RECEPTION OF A TENOR—BELOCCA AND LADY SPENCER—MARIMON'S SUPERSTITIONS—HER LOVESICK MAID—AN ENCOURAGING TELEGRAM—MARIMON IN THE CATHEDRAL—DISAPPEARANCE OF A TENOR
RECEPTION OF A TENOR—BELOCCA AND LADY SPENCER—MARIMON'S SUPERSTITIONS—HER LOVESICK MAID—AN ENCOURAGING TELEGRAM—MARIMON IN THE CATHEDRAL—DISAPPEARANCE OF A TENOR
FORmy London season of 1879, in addition to Gerster, who was already a prime favourite, Marie van Zandt, Clara Louise Kellogg, Minnie Hauk, Ambré, Marie Roze, Caroline Salla, Hélène Crosmond, Trebelli, Nilsson, etc., I engaged Fancelli, Brignoli, Frapolli, and Campanini. I moreover concluded an engagement with Signor Masini, the renowned tenor, who shortly afterwards arrived in London. I was informed the following morning by his agent that he felt very much hurt that I myself, Sir Michael Costa, and some of the leading artists of the theatre had not met him at the station; the agent kindly adding that "If I would come round to his hotel with Costa he might put the thing straight."
I told him we were too busy to do anything ofthe kind, but that I should expect Signor Masini to call on me, when I would present him to Sir Michael Costa.
We were within two days of his announced appearance, and I had not yet seen him. That afternoon the agent, who was very anxious to keep things pleasant, rushed in to tell me that Masini was passing along the colonnade outside the theatre smoking a cigar, and that if I went out quickly with Costa we might meet him, and so put an end to all difficulties. I told him I was too busy, and that he had better bring Masini into my office. The signor at length appeared, and in very few words asked me in what opera he was to make hisdébut. I told him he had already been announced to appear as "Faust," in accordance with his engagement; to which he replied that he should like to know who the other singers were to be. I told him that Christine Nilsson would be "Margherita," Trebelli "Siebel," and Faure "Mephistopheles," and that I trusted this distribution of parts would suit him. He was good enough to say that he would have no objection to sing with the artists I had named. He then left.
A few minutes afterwards Sir Michael Costa entered the room, and I told him what had happened. He ordered a rehearsal for the following morning at twelve o'clock for all the artists. Nilsson, Faure, and Trebelli were punctually at the theatre, but not Masini; and just as the rehearsal was being dismissedin consequence of the tenor's non-attendance his agent appeared with the suggestion that a rehearsal was not necessary. If Sir Michael Costa would step round to the hotel Masini, said the envoy, would show him thetempihe wished to be observed in his performance of the part of "Faust." Sir Michael Costa left the room, and never afterwards made the least reference to this audacious proposition.
On going round to Masini's hotel the next morning to see how he was getting on—for he was to perform that evening—I was informed that the previous night he had taken flight, and that he was now on his way back to Italy.
I afterwards heard that an influential friend of Masini's at the Italian Embassy had frightened him by saying that Sir Michael Costa was a man of considerable importance, who was not to be trifled with, and who would probably resent such liberties as Masini had attempted to take with him.
Masini's flight put me to considerable inconvenience. I followed him up on the Continent, harassing him in every city where he attempted to play; though I ultimately let him off on his paying my costs, which came to some £200.
The fact of Signor Masini's asking Sir Michael Costa to come round to his hotel in order to hear thetempiat which the arrogant tenor liked his airs to be accompanied, must have taken my readers by surprise. But in Italy, I regret to say, the practiceis only too common for singers to treat conductors as though they were not their directors, but their subordinates. A popular tenor or prima donna receives a much larger salary than an ordinary conductor—or for that matter a first-rate one; and a favourite vocalist at the end of the season often makes a present to themaestroto reward him for not having objected to some effective note or cadenza which is out of place, but which the "artist" is in the habit of introducing with a view to some special effect. In his own country it would have been nothing extraordinary for a tenor so eminent as Signor Masini to ask the conductor to step in and learn from him how the differenttempishould be taken.
On one occasion a renowned prima donna about to make her first appearance in England took the liberty of enclosing to Sir Michael Costa with her compliments a hundred-pound note. The meaning of this was that she wished to be on good terms with the conductor in order that he might not cut her short in any little embellishments, any slackening or hastening of the time, in which she might think fit to indulge. On receiving the note Sir Michael Costa requested the manager to return it to the singer, and at the same time declared that he or the offending vocalist must leave the Company. Needless to say that it was not the conductor who left.
Another remark as to Signor Masini's having expectedthat Sir Michael Costa, myself, and all the leading members of the Company would meet him at the railway station on his arrival in London. This sort of thing is not uncommon with artists of rank, and when Mdme. Patti comes to London a regular "call" is sent to the various members of the Company directing them, as a matter of duty, to be at the station at such an hour.
A good many artists, on the other hand, have a strong preference for not being met at the station. They travel third-class and in costumes by no means fair to see.
Costa would have been horrified at the way in which operatic enterprises are now too frequently conducted—especially, I mean, in a musical point of view; works hurriedly produced, and in some cases without a single complete rehearsal. Often, no doubt, the prima donna (if sufficiently distinguished to be allowed to give herself airs) is in fault for the insufficient rehearsals or for rehearsals being altogether dispensed with. When such singers as Mdme. Patti and Mdme. Nilsson stipulate that "the utility of rehearsing" shall be left to their judgment—which means that they shall never be called to any sort of rehearsal—all idea of a perfectensemblemust, in their case, be abandoned. Sir Michael would, I am sure, have protested against the acceptance of such conditions. Nothing would satisfy him but to go on rehearsing a work until everything, and especially until theensemblepieces, were perfect. Then he would have one final rehearsalin order to assure himself that this perfection was maintained; and the opera could be played the night afterwards. Costa was born with the spirit of discipline strong within him. As a singer he would never have made his mark. In his original occupation, that of second tenor, his remarkable qualities were lost. As a conductor, on the other hand, his love of order, punctuality, regularity in everything, stood him in excellent part.
At many operatic theatres the performance begins some five or ten minutes after the time announced; at no theatre where Sir Michael Costa conducted did it ever begin a minute late. The model orchestral chief arrived with a chronometer in each of his waistcoat pockets; and when, after consulting his timepieces, he saw that the moment for beginning had arrived, he raised hisbâton, and the performance began. He did not even take the trouble to see that the musicians were all in their places. He knew that, with the discipline he maintained, they must be there.
Among other difficulties which an operatic manager has often to deal with is one arising from questions of precedence between the singers. Who is to have the best dressing-room at the theatre? Who the best suite of apartments at the hotel? Naturally the prima donna. But suppose there is more than one prima donna in the Company, or that the contralto claims to be an artist of greater eminence than the principal soprano?
I remember once arriving at Dublin with a Company which included among its members Mdlle. Salla, who played leading soprano parts, and Mdlle. Anna de Belocca, a Russian lady, who played and sang with distinction the most important parts written for the contralto voice. Mdlle. Belocca and Mdlle. Salla entered at the same time the best suite of apartments in the hotel; upon which each of them exclaimed: "These rooms will do for me."
"For you?" said Mdlle. Salla. "The prima donna has, surely, the right of choice, and I have said that I wish to have them."
"Prima donna!" exclaimed Belocca, with a laugh. "There are but two prime donne:moi etPatti."
"You will not have these rooms all the same," continued the soprano.
"We will see about that," returned the contralto. I was in despair, for it was now a matter of personal dignity. Neither lady would give way to the other. Leaving them for a time together I went downstairs to the hotel-keeper, Mr. Maple, and said to him—
"Have you not another suite of rooms as good, or nearly so, as the one for which these ladies are disputing?"
"I have a very good suite of rooms on the second floor," said Maple; "quite as good, I think, as those on the first floor." These rooms had already been pointed out to Mdlle. de Belocca through thewindow. But nothing, she said, would induce her to go upstairs, were it only a step.
"Come with me, then," I said to Maple. "Mind you don't contradict me; and to begin with, it must be understood that these rooms on the second floor have been specially retained by Lady Spencer"—Lord Spencer was at that time Viceroy of Ireland—"and cannot on any account, or under any circumstances, be assigned even for a brief time to anyone else."
Maple seized my idea, and followed me upstairs.
"What is the meaning of this?" I said to him, when we were together, in the presence of the two excited vocalists. "Are these the only rooms you have to offer us? They will do for one of these ladies; but whichever accepts them the other must be provided with a set of apartments at least as good."
"I simply have not got them," replied Maple. "There is a charming set of apartments on the floor above, but they are specially retained for the Countess Spencer, and it would be more than my business is worth to let anyone else take possession of them."
At these words Belocca opened her beautiful eyes, and seemed to be struck with an idea.
"At least we could see them?" I suggested.
"You could see them," returned Maple, "but that is all."
"Let us go and have a look at them," I said.
Maple and myself walked upstairs. Belocca silently followed us. We pretended not to see her, but as soon as the door of the apartments reserved for the Countess Spencer was thrown open the passionate young Muscovite rushed into them, shut the door, and locked it, declaring that Lady Spencer must be provided for elsewhere.
On the conclusion of my London season of 1879 I immediately started for the Continent in search of talent for my next New York and London seasons, which both commenced on the 18th October.
On the issue of my New York prospectus, every box, together with three-fourths of theparquet, likewise the first two rows of balcony, were sold out for the season; so good an impression had my performances left the previous spring.
I must here mention a circumstance which greatly inconvenienced me. On the day of sailing from Liverpool I received notice that Mdme. Gerster was in a delicate condition, which was confirmed afterwards by a cable which reached me on my arrival in New York. I replied, entreating the lady to come over, if only for a couple of months, when she could afterwards return. All my proposals failed, though it was not until I received five doctors' certificates from Italy sealed by the Prefetto and viséd by the Consuls that I gave up begging her to appear.
I was really at my wits' ends, for there was no possibility of replacing the favourite artist. I,however, engaged Mdlle. Valleria, also Mdlle. Ambré, a Moorish prima donna of some ability and possessing great personal charms.
Despite all I could do, the Press and the public became excited about the absence of Gerster; and either she or Lucca or Nilsson, or someone of equal calibre, was urgently wanted. It was too late for either of these distinguished ladies to entertain my proposals. I, therefore, addressed Mdlle. Marimon, who was then in Paris.
About this time the members of my orchestra, who all belonged to the Musical Union, struck for a ten per cent. increase of pay in consequence of the success I had met with the previous year. I flatly refused to comply with their demand, whereupon the main body of the players informed me that they would not enter the orchestra on my opening night, unless their terms were conceded. I explained that the previous year I had paid them no less than 50,000 dollars, being more than double the price of my London orchestra, but it was all to no avail. However, I induced them to play at my opening performance, leaving the matter to be decided at a conference to be held in the course of a few days.
To return to Mdlle. Marimon; time being of importance, all our correspondence had to be carried on by cable, I having to pay the answers. As at the time I speak of the price was some fifty cents or two shillings a word, and as the correspondence went on for over a fortnight, I found at last that I had spentover £160 in cables alone. The lady insisting that the money should be deposited beforehand at Rothschild's, in Paris, this, too, had to be transmitted by cable.
At length a day was fixed for her departure, and I awaited with impatience her arrival. Some four days later I received a cable from my agent, Jarrett, who had gone over at my request to Paris, informing me that Marimon had not started and that a new element of trouble had arisen.
Mdlle. Marimon having lost her mother some time before in the foundering of thePacificsteamship was nervous about going to sea, and would not start unless accompanied by her maid. The maid, however, objected to go with her mistress to America on a visit which might last some months. She was attached at the time to an actor at the Gymnase, and preferred remaining in Paris. She knew her mistress to be very superstitious, and, in order to avoid starting, resolved to play on her weak point. Pretending, therefore, to be ignorant of Marimon's intentions, she imparted to that lady the secret of a terrible dream with which she had been visited three nights in succession, to the effect that she and her mistress had embarked in a big ship for a long voyage, and that upon the third day at sea the vessel had collided with another and both had gone to the bottom. This fable had the desired effect. With blanched cheeks the frightened Marimon, who was still in Paris, informedJarrett that it was impossible for her to go, and that she wished to have her engagement cancelled. To this I refused to accede, the engagement being complete and the money having been paid.
Volumes of cable messages were now again commenced. Here is a copy of one of my replies:—
"Tranquil sea. Charming public. Elegant city. Luxurious living. For Heaven's sake come, and duplicate your Drury Lane triumphs.—MAPLESON."
At length tact and diplomacy overcame her terrors, and she started in theCity of Richmondthe following day.
I was expecting her with the greatest anxiety, for several days had now passed beyond the ordinary time, when on the morning of November 24th I read in the morning papers the following telegram from Halifax:—
"The steamerCircassiaof the Anchor Line, with the American mail, came into port this morning, having picked up the disabled ship theCity of Richmond, encountering heavy weather, with a broken shaft, off Sable Island, 180 miles from Halifax, the second officer having been washed overboard and lost. Amongst the saloon passengers were Mdlle. Marimon and her maid."
I thereupon despatched messengers to Halifax, and in due course Mdlle. Marimon reached New York.
On her arrival she immediately insisted on going to the Catholic Cathedral, in Fiftieth Street, to offerup thanks and a candle for her narrow escape. Despite all my entreaty to cease praying, in consequence of the extreme cold in the vast Cathedral—it was now near the close of November—madame remained prostrate for another half-hour, during which time my rehearsal was waiting. I had hoped to get her to attend by inviting her to have a look at the interior of the theatre where she was to perform.
The result, meanwhile, of her devotions was that she caught a violent cold and was obliged to lie in bed for a week afterwards.
I was next much troubled by a renewed outbreak in the orchestra, the occasion being the first performance ofLinda di Chamouni, when to my astonishment more than half the musicians were absent. I was too perplexed with other matters to worry beyond appealing to the public, who sympathized with me.
A kind of operatic duel was now going on betwixt my two tenors, Campanini and Aramburo. The latter, with his magnificent voice, had quite conquered New York. Being a Spaniard, his own countrymen supported him nightly by their presence in large numbers. But the tenor was displeased at sundry hisses which came from unknown quarters of the gallery, whilst two or three newspapers attacked him without any reason. It was the eve of his performance inRigolettowhen I was informed that Senor Aramburo and the Gilda, Mdme. Adini(at that time his wife), had suddenly sailed for Europe. The last I could trace of them was that that very day they had both been seen in the city at five o'clock. Early that morning Aramburo had come to me wanting to borrow 300 dollars. At first I refused, but he pressed me, saying that he had property "in Spain," and that he really needed money to close up certain business transactions. I gave him the sum, and this was the last I saw of him. At 5.30, however, in the afternoon, I received a note from him, in which he said that he would like five nice seats for that evening's performance, as he wished to oblige some friends. I sent him the tickets, but by the time they reached his address he must have packed up and gone.
At length the day for Mdlle. Marimon's appearance arrived. It was not until Wednesday, 3rd December, that she made herdébutinLa Sonnambula, when she was supported by Campanini as "Elvino," Del Puente as "Conte Rodolfo," and Mdme. Lablache as the mother. Mdlle. Marimon scored a positive success, and the ovations she received were something unprecedented. I at once forgot all my troubles, for I now plainly foresaw that she would replace Mdme. Gerster until the following year. Anything like her success had not been witnessed since Gerster's. At one bound, as it were, she leaped into the highest favour and esteem of the music lovers of New York. I announced her reappearance for the following Monday.
But the reaction consequent on the agitation caused to her by the perils of the sea voyage now began to manifest itself. The nervousness from which she had suffered at sea, in the belief that her maid's dream was about to be verified, had caused such a disturbance to her nervous system that this, coupled with the subsequent excitement due to her brilliant success, caused the fingers of both her hands to be drawn up as if with cramp. She found it impossible to reappear for several days; and it was not until the 15th, some twelve days later, that she was able to give her second performance. She afterwards sang the part of the "Queen of Night," inFlauto Magico, which terminated the New York season.
We afterwards left for Boston, where on the opening night Mdlle. Marimon's success was again most marked; and from the beginning until the end of the engagement there her receipts equalled those of Mdme. Gerster. During the tour we visited Philadelphia, Chicago, St. Louis, Detroit, and Cleveland. We afterwards made a second visit to Philadelphia, the season concluding about the middle of March, 1880, when we returned to Europe.
During our stay in Philadelphia Mdlle. Marimon, who had met with such great success two evenings previously, was announced to appear as "Dinorah." About six o'clock in the afternoon she sent word that she would be unable to sing. All persuasion on my part was useless. However, as I wasdescending the staircase of the hotel I met Brignoli, who on hearing of my trouble declared that he had a remedy and that he felt sure he could induce Mdlle. Marimon to sing. He made it a condition, however, that in case of success I should re-engage him for the approaching London season. To this I readily consented, and I was greatly surprised at hearing within half an hour that Mdlle. Marimon and her maid had gone on to the theatre. This was indeed a relief to me, as nearly every seat in the theatre had been sold, Meyerbeer's romantic opera not having been performed in Philadelphia for some twenty years.
On the rising of the curtain Mdlle. Marimon's voice was inaudible. She was very warmly greeted, and went through all the gestures of the part; played it, in short, pantomimically. At the close of the act I went before the curtain, and announced that Mdlle. Marimon's voice, instead of recovering itself, was going gradually from bad to worse; and that the shadow scene in the second act would have to be omitted; but that, to compensate the public for the disappointment, Signor Campanini, who was then present in one of the boxes, had kindly consented, together with Miss Cary, to give the concluding acts ofIl Trovatore. This at once restored the depressed spirits of the audience.
Miss Cary surprised everyone by the dramatic force of her "Azucena." Galassi was equally effective in therôleof the "Count di Luna." But Campanini, inDi quella pira, met with more than asuccess: it was a triumph. The house broke into rapturous applause, and cheered the singer to the echo. At the conclusion he was loaded with flowers. Thus I avoided the misfortune of having to close the theatre.
On returning home to supper I discovered the "remedy" Brignoli had employed, which was this: He presented himself on leaving me to Mdlle. Marimon, and informed her that he understood Mapleson meant to close up the Opera-house that evening, and charge her the value of the receipts, then estimated at nearly £1,000. He, therefore, advised her to go to the theatre, even if she walked through the part.
One or two newspapers the following morning insisted on regarding my speech of the previous evening as a melancholy joke. I had announced that Mdlle. Marimon was physically unable to fulfil the demands of herrôle, and that she would omit the shadow song. But, said the papers, her efforts throughout the evening had all been shadow songs, the little lady having been absolutely voiceless.
Mdlle. Marimon, however, in settling up the account some weeks afterwards, charged me £120 for this performance, arguing that she had appeared and done her best under the circumstances.
SIR MICHAEL AND HIS CHEQUE—SIX MINUTES' BANKRUPTCY—SUCCESS OF "LOHENGRIN"—PRODUCTION OF "MEFISTOFELE"—RETURN TO NEW YORK—"LOHENGRIN" UNDER DIFFICULTIES—ELSA'S TAILS—CINCINNATI OPERA FESTIVAL.
SIR MICHAEL AND HIS CHEQUE—SIX MINUTES' BANKRUPTCY—SUCCESS OF "LOHENGRIN"—PRODUCTION OF "MEFISTOFELE"—RETURN TO NEW YORK—"LOHENGRIN" UNDER DIFFICULTIES—ELSA'S TAILS—CINCINNATI OPERA FESTIVAL.
IBEGANmy London season of 1880 a few days after my return from the United States, Mdme. Christine Nilsson appearing as "Margherita" inFauston the opening night, followed byLa Sonnambula,Carmen,Aida, etc., alsoLohengrin, for which I had specially entered into an engagement with Richter, who after some fifteen rehearsals declared the work ready for presentation. He at the same time informed me that on looking through the orchestral parts he had discovered no less than 430 mistakes which had been passed over by his predecessor, Sir Michael Costa, and which he had corrected.
About this time law proceedings were pretty hot between myself and Sir Michael Costa, and as theyled to my becoming a bankrupt for about six minutes, I may as well explain to the reader how this occurred.
My engagement with Sir Michael Costa was for a season of three months in each year, for which I was to give him £1,500—£500 each month, payable in advance. My season of 1875 was fixed to open on the 24th April, and to terminate on the 24th July, which it actually did; but having at that time secured the services of the great tragedian Salvini, I thought it desirable to open the theatre about a fortnight earlier, giving opera only twice or three times a week, and utilizing the other nights for the appearances of Salvini. I mentioned my idea to Costa, who said I had better pay him his regular cheque as from the commencement of the season, and that the few extra nights could be settled for apart.
On the 10th July Sir Michael Costa asked for his usual monthly cheque in advance. I reminded him of our conversation on the subject, and pointed out to him that I had already made him the three payments as agreed. He told me that he wanted particularly to have the cheque, as he desired to show it to H.R.H.; adding with a mysterious air: "You will be pleased!" From his manner he led me to believe that he would return me the cheque after it had been shown. I, therefore, gave it to him; and, hearing no more of it for five years, thought he had destroyed it. However, prior tomy announcing my season of 1880, application was made for the payment of this cheque. Sir Michael declined, in fact, to wield thebâtonunless the old cheque were paid. He seemed quite determined on the subject; and I, on my part, was equally determined to resist the demand. I made various propositions for an equitable adjustment, as also did several influential friends; but all to no purpose. Sir Michael Costa, like Shylock, insisted on his bond; and the law was allowed to take its course. In the end the "blue paper" was signed by Mr. Registrar Hazlitt constituting me a bankrupt, and I left the Court in a state of depression quite unusual to me.
We had scarcely got outside when a happy thought struck my solicitor, who, hurrying back with me to the Registrar, addressed him as follows:—
"Pending the appointment of a trustee, which may take some eight or nine days, your honour is, in fact, the manager of Her Majesty's Theatre, and my client thinks it only right to take your honour's orders as to the production ofLohengrinon Saturday. Some new skirts, moreover, which might be of calico, but which your honour would, perhaps, prefer of silk, are wanted for the ballet inIl Trovatorenext Monday. But theLohengrinmatter is the more pressing of the two, and we should be glad if you would meet Herr Richter, who, though unwilling to tamper with the score of so great acomposer as Wagner, thinks some cuts, already on another occasion authorized by the master, might be ventured upon in the long duet between "Elsa" and "Ortrud." There is an obstinate tenor, moreover, whom your honour, by adopting a decided tone towards him, might perhaps bring to reason."
Mr. Registrar Hazlitt was amazed, and in tones of something like dismay declared that he had trouble enough where he was, and could not undertake the management of an Opera-house. He had not considered that, he continued, when he signed the paper. He rang for a messenger, caused the paper to be brought to him, and at once tore it up; thus putting an end to my six minutes of bankruptcy.
Lohengrinmet with very great success, and we ran it alternately withCarmen,Don Giovanni,Faust, and several other operas, in which Mdlle. Gerster maintained her pre-eminence. During all this time we were busily rehearsing Boito'sMefistofele, which I was unable to produce until the early part of July. The following was the cast:—
The rehearsals were under the immediate personal superintendence of the composer Boito, and thescenic department under that of the celebrated scene-painter Magnani. The greatest pains were taken to give such a representation of this opera as would be worthy of the composer's high reputation.
At last the day arrived, the 6th July; but not the properties, which were expected in large cases from Italy, but could not be heard of and were nowhere to be found. I went to all the likely places in London, telegraphed to Boulogne and to Calais, but in vain. Finally, however, at half-past six in the evening, they were brought to the stage door.
The reader cannot, of course, understand the enormous difficulty which arose in unpacking these hundreds of various properties, each one done up in separate paper. At last shields, armour, spears, serpents, goblets, torches, demon's wigs, etc., etc., were all piled up on the stage. The supernumeraries and chorus were ready dressed, and were left to help themselves, the supers, who were all guardsmen, picking out the prettiest properties they could find; and it was with immense difficulty that, with Boito's aid, we could distribute the most necessary for the performance. The success of this opera is doubtless fresh in the minds of most lovers of music. I look upon it as one of the most memorable on record. It went without a hitch. Madame Nilsson as "Margherita" impressed me by her singing and acting in the prison scene as she had never done before. The opera was repeatedevery other night until the close of the season, the receipts continually increasing.
At the close of my London season I again went to the Continent in quest of talent, and paid a visit to Mdme. Gerster at her elegant villa near Bologna. She received me with every expression of delight, and we concluded forthwith our arrangements for her return to America, she making it a condition that the baby should accompany her. I now made great preparations to ensure a brilliant season. Great improvements were made by the Directors in the auditorium of the Academy of Music in New York, and new carpet was everywhere laid down. At my suggestion, too, a few feet were cut from the front of the stage, which improved the proscenium boxes, and gave me two extra rows of stalls orparquetseats, numbering sixty in all. These were immediately let at high premiums for the whole of my season. Preparations were afterwards made for the production of Boito'sMefistofele, which had been such a great success during my past London season.
As I found it desirable not to leave myself entirely in the hands of one principal tenor, I concluded arrangements whereby Signor Ravelli was to form part of my Company. Ravelli made hisdébutas "Edgardo" inLucia di Lammermooron the opening night, when Mdme. Gerster made herrentrée, after an absence of a year, as "Lucia." The house was crowded from floor to ceiling, Mdme. Gerster receiving more than her usual ovations.
The following night Campanini made his re-appearance as "Fernando" inLa Favorita, Miss Annie Louise Cary undertaking her unrivalled impersonation of "Leonora."
Wishing to do all in my power to make the production ofMefistofelea representation of the first class in every respect, I caused to be removed from each end of the orchestra some five-and-twenty parquet seats in order that it might be enlarged, and I engaged some twenty-five extra musicians of ability so that theensembleof my orchestra might be equal to that of London. Arditi was indefatigable with his rehearsals, of which he had several, in order to obtain every possible perfection in the execution of the music, to secure even the minutestnuancesin the necessary light and shade. The cast included Signor Campanini as "Faust," Annie Louise Gary as "Martha" and "Pantalis," a new-comer, Signor Novara, as "Mefistofele," whilst Alwina Valleria undertook therôleof "Margherita"—and right well did the little lady fulfil the task she had undertaken. She had moments at which she showed herself quite equal to Mdme. Nilsson, especially in the prison scene.
In the newspapers the following morning no mention whatever was made either of the increase in my orchestra or of its performance; the critics at that time being less discerning than they are now. This greatly mortified Arditi, who had been working like a slave for so long a time before the production.
We shortly afterwards producedMignon, when Arditi said one rehearsal would do, as sure enough it did; and this time we met with great praise. On my returning for the following spring season I dispensed with the services of my twenty-five extra musicians; and the excellence of the orchestra was now fully commented upon.
About this time I remountedAidain grand style, with new properties, scenery, and dresses, Mdme. Gerster shortly afterwards appearing as "Elsa" inLohengrin. This reminds me of an interesting occurrence.
The fatigues incident to the continued rehearsals of Lohengrin had rather unnerved Mdme. Gerster, who, however, made her appearance in therôleof "Elsa" on the night for which the opera had been originally announced. Her success, though great, was not what she desired, and the next day she complained of indisposition, though she at the same time insisted upon further rehearsals. I therefore closed the theatre at great loss, in order that her desires might be complied with.
At length the time for the second performance arrived. I had spent a fatiguing day, and had finished up with directing the difficult machinery of the scene in which the swan disappears to be replaced by the missing child, while the dove comes down from heaven to draw the boat which, as "Elsa" embraces her long-lost brother, bears "Lohengrin" away.
Feeling sure that all was in order, I went home for a short time, not having tasted anything since early morn. I sat down to my dinner, and ordered my servant to bring me a pint of champagne. I had hardly taken the knife and fork into my hand when Dr. Gardini, Mdme. Gerster's husband, put his head through the door, beckoning to me, and saying that he wanted me for one "second" only. On my getting into the vestibule he entreated me to come over a moment to the Everett House, where his wife was residing, it being then about a quarter to seven (my opera was to commence at eight). On my reaching the Everett House her maid, her brother, and her sister-in-law desired me to step a moment into her bedroom. On entering I smelt a powerful odour of chloroform, and on inquiry found that her brother, who was a medical man of some standing in New York, had been prescribing chloroform to allay a tooth-ache, or some other ailment she was suffering from; but in the nervous condition she was in it had acted rather too violently upon her general system, and there she lay speechless.
I was beside myself, and I am afraid rather rude at the moment to those in attendance. However, I insisted upon taking the matter entirely into my own hands. I commenced by opening the tops of the windows so as to let the odour out, and dispatched the sister to get me a bottle of soda-water, together with some sal-volatile, also a bottle of strong smelling salts. By raising Mdme. Gerster's headI got her to take the soda-water and sal-volatile, and at each respiration I took good care to place the smelling-bottle to her nose, but all to no effect. She was in a state of semi-unconsciousness.
I, however, insisted upon raising her (it being then a quarter past seven), and by the aid of the maid I put a large shawl over her, and carried her off in my arms to the carriage, which I had ordered to be at the door, and took her over to the Academy, where I seated her on a chair. She now swooned on to the dressing-table.
Whilst I continued to apply the smelling-bottle I gave directions to the theatrical hair-dresser to be careful to come gently in and comb out her back hair and plait in the little tails which are sometimes added by prime donne. It was about twenty minutes to eight when Arditi came into the room, accompanied by the call-boy, and both looked upon the matter as hopeless. I, however, begged the maestro to go into the orchestra, and to leave the rest to me.
I got her to stand upright; but when I suggested the idea of singing "Elsa" she sighed, and said—
"It is utterly useless. It is just eight o'clock, and the tails are not in my hair."
I thereupon informed her that during her unconscious state I had carefully had the tails combed in. This brought a faint smile to her face, and I at once saw that there was still a chance of my opera going. I led her to the entrance, when she went onaccompanied by her attendant maidens. I then drew a long breath and went back to finish my dinner, knowing now that the opera would continue.
Long before the first act was completed Mdme. Gerster's energies had returned. She was in full possession of her marvellous vocal powers, and a triumphant evening was the result of my labours.
About this time I commenced autumn Sunday evening concerts, in which the whole of my singers took part, the first portion of the evening beginning, as a rule, with a fine performance of Rossini'sStabat Mater, Valleria, Cary, Campanini, Galassi, and Novara singing the music very effectively. The houses were invariably crowded to the roof.
About this time, I settled a grand opera festival for Cincinnati the ensuing spring, in conjunction with the College of Music, and for that purpose organized a chorus of some 400 extra voices, and an orchestra of some 150 musicians; after which I left for Chicago to confer with Colonel George Nichols as to the arrangements.
We afterwards visited Boston, where our performances met with the greatest possible success, each week's receipts averaging no less than 35,000 dollars, the reappearance of Mdme. Etelka Gerster creating immense excitement. At thematinéegiven on January 1st, at which she appeared, upwards of 100 ladies' odd india-rubber overshoes were picked up on the family circle staircaselost in the rush after the opening of the doors, there being a heavy snowstorm raging at the time. The receipts were over £1,200 notwithstanding.Aida, Mefistofele, Carmen, Don Giovanni, andPuritanicompleted the week'srépertoire. We afterwards left for Philadelphia, followed by Baltimore, Washington, Pittsburg, Indianapolis, Chicago, and St. Louis, the Opera being a signal success all along the line. We closed up on the Saturday night at St. Louis, leaving by special train at 1 a.m., shortly after the conclusion of the night's representation, for Cincinnati. The soloists, choristers, and orchestra arrived at about three o'clock on the Sunday afternoon, rather tired; and they spent this afternoon in hunting up hotels and boarding-houses. In the evening we had a stage rehearsal ofLohengrin, with chorus and part of the orchestra. My own chorus was on hand, together with the Cincinnati contingent some 350 strong—all present without a single absentee. But large as the stage was there was plenty of room for all and to spare. The beautifulLohengrinchoruses were finely rendered, and the volume of tone resounding through the vast building was truly grand. The rehearsal was afterwards dismissed, and everyone retired to rest.
Early the following morning the final rehearsal was called, which terminated at twelve o'clock; and that same evening the first great Opera Festival was inaugurated—undoubtedly the most daring musical enterprise ever attempted in America or any othercountry. The sight of the audience from the private boxes was worth a journey to see. It was one sea of faces. Everything looked auspicious for the success of the festival. The weather was pleasant, the crowds were large and enthusiastic, and the singers wereen rapportwith the audience, whilst the chorus did its very best.
The orchestra, also, was the finest ever heard in Cincinnati, composed of 150 first-class musicians, who did their work splendidly. In fact, theensemblewas complete.
The scene outside the hall was one of bewildering confusion. Myriads of elegant carriages darting round corners, pedestrians jostling against each other to arrive before the doors were closed, an immense rabble outside, who had gone to catch only a glimpse of the handsomely-dressed ladies as they went in; such was the scene, which, I must add, was illuminated by the newly-invented electric light. In spite of the most stringent police regulations the streets were blocked, and it is not surprising that there were several horrible accidents. Notwithstanding four wide exits it was an hour and a half after the performance was over before the last carriage could get off.
The toilettes of the ladies, for which Cincinnati is so famous, were most elegant. Our grand performance ofLohengrinwas followed by Mozart'sMagic Flute, Mdme. Gerster singing therôleof the "Queen of Night." The third opera was Boito'sMefistofele, for which 8,000 reserved seats were sold. The fourth night we hadLucia di Lammermoor, followed by an act fromMoses in Egypt; the extreme back of the stage representing a burning sun, and the whole 400 choristers joining together with the principals in the grand prayer, "Dal tuo stellato soglio," which terminates the opera. On the fifth night Verdi'sAidawas given with entirely new scenery, painted for the occasion, together with new dresses and properties.
A morning performance,La Sonnambula, was given next day, with Gerster. The audience, like all the previous ones, was immense. Every seat was occupied, whilst 2,000 people who had paid two dollars apiece were standing up. The toilettes of the ladies were simply magnificent, baffling all description. The audience went wild over Gerster, encores were demanded and re-demanded, people hurrahed and waved their handkerchiefs, whilst the most expensive bouquets and flowers were pelted on the prima donna, who at last was embowered in roses.
On the last evening Gounod'sFaustwas performed. The end was as glorious as the beginning. By seven o'clock the big hall was again filled, and at half-past seven, when Arditi took up thebâton, the house was packed and jammed from the top-most part of the gallery.
The audiences throughout the week were most brilliant. Before separating a Committee meetingwas held; and it was resolved that the festival should be renewed the following year, when Mdme. Patti and Mdme. Albani should, if possible, be added to the list of vocalists.
This was followed by a grand banquet at the club, where amongst others I had the honour of making the acquaintance of Mr. Reuben Springer, the donor of the magnificent hall in which the festival had been held.
The profits of the week reached 50,000 dollars. We afterwards visited Detroit, Syracuse, and Albany, returning to New York in the early part of March.
On the 25th March a morning performance was given ofLucia di Lammermoor, when the Academy was fairly packed fromparquetto gallery by a most fashionable audience, not so much to hearLuciaas to hear Mdme. Gerster. At the rush at the opening of the doors the ticket-taker discovered a forged free pass purporting to bear my name. On his own responsibility he handed over to the police the two men who had come in with the ticket, and they were taken off to the police-station, where I was immediately sent for.
The forgery being proved they were both committed for trial, the magistrate at the same time notifying that if we took them up at once in an elevated train to Ninety-second Street the assizes would be on, and their case could be at once decided.
They were duly taken on, and the matter goneinto. One of the men was committed to prison for a year, and the other one was placed under the care of the Commissioners of Charities and Corrections for two years on Randall's Island.
I got back to the Academy in time to hear the mad scene.
On returning the following year I made inquiry as to the man who had been sent to the Reformatory, and was informed that he had died only the day before. So also had the judge of the Assize Court: a remarkable coincidence.
We remained in New York until the 9th April, when we were again called to Boston to give six performances, each of which averaged $5,000. After amatinéeon the Saturday we returned to New York by special train, in order to give a Sunday concert, when over 4,000 dollars were taken at the doors. We then gave six more extra farewell performances in New York, sailing for Europe immediately on the conclusion of the last one, and arriving in London about six days prior to the opening of my season.
Early in the spring of 1881 I received a communication from Messrs. Ricordi, of Milan, the publishers and proprietors of Boito'sMefistofele, in which they solicited me to allow Signor Nannetti, the basso, who was then performing the titlerôleat the Scala, to delay his engagement with me for the period of a fortnight, in order that the successful run of the work might not be interrupted;in exchange for which they offered me the services of the musical director, Signor Faccio. To this I consented, and the eminent conductor was duly announced in my prospectus. But instead of keeping Nannetti two weeks in Milan they kept him five, during which time my season had opened and Mdme. Nilsson had arrived in London in order that I might take up the successful run ofMefistofelewhich had been interrupted only by the close of the previous season. Mdme. Nilsson, however, refused to appear until Nannetti came; and it was not until the 23rd June that I could reproduce Boito'sMefistofele. Faccio never turned up at all.