. It was wonderful, and nothing but a great corporation like the Pennsylvania Railroad Company could accomplish such a feat. By leaving at two o'clock in the morning we arrived at four the same afternoon at our next destination, in ample time to perform that evening; my hundred and sixty people having travelled a distance of four or five hundred miles with scenery, dresses, and properties.
We afterwards visited St. Joseph and Denver, opening at the latter withCarmenon a Saturday at the Academy of Music. Early the next morning we decided to give a grand Sunday concert at the Tabor Opera-house; but as no printing could be done, and no newspapers were published, the announcements had to be chalked upon the walls. With some difficulty we got a programme printed towards the latter part of the day, but notwithstanding this short announcement, so popular was the Company that the house was literally packed full. We played at Cheyenne the following evening, afterwards visiting Salt Lake City, where we presentedCarmen. The irascible Mr. Ravelli again showed temper, and by doing so caused great inconvenience. I replaced him by one of the other tenors of the Company.
Of course I was blamed for this. Ravelli, however, had declared himself to be indisposed, and I at once published the certificate signed by Dr. Fowler.
The opera went exceedingly well.
Immediately after the performance we started for San Francisco, where we arrived the following Sunday afternoon, opening withCarmenon the Monday night before a most distinguished audience. Signor Ravelli performed "Don José," but in a very careless manner, omitting the best part of the music. He made little or no effect, whilst Minnie Hauk, who had not recovered from her previous fatigues, obtained but asuccès d'estime.
Meantime a sale of seats by auction, which had been held, was an entirefiasco.
The second evening Mdlle. Fohström made a most brilliant success. The third night was devoted to Massenet'sManon, in which Miss Hauk did far better than on the opening night. The following evening we performedLa Traviata, in which Mdme. Nordica made her appearance, Signor Giannini undertaking therôleof "Alfredo." During this time great preparations were being made for a production ofL'Africaine. The whole of the scenery and dresses, even to the ship, had been brought to the Pacific coast, at a considerable outlay; no less than £900 being paid for overweight of baggage through transporting this costly vessel across the plains.
The performance was a fine one, and the work was rendered admirably throughout, the great ballets and the processions gaining immense applause.
In the meantime a great deal of unpleasantness was going on in the Company, which greatly crippled my movements, besides diminishing my nightly receipts.
Although Ravelli, who was really the cause of all the trouble, had been ill for nearly three weeks, he refused to sing any more unless his full salary were paid him for the whole of the time. This, of course, I refused, and law proceedings were the consequence.
De Anna, the baritone, had an engagement for the whole six months of our American tour; and there was a clause in his contract which provided that during the interval of eight days, about the latter part of December, whilst the Company was idle, the salary should be suspended. But on our resuming the tour Mr. De Anna immediately notified me that unless I paid him for those eight days he would stop singing. This was the commencement of my trouble with him. Prior to our arrival his salary was handed to him, half in cash, and half in a cheque payable at San Francisco. He presented his cheque at the bank before the money had been placed there, and notified me that in consequence of non-payment he refused to sing that evening. Thereupon the treasurer went down to his hotel with the money, which was only a small amount of some £50 or £60. But he refused to accept it and surrender the cheque. The money was again tendered to him, and again refused.
De Anna, following suit with Ravelli, immediately inserted an advertisement in the daily papers setting forth that the part of "Nelusko" inL'Africainewas one of the most arduousrôlesin therépertoireof a baritone, and that he alone was capable of performing it; while he at the same time respectfully informed the public that he did not intend to do so.
In the production ofL'Africaine, however, Del Puente undertook therôleof "Nelusko," and metwith signal success, so that the recalcitrant baritone was left out in the cold and not missed. This tended still further to rouse his ire, and he resorted to a series of daily statements of some kind or other with the view of discrediting the Opera.
It was, indeed, a trying matter to me. The baritone, De Anna, refused to sing, and Ravelli was in bed with a bad cold; so, too, was Mdlle. Fohström. News, moreover, arrived from Minneapolis that Mdme. Nordica's mother, who had been left there, was at the point of death. Nordica insisted on rushing off at a moment's notice to make the journey of five days in the hope of reaching her while she was yet alive; and the rest of the Company were in open rebellion.
The season, however, despite these almost insurmountable difficulties, was a complete artistic success; and the Company I presented to my supporters in San Francisco was one that would have done honour to any European Opera-house. But, again, the name ofla Divabeing missing, the patronage accorded me was of a most scanty kind. The wealthy and luxurious inhabitants of the suggestively named "Nobs' Hill" remained carefully away.
I managed, however, to give the twenty-four consecutive performances promised, together with three Sunday concerts, the penultimate performance being devoted to my benefit.
THE RETREAT FROM FRISCO—HOTEL DANGERS—A SCENE FROM "CARMEN"—OPERATIC INVALIDS—MURDEROUS LOVERS—RAVELLI'S CLAIM—GENERAL BARNES'S REPLY—CLAMOUR FOR HIGHER PRICES—MY ONWARD MARCH.
THE RETREAT FROM FRISCO—HOTEL DANGERS—A SCENE FROM "CARMEN"—OPERATIC INVALIDS—MURDEROUS LOVERS—RAVELLI'S CLAIM—GENERAL BARNES'S REPLY—CLAMOUR FOR HIGHER PRICES—MY ONWARD MARCH.
SANFrancisco, or Frisco, as the inhabitants pleasantly call it, is at the end of the American world; it is the toe of the stocking beyond which there is no further advance. For this reason many persons who go to Frisco with the intention of coming back do, as a matter of fact, remain. It is comparatively easy to get there, but the return may be difficult. It is obviously a simpler matter to scrape together enough money for a single journey than to collect sufficient funds for a journey to and fro; and the capital of California is full of newly-settled residents, many of whom, having got so far, have found themselves without the means of retracing their steps.
At the period of the operatic campaign conductedby me—which, beginning most auspiciously, ended in trouble, disaster, and a retreat that was again and again on the point of being cut off—contending railway companies had so arranged matters that access to San Francisco was easier than ever. The war of rates had been carried on with such severity that the competing railway companies had at last, in their determination of outstripping one another, reduced the charge for carriage from Omaha to Frisco to a nominal sum per head. £20 (100 dollars) was the amount levied for conveying a passenger to Frisco direct; but on his arrival at the Frisco terminus £19 was returned to him as "rebate" when he gave up his ticket.
The rates from Frisco to New York had also been considerably reduced; and it was not until, after a series of pecuniary failures, we were on the point of starting that, to our confusion and my despair, they were suddenly raised. I had a force of 160 under my command, with an unusual proportion of baggage; and this hostile move on the part of the railway companies had the immediate effect of arresting my egress from the city.
Ravelli, possibly at the suggestion of his oracular dog (who always gave him the most perfidious counsel), had laid an embargo on all the music, thus delaying our departure, which would otherwise have been effected while the railway companies were still at war. They seemed to have come to an understanding for the very purpose of impedingmy retreat. Ravelli suffered more than I did by his inconsiderate behaviour, for he was entirely unable, with or without the aid of his canine adviser, to look after his own interests.
It must be understood that in America a creditor or any claimant for money,bonâ-fideor not, can in the case of a foreigner commence process by attaching the property of the alleged debtor. This may be done on a simple affidavit, and the matter is not brought before the Courts until afterwards.
All the foreigner can do in return is to find "bondsmen" who will guarantee his appearance at a future period, or, in default, payment of the sum demanded; and it has happened to me when I have been on the point of taking ship to be confronted by a number of claimants, each of whom had procured an order empowering him either to arrest me or to seize my effects. I used, therefore, on my way to the steamer, or it might be the railway station, to march, attended by a couple of "bondsmen" and a Judge. The "bondsmen" gave the necessary security, the Judge signed his acceptance of the proffered guarantee, and I was then at liberty to depart.
Once, as I have already shown, I had to suffer attachment of my receipts at the hands of a body of "scalpers," who, when I had liberated the money through the aid of two friendly "bondsmen" and a courteous Judge, abandoned their claim; though when next year I returned to Frisco they could, ofcourse, had it not been absolutely groundless, have pressed it before the proper tribunal.
Among other extraordinary claims made upon me immediately after the affair of the "scalpers" was one for 400 gallons of eau de Cologne. Some such quantity had, it was alleged, been ordered for fountains that were to play in front of the Opera-house; but the dealers, in lieu of eau de Cologne, had furnished me chiefly with water of the country. They swore, however, that I really owed them the money they demanded, and an attachment was duly granted.
It was through the treachery, then, of the dog-fearing Ravelli that our misfortunes in Frisco were brought to something like a crisis. In seizing the music in which the whole Company had an interest the thoughtless tenor was, of course, injuring himself and preparing his own discomfiture. The effect of his action was in any case to stop for a time my departure. We had evacuated the city, and now found ourselves blocked and isolated at the railway station. The railways would not have us at any price but their own. The hotel keepers were by no means anxious for our return, and some of the members of my Company had a healthy horror of running up hotel bills they were unable to pay. This may in part at least have been inspired by the following notice which, or something to the same effect, may be found exhibited in most of the Western hotels:—