PAYMENT AFTER PERFORMANCE—DISCOVERY OF MADGE ROBERTSON—MARIO AND THE SHERIFF—GENEROSITY OF THE GREAT TENOR—DÉBUT OF CHRISTINE NILSSON—DESTRUCTION OF HER MAJESTY'S THEATRE—A GREAT PHILANTHROPIST.
PAYMENT AFTER PERFORMANCE—DISCOVERY OF MADGE ROBERTSON—MARIO AND THE SHERIFF—GENEROSITY OF THE GREAT TENOR—DÉBUT OF CHRISTINE NILSSON—DESTRUCTION OF HER MAJESTY'S THEATRE—A GREAT PHILANTHROPIST.
ATthe close of the London season of 1866 we went to Ireland for the usual autumn operatic tour, stoppingen routeat Liverpool to give a morning concert. The rush was so great that all the metal cheques for the half-crown seats were exhausted and we had to use penny pieces. Numbers of the public found out, therefore, a ready way of getting in without payment. As soon as I observed this, and as there were still many hundreds unable to obtain admission, I conducted them across to another door which led into the orchestra. There being no money-taker, I let some four hundred of them crowd in, impressing upon them that they would have to pay half-a-crown apiece as they came out; and I must add that every one paid up punctually.
We left Liverpool after the concert for Dublin, where we fulfilled a very profitable engagement.
After leaving Dublin we went, early in October, to Leeds, and afterwards to Hull, at which latter place I recollect well that a full rehearsal ofLes Huguenotswas necessary in consequence of a new "Queen" having joined the company. Both Mario and Titiens complained of the incident and wondered how they were to finish the rehearsal in time to dine by a quarter past three, it being a general rule with artists not to eat later than that hour when they have to sing the same evening. We began the rehearsal early; and it was not until after two that it was concluded. The dinner being nearly ready at the hotel, I went in a carriage to fetch Mario and Titiens back from the theatre without loss of time. At a quarter past three I found them both seated in the stalls, witnessing a morning performance, at which a Miss Madge Robertson was playing in a piece calledA Wolf in Sheep's Clothing. So rivetted to the spot were Titiens and Mario—both exclaiming "Do not disturb us, let us wait a little longer"—that it was nearly five o'clock before I got them home, when it was, of course, too late to dine. Not that they regretted this. They both told me that I ought to write to every London manager telling them what a charming actress they had discovered. I need hardly say that the Miss Robertson of those days is now Mrs. Kendal, more perfect in her art than ever.
I again started my concert tour in the early part of January, 1867, with Titiens, Trebelli, and others; and was as usual pre-eminently successful all along the line. Mario joined us about the 7th March in Scotland.
About this time he experienced considerable worry through being served with various writs for bills of exchange, for which he had received no consideration whatever, and which had been accumulating for many years. In more prosperous times preceding the period in question he had frequently assisted young artists, painters, sculptors, and Italians generally, who had come to this country with recommendations to him, and who had nearly all proved most ungrateful. It was computed that over £40,000 had been distributed by the great tenor on various occasions amongst his compatriots and others seeking aid.
I recollect meeting at Fulham one Sunday at dinner a young sculptor who had arrived with a letter of recommendation to Mario, and who on presenting himself exclaimed that he had not come to borrow money, hearing how much victimized Mario had been by others. All he wanted was to bring a piece of sculpture from Rome to London, for which he already had a purchaser in view; and if Mario would but accept a bill at two months, which he then had with him, he would within a month have sold his work and the money could be put to Mario's credit, so that the bill would bepunctually met. In fact, every possible device was resorted to by persons well acquainted with his generous nature—which brings me to the case in point.
We had gone through a most arduous tour, and Mario had been singing four times a week throughout the whole time, and with most brilliant voice. As he had sung four nights running during the week I am speaking of, and was to be replaced the following evening (Saturday) by Signor Tasca in theHuguenots, he devoted his last day to the packing of his luggage, intending to leave by an early train for York, whence, after a night's rest, he would go on to London, presenting himself on the Monday for rehearsal at the Royal Italian Opera, Covent Garden, where the season was to commence on Tuesday.
In the hall at the Edinburgh Hotel, where Mario had put up, a Sheriff's officer was waiting for him with a writ or an attachment for £100; and I thought to help him out of the dilemma by the following device, knowing how delicate and sensitive he was. I called to bid him good-bye, taking with me a closed envelope containing a £100 note. I by degrees gave him to understand that I had been looking about the city for some little souvenir, but without success, and as his taste was so superior to mine, if he would select one in memory of the pleasant time we had spent together, I should feel obliged. I at the same time handed him the envelope. I was on the point of leaving the room whena note was brought to me, requesting me to come to the theatre at once, as Tasca, the new tenor, had been taken ill at the rehearsal, and was obliged to go home. Mario, noticing signs of displeasure across my brow, insisted upon knowing the reason; and after some pressure I informed him that the new tenor, who was to replace him, had fallen sick, and that I must be off to see how the matter could be remedied.
My dear friend patted me on the shoulder, and said he knew of a way. The opera to be performed beingLes Huguenots, for the benefit of Mdlle. Titiens, he would try, he said, to satisfy the public in the part of "Raoul," and thus help me out of my difficulty. I readily acceded, and asked him to name any terms he liked; but he assured me that he should consider himself amply repaid if I would be present at Covent Garden on the following Tuesday, when he was to appear as the "Duke" inUn Ballo in Maschera, as that would encourage him. I thanked him, and was again leaving when he called me back to express his displeasure at my having offered him the hundred-pound note in the envelope, requesting me at once to take it back. This I, of course, declined to do, until at last he said—
"If no one is to have it, it had better go into the fire; but sing I do not unless you allow me to return it to you at once."
All argument was useless. Then reluctantly I left him.
The following Monday night I started for London,where I attended the opening of the Royal Italian Opera the next evening, and had the pleasure of applauding Mario, and complimenting him in his dressing-room, after the second act. He could not express sufficiently his delight at my being present.
The London season of 1867 was remarkable for the first performance in England of Verdi'sForza del Destino.
Prior to the commencement of this season my attention had been drawn to a young Swedish singer, named Christine Nilsson, who had appeared at the Théâtre Lyrique of Paris, and was attracting a certain amount of attention. I went over and heard her in theMagic Flute, and was delighted with the purity of her voice. She was also singingLa TraviataandMartha. I at once concluded an engagement with her.
Before disclosing the fact to Arditi, or any other member of my Company, I invited Mdlle. Titiens and Mdme. Trebelli, with Signor and Mdme. Arditi, over to Paris for a fortnight's holiday prior to the commencement of our laborious London season. Amongst the places of amusement we visited was the Théâtre Lyrique, where the Swedish singer was that night filling therôleof "Martha." I must say I was not impressed myself, whilst the remainder of the party thought nothing whatever of her. I, therefore, refrained from even hinting that I had already engaged her. As the time approached, the lady insisted on making herdébutas "Martha." I plainly foresawthat it would be the greatest possible mistake to acquiesce in her desire; and, after a lengthy discussion, Verdi'sTraviatawas decided upon. I at once instructed a Bond Street dressmaker to make her four of the most elegant toilettes possible, discardingin totothe costume of the 16th century so far as "Violetta" was concerned.
At all times it is a difficult thing for a manager to employ with advantage assistants placed among the audience to support either a new singer or a new piece; for grave mistakes are sure to be made, thus defeating the object for which the supporters were intended. I have often known singers send in friends to applaud; but they invariably begin their uproar on the appearance of the singer, even before he or she has uttered a sound.
On one occasion I recollect at Her Majesty's Theatre a singer appearing inIl Trovatore, and about a dozen bouquets falling at her feet from the top boxes before she had sung a note.
I saw that great judgment was necessary, while convinced in my own mind that I possessed a jewel of the first water. I, therefore, gave the very simplest instructions as to the amount of encouragement necessary for my fair Swede in order to ensure the rapture of London; knowing that when once serious attention had been drawn to her she could do the rest herself on her own merits. Being very fond of rowing in my spare time on the River Thames, I made an arrangement with the head-boatman atEssex Stairs, near where I resided, to supply me with some twenty-five horny-handed watermen, who were merely told that they should receive one shilling apiece provided they didnotapplaud Mdlle. Nilsson—the lady who would appear on the stage at the beginning of the opera, wearing a pink dress. They were moreover informed that when the first act was over and the curtain down, they would be paid a shilling apiece for each time they could get it up again; and I believe they succeeded some five or six times in their repeated attempts. That was all that was ever done for Mdlle. Nilsson; her extraordinary talent did the rest. At all events, it gave her a fair start, and herdébutwas the talk of London.
Mdlle. Nilsson's performances were continued throughout the season with increasing success, she appearing successively as "Martha," "Donna Elvira," and the "Queen of Night" in theMagic Flute. She repeated theTraviataagain and again, bringing the season to a most brilliant termination.
After a short holiday I recommenced my regular autumn tour in Dublin, repeating the usual Liverpool morning concert with the usual success.
After visiting Liverpool and Manchester, I returned to London and opened my season on the 28th October.
In consequence of my having engaged a female harpist I received a round Robin from the orchestra, threatening to leave at the end of the week unless I at once replaced her by a male performer. I insistedon receiving the week's notice to which I was entitled, and, seeing evidence of a conspiracy, took out a summons against every member of my orchestra. On the day fixed for the hearing the musicians excused themselves, through their solicitor, from appearing, their case not being ready. Afterwards I myself was unable through indisposition to appear on the day to which the case had been adjourned. At this there was much groaning among the defendants, and threats were uttered. The Trade Unions were very active just then throughout the country, and the players had been promised unlimited support towards maintaining their menaced strike. At last the case was heard; but on the very day before the one fixed by the Magistrate for giving his decision an occurrence took place which rendered all further proceedings in the matter unnecessary.
Towards the end of November an insurance agent called upon me urging the necessity of effecting an insurance on my properties, scenery and dresses, which had been accumulating since the beginning of my tenancy. I replied that in consequence of the high rate of premium it was better to let things take their chance. Besides, there was no probability, under my management, of the theatre ever being destroyed by fire. Eventually we came to terms as to the rate to be charged.
About this time a proposition was made to let the theatre to Professor Risley for his Japanese performances, to run from Christmas to February. Alarge sum of money was to be paid to me, and it was verbally agreed that my treasurer should be retained by the new-comers to superintend the front of the house and the monetary arrangements.
On the 7th December, during a rehearsal ofFidelio, my insurance agent called to complete the insurance. I showed him the inventories of the different departments, and agreed to insure for £30,000; but as the costumier's list was not at hand, and the costumier himself was out at dinner, the agent suggested my giving him £10 on account and keeping the matter open until the following Monday, when he would call again. Just as he was leaving the room my treasurer came in, stating that he had just heard that the Japanese people did not intend to avail themselves of his services after he had given them all the information respecting the working of his department.
I asked whom theyhadengaged. He mentioned the name of Mr. Hingston, at which I started, and said—
"If Hingston is engaged, good-bye to the theatre. It will make the fifteenth that will have been burnt under his management."
On hearing this, the insurance agent stepped across the room and again suggested that I should hand him the £10 to keep me right till Monday.
I jokingly said: "There is no fear;" and he took his departure.
I remained working in my office at Pall Malluntil about six o'clock that evening. As I was engaged to dine at Mdlle. Titiens's in St. John's Wood, I had but a few moments to put my head into the box-office, which was just closing, and ask Mr. Nugent for some opera tickets for the following night. I did not, according to my custom, go through his office on to the stage (which I might have done while he was getting out the tickets), fearing I should be too late for the dinner.
About half-past eleven o'clock that evening our party was alarmed by a violent ringing of the bell. Then my servant rushed in with his clothes very much torn, uttered some inarticulate sounds, and fell on a chair, pointing upwards. On looking out of the window we saw that the sky was bright red, although we were four miles from the fire. Mdlle. Titiens and Signor Bevignani exclaimed with one voice: "It's the theatre!"
I hastened down at once, accompanied by Bevignani, only to find impassable barriers of soldiers and populace, and it was not without great difficulty I could approach the building. On my pointing out to the firemen certain doors which they ought to break open in order to recover wardrobes, music, &c., I was told to "mind my own business." They then went to quite another part and began chopping and breaking, whereas had they allowed themselves to be guided by me they might have saved a considerable portion of my property. It was not until three hours afterwards that the fire reached thatpart of the theatre which I had pointed out as containing things which might have been saved.
Lord Colville was very kind, and with his assistance I reached one portion of the building, to which he accompanied me, enjoining me to save engagements or any important documents in my private rooms at Pall Mall. But I was so bewildered that all I could do was to seize a dress coat and an opera hat, with which I came downstairs, leaving all my papers and documents on the table. I remained until two or three in the morning. Then, my presence being useless, I went home to change my clothes, which were freezing on me, and next hurried to Jarrett, my acting manager.
Jarrett was in bed. But he had already heard of the calamity, and expressed great regret. I desired him at once to go over to Chatterton, the then lessee of Drury Lane, who resided in the neighbourhood of Clapham, and endeavour to secure his theatre from March till the end of July before he could hear of my disaster.
"Go as quickly as possible," I said, "and if the newspaper is lying about be careful he does not see it."
On arriving at Chatterton's the first thing Jarrett saw, lying on the hall table, was theTimesnewspaper. He threw his top coat over it, and waited quietly downstairs until Chatterton, who was dressing, could receive him. Then, like the able diplomatist he was, without appearing at all anxious, he concluded a short agreement wherebyI was to have the use of Drury Lane for the following spring and summer seasons, with a right to renew the occupation for future years. By half-past nine o'clock Mr. Jarrett was able to hand me the agreement, and it was not until half-past ten that Mr. Gye drove up to Mr. Chatterton's to inform him of the disaster Mapleson had met with, and at the same time to offer him £200 per week provided he did not let Drury Lane for Italian Opera.
The day after the fire I received letters of sympathy from all parts of the country; likewise telegrams of condolence, including one from Her Majesty the Queen, which greatly affected me. In fact, my nerves were so unstrung that I was hardly master of myself. In the course of the next day His Royal Highness the Prince of Wales came to see me. I showed him over the ruins of what the day before had been the Opera-house. After his departure I was so unnerved that I took to my bed in the adjoining hotel, and remained there some two weeks.
The Monday after the fire the insurance agent, with whom I had neglected to do business, called upon me to assure me of his deep sympathy, since if I had paid him the £10 on account of the proposed insurance he would now have had to give me a cheque for £30,000. I told him that I was exceedingly glad I had not paid him the £10, as I certainly should have been suspected of having myself caused the fire, and should never afterwards have been able to set myself right with the public.
Prior to my recovery, amongst the numerous callers was one particularly sympathetic gentleman, who came in a carriage and pair, and said he would see that the theatre was rebuilt, asking, as it were, my permission for this. I was deeply touched by his kindness. Some short time afterwards he wrote saying that he thought it better, for my sake, that Covent Garden should be closed, and that he had seen Mr. Gye and made terms for its purchase. On a later occasion he called upon me, and stated that the site of Her Majesty's Theatre, which had then been cleared by Lord Dudley, being such a desirable one, he was in treaty with the Bank of England to lease it to them at a considerable ground rent, they erecting the building. By this means, he explained, the £80,000 then lying in consols for the purpose of re-erecting the theatre could be handed over to me. But he ultimately consented that I should give him half.
Notwithstanding all my troubles, within three weeks after the fire I was already on the road with a strong concert company for the usual spring tour; all my spare time being utilized in the creation of a new wardrobe, music library, etc. Whilst at Manchester Mdlle. Titiens aided me kindly in the purchase of various goods, stuffs, cottons, needles, etc., etc.; all the prime donne of the Company volunteering their services as dressmakers in order to have everything ready for my Opera season, which was to commence early the following month in Glasgow.
Being under the belief that this fire had cancelled the contract I had already made at the Theatre Royal, Glasgow, I got entangled, in my mistake and hurry, into an engagement at another theatre, the Prince of Wales's; and as the time approached for my coming to Scotland both managers threatened me with an attachment if I did not fulfil my engagement. In fact, I found myself announced at both houses, with war to the knife threatened by the two rival managers. At one time they proposed to combine against me and leave me, with my expensive Company, outside in the cold. But about ten days before the date fixed I paid a visit to each, when, out of consideration for me personally, they both agreed to have me alternately at their theatres. This caused great excitement in the city, and as the adherents of each manager mustered in force the receipts at both houses were very great, so that eventually each manager had taken more money in the half number of representations than he would have received had I given him the full number.
Prior to the opening of my London season of 1868 I received another visit from my philanthropic friend, Mr. Wagstaff. He told me that he had purchased Mr. Gye's interest, showing me the agreement, and he considered that it would be more desirable that Covent Garden for the future should be run by a Company, of which I should be the manager, receiving some £20,000 cash as a consideration for my goodwill and for any property Imight have in music or other effects, with a salary of £3,000 a year as long as I chose to retain my post, and a fair share in the profits.
I became quite uncomfortable at having so much wealth suddenly thrust upon me, and wished I were back in my old position of trouble and anxiety. In due course all the necessary documents were signed, Mr. Gye at the same time writing a letter to a high personage, in which he stated that his long-sought desire to quit the cares of management had at length been satisfied, and strongly urged that all patronage should now be transferred to me, as the shattered state of his health would preclude him for the future from taking part in operatic affairs. On entering upon my duties I began to reorganize the establishment by, in the first place, relieving myself of some sixty old choristers who had been engaged from time immemorial, and introducing in their stead my fresh, full-voiced young Italians whom I had imported the previous year.
One evening a card was brought to me from a young gentleman, the son of an old musical friend of mine, requesting an interview. He told me that he had been promised the secretaryship of the Grand Opera (meaning Her Majesty's and Covent Garden, united under the new arrangement) for seven years at a salary of £800 a year, provided he lent £200 for a month to my philanthropic friend, who had organized the whole thing. It appeared to me like a dream. I could not understand it; but still, as nothing astonishes me in this world, I tookit as a matter of course, and later in the day went over to Wandsworth to call on Mr. Gye, in order to see how matters stood.
On my entering, Mr. Gye said how pleased he was to leave operatic management for ever, and that he wondered how he had found the nerve to continue it so long. Before I could say a word to him, he desired me to be seated and handed me a cigar, when he began to inform me of his plans for the future. He told me he had secured by private treaty a vast estate in Scotland of some 20,000 acres, with the right of shooting and fishing. He was arranging, moreover, to purchase a large estate in Oxfordshire. Various guns had been ordered, with fishing rods and other appurtenances. Steps, too, had been taken for the sale of the house in which he was then living.
I made two or three attempts to get a word in, but without success; and at last I had scarcely the courage to hint that the projected arrangements might, possibly, not be carried out.
I explained, however, that on the following Monday a small payment of £10,000 would be due to me; also that a further deposit on Drury Lane would become payable, and that I should make that deposit, as it was probable, nay, very possible, that I should be called upon to resume my position at Drury Lane, instead of Covent Garden. I at the same time recommended Mr. Gye at all events to be prepared to open Covent Garden, as it wanted but some three or four weeks to the beginning of the season. Thishe replied he could not do, as the deposit he was to receive would not be payable before some three or four weeks. He still, moreover, doubted all I had been telling him.
On the Monday following I attended at the Egyptian Bank, which had been specially hired for the occasion, and on entering with my order for the payment of £10,000, found one small boy seated on a very high stool, drawing figures on a sheet of blotting paper. On my demanding £10,000 the boy turned deadly pale and was at first inclined to run. I explained to him that it was not his fault if the money was not forthcoming, but I requested him, in the presence of a witness I had brought with me, to present seven letters which I already had in my pocket, each one containing notice to the Directors that, they having failed to pay me my money at the appointed time, my contract as general manager was at an end. I at once informed Gye of what had occurred, recommending him again to get his Company together and re-engage Costa and the orchestra, as my own prospectus was to come out the middle of that week.
From what I afterwards learned, the £200 my musical friend's son was to have advanced prevented some thousands of circulars from being posted for want of stamps, and the printer from delivering the remainder of the circulars he had prepared for want of a deposit. I must add that Mr. Gye repeatedly thanked me for my straightforward conductin preventing him from being practically ruined.
Considerable changes were necessary in adapting the Theatre Royal, Drury Lane, for Italian Opera. I was obliged to have sundry discussions with the Committee before I could be allowed to alter the floor of the pit and boxes, and to take about twenty feet off the stage, its removal enabling me to add some two or three rows of stalls. I had, moreover, to decorate, clean, and carpet the house from top to bottom, the outlay for which, irrespective of the rent, cost me from £3,000 to £4,000. A further difficulty presented itself, as there were some six or seven hundred renters who were at that time allowed free admission to any part of the theatre, and it was only by temporizing with their representatives that I ultimately made an equitable arrangement satisfactory to all parties.
The season opened in due course, and a magnificent Company I was enabled to introduce: Mdlle. Titiens in the zenith of her powers; Christine Nilsson, who had made such a prodigious success the previous season at Her Majesty's; also Miss Clara Louise Kellogg, Mongini, Fraschini, Santley, etc. The performances were really of the first order, and Mozart's masterpieces were given with such strong combined casts as to attract the whole of London. In fact, the success was such as to paralyze the efforts of the rival manager.
PROPOSAL FOR AN OPERATIC UNION—TITIENS IN DUBLIN—HER SERVICES AS A PACIFICATOR—AUTUMN SEASON AT COVENT GARDEN—THE COMBINATION SEASON—IMMENSE SUCCESS—COSTA'S DESPOTISM—AN OPERATIC CONSPIRACY—LUCCA AND HER HUSBANDS.
PROPOSAL FOR AN OPERATIC UNION—TITIENS IN DUBLIN—HER SERVICES AS A PACIFICATOR—AUTUMN SEASON AT COVENT GARDEN—THE COMBINATION SEASON—IMMENSE SUCCESS—COSTA'S DESPOTISM—AN OPERATIC CONSPIRACY—LUCCA AND HER HUSBANDS.
DURINGmy successful Drury Lane season, in the month of June, 1868, a letter addressed to me was left by an unknown person in the hall. The superscription on the envelope was in a disguised hand, but the letter enclosed was in the writing of Mr. Gye.
The manager of the Royal Italian Opera proposed a coalition with the manager of Her Majesty's Theatre, and Mr. Gye suggested a personal interview on the subject. Here, however, is his letter:—
[COPY.]"Springfield House,"Wandsworth Road,"June 19th, 1868.
"DEARMR. MAPLESON,
"The last time you were over here I believe we were pretty well agreed that our interests lay rather in the combination of the twooperas than in fighting one another. As we shall both of us be making our engagements for the next year, if anything is to be arranged between us it is time it were thought about. I should be very glad to see you on the subject if you still remain in the same mind as when I saw you last. It would perhaps be well if we did not meet either at Drury Lane or at Covent Garden. Would you mind coming over here, or would you prefer our meeting somewhere in town? This matter, for obvious reasons, had better remain strictlybetween ourselvesfor the present.
"Yours very truly,"(Signed) FREDERICK GYE."James Mapleson, Esq."
When I met Mr. Gye by appointment his first proposition was that we should work together at either of the two theatres, the other one being kept closed; and that I should take a quarter of the profits.
I suggested, as a more equitable adjustment, an equal division of profits; and to that Mr. Gye at last agreed.
Articles of partnership were then drawn up binding us to remain together for three years on the basis of half profits, and our agreement was to be kept secret for the next six months.
At the close of my engagement at Dublin, in the beginning of October, 1868, a great demonstrationtook place in honour of Mdlle. Titiens, it being the last night of the season. Weber's opera ofOberonwas performed, and after Titiens had sung the exacting air of the third act, "Ocean, thou Mighty Monster," a most animated scene took place, many requiring the great air to be repeated, whilst others called out the names of different Irish songs. The uproar lasted upwards of fifteen minutes before silence could be restored, when it was decided that "The Last Rose of Summer" should be given.
But the orchestra had no music and the conductor would not venture a performance without it. Further delay and further uproar took place, until at length Signor Bettini, who had undertaken therôleof "Oberon," came from the wing, pulling on a cottage piano, whilst Titiens helped the conductor to get out of the orchestra in order to accompany her. As Bettini was turning the piano round, in consequence of the slope of the stage it fell right over, causing an immense cheer from the gods, when no less than five demons (who were to appear in the next scene ofOberon) rushed from the wings to raise it up again on its legs. At length order was restored, and such was the silence that when Mdlle. Titiens was on the point of beginning the beautiful air I remember taking a pin from my collar and dropping it on the stage in order to give a practical and effective illustration of the old saying that you "could hear a pin drop."
No sooner had the singer finished the last versethan a roar of admiration was heard, so loud, so overpowering, that I can only compare it to the belching forth of huge pieces of artillery. At the close of the opera a great crowd, composed of the public and the medical students who habitually occupy the gallery (always without their coats, sometimes without their waistcoats, occasionally without their shirts), was awaiting the Queen of Song's departure. They had actually cut the traces of her carriage, and from a ship chandler's opposite had got two long coils of rope which they fastened to the vehicle. Titiens shortly afterwards appeared, amidst deafening cheers, and the procession started. No less than a dozen of the singer's most enthusiastic admirers were on the roof letting off fireworks. All went on in something like order until with our two long strings of volunteer horses we arrived at Dawson Street, when, in consequence of no previous arrangement having been made, one half of the team went up Dawson Street and the other half down Nassau Street, the result being a violent collision against Morrison's Hotel. It was not without considerable difficulty and delay that things could be readjusted.
On our arriving at Shelbourne Hotel the police found themselves powerless to cope with the multitude. But we had been accompanied by a young man, who, standing on the carriage step, had repeatedly addressed Mdlle. Titiens both in German and in French, telling her that she had "nothing tofear." On arriving at the door of the Shelbourne he gave a shrill whistle as a call for volunteer special constables, when a passage was at once cleared. It being a wet night the enthusiasts around us made a carpet for Titiens to walk on by throwing their coats on to the pavement. The crowd remained opposite the hotel for over an hour, during which time repeated calls were made for a song. But the gas of Mdlle. Titiens's sitting-room had been turned low, and the blinds being drawn down she hoped it might appear that she had retired for the night.
Shortly afterwards, however, a deputation came up accompanied by one of the chief constables, stating that if madame could not disperse the crowd the consequences would be very serious, as it refused to move. She at last felt compelled to go to the window of her hotel, when, after entreating for silence, she addressed the crowd in these words: "I will sing you 'The Last Rose of Summer' provided you promise to go home immediately afterwards like mice."
And sure enough they did, for at the conclusion of the song the crowd melted away in dead silence, not one person being left.
The inspector afterwards remarked to Mdlle. Titiens that if ever a revolution broke out in Ireland they would send over for her to quell it.
During the stay of my Opera Company at Dublin I allowed some of the principal artists to sing invarious churches for charitable purposes. Mdlle. Titiens's services were sought for far and wide, and she was always ready to devote her Sunday, which was the only day of rest she had during the week, to the cause of charity. On one occasion I recollect her singing in a poor neighbourhood near Thomas Street, when many persons actually stooped to kiss the ground where she had trodden. She was held in the highest esteem by the clergy.
One Saturday evening, after the termination of the opera, several of my Italian choristers were wending their way home when they were accosted by some rowdy, good-natured Irishmen, who insisted upon having a drink with them. They, not comprehending the language, thought the men were robbers, and placed themselves in a position of defence, whereupon they were boldly attacked by the sons of Erin, and a free fight ensued, in which some two or three Irishmen got stabbed. About noon the following day it was notified to me that some four or five of my choristers were in prison on account of this serious affair, and would be kept there until the wounded men, who were then in hospital, were sufficiently recovered to appear against them. I at once sought Mdlle. Titiens's aid, who went with me to one of the priests, with whom we afterwards visited the prison where our choristers were. They insisted that it was only a small affair, and that they had defended themselves against their aggressors.
They seemed also in great distress because thepolice authorities had taken away their week's salary which they had in their pockets, together with such pieces of jewellery or keys they had about them. By the advice of the priest we afterwards visited the hospital, and I, accompanied by the surgeon, inspected their wounds, which were triangular, as if caused by an Italian stiletto.
My clerical friend was very kind, and after a deal of whispering with the hospital surgeons, and afterwards with the wounded men themselves, he stated that they might have done it in accidentally falling down, but that it was not their intention to appear against the choristers, who were afterwards bailed out by Mdlle. Titiens. They duly appeared the next morning at the police-court and were dismissed, no one appearing against them.
I omitted to inform the reader that on the conclusion of the partnership agreement with Mr. Gye, which was to be kept a secret for the next six months, I rented the Royal Italian Opera for the autumn of 1868 for this double reason: first, that Her Majesty's Theatre was in ashes, and that I had no place wherein to give my autumn performances; and secondly, that my being seen about Covent Garden would in that case cause no surprise, whilst it would enable me occasionally to meet Mr. Gye in order to discuss our coming arrangements.
During my autumn season at Covent Garden I discovered Mdlle. Scalchi, the eminent contralto—then singing at a building which had been acircus. Struck with the lovely quality of her voice I engaged her for five years, events fully confirming my judgment on that occasion. About this time I first brought to this country Miss Minnie Hauk, a young singer about 18 years of age. She made herdébutat Covent Garden as "Amina" inLa Sonnambula, her next part being that of "Cherubino" in Mozart'sNozze di Figaro.
After due discussion with Mr. Gye it was decided that our joint enterprise should be carried on at the Royal Italian Opera pending the rebuilding of my new theatre.
As the time for opening the season approached Mr. Gye suggested that we should ourselves make all engagements with the orchestra, instead of leaving that duty, as heretofore at the Royal Italian Opera, to Mr. Costa. This famous conductor was a despot, not only in the musical direction of his orchestra, but in other ways. He made his own engagements, and, leaving, of course, the manager to pay the appointed salaries, took care to be always present on pay day; when, in the case of any short-coming on the part of a musician, he would stop a portion of the salary payable to him, if not the whole amount. It was his custom to arrive at the theatre half-an-hour before the time fixed for the beginning of the evening's performance. He then took up a position as if of inspection, and, as he sat on the stage, the players passed him one by one as if in order of review. I remember on one occasion ayoung violinist arriving with mud on his boots, and in a frock coat. Costa pulled him up short, and asked him how he could venture to present himself in such a condition. The musician replied that he had just arrived from the Crystal Palace, and had not had time to make his toilet.
"Go home instantly," said Costa, "and come back with clean boots and in evening dress."
By the time the violinist (who lived in some distant suburb) got back the second act of the opera was nearly over; and when on pay-day the offender presented himself for his monthly salary he was informed that by reason of his absence on the occasion in question one week's salary was stopped. This sort of treatment the musicians had to put up with, or, as the only alternative, to accept their dismissal, which really meant the loss of the provincial festivals and of the Sacred Harmonic Society.
It must be added in favour of Costa's despotic ways that he never allowed any musician that he had engaged to be replaced by a substitute, even at rehearsal; a practice which in orchestras less severely governed has become only too frequent, to the great detriment of the performances.
Costa, meanwhile, by mere force of will, had gained so much authority at the Royal Italian Opera that the manager feared him, and was most anxious to be rid alike of his services and of his tyranny.
When it was intimated to Costa that the joint managers proposed to reserve to themselves theright of making direct engagements with the musicians for the orchestra, he would not hear of such an arrangement, and, much to Mr. Gye's satisfaction, resigned his post.
In view of the new works we proposed to give, and of the large number of rehearsals that would be required, two conductors were now engaged, Arditi and Vianesi.
Long before the theatre opened we had abundant signs of a prosperous season, and as the event drew near money poured in from various sources. We received in private subscriptions as much as £12,000. The booksellers' subscriptions amounted to £29,000 more, and in the course of the season the box-office sales alone brought in another £29,000. Altogether, counting profits from the Floral Hall concerts and sums received for the services of singers at public as well as private concerts, we received during the season of 1869 a grand total of £80,000.
On the other hand, we paid away in artists' salaries £22,000; for working expenses (including chorus), £13,000; orchestra, £7,500; sundry charges, £2,000.
Our whole expenditure came to £44,000, leaving us a clear profit of about £36,000.
Out of my half-share of this profit I had to pay for insurance and poor rates £3,000. Against this Mr. Gye put the use of the theatre, which was his property.
By our articles of partnership Mr. Gye had stipulated that he should "take no part in the management of the theatre unless he wished to do so." This wish came upon him after about a fortnight.
Our success during this season proved that though two rival Italian Operas can scarcely be carried on without loss on both sides, one Italian Opera can be made the source of very considerable profit. Even, however, with a monopoly there are two things essential to success. The operatic manager who would prosper must appeal to the public with a very strong Company, and with new works. Such casts as we secured for some of the recognized masterpieces of dramatic music could not fail to fill the theatre.
Among the new works or revivals produced at the Royal Italian Opera during the season of 1869 may be mentioned:Fidelio,The Magic Flute,Robert le Diable, Cherubini's Medea,Hamlet(first time in England), with Nilsson as "Ophelia," andDon Bucefalo(also first time in England).Medeahad before been given at my own establishment with Mdlle. Titiens in the tragic part of the heroine. InLe Prophète, Titiens and Mongini appeared together, Titiens, of course, as "Fidès," Mongini as "John of Leyden."Don Giovanniwas played with Titiens as "Donna Anna," Nilsson as "Donna Elvira," and Patti as "Zerlina;" while the part of the dissolute hero was taken by Faure, and that of "Don Ottavio" by Mario.
About this time the secret oozed out that Mr. Jarrett, who had come with me from Her Majesty's Theatre to the Royal Italian Opera, had made engagements with Mongini, Ilma de Murska, Trebelli, Christine Nilsson, Santley, Foli, Faure, and Arditi. Mr. Jarrett, who in after years became known as the agent of Mdme. Nilsson, and especially of Mdlle. Sarah Bernhardt, held at that time a post with vague duties attached to it at the Royal Italian Opera, as previously at Her Majesty's Theatre, which during the combination season of 1869 was being rebuilt. Jarrett also acted as agent to Mongini, Ilma de Murska, Trebelli, and Bettini—Mdme. Trebelli's husband. Many years before he had been in partnership with Mr. George Wood, representing the firm of Cramer and Co., the well-known music publishers, for the direction of an Opera Company, and had been left by his associate in the lurch, Mr. Jarrett being called upon to meet single-handed liabilities which would have been far too much even for the partners combined.
Nor was Jarrett particularly well disposed towards the manager of the Royal Italian Opera, in whose orchestra he had once played the horn, and who in one of those orchestral strikes so common in the history of Opera-houses had taken a leading part as against the manager. Mr. Gye had thereupon dismissed him; and he now objected to have in his employment an agent receiving percentage on the salaries of his singers.
If, then, in the opposition he proposed to organize against the Royal Italian Opera Jarrett injured Mr. Gye, he would not be sorry; while if as a result of a failure at Drury Lane he injured Mr. Wood, he would be very glad. Naturally, however, he worked chiefly with a view to his own success.
Whether Wood mistrusted Jarrett, or whether after entering into partnership with him he mistrusted the success of the project, can never be decided; but it is certain that after securing Drury Lane Theatre for an operatic campaign, Mr. Wood repented of what he had done, and, unknown to Jarrett, entered into negotiations with Mr. Gye.
The advantages of an operatic monopoly were too obvious for Mr. Gye not to be anxious once more to secure it. This he was prepared to do, even at a considerable sacrifice; only it was I, his associate, not he himself, who was to make it. He proposed to me that Mr. George Wood should be taken into partnership, and that the profits for the season should be thus divided: Half to Gye, one quarter to Mapleson, one quarter to Wood. Mr. Gye was ready at that time to take in any number of partners who seemed in a position to threaten his justly-cherished monopoly, provided always that their share in the profits came to them out of my half, not out of his. For me the smallest fraction was deemed sufficient; he himself, however, could accept nothing less than a clear moiety.
After some amusing negotiations between Mr.Gye and myself, it was arranged that Mr. Wood should be taken into the concern on a basis of equal shares. Each, that is to say, was to receive one-third of the profits. The seceding artists, whose services we could not wish to lose—apart from the effect they might have in creating against us a formidable opposition—had all signed with Mr. Wood; and by the new arrangement these vocalists (Christine Nilsson, Mongini, Ilma de Murska, Trebelli, Faure, Santley, etc., with Arditi) were all to form part of the Royal Italian Opera Company. Our profits would still be large, though both Gye and myself would have to cede a portion of our gains to the new-comer.
Mr. Gye, Mr. Wood, and myself were all seated round a table in Mr. Gye's private room at Covent Garden Theatre, on the point of signing the contract which was to bind us together for the season of 1870, when suddenly a gentle tap at the door was heard, and, like "Edgardo" in the contract scene ofLucia, Jarrett appeared. He had, as he afterwards informed me, entirely lost sight of Mr. Wood, who was supposed to be out of town, gone abroad, anywhere except in London; whence, however, he had not stirred. Jarrett had not traced his slippery partner to the Royal Italian Opera. He assured me that having no indications whatever to act upon he had come there guided simply by instinct. He was a man whose instinct seldom misled him.
While Mr. Gye and myself were a little surprisedat the sudden apparition, Mr. Wood was lost in confusion. Jarrett meanwhile was absolutely calm. Standing at the door, he took a pinch of snuff, and for a few moments remained silent. Then, addressing his partner, he simply said: "Mr. Wood, can I have a minute's conversation with you outside?" Mr. Wood rose, and left the room, but returned in less than a minute, when Gye whispered to me: "It is all right; he is sure to sign." But when he was asked to put his name to the document which only awaited his signature to constitute a perfect contract between him, Gye, and myself, he hesitated, spoke of the necessity in which he found himself of first consulting his friends, and finally did not sign.
The conversation which had taken place outside the room, as it was afterwards repeated to me by Jarrett, was short and simple.
"The singers you have engaged," said Jarrett, "are under contract to sing at Drury Lane, and nowhere else. If, then, you join Mapleson and Gye they will not come to you at Covent Garden, and you will have to pay their salaries whether you open at Drury Lane or not."
Wood could only reply that he would not sign with Mapleson and Gye.
There was no money made that season at the Royal Italian Opera; whilst Mr. Wood's season at Drury Lane was simply disastrous. The moneyed partner soon proposed to shut up; but Jarrett, towhom Mr. Wood was bound, would not hear of this.
"I have no more money," said Wood.
"But you have a number of pianofortes," replied Jarrett. "You have music shops here and in Scotland whose contents and goodwill can be sold."
"You wish to ruin me?" asked Wood.
"You did not mind ruining me in 1854," answered Jarrett, "when we carried on Opera together and you left me to bear the burden of your losses."
It is bad enough for a manager to lose money, hoping night after night that by some new and successful stroke, or some change of taste on the part of the capricious public, the tide of luck may at last turn in his favour. But Mr. Wood had no such sanguine delusions to maintain him in his adversity; his losses were irretrievable. They increased as the season went on without any chance of being even arrested; and in the end anyone but a man of Mr. Wood's indomitable energy and courage would have been ruined beyond hope of recovery.
During the Wood season at Drury Lane many interesting performances were given, including Wagner'sFlying Dutchman, with Ilma de Murska as the heroine and Santley as the hero;Mignon, with Mdme. Christine Nilsson; also Weber'sAbu Hassan, each for the first time in England. But the enterprise could not stand against the superior attractions of the Royal Italian Opera, while the RoyalItalian Opera, on its side, suffered in its receipts from the counter attraction presented by Drury Lane.
Towards the end of the season, war having been declared between France and Germany, Mdme. Pauline Lucca became anxious about her husband, who was an officer in a Prussian cavalry regiment, and now under campaigning orders. She was anxious, therefore, to see him before his departure with the army moving towards the French frontier. Some weeks afterwards, at the battle of Mars la Tour, a portion of the Prussian cavalry was sacrificed in order to hold in check the French, who were seeking to leave Metz in order to march towards Paris. Mdme. Lucca's husband, Baron von Rhaden, was dangerously wounded in the charge; and the Baroness received special permission to visit him in the field hospital, where he was lying, outside Metz. Another officer of the same regiment, also wounded, came in for a good share of her attentions; and afterwards, being at that time in the United States, she applied in the New York Courts for a divorce from Baron von Rhaden in order to marry Baron von Wallhofen, the officer, who—as just mentioned—had, like Von Rhaden, been severely wounded at Mars la Tour. The New York Tribunal granted the divorce on Mdme. Lucca's simple affidavit; and before her husband (No. 1) had had time to reply by a counter affidavit from Berlin the second marriagehad been celebrated. Such being the case the decree of divorce, so hastily pronounced, could not well be interfered with. So, at least, said the judges to whom the matter was referred; and Mdme. Pauline Lucca remained as she is now, Baroness von Wallhofen.