SUBTERRANEAN MUSIC—THE STRIKER STRUCK—TUSCAN TAFFY—A HEALTHY "LUCIA"—I RECOVER FROM THE UNITED STATES—A BEKNIGHTED MAYOR.
SUBTERRANEAN MUSIC—THE STRIKER STRUCK—TUSCAN TAFFY—A HEALTHY "LUCIA"—I RECOVER FROM THE UNITED STATES—A BEKNIGHTED MAYOR.
WEopened our Chicago season with a grand concert prior to the commencement of the regular performances in order to let the public know that all the Company was present in the city after the conflicting reports that had been circulated.
Notwithstanding all our recent reverses, my Company was intact, except that the refractory tenor Ravelli had been replaced by Signor Baldanza, and the basso Cherubini by Signor Bologna. Here, again, in Chicago, my usual stronghold for Italian Opera, the reports of our troubles had been exaggerated and enlarged upon, so that the general public had lost all confidence, notwithstanding the fact that, through Mrs. Marshall Field's influence, a party of the most distinguished citizens had secured the whole of the boxes for the entire season.
The Chicago engagement was expected to recoup us for our losses in the West. But, unfortunately, this hope was not realized; and in consequence of the wild reports that got into general circulation, and, of course, into the newspapers, the Company began to clamour for their pay. I referred them to Mr. Henderson, the Manager of the Chicago Opera-house; and his office was crowded daily with prime donne, chorus people, dancers, musicians, property men, bill-board men, and supernumeraries, all demanding money. "Lucia" was begging for dollars and cents; "Manrico" insisted on having at least three meals a day; while the "Count di Luna," who shared his rival's apartments, protested that unless he had a pint of good wine before he went on he could not get out his F's with due effect inIl Balen.
Mr. Henderson proclaimed his managerial life a burden, but made no other response.
Of the orchestral players the drum was the noisiest; though the hautboy and the piccolo were every whit as emphatic. It was a united and determined strike, the keynote of which was, "No pay no play."
Only two weeks' pay was owing to them, and it was agreed that Mr. Henderson, the Manager, should give them one week's salary on account. But when the musicians assembled to receive it they suddenly, through the persuasiveness of one oftheir body, insisted upon having all arrears paid up; otherwise they would not enter the orchestra.
Finding they were obdurate and would not take the money that was offered them, I was forced to seek musicians from among the various musical societies of the city, and called a rehearsal as soon as I was ready. After the new orchestra had been brought together, a hasty rehearsal was ordered for 7.30 that evening; and not long after the opening of the doors the public was regaled with the sounds of my new orchestra, who were practising underneath the pit, from which they were separated only by a very thin flooring.
On Arditi's notifying Signor Bimboni, the accompanist and under-conductor, that he would require him to assist on the piano in the orchestra, Bimboni replied: "Bless you! I have struck too."
Nothing discouraged, though somewhat wrath, Arditi succeeded in unearthing an accompanist, who struggled bravely with the pianoforte score.
During the performance, Parry, our stage manager, met Bimboni near the stage door, and reproached him sharply for deserting his post. This altercation led to blows. Bimboni struck out wildly, and soon went down with a black eye and a bruised face as a souvenir of the encounter.
The chorus, finding that I had provided another orchestra, and had threatened to find other choristers, gave in; and I must say we succeededin giving a very excellent performance, despite all difficulties.
The next day all was again serene, and I was enabled to continue my representations until the close, finishing up the season with success. The Chicago engagement concluded with a benefit tendered to me by most of the prominent citizens. They thus showed their appreciation of my efforts as a pioneer; for I was the first manager who had introduced into their city grand opera worthy of the name.
Amongst the signatures to the document embodying this fact were the following well-known names:—The Hon. Carter H. Harrison, Judge Eugene Carey, Marshall Field, Ferd. W. Peck, J. Harding, Professor Swing, George Boyne, Irving Pearce, A. A. Sprague, George Schneider, John R. Walsh, J. McGregor Adams, George F. Harding, S. S. Shortball, J. Russell Jones, Edson Keith, C. M. Henderson, Hon. J. Medill, Potter Palmer, John B. Drake, N. K. Fairbank, T. B. Blackstone, A. S. Gage, &c.
On being called before the curtain I thanked the public for the liberal support they had given to my undertaking; also the press for the encouraging notices which it had published daily, notwithstanding all my troubles. These had been fully made known to everyone by means of the daily papers, which really took more interest in my affairs than I did myself.
In regard to the strike of my orchestra, an account of which was published in theInter-Ocean, Mr. David Henderson, manager of the Chicago Opera-house, said to an interviewer:—"The new orchestra played this evening in a satisfactory manner. The Musical Union held a meeting during the day, and decided, I am told, that the members of the Colonel's orchestra did wrong in taking the stand in the matter of wages that they did; that is, in demanding from me back salaries. After the meeting several of them expressed a desire to come back; but I only took those needed—five or six in all. The rest are out of employment. The orchestra is now better than before, and everything is going along smoothly. At the conclusion of the engagement of the Company, Sunday night, a number of the principals and of the chorus and executive staff will return with Colonel Mapleson direct to London. I ought to add that since the beginning of the engagement he has not touched one cent of the box-office receipts. I have distributed the money as equitably as I could, giving to each artist, on present and past salaries, as much as the receipts would permit. I have learned that the Colonel is not as much in arrears to his Company as newspaper reports led the public to believe. Some of the leading people have been, as near as I can ascertain, only behindhand some three or four performances, before coming to Chicago. The orchestra that left, I understand, have twoweeks' salaries due to them, that were incurred during the past eight weeks since the Colonel's bad business in California, and through the lengthened voyage. The best proof of the belief on the part of his company that the Colonel intends doing what is right by its members is the willingness with which every one of them has consented to appear at his benefit, Saturday evening, without compensation."
"The Mapleson Opera Company," wrote the Tribune, "with the Colonel's trials and tribulations, have pretty well filled the public eye the past week. Outside of the Columbia Theatre, with the McCaull people there has been nothing to talk about but the Colonel. There are times when Mapleson, unconsciously, perhaps, appeals to sympathy. He is the only living man to-day with nerve enough to go into the business at all, who can govern and control the average opera singer. The latter is the most trying beast on earth. Male or female, Italian or Greek, German or 'American,' they are all alike. A more obstreperous, cantankerous, and altogether unreasonable being than an opera singer it is hard to find in any other walk of life. The Italian contingent of the guild is the worst to get along with. The Italian singer is rapacious, improvident, ungrateful, and wholly inconsiderate of his manager. At the same time he is a vain fool whom a wordof flattery will move. Mapleson speaks Italian fluently, and hence when trouble arises he seeks the complainer, gives him a lot of Tuscan taffy, and the idiot goes off and sings as if nothing had happened. The Mapleson season at the Chicago Opera-house has had its difficulties, yet it has scored successes. The leading people have stood by the Colonel. He has had trouble with the orchestra, but that was quickly remedied. Yesterday Giannini, whom Mapleson picked up, as it were, out of the gutter in New York, where the Milan Company dropped him, and to whom he has since paid thousands of dollars, whether he earned it or not, made a strike just before thematinée. Giannini wanted 600 dollars. Mapleson offered 400 dollars. Giannini refused it, and would not sing. Then the Colonel began to talk Italian in his charming way, and the result was that the tenor went back, dressed, and sang, and that, too, without a 'cent,' and did it with meekness.La Sonnambula, which gave Mdlle. Fohström her last chance to appear, drew a good house at thematinée, and the Colonel's benefit in the evening was a gratifying tribute. There were no more breaks, and the audience showed a warm appreciation throughout. The programme was just what Colonel Mapleson's admirers wanted. Last night's performance ended the season. From here the company scatters. The principals seek their homes inEurope, and the Colonel travels post-haste to London, where he is to superintend the Patti appearance in June. Mapleson is disgusted with his present season's experience, but he is by no means disheartened. He threatens to come back at an early period."
At the end of some three weeks we learned that Sergeant Smith, the commissionaire who jumped out of the window in his shirt, had been discovered comfortably asleep and unhurt. Some difficulty was experienced in marching him along in the costume in which he then was to the hospital, whither it was thought prudent first to take him until some clothing could be provided. Whilst he was detained there a lady who had come to visit a sick gardener recognized the sergeant as having crossed on the same boat with her some six months previously. He readily accepted her offer of the vacant place, and forthwith began work; and it was only after many inquiries as to how the missing body had been disposed of that we discovered the man was still alive. On this being made known several articles came out in various journals, some giving the life of Sergeant Smith, and saying where and how he had won his numerous medals, whilst others expatiated generally on the valour and endurance of the British army.
In due course the gallant sergeant joined the main body and donned his uniform.
While we were at Chicago another Opera Company,calling itself the Milan Grand Italian Opera Company, was giving performances, and an amusing incident happened during a representation ofLucia. The audience was waiting for the appearance of the heroine in the third act. But they waited and watched in vain. The chorus stood in mute amazement, while the musicians in the orchestra looked somewhat amused. The audience stamped their feet and clapped their hands, while the gallery hissed repeatedly. The curtain was rung down, and there was a wait of a few minutes, when finally Signor Alberto Sarata, the manager of the Company, appeared on the stage, and said that Miss Eva Cummings, who had been singing the part of "Lucia," had suddenly become ill, and was quite unable to continue her performance. The opera would, therefore, go on without her. He had scarcely finished speaking when "Lucia" herself came on to the stage, and declared that she was in perfect health, and that she wanted her salary. This announcement was received with mingled cheers and hisses.
The prima donna bowed gracefully first to one side of the house, then to the other, and was about to follow the manager, who had already left the stage, when she found that the curtain was held fast by invisible forces. From one exit she went to the other, but still was unable to escape from the presence of the public.
"I will get off this time, anyhow!" she exclaimed, and with a rush pushed the curtain back. The invisible forces still resisted; but after a time "Lucia" succeeded in making her way to the wings.
Then the curtain went up, and "Edgardo" began to bewail the death of a "Lucia" who had not died.
Towards the close of our Chicago engagement attachments, writs, summonses, etc., began to fall thick and fast, which had to be dealt with speedily in order to ensure our departure.
I therefore made arrangements for a farewell Sunday concert in order to raise the wind for the purpose.
I cannot allow this opportunity to pass without tendering my sincere thanks to my esteemed and valued friend, President Peck, who very kindly came to the rescue by affording me the monetary assistance I required to enable us to get out of the city.
As fast as one attachment was released another came on. The last one I got rid of about 2 a.m., and left the theatre satisfied that all was serene. On seating myself at the Pacific Hotel, with a view to supper, I was called to the door, and notified that the waggons I had seen properly started had all been arrested and were at the corner of Dearborn Street. Placing down my knife and fork I hastened off; and by the aid of my friend Henderson, who gave bonds,the attachment was released. Meanwhile the whole of the Company was on the qui vive for the entraining order, the steam having been up some ten hours and the train not yet started.
At the station I came across the remnants of the Milan Opera Company which had been stranded some fortnight previously, and whose members were supplicating aid towards getting to New York. I thereupon had the great pleasure of affording them all a free passage in my train; and after sundry salutations from my numerous friends who came to see me off we took our departure. The Company reached Jersey City very early the following Tuesday morning, and went straight on board the boat which was to sail late that afternoon. I meanwhile crossed over into New York, where I attended at the Inman Steamship Office, and arranged for them to give a passage to my Company and to take an embargo on my belongings for their protection, as well as mine.
I must here set forth that every year on entering the port of New York the Customs authorities had charged me duty at the rate of some 50 per cent. on all my theatrical costumes, scenery, and properties, although the majority of them had originally been manufactured in the United States. Explanation was useless. The tax was invariably levied, though I always paid it under protest. I maintained that the things which accompanied me were tools ofmy profession, and were entitled under the State law to enter free; but inasmuch as I did not wear the clothing myself, it was contended that the property could not be so entered. To be free of duty the costumes, it was argued, must be the personal property of each performer. Mdme. Sarah Bernhardt on entering the United States brought some thousands of pounds worth of beautiful dresses, which were seized, she refusing to pay the amount of import duty claimed. Her case was heard, and it was decided from Washington that her dresses, since she wore them herself, were the tools of her profession or trade, and must be allowed to enter free. My case was different. But I instituted law proceedings against the United States, which, in consequence of various delays, lasted some four or five years. A decision was at last given in my favour. An order was, in fact, issued to refund me the duty I had previously paid, together with 6 per cent. interest.
On leaving the Inman Company's office I met my attorney, who informed me that the money that I was entitled to in the action I had won against the United States was payable to me on demand. This was, indeed, good news, and through my attorney's indefatigable exertions I was enabled to obtain the final signature of the Customs House authorities to the cheque which had been drawn to my order, and through his kindness to get it cashed.
I had, before leaving Chicago, received a letter from the ticket speculator Rullmann, to whom I was indebted upon a libretto contract, suggesting I should embark at Jersey City to avoid difficulties at New York. Angelo also recommended this course, saying that at New York there would be a plant put upon me, in order to delay my departure. As I was a resident of New York, and stood well there, I decided to start from that city; and it was a good thing I did so, as I afterwards learned that preparations had been made at Jersey City to prevent my starting, the "plant" having been prepared there. As I had a deal of business in New York the day of my departure, I decided to sail from Castle Garden in the health-officer's steamer, which was kindly placed at my disposal, the Captain of the Inman steamer having agreed, on my hoisting the health flag, to heave-to when outside in order to allow me to get on board.
Prior to leaving New York I arranged with the Mayor of Liverpool, through the medium of the cable, to give a grand concert at the Liverpool Exhibition building with the whole of my principal artists, for which I was to receive two-thirds of the gross receipts; and as the papers stated that the Exhibition was a very great success, I anticipated sufficient results to enable me, after landing, to take the Company on to London and send the choruses over to Italy.
We arrived in Liverpool three days before the time fixed for the proposed concert.
On landing I at once looked at the morning papers, when to my astonishment no announcement whatever of the concert had been made. On presenting myself at the Mayor's office I was informed that his Worship, who had just been knighted, had gone to the north to rest himself, leaving no instructions whatever with regard to the concert. A few bills had been ordered at the printers', but the proofs had not been corrected.
Feeling myself placed in a very trying position, I set personally about the arrangements, every obstacle meanwhile being thrown in my way by the executive, who contended that the Mayor had no right to enter into any arrangement without their sanction. I at last got placed up in the Exhibition two bills; which had vanished, however, by the next morning.
The concert-room was in a most chaotic state, stray pieces of wood, broken chairs, etc., lying about the floor. I had to arrange the room myself, and even number the seats.
The evening of the concert arrived; but the public as well as my own artists were debarred from entering the doors unless they first paid for admission to the Exhibition, the whole of the gate money having been pledged to some banker in Liverpool.
The concert gave great satisfaction, but the receipts only reached some £70 or £80; of which to the present moment I have been unable to obtain my share.
As I had to pay Mdlle. Fohström £50, Del Puente £40, and all the others in proportion, I found myself, counting the hotel bills, some £180 out of pocket.
The day after the concert we all reached London. As it was now the 18th of June it was too late to think of giving a London season; and my doings were limited to my benefit, which took place at Drury Lane under the immediate patronage of Her Majesty the Queen and H.R.H. the Prince of Wales. Mdme. Patti volunteered her services on this occasion, the Theatre, kindly placed at my disposal by Mr. Augustus Harris, being crowded.
BACK IN THE OLD COUNTRY—THE LONDON SEASON—SLUGGISH AUDIENCES—MY OUTSIDE PUBLIC—THE PATTI DISAPPOINTMENTS—THE "SANDWICH'S" STORY.
BACK IN THE OLD COUNTRY—THE LONDON SEASON—SLUGGISH AUDIENCES—MY OUTSIDE PUBLIC—THE PATTI DISAPPOINTMENTS—THE "SANDWICH'S" STORY.
SHORTLYafterwards I organized a very strong opera party, determining, during the coming September, to revisit the English provinces, which I had rather neglected during the previous seven or eight years. I, therefore, arranged to visit Dublin, Cork, Liverpool, Manchester, Glasgow, Edinburgh, Birmingham, etc., etc., resolved on giving a series of excellent performances. Engagements were concluded with Mdlle. Alma Fohström, Mdme. Nordica, Mdlle. Dotti, Mdlle. Marie Engle, Mdme. Hastreiter, Mdlle. Bianca Donadio, Mdlle. Jenny Broch, together with Signor Frapolli, Signor Runcio, Signor Del Puente, Signor Padilla, Signor Ciampi, Signor Vetta, a promising young basso, and Signer Foli; my conductors being Signor Arditi and Signor Vianesi.
My performances were admirably given; which was readily acknowledged by the whole of the provincial Press. But during the seven or eight years I had been away a younger generation had grown up and the elder ones had gone elsewhere. Inferior English Opera seemed now to be preferred to my grand Italian Opera; and it was only after I had been playing three or four nights in a town that the public began to understand the superiority of the latter.
In Dublin we had to feel our way with the performances, which culminated on the last night with a crowded house. I was anxiously expecting the arrival of Mdlle. Fohström, who had been delayed in Russia through the illness of a relative. She made her appearance at Dublin in the latter part of September to one of the most crowded houses I have ever seen.
We afterwards visited Cork, where I fear, as in Mdme. Gerster's case some years previously, Mdlle. Fohström took the germs of typhoid fever, which developed some ten days afterwards. Whilst singing at the grand concert of the Liverpool Philharmonic the lady found herself scarcely able to move, much to the astonishment of myself as well as the Committee. She, however, got through her work, and came on to Manchester, where she lay in bed for nearly three months, which was, of course, a great drawback to our success.
At Manchester, which is a great musical centre, our receipts the first week were miserable. But with the commencement of our second and last week they gradually increased, until there was not standing room. I endeavoured in vain to buy off another Company in order to continue our success.
Again, in Glasgow, where our old triumphs had been evidently forgotten, we played to most miserable receipts until the second week, when gradually the business grew until we had to refuse money. In fact, I had to re-take the theatre, and return there a fortnight afterwards, when on my last performance ofIl Flauto Magicopeople were paying 10s. for standing room, while private boxes fetched London prices.
We next moved on to Birmingham, where my sole consolation was the admirable articles, making over a column in each of the daily papers, which appeared the morning after each representation, according the most unstinted praise to my really excellent performances. We afterwards left for Brighton, where we closed up just before Christmas.
Very early in the following month I started my Spring concert tour, visiting some forty cities in as many days, and meeting with great artistic success in every place we stopped at. My party consisted of Mdme. Nordica, Mdme. Marie Engle, Mdme. Hélène Hastreiter, and Mdlle. Louise Dotti; likewiseSignori Runcio, Del Puente, and Vetta, with M. Jaquinot as solo violinist. No more excellent artistic party could have been put together; but here, again, the provincial public, not knowing my singers, attended with great caution; preferring old names to the young voices I had with me.
In Liverpool, as well as in Bradford, both said to be great musical centres (?), the receipts were nil.
We finished up in Dublin, where, as usual, the houses were crowded with large and appreciative audiences. The Irish, thoroughly understanding music, and judging for themselves, crammed the hall, and encored every piece.
In England, as a rule, singers take some years to acquire a reputation; but having once got it, they can never get rid of it.
I recollect hearing Mr. Braham sing when he was 82; and he was applauded. We are a conservative nation, and value old friends as we do old port wine.
Both on the Continent and in America I have been frequently interrogated as to why the London opera season is held at a time when it is next to impossible for so many patrons and supporters of music to attend on account of the numberlessfêtes, flower shows, balls, garden parties, races, &c., that are taking place; to say nothing of the Crystal Palace, the Alexandra Palace, and (as regards thepresent season of 1888) the Irish, Danish, and Italian Exhibitions.
I, of course, could make no reply, being fully aware that alike in France, Spain, Austria, Germany, Italy, Russia, America, etc., the opera season begins generally about the third week in October; at a time when all outdoor attractions have ended. In the countries above mentioned dances and balls are, it is true, given during the winter months, whereas in London these social gatherings generally take place when the weather is extremely hot; and, as a rule, the smaller the house the greater the number of the guests invited.
In former times the London season was set by the opera; and its beginning usually coincided with the arrival of the singers from abroad, who in those days had to cross in sailing vessels, and would only come in fine weather.
Returning to London in the latter part of February, I decided on opening the Royal Italian Opera early in March; for which purpose I formed an admirable Company, consisting in the prima donna department of Mdlle. Alma Fohström, Mdlle. Emma Nevada, Mdlle. Jenny Broch, Mdlle. Marie Engle, Mdlle. Lilian Nordica, Mdlle. Louise Dotti, Mdlle. Hélène Hastreiter, Mdlle. Borghi, Mdlle. Bauermeister, Mdme. Lablache, Mdlle. Rosina Isidor, and Mdme. Minnie Hauk; my tenors being Signor Ravelli, M. Caylus, and Signor Garulli; mybaritones Signor Padilla, Signor Del Puente, and M. Lhérie; with Signor Miranda, Signor Vetta, Signor de Vaschetti, and Signor Foli as basses, Signor Ciampi as buffo, and Signor Logheder as musical conductor—in which capacity he proved most efficient. I moreover introduced two danseuses of remarkable excellence, Mdlle. Dell'Era and Mdlle. Hayten; both of whom must have left a favourable impression.
The novelties I produced wereLeila(Bizet'sPêcheurs de Perles); and Gounod'sMirella, for the first time since twenty-five years. ThusMirellawas practically a new opera. Both works were newly mounted, and both made their mark artistically.
But the season being a short one, and having no spare capital, I could not resort to my oldFaustandCarmenplan and hammer the music ofLeilainto people's heads. Consequently my production of the work did not meet with the financial success it should have done. The day will, however, come when it will form an attractive gem in the operatic crown.Leilais readily accepted all over the Continent; and even in Italy has been the mainstay of some twelve or fourteen opera-houses. Here, unfortunately, at its first production, many of the Pressmen were absent; and at its repetition no further notice was taken of it—though numbers of the public rely entirely upon what the newspapers say for their opinions and views.
The same fate awaited Gounod'sMirella—another most charming opera, in which Mdlle. Nevada sang to perfection.
The season continued for upwards of eight weeks, and was a pronounced success, both artistically and financially. It terminated about the middle of May. As I knew that London would be full of strangers on account of Her Majesty's Jubilee, I rented Her Majesty's Theatre, and on taking possession of it discovered it to be in a most desolate state. There was not a scene or a rope in working order, and the interior of the theatre was in a most deplorable condition, entailing upon me considerable expense for cleaning and restoring, painting, papering, carpeting, etc. There was nearly a mile of corridors and staircases to whiten, paper, paint, and carpet.
I opened a fortnight afterwards, when I again brought forward a powerful Company, including such valuable new-comers as Mdlle. Lilli Lehmann, Mdme. Trebelli (after an absence of eight years), and Mdlle. Oselio.
The season commenced most auspiciously on Saturday, June 4. But soon there was a difficulty with the orchestra, for there were now two other Italian Operas going on. It was impossible to induce the players I had engaged to attend rehearsals. There were Philharmonic, Richter, and other concerts in full swing; and although I paid them weekly salaries I could never command the services of my musicians for rehearsal, even though Iclosed my theatre at night for the purpose. I therefore had to suspend the representations for a week and form another orchestra, in order that I might sufficiently rehearse Boito'sMefistofele, which I had then in preparation. Ultimately I succeeded in bringing out that work, when, as on its first performance, it met with considerable success. This was followed by therentréeof Mdlle. Lilli Lehmann in Beethoven'sFidelio, which was probably the grandest and most perfect performance given in London for many years. In the meantime I placed Bizet's masterpiece,Leila, in rehearsal.
About this time the Royal Jubilee excitement began, followed by extremely hot weather; and notwithstanding the brilliant performances given the house was empty nightly, the public preferring the free show they got out of doors, in the shape of processions, illuminations, etc., to performances at the theatre, where the temperature was now averaging 90°, notwithstanding all I did to keep it cool.
In fact, the only receipts I got for the purpose of paying my way were from the letting of the exterior of my theatre instead of the interior; seats on the roof fetching £1 apiece, whilst windows were let for £40. These receipts helped to provide the sinews of war for carrying on my arduous enterprise.
I now bestirred myself in order to obtain some attraction that would replenish the depletedoperatic chest. My efforts seemed rewarded when I secured the services of Mdme. Adelina Patti, at the small salary of £650 per night. Mdme. Patti in due course made her first appearance at Her Majesty's Theatre in her favourite rôle of "Violetta" inLa Traviata, when there was £1,000 in the house. My hopes, however, of recouping my heavy losses were dashed almost instantly to the ground. Mdme. Patti having accepted an invitation from a wealthy banker for a trip up the river, to be followed by a dinner, she took a violent cold, from having been placed in a draught with a light muslin dress on. The next evening Mdlle. Lilli Lehmann again made the old theatre ring with her magnificent impersonation of "Fidelio." The house, however, was nearly empty, all attention being directed to the next night, which was to be Patti's second appearance—inIl Barbiere di Siviglia.
At five o'clock, however, on the evening of the performance, Signor Nicolini came in to inform me that Patti was too ill to sing, but that I might rely upon her services the following Saturday, when she would appear as "Margherita" in Faust, transferring theBarbiereperformance to the following Tuesday. He himself added to the programme an announcement to the effect that she would introduce in the lesson scene the valse fromRomeo and Juliet.
It being too late to substitute another opera, I had no alternative but to close the theatre that evening, leaving hundreds of carriage folks who had sent their coachmen home to get away as best they could, disappointed, and declaring (in many cases) that there was no reliance to be placed on Mapleson!
On the following Friday, finding that the booking for the second Patti night was very light, the public having lost all confidence, as is generally the case after a disappointment, I suggested to Mdme. Patti and to Nicolini that a small allowance ought to be made towards the vast expenses I had incurred (rent, salaries to artists, band, chorus, &c.) while keeping the theatre closed, which her incautiousness of the previous Sunday up the Thames had alone prevented me from opening.
The following day Signor Nicolini offered to contribute a sum of £50. I replied that that would be scarcely enough for the orchestra, and that the entire representation would be jeopardized. He thereupon went home, stating that Mdme. Patti would not sing that evening unless the orchestra was duly secured.
I immediately made arrangements with my orchestra, and notified the fact to Mdme. Patti by half-past three o'clock through her agent at her hotel, who, after seeing her, informed me that it was all right. She was then lying down in viewof the evening performance, for which her dresses had already been looked out by herself and her maid.
Just as I was leaving the hotel Mr. Abbey came downstairs, and accompanied me to the ticket-office, adjoining the theatre, the proprietors of which were large speculators for the occasion. On ascertaining that some four or five hundred of the best seats had not been disposed of—the public naturally holding back until Mdme. Patti should have made her reappearance after the disappointment they had experienced—Mr. Abbey informed me that Mdme. Patti should not sing that evening. I may here mention that the full £650, being the amount of her honorarium, was already deposited to her credit at the bank, so that it was not on the score of money matters that her services were refused.
I waited until eight o'clock for the arrival of Mdme. Patti, her room being prepared for her; but no message was sent, nor any notification whatever, that she was not coming down. After the previous disappointments the public had met with I could not find heart to close the theatre. I, therefore, informed the numbers who were then getting out of their carriages and gradually filling the grand vestibule that I would perform the opera ofCarmen, and that I invited all present to attend as my guests; adding that their money would be returned to them on presentation of their tickets. This, of course, it was.
As to the gratuitous representation ofCarmen(with Trebelli in the principal part), it went off admirably. The audience was numerous and enthusiastic; and among the distinguished persons who honoured me with their presence, was, I remember, H.R.H. the Duchess of Edinburgh.
I wrote to Mdme. Patti the following day, entreating her not further to disappoint the public, and to stand by the announcement Signor Nicolini had given me of her appearance the following Tuesday inIl Barbiere. To this I had no reply; and I afterwards learned that Mdme. Patti had gone off by a special morning train to Wales, to avoid meeting the chorus andemployéswho, hearing of her probable flight, had assembled in large bodies at Paddington to give her a manifestation of their disapprobation.
I was now placed in a most difficult position, and left to struggle on as best I could, having some three weeks' rent still to pay for the use of the theatre until the end of the month; together with the salaries of singers, choristers, bill-posters, supernumeraries, orchestra, etc., etc. These unfortunate people were actually following me in the street, clamouring for money. There were, moreover, some sixty Italian choristers, whose travelling expenses had to be provided for to send them home to Italy. In fact the Opera Colonnade had become a regular Babel, and it was only by dint of hard work amongst my numerous friends that I was enabled tocollect funds and see the last of my chorus singers depart.
This affair threw me into contact with several supernumeraries as well as bill-board men, and I was very much interested to hear their different histories. One man, who had been a "Sandwich," gave me the following account of his life:—
THE"SANDWICH'S" STORY.
"I was formerly," he said, "a captain in the—— Regiment, and many a time have I paid my six guineas for a box at your Opera, both in Edinburgh and in London. Subsequently I began to take a great interest in the turf, and soon met with heavy losses, which compelled me to give various promissory notes. This at last came to the knowledge of my colonel, who recommended me to leave the regiment without delay. Having nothing to live upon, and being a fair performer on the cornet à piston, I joined a travelling circus, and ultimately came across your Opera Company in Philadelphia, where I was one of your stage band. Later on I joined a party who were bound for the diamond fields in South Africa, where I was most unsuccessful; and I had to work my passage home in a sailing ship, till I got to London, where I became a supernumerary under your management at Drury Lane.
"During your third season an aunt of mine died, and I found myself the possessor of £10,000. My cousin, who was largely interested in building operations,which he assured me paid him at least 60 per cent., induced me to place half my fortune in his speculations. His houses were in the west part of London, which had been considerably overbuilt; and being mortgaged they would have been lost but for my paying away the remainder of my fortune with the view of saving them. In spite of this the mortgagee foreclosed, and I again became a supernumerary, when, in the mimic fight in the second act ofTrovatore, one of my companions by mere accident with a point of a spear put my eye out.
"I was now no longer qualified for engagement even as a supernumerary, and I became a 'sandwich' man. My duties during the last four and a half years have been to parade Bond Street and Regent Street, receiving as payment ninepence a day."
On my handing the poor man his salary and settling up he at first declined to take the money, saying that I had done him so many kindnesses at different periods of his life that now, when I was in trouble myself, he could not think of taking his week's pay. I, however, not only insisted upon his accepting it, but gave him a sovereign for himself. The unfortunate gentleman, as he showed himself to the last, went away blessing me.
MASTER AND MAN—"DON GIOVANNI" CENTENARY—MOZART AND PARNELL—BURSTING OF "GILDA"—COLONEL STRACEY AND THE DEMONS—THE HAWK'S MOUNTAIN FLIGHT—AMBITIOUS STUDENTS AND INDIGENT PROFESSORS—A SCHOOL FOR OPERA—ANGLICIZED FOREIGNERS—ITALIANIZED ENGLISHMEN.
MASTER AND MAN—"DON GIOVANNI" CENTENARY—MOZART AND PARNELL—BURSTING OF "GILDA"—COLONEL STRACEY AND THE DEMONS—THE HAWK'S MOUNTAIN FLIGHT—AMBITIOUS STUDENTS AND INDIGENT PROFESSORS—A SCHOOL FOR OPERA—ANGLICIZED FOREIGNERS—ITALIANIZED ENGLISHMEN.
ALTHOUGHan operatic impresario cannot reasonably count on making his own fortune, it is often a source of satisfaction to him to reflect that he in his lavish expenditure makes the fortune of singers, officials, and various people in his service. At the time when I was in my greatest trouble through the disappointments I had to put up with from some of my leading singers, I heard that an enterprising Italian who had been employed by me for many years had taken the New York Academy of Music for a brief season, and that he was actually performing the duties of manager.
Angelo was, or rather is, a very remarkable man. I engaged him many years ago as my servant at 10s.a week, and he is now said to be in possession of some thousands or even tens of thousands of pounds, which he gained while in my service by turning his opportunities and his talents to ingenious account. Angelo is well known in the United States, chiefly by the unwashed condition of his linen. Reversing the custom by which, in England and America, gentlemen who cannot trust their memory to keep appointments write with a black pencil the time and place on one of their wrist-bands, Angelo used to write on his wrist-band, as nearly as possible black, with a piece of white chalk which, primarily with a view to billiards, he used to carry in his pocket. I mention this as an example of his proneness to imitation, and also of his economical habits.
How, it will be asked, did he amass a fortune in my service when I was paying him only at the rate of 10s. a week?
He began by starting aclaqueof which he constituted himself chief, and which was at the service of any of my singers who chose to pay for it. He was always ready, moreover, to act as interpreter. There was no language which he did not speak in courier fashion more or less well; and as in a modern operatic Company artists from such outlandish countries as Spain and Russia as well as from Italy, France, and Germany are to be found, Angelo's talents were often called into requisition by singers who did not understand one another and who were altogether ignorant of English.
Angelo knew where to buy cheap cigars, and he used to make the members of my Company buy them as dear ones. He speculated, moreover, largely and advantageously in vermuth, which he sold in the United States for at least a dollar a bottle more than he had paid for it in Italy. Campanini acted as his friend and accomplice in thesevermuthsales. Entering a bar, in no matter what American city, the great tenor would call for a glass ofvermuth. "Pah!" he would exclaim when he had tasted what the bar-keeper had offered him. Then, after making many wry faces, he spat out the liquor which had so grievously offended him.
"Where did you get this horrible stuff?" he would then inquire. "Vermuth?It is notvermuthat all. What did the rascal who sold it to you charge for it?"
"Three dollars a bottle."
"And here is a gentleman," pointing to Angelo, "who has genuinevermuthof the finest quality and will sell you as much as you like for two dollars a bottle."
The bar-keeper thought, with reason, that an eminent Italian tenor like Campanini must know goodvermuthfrom bad, and at once bought from Angelo a case or two of the truevermuth di Torino.
Angelo, in addition to his other talents, is a first-rate cook, and in the preparation of certain Italian dishes, dear to those born in the "land of song,"has scarcely an equal. He was too important a personage to act as cook to any one singer; but on the Atlantic passage he would take a pound a-head from some thirty different vocalists in order to see that each of them was provided with Italian cookery during the voyage.
Angelo made most of his money, however, by speculating in opera tickets during my Patti seasons. He had, of course, peculiar facilities for getting (unknown to me) almost as many tickets as he wanted at box-office prices; and he could count as a matter of certainty on selling them at enormous premiums—often as much as two or three pounds a-piece.
During the retreat from Frisco, seeing that there would be a scarcity of food along the line, he laid in a stock of provisions, which he retailed at enormous profits.
Angelo had made himself a prominent figure in connection with my Company, and was frequently spoken of in the newspapers. On our arrival at New York he waited upon the Secretary of the Academy, as I found out some time afterwards, and actually took the building from him for a season of opera, which was to begin in the following October. He accompanied us, however, to London as though nothing had happened. He returned at the appointed time to America, taking with him a company which included Mdme. Valda, Giannini, and others. When his prospectus came out I noticed two announcementswhich struck me as strange in connection with his costumes and music. The former, said the prospectus, had been "lent" by Zamperoni, the latter by Ricordi and Mdme. Lucca. They would not, then, be liable to seizure. He had taken the precaution to secure what he considered a proper reception at New York. Thus he had hired a steam tug with a brass band on board. This excited the mirth of all the New York journals.
When the season began Angelo on the opening night occupied my box, wearing for the first time in his life a white shirt; and it was noticed that when he made memoranda on his cuffs he now did so with a black lead pencil.
After the first week, the salaries having become due, the theatre closed, and the would-be impresario found himself surrounded in his hotel by infuriated choristers, who, with drawn stilettos presented, formed a veritablechevaux de frisein front of him. Angelo appeared himself at the second floor window in order to hold parley with his aggressors at a safe distance, and for some days he remained confined to his hotel.
A public subscription was got up for the choristers to enable them to return to Europe, and Angelo himself now accepted an appointment as interpreter in Castle Garden, where he had to receive the emigrants, make known their wants, and give them instructions in whatever happened to be theirnative tongue; but he would do nothing for them unless they began by buying a certain number of his detestable but high-priced cigars. Even Dr. Gardini, the husband of the distinguished prima donna, Mdme. Gerster, was actually afraid in Angelo's presence to smoke any cigars but his. I remember on one occasion giving Dr. Gardini an Havanna of the finest brand. He knew that Angelo, who was acting at the time aschef de claqueto Mdme. Gerster, would, if he came in, recognize at once its superior flavour; and when the door-keeper suddenly entered to tell me that Angelo wished to speak to me for a moment, the doctor thought it politic to throw aside the cigar I had given him and replace it by one of Angelo's vile weeds.
As to Angelo's exact pecuniary position at this moment it is difficult to speak with certainty. Some say that he is without a shilling, and my baritone, Signor de Anna, declares that he accommodated him with that sum a few weeks ago when he was passing through New York. According to other accounts he is a millionaire, with his millions safely invested in Italian securities.
To return to my own managerial business. I now fitted out an expedition for the following October, when I proposed to make an operatic tour throughout Great Britain and Ireland. Some few days before my departure I was much astonished at an embargo being laid on all my costumes and musicunder a bill of sale, voluntarily given by me to two friends, in order to secure a sum which they had advanced as subscribers for the previous season; which, but for Mdme. Patti's refusal to sing, would have been completed. I thought that, under the circumstances, my friends might have waited until after the tour had started. This incident prevented me from getting away at the appointed time, and I was delayed in London for nearly a week with the whole of my artists and chorus on my hands. I, however, got over this difficulty, and left for Ireland with a most attractive Company.
We opened in Dublin about the middle of October with an excellent performance ofCarmen; Minnie Hauk not having appeared there since ten years previously on our way to America for our first visit, when Bizet's opera was totally unknown. On this occasion we were rewarded with a very crowded audience. Mdme. Rolla made herdébutas "Michaela," in which she met with great success; Del Puente, of course, being the "Toreador."
On the following night Mdlle. Dotti appeared as "Leonora" inTrovatore, when the house was again crowded. The third night was devoted to theBarbiere, for which I expected Mdlle. Arnoldson, who did not turn up. The part was, therefore, undertaken by Mdme. Rolla, who met with great success. Some eight months previously it had been agreed with Ravelli, prior to his departure for SouthAmerica, that he should return to me in Ireland for this engagement, and I must give him credit this time for having kept his word. He had been travelling continuously for over seven weeks, and, landing at Bordeaux, had to work his way on to Dublin, where he joined the Company. There was now no murderous feeling between him and Minnie Hauk; they seemed to be the best of friends. I felt sure, however, that this reconciliation would be only temporary. I remained in Dublin a fortnight, during which time I producedLe Nozze di Figaro, andErnani, with Mdme. Rolla's excellent impersonation of "Elvira" and Signor De Anna's superb rendering of "Carlo V." This was followed byDon Giovanni,Faust,Rigoletto,Il Flauto Magico, in which the whole Company took part, the exceptionally difficultrôleof the "Queen of Night" being undertaken with great effect by Mdlle. Marie Decca. I afterwards left for Cork, where the Company met with great artistic success, the Press notices being more favourable than they had ever been on previous visits.
On the 29th October, being the centenary of Mozart'sDon Giovanni, I was determined to celebrate the event with due circumstance; and the great opera was given with the following very efficient cast:—"Donna Anna," Mdlle. Louise Dotti; "Donna Elvira," Mdme. Rolla; "Zerlina," Mdme. Minnie Hauk; "Don Ottavio," SignorRavelli; "Leporello," Signor Caracciolo; "Il Commendatore," M. Abramoff; "Masetto," Signor Rinaldini; and "Don Giovanni," Signor Padilla; conductor, Signor Arditi.
I had arranged at the close of the first act to place a bust of Mozart on the stage, executing at the same time the grand chorus of theMagic Flutewhile the High Sheriff of the County crowned the immortal composer. Alas! there was no bust of Mozart to be obtained. But the property-man reported that he had one of Parnell, which, by the removal of the beard and some other manipulation, could be made to resemble Mozart. The High Sheriff having declined to perform the ceremony in connection with the bust of Parnell, the Mayor of Cork immediately volunteered to replace him. The public soon got wind of what was going on; and, fearing a popular commotion—as this very day the city had been proclaimed in consequence of the Land League meetings—I had to content myself with performing the opera as Mozart originally intended.
The part of the dissolute "Don" was superbly rendered by Signor Padilla, the eminent Spanish baritone, whose appearance reminded me forcibly of Mario. He had just returned from Prague, where Mozart's centenary had been duly celebrated, the whole of the arrangements having been left in his hands. He told me many interesting stories concerning his researches in the museumsand libraries that had been placed by the Government at his disposal during his stay there, which extended over some five or six weeks. He succeeded in ascertaining the correct date of the original production ofDon Giovanniat Prague. The authorities in Paris insisted that it had been first performed on the 27th October, 1787, and they even went so far as to regulate their centenary performance by that day. Signor Padilla, however, obtained the original play-bill from the National Library, in which it was clearly set forth thatIl Don Giovanni,Ossia,Il Dissoluto Punitowas first produced on the 29th day of October, 1787.
In my representation the absurd scene of "Don Giovanni" surrounded by a lot of stage demons flashing their torches of resin all over him was, of course, omitted. He simply went below in the hands of the Uomo di Pietra.
This reminds me of an amateur operatic performance we once had at Woolwich, in which I took part for the benefit of some regimental charities.
I was dining at my Club with some friends when the performance was first suggested. It was decided to giveRigoletto, in which I was asked to undertake the part of the Duke; this to be followed by the last act ofDon Giovanni.
I, of course, said "Yes," as I usually do to everything; and before the dinner was over so many bets had been made on the question whether or not Iwould appear as the "Duke of Mantua" that, on making up my book, I found I must either play the arduous part or pay some £300 or £400. I determined on the former course.
I, of course, kept the matter a profound secret from all connected with my theatre. On the night of the performance, on the rising of the curtain, I was horrified in the midst of my first aria at seeing Mdme. Titiens, Mdme. Trebelli, Sir Michael Costa, and Adelina Patti amongst the audience; and it required some nerve to pull myself together and continue the part. I succeeded, however, in obtaining the customary encore for the "La donna è mobile" and for the quartett; and on the whole I believe I acquitted myself well. So, at least, said the notices which, to my astonishment, appeared next morning in the daily papers.
A catastrophe occurred at the close of the last scene, where the late Colonel Goodenough, in the character of "Rigoletto," had to mourn over the corpse of the murdered "Gilda." At the rehearsal a man had been placed in the sack, but he was too heavy to be dragged out; and, as Colonel Goodenough was very nervous, the property-man made the sack lighter by placing inside some straw and two large bladders full of air. Just as the curtain was descending Goodenough, who was a very heavy man, threw himself for the final lament on to the corpse of his daughter, when a loud explosion took place, one of the bladders having burst.
The performance concluded with the last act ofDon Giovanni, in which Colonel Stracey undertook the part of the dissolute "Don." The demons were gunners from the Royal Artillery. It was most ludicrous, every time the Colonel gave the slightest stage direction as to where these men were to go and when they were to take hold of him and carry him down, to see the eight demons all give the military salute at the same time. Stracey told them not to salute him, on which they said "No, Colonel!" and gave another salute.
On leaving Cork we had to return to Dublin, where, in consequence of enormous success, we were called upon to give an extra week. We finished up on the following Saturday evening with a performance of Wallace'sMaritana, in the Italian language, to a house literally packed to the very roof. Ravelli sang the part of "Don Cæsar;" and being encored in "Let me like a soldier fall," gave it the second time in English.
We afterwards went to Liverpool, when suddenly Mdme. Minnie Hauk, without a moment's warning, left the Company. Two days afterwards I received a medical certificate from Dr. Weber, to the effect that the lady was in a precarious state of health, and utterly voiceless, so that it was necessary for her to go to a certain mountain in Switzerland to recover her health. It was the month of December.
I afterwards ascertained thaten routeshe had sung at three concerts for her own benefit.
We next visited Nottingham, Manchester, Birmingham, Bristol, Brighton, etc., concluding at the last-named town just before Christmas with a memorable performance ofMaritana, when the curtain had to be raised no less than five times.
On the termination of the season we returned to London, where the Company disbanded for the holidays, my Italian chorus being now sent back to Italy.
It costs £8 to get an Italian chorus singer from his native land to England; and this seems money wasted when one reflects that just as good voices are to be found in this country as in Italy. If such a thing as a permanent Opera could be established in London arrangements might be made by which it would look for its chorus to one or more of our numerous musical academies, which at present seem to exist and to be multiplied solely to deluge the country with music teachers, whose keen competition lessens daily the value of their services. When the Royal Academy of Music was established the Earl of Westmorland, who presided at the first meeting of the promoters, said, in reference to the expected advantages of such an institution, that he hoped to see the day when music lessons would be given in England at the rate of 6d. an hour.
A nice time music teachers will have when tenhours' work a day will give them an income of 30s. a week! But what, if not music teachers, are the pupils of our four leading musical academies to become? The Royal Academy of Music, the Royal College of Music, the Guildhall School of Music, and Dr. Wylde's London Academy of Music must send out annually some thousand or two well-taught musicians who have nothing to turn to but teaching.
Except among the richer classes almost everyone who studies music ends by teaching music to someone else. Such is his fate whatever may have been his ambition. What, except a music teacher, or an orchestral player, or, by rare good luck, a concert singer, is he or she to become? In other countries there is an established musical theatre with which the recognized Academy of Music is in connection, and which in some measure depends upon it as upon a feeder. The students of the Paris Conservatoire sing in the chorus of the Grand Opera; and those students who gain prizes, or otherwise distinguish themselves, obtain an appearance, as a matter of course, at the great Lyrical Theatre, for which they may be said to have been specially trained. In England, however, we occupy ourselves exclusively with the teaching of music, never in any manner dealing with the question what the students are to do when their period of study is at an end. In other countries there is togetherwith one musical academy one Opera-house. Here we have four musical academies and not one permanent operatic establishment.
Such is the national mania for establishing schools of music that a few years ago some £200,000 was collected for establishing a new musical academy with, for the most part, the same professors as those already employed at existing academies; and an attempt, moreover, was made to shelve Sir Arthur Sullivan (who may yet, it is to be hoped, compose an opera), by placing him at the head of this quite superfluous establishment. More recently Sir Arthur refused to allow himself to be shackled in the manner contemplated; and not many years afterwards another composer, Mr. A. C. Mackenzie, who has already proved himself capable of writing fine dramatic music, was put on the retired list in similar fashion. Mozart, Rossini, Auber, Bellini, Verdi studied at no academy; and my friend Verdi was rejected from the Conservatorio of Milan as incapable of passing the entrance examination. We, however, hope everything from music schools though we have nothing to offer our composers or our singers when, in a theoretical sort of way, they have once been formed. The money wasted in establishing the Royal College of Music might have been usefully spent in founding a permanent lyrical theatre for which our young composers might have worked,on whose boards our young vocalists might have sung. Thus only, by practice in presence of the public, can composers and singers perfect themselves in their difficult art. It should be remembered too that for operatic music the best school is an operatic establishment where fine performances can be heard.
The unhappy students, meanwhile, receive but small benefit from their tuition, seeing that they are simply turned out to swell the ranks of indigent teachers. No capital in Europe has anything like so many music schools as London, and no capital in Europe is so entirely without the means of offering suitable work to students who have once qualified themselves for performing it. We have some twenty or thirty theatres in London without one school of acting; which is possibly a mistake. But it is not such a bad mistake as to have four large music schools without one lyrical theatre. Nothing can be more preposterous. Yet there is at this moment more chance of a fifth music school being established than of an Opera-house being founded at which the shoals of composers and vocalists shot out every year would have an opportunity of pursuing their profession.
Sixty years ago, since which time we are supposed to have made progress in musical as in other matters, the Royal Academy of Music, which has produced so many excellent singers, instrumentalists,and composers, was intimately connected with the King's Theatre. Its students sang in the Opera chorus, and every fortnight gave performances of their own, at which leading vocalists, choristers, and orchestra were exclusively from the Academy. These performances took place in the King's Concert Room, a sort ofannexeto the theatre in which the performances of Italian Opera were given.
Nor in those days were singers who happened to be English ashamed to call themselves by their own names. The present custom of Italianizing English names as the only process by which they can be made fit for presentation to the public is much more modern than is generally known. Even in our own time two admirable vocalists, Mr. Sims Reeves and Mr. Santley, have had the manliness to reject all suggestions for Italianizing their names. The foreign musicians, often of the highest eminence, who have settled amongst us, seem, on the other hand, to have taken a pride in passing themselves off as Englishmen. Handel is always called in the bills of the period Mr. Handel; Costa (until he was knighted) was always Mr. Costa; Hallé (until he also was knighted) Mr. Hallé; Benedict (until the moment when he was empowered to adopt the "Sir"), Mr. Benedict; Herren Karl Rosa, August Manns, Alberto Randegger, Wilhelm Ganz, and Wilhelm Kuhe (whose knighthood has not yetreached them), are Mr. Carl Rosa, Mr. Manns, Mr. Randegger, Mr. Ganz, and Mr. Kuhe. It cannot be a disgrace even for a musician to be an Englishman, or so many foreign musicians of eminence would not so readily have called themselves "Mr."
An English vocalist, on the other hand, will not hesitate to pass himself off, so far as a name can assist him in his enterprise, as some sort of foreigner. My old pal, Jack Foley, becomes Signor Foli, and the Signor sticks to him through life. We have a Signor Sinclair, a name which seems to me as droll as that of Count Smith at the San Francisco Hotel. Provincial managers have often entreated me to use my influence with Mr. Santley in order to make him change his name to Signor Santalini, which they assured me would look better in the programme, and bring more money into the house. A Mr. Walker being engaged to appear at Her Majesty's Theatre, called himself on doing so Signor Valchieri (Signor Perambulatore would certainly have been better); and a well-known American singer, Mr. John Clarke, of Brooklyn, transformed himself on joining my Company into Signor Giovanni Chiari di Broccolini. The English and American young ladies who now sing in such numbers on the Italian stage take the prefix not of Signora or Signorina, but of Madame or Mademoiselle. This, also, is confusing.