PRODUCTION OF "IL RINNEGATO"—RAVELLI'S OPERATIC THEORY—NEGOTIATIONS WITH COVENT GARDEN "LIMITED"—A SEARCH FOR A PRIMA DONNA—FAILURE OF PATTI'S CONCERTS—CINCINNATI OPERA FESTIVAL OF '82—PATTI'S INDISPOSITION.
PRODUCTION OF "IL RINNEGATO"—RAVELLI'S OPERATIC THEORY—NEGOTIATIONS WITH COVENT GARDEN "LIMITED"—A SEARCH FOR A PRIMA DONNA—FAILURE OF PATTI'S CONCERTS—CINCINNATI OPERA FESTIVAL OF '82—PATTI'S INDISPOSITION.
MYLondon season of 1881 commenced at Her Majesty's Theatre, on the 7th May. Nothing of note took place prior to the arrival of Mdme. Christine Nilsson, who appeared on the 28th as "Margherita" inFaust, which character she repeated, together with "Mignon," until the 23rd June, when, after two postponements, we were enabled to reproduce Boito'sMefistofele. The attraction of this opera had, however, considerably diminished, possibly on account of its having been produced so late in the previous season, when a few performances were given, and afterwards interrupted for a period of nearly ten months. During this time negotiations were entered into between Baron Bodog Orczy and myself for the production of anopera composed by the Baron on a Hungarian subject, and entitledThe Renegade; in ItalianIl Rinnegato.
Baron Orczy, friend and pupil of Liszt, and a fervent admirer of Wagner's works, had been the Intendant of the Royal Theatre at Pesth, where he at once gave a proof of keen musical discernment by engaging Richter as his orchestral conductor. Report said that he had given up his important post by reason of representations made to him on the subject of his excessive devotion to Wagnerian music. However that may be, the Baron had shown himself by several excerpts from his opera, performed at St. James's Hall and at the Crystal Palace, to be a composer of no mean ability. He handled the orchestra with skill and power, and if his opera did not prove so successful with the general public as his friends must have desired, that result may partly be accounted for by the over-elaboration of the score, and the importance attached by the composer to the instrumental portions of his work.
Composed to a Hungarian libretto,The Renegade, of which the subject was derived from an historical romance by a popular Hungarian novelist, had, with a view to production at my theatre, been translated into Italian; and two of the leading parts had been assigned to Ravelli the tenor, and Galassi the baritone.
Ravelli had not long been a member of my Company; he was one of my chance discoveries. Oneevening, as so often happened, I was at the last moment in want of a tenor. The hall porter, finding that I was sending about London in quest of a possibly suitable vocalist, told me that a dark little man with a tenor voice had been hanging about the stage-door, and the Colonnade in front of the theatre, for some ten days past, and that he was sure to be somewhere in the neighbourhood. The artist in question was found. I asked him whether he could really sing. His answer may be guessed; and when I further questioned him as to whether he knew the part of "Edgardo" he replied that he did, and in some measure verified his assertion by singing portions of it. He showed himself the possessor of a fine, clear, resonant voice; and if he sometimes sang without true dramatic expression, and without the grace which springs from perfect art, he at least knew how to thrill the public with a high note effectively thrown in.
It is not my purpose, however, for good or ill, to criticize the singing of Signor Ravelli. I am now dealing with him only in so far as he was connected with the opera ofIl Rinnegato. In the second act of that work the tenor and baritone fight a duel. In this there was no novelty. But instead of the tenor killing the baritone, the baritone puts the tenor to death, and this struck Signor Ravelli as far too new. He appealed to operatic traditions and asked in an excited manner whether such a thing was heard of before. "No!" he exclaimed,answering with vigour his own question; and he added that though he was quite ready to take part in the duel, he would do so on condition that not he but his antagonist should be slain. It was useless to explain to him that in the story upon which the opera was based the character represented by the tenor perished, while the baritone lived on. This, he said, was just what he complained of. "Why," he indignantly demanded, "should the tenor's part in the opera be thus cut short? But why, above all, should the habitual impersonator of heroes fall beneath the sword of one who was accustomed only to play a villain's part?"
It was impossible to get the infatuated man to hear reason on the subject. He cried, screamed, uttered oaths, and at one time threatened to kill with his dagger, not only his natural enemy, the baritone, but everyone around him. "I will kill them all!" he shrieked.
After a time, by humouring him and agreeing with him that in a well-ordered operatic duel the tenor ought, of course, to kill the baritone, I got him to listen to me; and I at last contrived to make him understand that there were exceptions to all rules, and that it would be generous on his part to overlook the species of indignity to which he was asked to submit, the affront offered to him not having been intended as such, either by the librettist or, above all, by the amiable composer. It was settled then that Ravelli was to be killed. But what, hewished to know, was to be done with his body after death? The proper thing would be, he said, for six attendants to enter, raise the corpse, and carry it solemnly away to a place of repose.
It mattered little to me whether the body of Ravelli was borne from off the stage by six, eight, or a dozen attendants. But according to the plan of the opera he had to lie where he had fallen while the soprano, whom in his character of tenor he had passionately loved, sang a lament over his much-loved form. I told Ravelli that it was a great compliment thus to be treated by a despondent prima donna. But he could not see it, and he calculated that the soprano's air, with the orchestral strains introducing it, would keep him in what he considered an ignominious position for something like ten minutes. It was absolutely necessary to promise Ravelli that his mortal remains should be removed from the stage to some quieter resting-place by six corpse bearers, the number on which he had set his heart; and he was honoured, if I remember rightly, with the funeral he had stipulated for at the last rehearsal. Baron Orczy had protested against this arrangement; but I assured him that there was nothing else to be done, and that everything should take place according to book at the public representation.
On the night of performance Ravelli was, of course, left recumbent on the stage. He must have thought more than once, as he lay writhing withshame and anger on the boards, of rising and rushing off. But he feared too much the laughter and derision of the public, and he had to remain passive while the orchestral introduction was being played, and while the prima donna's soliloquy was being sung. Many of us thought the strain would be too much for him, and that he would go raving mad. But when he found himself once more a free agent behind the scenes he stabbed no one, struck no one, and, strange to say, seemed perfectly quiet. The humiliation to which he had been subjected had somehow calmed him down.
If Ravelli was wild and passionate, Galassi, his associate, was a reasonable man whose presence of mind had possibly the effect of saving my theatre from being burned a second time. There was a good deal of fire inIl Rinnegato, and in one scene the green lights surrounding an apparition starting from a well caught some gauze, so that the well itself burst into flames, the result being such a blaze that but for Galassi's promptitude in dealing with it the conflagration might have proved fatal to the building.
While the baritone was smothering the fire with his cloak and with some canvas on which the grass was painted—at the same time trampling the burning embers under foot—a portion of the audience had taken alarm and was already hurrying to the doors. At this critical moment I could not but admire the calm air of dignity with which BaronOrczy, who was conducting his work, continued to mark the time and to direct the performance generally as though nothing at all extraordinary were taking place. I feel sure that this determined attitude of the composer in the presence of what, for a few seconds, seemed likely to lead to a terrible calamity, had a considerable effect in allaying the general excitement. "How can there be danger," many must have asked themselves, "when that gentleman who is conducting the orchestra, and who is so much nearer the supposed fire than we are, does not evince the least alarm?"
Towards the close of this season, negotiations were again opened by the Messrs. Gye towards purchasing my lease, goodwill, and interest, together with a certain portion of my costumes and scenery, with a view to an operatic monopoly. Ultimately terms were arranged, and an agreement concluded, which was not to come into force until the shares of the projected Company had been taken up; and it was only in August, 1882, that I was notified that sufficient shares had been placed to justify the Company starting, and my agreement coming into force. In the meantime I had been left to sustain the burden of the current expenses, rates, taxes, etc., of my own theatre, until the transfer could be made. The arrangement entered into was that I should have so much cash, and so many shares, together with an engagement for a period of three years, at a salary of £1,000 per annum, besides 50 percent. of the profits made in America, where I was to have sole control of the business.
In the early part of October, 1881, I started with my party for New York. The season opened on October 17th, with a performance ofLohengrinby Campanini, Galassi, Novara, Anna de Belocca, and Minnie Hauk, which gave great satisfaction. This was followed by a performance ofCarmen, in which Minnie Hauk, Campanini, Del Puente, and Valleria resumed their original parts.
A few days prior to the sailing of the Company for America I visited Paris, where I heard a young vocalist, Mdlle. Vachot, sing; and at once negotiated with her for an engagement. She did not like the idea of crossing the ocean; but she was overruled by her father, a small farmer at Varreds.
Being in a hurry to conclude the engagement I called upon her the next day, with a contract in my pocket, when the servant informed me that she and her father had gone to Varreds to consult some relatives. On learning the name of the place I went to the station, and there heard the manager of the Grand Opera asking the ticket-seller how to get to Varreds. Luckily, he decided not to take that train. Thereupon I entered it; though being desperately hungry I was sorely tempted to lunch before doing so.
The nearest place on the railroad was Meaux. I got there in a pelting rain-storm to find that I hadto travel nine miles across country to Varreds. I managed to get a trap, but we had not gone more than half way before one of the traces broke, which, after some delay, I got repaired.
Finally I reached a clump of mud hovels; and this, I was told, was Varreds. I asked a cowboy whom I met if he had seen Mdlle. Vachot. He replied that he did not know her. He had seen two strangers, a lady and a gentleman, walking towards the "hotel," which I found to be a mud hut, with accommodation for men, women, and chickens, more especially the latter, which were walking all over the parlour floor. Nothing was known at this hotel, except that two strangers who had recently arrived, after leaving a bundle of shawls, had been seen going towards the cemetery.
On arriving at the cemetery I found the gate locked. I then went to the curé, who said he knew nothing of Mdlle. Vachot. Finally I met a blacksmith who knew her, and he pointed out where she was. I found her at table with six or seven country cousins. As I was hungry, I was glad to take pot-luck with them.
With some difficulty I afterwards got my contract signed, and started back for Paris. On my way to Meaux Station I met the manager of the Grand Opera driving over towards Varreds.
I afterwards secured a tenor of the name of Prévost, who had a phenomenal voice, and was then singing with success at the Théâtre du Châteaud'Eau. He seemed especially adapted to therôleof "Arnold" inWilliam Tell. After signing with him I left for Italy, where I ordered new and magnificent costumes, including enough for an extra chorus of 90 male voices which I afterwards employed for the Gathering of the Cantons in Rossini's masterpiece.
From there I went to Parma, where the eminentscenografoof the theatre, with some persuasion, undertook to paint the scenery, which on its arrival in New York was pronounced by all connoisseurs simply superb.
About this time the director of the Leipsic State Theatre proposed the production of Wagner'sRing des Nibelungenat Her Majesty's Theatre, with a very powerful cast of characters and a magnificent orchestra under the direction of Richter, the great master himself to superintend personally its production. But of this "more anon."
Mdlle. Vachot duly appeared in the early part of November as "Rosina" inIl Barbiere di Siviglia. The house was crowded in every part, and Vachot was found to have a charming personality, a beautiful voice with a good method, together with no little dramatic talent. She was warmly received for her pretty appearance, and heartily applauded at frequent intervals for her delightful singing. From a good beginning she went on to a gratifying success, fairly establishing herself before the evening was over in the favour of her new public.
Things were progressing favourably when about this time Mdme. Adelina Patti arrived in New York on a speculation of her own, after an absence of some 22 years. A great deal of excitement was thereby created, and as Mdme. Patti's concerts were to take place within three doors of the Academy of Music, I began to fear as to the results of my season then progressing. Mdme. Patti's visit, however, turned out to be a most ill-advised one. Her concerts had not been properly announced, and she came with a very weak Company, believing that the magical name of Patti would alone crowd the hall. Her first concert realized scarcely 3,000 dollars, whilst the second dropped down to 1,000 only. Few people went to see her, and she at once understood what a mistake had been made. The charge, moreover, she demanded was ten dollars per seat! The public, therefore, universally agreed to stay away. The paltry receipts of the second concert proved conclusively to Patti's manager, and to herself as well, that something had to be done to lift the sinking enterprise.
I may mention that I gave a gentle hint to Patti that her removal to the Academy would be most desirable by sending her a bouquet which cost some £30, with these words on it: "To Adelina Patti, Queen of the Lyric Stage." Two days afterwards I called to seela Divaat the Fifth Avenue Hotel, and after some negotiation was on the point of concluding arrangements which would have been afortune to me as well as to Mdme. Patti herself, when at this critical moment Mr. Abbey came between us, offering her a concert tour in which, beyond receiving a fixed salary, she was to participate in his profits.
Abbey's admirable handling of Bernhardt being fresh in everyone's recollection, Patti had no reason to suppose that he would fail in her case to obtain similar results.
During my season at the Academy the production of Rossini'schef d'œuvre,Guillaume Tell, made a prodigious success, and crowded the theatre nightly. The tenor Prévost possessed the voice of exceptional quality necessary for the difficultrôleof "Arnoldo." Signor Galassi's "Tell" was a noble impersonation, marked by great dignity of action, and sung in the broad and grand style of which he is so complete a master; whilst the part of "Mathilde" was undertaken with success by Mdlle. Dotti, who displayed remarkable ability.
Shortly afterwards I reproduced Verdi'sAida, for which I discovered a most capable soprano in the person of Mdlle. Paolina Rossini, whose success went on increasing nightly; and who later on appeared in the difficultrôleof "Valentina" inLes Huguenots, at once taking a firm hold on the public.
We were now approaching the second great Cincinnati Opera Festival. I will, therefore, take the reader once more with me to that city.
The Opera Festival of 1882 opened on February 13th with immense success by a grand performance of Meyerbeer'sHuguenots, the audience, an immense and distinguished gathering, numbering over 5,000 persons, the representatives of the wealth, the beauty, and the culture of the city.
As early as six o'clock people began to assemble outside the Music Hall, the scene of so many previous triumphs, and long before the commencement of the opera every seat was occupied, and every available inch of standing room likewise.
At a quarter to eight the opera began, a band composed of 150 selected professors occupying the orchestra under the veteran Arditi. The opera was a signal success, and went smoothly throughout; the grand "Bénédiction des Poignards" being executed marvellously by a chorus composed of 400 trained voices. The acoustic properties of the hall were simply perfect. Even in the extreme rear of the gallery, from where the artists on the stage appeared the size of Liliputians, the softest tones could be distinctly heard.
At the close of the performance, however, an unfortunate accident occurred, which deprived me of my prima donna for the remainder of my tour.
Just as the curtain fell, when "Marcel," "Raoul," and "Valentine" were shot by the Catholic Guards, the guns were pointed too near Mdlle. Rossini, who got touched in the face, and was further hurt whilst falling. She had, therefore, to be carried home.
I omitted to tell the reader that some weeks before I had succeeded in engaging Mdme. Patti to take part in this Festival, for which I paid her £1,600 a night, being the largest amount this invaluable lady has ever received in the shape of salary.
She was announced to appear on the second evening of the festival in a concert, followed by the fourth act ofIl Trovatore.On arriving home, flushed with the success of the opening night, but deeply concerned about Mdlle. Rossini, whom I had just left, I received a letter from Mdme. Patti's agent, informing me that she was suffering from a severe cold, so that it was feared she would be unable to appear the following evening.
I at once sought Colonel Nichols, and informed him of this, desiring him kindly to accompany me to Mdme. Patti's with the leading physician of the city, who found the unwelcome tidings to be perfectly true. No alternative was left but to issue an explicit announcement to the public, postponing Mdme. Patti's appearance until the following Thursday afternoon at two o'clock. I therefore substituted the operaFaustthe following evening, refunding their money to purchasers, or exchanging their tickets for the night on which Mdme. Patti was to appear. This, of course, needed a great deal of care and attention, and occupied me the greater portion of the night on account of the vast number of tickets to be provided for in the exchanges. Iam happy to say that there was no confusion; and the public eventually became satisfied with the arrangement made.
On the Wednesday afternoon the opera ofCarmenwas given, with Campanini, Del Puente, Dotti, and Minnie Hauk in the principal characters. In the eveningFideliowas produced with a powerful cast, and with 300 extra voices added for the celebrated Chorus of Prisoners, the receipts reaching their maximum on that occasion.
Mdme. Patti, unfortunately, made but slow progress towards recovery, and it was consequently decided to further postpone her appearance until the following Saturday night, it being again necessary to inform the public as to the cause.
Various conflicting rumours at once got into circulation as to the Patti trouble. After it had been announced that the capricious Diva could not sing many refused flatly to believe in the reason assigned, namely, that she had a sore throat. Others declared that Patti was a little stubborn, self-willed person, and had done this expressly "to spite Mapleson." Inquiries were set about in all directions.
Newspapers sent their reporters hundreds of miles to discover the state of Patti's health before she had quitted Detroit to come on to the Festival. Malicious people even went so far as to say that Patti, like Rip Van Winkle, was fond of "schnapps," on the insufficient ground that, prior to starting,she had purchased a bottle of Mumm's "extra dry." Even this turned out to be a mistake, for, in reply to an inquiry made, a special despatch was received from Detroit by theCincinnati Gazette, stating that "the bills of Patti at the Detroit Hotel show that during her entire stay in that city only two quarts of wine were consumed, and the hotel waiters state they think Nicolini drank the most of it. Further, the landlord stated that none of the party were noticeably intoxicated during their stay in his hotel, showing there could be no truth whatever in the statement that Patti was under the influence of liquor."
An evening paper published the following:—"The explanation that Patti caught cold whilst driving in this city is strengthened by the fact that she at least had a good opportunity for doing so, as she was driving most of the time during the previous day. On our reporter inquiring at the stables, he ascertained that her carriage bill for her drive amounted to 55 dollars." Dr. J. D. Buck, who attended her, informed the newspaper reporter that "Mdme. Patti was undoubtedly ill of a cold, but she was rapidly improving."
Meanwhile Dr. F. Forchheimer, physician to the College of Music, was also sent to inspect the larynx of the prima donna, and he confirmed what the previous doctor had said.
The ticket speculators, however, lost nothing by the affair, the city being very famous formatinéeperformances, and as the ladies came forward in great numbers at five dollars apiece for the purpose of showing their new toilettes, very few returned after once entering the doors. Each of the audiences forCarmenandFidelionumbered 8,000 people.
On Friday evening I produced Mozart'sMagic Flute; and on Saturday a magnificent representation with complete scenic effects was given ofWilliam Tell, where again my increased chorus of 400 did very effective work, the voices coming out with full freshness and vigour. So good a chorus had never been heard on the operatic stage before. The orchestra, too, particularly distinguished itself. The overture, which musically embodies the whole opera, was given with such precision, correctness of tempo, and delicacy of colour that it called forth at once an encore.
On the Saturday morning a grand performance ofLohengrinwas given, and in the evening Mdme. Patti was enabled to appear, the first part being devoted to a concert, while the second was composed of the fourth act ofTrovatore.
As the success of the Festival kept on increasing we resolved to give an extra performance, for which purpose an engagement was entered into with Mdme. Patti for the following Monday, when she appeared as "Margherita" inFaust.
I afterwards visited Detroit, Buffalo, Cleveland, Syracuse, and Albany, returning to New York for the usual spring season, and there performingFidelio,Huguenots,Lohengrin,Carmen,William Tell, andFaust.
In the meanwhile I had put in rehearsal Meyerbeer'sAfricaine, which was placed on the stage at considerable expense, all the costumes, scenery, dresses, and armour being entirely new, and the stage being occupied by some 400 persons. The gorgeous revival ofl'Africaineproved an extraordinary success. The audience fairly packed the large house nightly, the fine spectacle presented in the third and fourth acts causing great enthusiasm. Miss Hauk undertook the part of "Selika," and was particularly successful from a dramatic point of view, whilst Signor Galassi and Campanini found great opportunities for the display of their vocal abilities. The great ship scene of the third act created a perfect furore. So anxious was I that the acting of the Indians on boarding the ship should create a sensation, that I went to Union Square and from the various agencies engaged some 12 or 15 actors, who were then out of employment, and whose make-up with the tattoo marks and their realistic fighting made such an impression that on the conclusion of the scene the curtain had to be raised.
The grand march, too, in the fourth act created a sensation, equally with the magnificent spectacle and the gorgeous palanquin in which "Selika" enters accompanied by "Nelusko." I had requested Bradwell to design for me a full-sized elephant with a palanquin on its back, in whichpeople were seated, the interior of the elephant being occupied and kept firm by two stalwart policemen.
The scenery was of the most gorgeous description, specially painted for me by Magnani, who surpassed even his previous efforts.L'Africainewas repeated for five or six consecutive nights to crowded houses.
On one occasion we had to performL'Africaineon consecutive nights in New York and Philadelphia, which entailed the removal of the whole of the scenery and dresses, likewise the transport of the whole of the supernumeraries, ballet, etc., numbering altogether 400 persons; and we had, moreover, to return the same evening after the performance to New York, in which city the work was to be repeated the following night.
The supernumeraries, with their blackened faces, and the Indians with their tattoo marks, caused a great sensation at the railway station on the return journey, as there was no time to think of washing them. We only reached New York the next morning at six o'clock, when again the early morning public were startled by the arrival of these sable gentry under a blazing sun.
We remained in New York for further representations, when I revived Verdi'sErnani,Don Giovanni,Huguenots, etc.
I ENGAGE PATTI—MY MILITARY EXPERIENCE—INFLUENCING ELECTORS—OPERATIC JOINT STOCK COMPANY—OBJECTIONS TO ENGLISH MONOPOLY—PATTI IN NEW YORK.
I ENGAGE PATTI—MY MILITARY EXPERIENCE—INFLUENCING ELECTORS—OPERATIC JOINT STOCK COMPANY—OBJECTIONS TO ENGLISH MONOPOLY—PATTI IN NEW YORK.
ABOUTthis time I set to work for the purpose of engaging Adelina Patti for my ensuing season, and sent a letter to all the 200 stockholders of the Academy (who occupied free seats) to know what amount they would contribute towards the accomplishment of my object. Mr. Pierre Lorillard wrote to me that in case I should be short he would donate 1,000 dollars beyond the amount he then contributed should Patti sing at the Academy the next winter. I replied that I simply required each stockholder to contribute three dollars a seat for the Patti nights in order to aid me in carrying out this much-desired engagement.
I regret to say that many of the stockholders sent me no response whatever. Others destroyed the value of their consent by adding that it was only tobe given if all the other shareholders agreed to do the same.
Another great difficulty presented itself. I was called upon to deposit no less than £11,000 at Belmont's bank as caution money on the signing of the contract. This difficulty I ultimately got over through the kindness of August Belmont, who guaranteed Mdme. Patti's deposit, I at the same time assigning to Mr. Belmont the whole of my subscriptions. The agreement with Mdme. Patti was, therefore, duly signed.
The conclusion of this contract made a great sensation. When it became known that Mdme. Patti was to return the following season, numbers of applications were made for subscriptions, although it was six months before the opening.
About this time the building of the new Metropolitan Opera-house had been resumed in earnest, in order that it might be completed by the following spring.
The season shortly afterwards closed with the benefits of the various singers, I taking the last night, when I gave acts of four different operas, namely,Faust,Daughter of the Regiment,Ruy Blas, andAfricaine, with a new ballet.
Having secured Mdme. Patti for the ensuing season, I endeavoured to effect an engagement also with Mdme. Gerster, who was then in New York, having returned from New Orleans, and being now on her way to England. I only succeeded, however,in securing her services for the following morning, when an earlymatinéehad to be given prior to the departure of the Company for Europe in the afternoon, the receipts on that occasion reaching no less than 9,000 dollars.
This year the Americans paid me the compliment of making me an honorary member of the 22nd Regiment, with rank corresponding to my own actual rank in the English volunteers. But beyond attending a couple of balls and some competition drills in the uniform of the regiment I had never time enough to profit by the privileges extended to me in so friendly a manner.
I must not forget among my volunteering reminiscences a rather dramatic incident which occurred at Her Majesty's Theatre in the year 1860, when I had just joined the Honorable Artillery Company, and, as yet but little instructed in the mysteries of drill, was anxious to qualify myself as soon as possible for admission into line. With this view I spent every spare moment in practice, sometimes with the Scots Guards at St. George's Barracks, Trafalgar Square, and often in the evening, when some operatic representation was actually going on, at Her Majesty's Theatre, where I utilized the services of the guard of honour in attendance. The first time I carried out what had struck me as rather a happy idea I was putting the squad of guardsmen through the bayonet exercise in the Ballet practice room. I had just given the orders, "Advance, advance, point!"when the door opened, and Lewis, the treasurer, appeared, bearing in his hand a bag which held the receipts of the evening. The word "point!" brought the bayonets of the guardsmen almost into contact with the breast of the startled official, who, uttering a shriek and dropping the money-bags, turned and fled.
So scared was he that not until some time afterwards did he quite recover himself. Had he fancied in his terror that the guard had suddenly invaded the theatre and prepared an ambuscade in order to rob the treasurer of the night's receipts? He could give no explanation on the subject. The sight of the red-coats, the authoritative cry of "Point!" and the rapid presentation of the bayonets, which all but pierced him, had the effect of depriving him for a time of his wits. No other account could poor Lewis give of the matter.
In these degenerate times it is considered enough at one of the Royal Theatres to station outside during the performance a sergeant's guard; and Mr. Augustus Harris is modest enough to consider a corporal's guard sufficient. In former days, however, Her Majesty's Theatre was almost always during a performance under the care of a captain's guard, the officers being provided for inside, where the captain, the lieutenant, and the ensign occupied stalls one, two, and three, specially reserved for them.
Three other stalls used, at this time, to be reservedfor the Captain of the Body-Guard, the Exon in Waiting, and the Clerk of the Cheque.
To show that my military studies and military labours of the last twenty-eight years have not been altogether in vain, I may here append a few letters from various commanding officers and adjutants with whom I have at various times done duty.
During my English provincial tours I have for many years, thanks to the kindness of H.R.H. the Commander-in-Chief, been enabled to do duty with a number of different regular regiments, whose officers have done me, moreover, the honour of making me free of their mess. Sometimes, too, the Colonel of the regiment has been good enough to place his troops under my command. I have the pleasantest recollections of having, in the course of my various provincial tours, worked and dined with the officers of, I can scarcely say how many regiments. Here are some of the letters which, on my taking leave, I received from the commanding officers or adjutants of those corps:—
"Richmond Barracks, Dublin,"Dec. 14, 1869.
"I certify that Lieutenant-Colonel Mapleson, 6th Tower Hamlets Rifles, has drilled regularly under my supervision from the 4th of September, 1869, until the 9th of October, 1869. During this period he went regularly through company drill, and for the last fortnight took command of the Battalion; heon joining being well up to his work and thoroughly acquainted with the theory of drill. On leaving I considered him well qualified to take command of a regiment in the field. He took the greatest interest in his work, and went in for mastering the minutiæ of drill with great perseverance.
"C. J. BURNETT,"Captain and Adjutant2/15Regiment."
"Salford Barracks, Manchester,"May 6, 1870.
"I hereby testify to the capabilities of Lieutenant-Colonel Mapleson in drill during the time I had command of the 100th Regiment at Manchester. He drilled the Battalion several times, and from the report of the Adjutant I have no hesitation in stating that few officers are superior to him in the knowledge of battalion manœuvres.
"H. COOKE,"Major Commanding 100th Regiment."
"Gallowgate Barracks, Glasgow,"May 26, 1870.
"I certify that Colonel J. H. Mapleson, Honble. Artillery Company, was drilling with the 2nd Battalion 5th Fusiliers, then under my command, and that he showed considerable proficiency in company and battalion drill.
"GEORGECARDEN,"Major 2nd Battalion 5th Fusiliers."
"Junior United Service Club,"November 1, 1871.
"I have much pleasure in testifying as to Colonel Mapleson's thorough knowledge of the 'Field Exercise Book,' etc., etc., and I feel convinced from what I saw of him whilst attached to my regiment that he could handle it under any circumstances.
"J. CLOWES HINDS,"Major 40th Regiment."
"Beggars' Bush Barracks, Dublin,"January 13, 1871.
"Lieutenant-Colonel Mapleson drilled with the 1st Battalion Scots Fusilier Guards during the autumn of 1870. He was thoroughly up in company and battalion drill, more especially the latter, and is perfectly able to drill the Battalion.
"J. W. WALKER,"Captain and Adjutant"1st Battalion Scots Fusilier Guards."
"Glasgow, October 30, 1871.
"Lieutenant-Colonel Mapleson has during the last month frequently attended the parades of my regiment. He has both taken command of a company at battalion drill and has also manœuvred the Battalion himself, in both situations, showing a thorough knowledge of the Infantry Field Exercise.
"J. C. RATTRAY,"Colonel Commanding 90th Light Infantry."
"Edinburgh Castle,"May 21, 1873.
"Certified that Colonel James H. Mapleson was attached to the 93rd Highlanders for drill. I consider him able to drill a squad, company, or battalion according to the Field Exercise, and fully impart instruction therein.
"FITZROYMACPHERSON,"Adjutant 93rd Sutherland Highlanders."
"Infantry Barracks, Windsor,"July 7, 1873.
"This is to certify that Colonel Mapleson was attached for drill to the 1st Battalion Scots Guards during the winter months; that he is thoroughly acquainted with battalion drill, and perfectly competent to drill the Battalion either singly or in brigade.
"J. W. WALKER,"Captain and Adjutant 1st Battalion Scots Guards."
"Edinburgh Castle, N.B.,"April 10, 1875.
"I certify that during the stay of Colonel Mapleson at Edinburgh he attended regularly all parades of the 90th Light Infantry, and manifested thorough knowledge of company and battalion drill. He has a good 'word of command,' and nothing couldexceed his zeal for military information, which he is fully in possession of.
"H. W. PALMER,"Major Commanding 90th Light Infantry."
"Wellington Barracks,"January 10, 1874.
"We certify that Lieutenant-Colonel Mapleson, of the Tower Hamlets Rifle Brigade, is conversant with the drill of a company and of a battalion, and able to give instruction in the same.
"That he can command a battalion in brigade.
"That he is competent to superintend instruction in aiming and position drill, and to superintend blank firing and ball practice.
"That he is acquainted with the proper mode of route marching and the duties of guards.
"Also that he can ride.
"Also that he is acquainted with the mode of posting picquets and their sentries and the duties of orderly officer.
"L. E. PHILLIPS,"Colonel 2nd Battalion Grenadier Guards.
"E. ANTROBUS,"Captain and Adjutant 2nd Battalion Grenadier Guards.
"Approved"EDWARDSAXEWEIMAR,"Major-General Commanding Home District."
Among my experiences of exercise and drill I remember an incident in connection with a Scottish regiment which, though I cannot very well narrate it in minute detail, I can say enough to make the whole story intelligible to those who have worn a kilt. At Edinburgh, in 1873, the 93rd Highlanders were one morning placed under my orders in the Queen's Park by the Commanding Officer, at that time Colonel Burroughs. The regiment was on the slope of a hill looking downwards. I gave the word to fire a volley at a distance of 500 yards, and my military readers are aware that at a distance beyond 200 yards the position for firing is the kneeling one.
A great number of persons were looking on. Suddenly an adjutant rode up to me, and pointing to the crowd exclaimed—
"For heaven's sake give the word, 'As you were!'"
Friends have often asked me how, occupied, absorbed, distracted as I must have been by the affairs of a great operatic establishment, I could nevertheless find time, leisure, and even strong inclination for military pursuits. The simple explanation is that I needed diversion from my ordinary labours, and that I found this in the active duties of a volunteer officer. Frequently at the end of a long rehearsal I have, without finding time to dine, had to put on my uniform, get on horseback, and hurry to take the command of my regiment in the Regent'sor in Hyde Park. The entire change of occupation was, I am convinced, the best possible relaxation I could have. I never could have recruited my energies by simple idleness, which, besides being in my case intolerable, is apt to lead one into scrapes.
Many years ago, at the beginning of the volunteer movement, at which time I was still associated with Mr. E. T. Smith, I qualified myself for the duties of sergeant, and used to receive half-a-guinea a time from the corps for drilling recruits, who came to us, naturally under the circumstances, in the rawest condition. My reflection (not, perhaps, a particularly new one) as to the perils of idleness was forcibly illustrated when, a short time afterwards, I found myself at Walton-on-the-Naze doing duty with a battery. Anything more hopelessly dull than that place when drill was once at an end, can scarcely be imagined. At last I could stand it no longer, and was obliged to devise some means of diversion, which if culpable was, I hope, original.
The people of the place told me that, though Walton was dull and desolate, there were plenty of farmers in the neighbourhood who had buxom wives and pretty daughters, and that when anything really worth seeing was going on whole families would flock in, and render the place quite lively with their presence.
What would attract them? I put the question to myself as an impresario just beginning his career, but already accustomed to consider such questions.Our artillery drill was evidently not enough. The great sensation of the moment with the British public was Blondin and his tight-rope performances.
Would Blondin fetch them? I asked myself; and, Blondin himself being out of the question, would public announcements to the effect that Blondin would appear on a certain day have the desired result?
A day or two afterwards the walls of Walton-on-the-Naze as well as Colchester were covered with placards setting forth that on a fixed day Blondin would appear and walk on the tight-rope from the end of the pier to the top of the hotel in which we were staying.
On the day appointed the sun shone brightly, and long before the time at which Blondin was expected an army of holiday folks from the surrounding country came in with as many pretty girls as one could wish to see in the somewhat similar scene of the "statute fair" in the opera ofMartha.
There was no room for the carts in the stables of the place, and they had to be packed close together on the beach.
The regimental band played on the pier, and the holiday folk had, I am sure, an agreeable time. Some disappointment may have been caused when telegrams infac-similewere posted on the walls with the information that Blondin from indisposition would be unable to appear. But this was atonedfor by an announcement that in lieu of the tight-rope performance there would be a grand display of fireworks; and the pyrotechnics, which the organizers of the hoax paid for, went off most brilliantly.
At one time, moreover, I used to find solace from my managerial cares in the pursuit of politics, and, with or without justification, I nourish the hope that I did something towards securing the return of Mr. W. H. Smith for Westminster. I was an active member of his committee, both in connection with the elections which went against him and the subsequent one which brought him triumphantly in. After his second failure I remember the late Mr. Lionel Lawson saying to me—
"The thing is impossible; I would not mind giving you a written promise to pay you £10,000 if ever he gets in."
Lists were at that time in the hands of the registration committees, showing on which side each elector gave his vote. It seemed useless to interfere with those who were marked "L," as voting firmly on the Liberal side. But among the Westminster shop-keepers there were numbers who were marked "LC," who apparently did not care on which side they voted, and who generally divided their vote between a Liberal and a Conservative candidate. With these undecided men there was evidently something to be done; and I gave them to understand that, having strong Conservative sympathies, I should feel it my duty to place on my freelist those of the undecided who could bring themselves to support that side.
As the ballot system had just been introduced when Mr. W. H. Smith was for the first time returned, I cannot, of course, say to what extent my advocacy and aid may have benefited him. But I hope, as before observed, that I did something towards securing his presence in Parliament.
On my arrival in London I was notified that the Royal Italian Opera, Covent Garden, Limited, had not yet been floated. But this result was daily expected. I was precluded then from taking further steps towards opening my London season of 1882, fearing that the Company might be floated just as I started, in which case I should have to close up again.
In the meantime, fire insurances, poor rates, and taxes generally kept on accumulating, and although I notified that I was ready to hand over possession of the theatre, I still could get no reply. The consequence was that I had to pay all sorts of arrears whilst an action for ejectment was brought against me for having been a few days late in paying the fire insurance. My landlord, in order to keep his superior lease straight with the Woods and Forests, had also paid it, so that the Company received the money twice over. Considerable battles hereupon commenced in the law courts with a view of ejecting me from my theatre, and it was not till late in the season thatthe long-expected notification came that the Company had been floated.
The consideration I was to receive consisted of a payment of £2,500 in cash and 1,000 fully paid up £10 shares in the new Company. I need hardly inform the reader that I never saw one of the shares, and could never get them; whilst all the cash that I received was consumed in paying off the arrears of ground rent of Her Majesty's Theatre, insurance, etc., whilst I was waiting for the Company to be floated.
The main object of the Gyes and of the new Royal Italian Opera, Covent Garden, Limited, was to obtain possession of the new Metropolitan Opera-house, New York, which was then approaching completion. By the terms of my agreement with the Academy of Music in New York I was prohibited from parting with or assigning my interest or any part thereof in that building during the remaining portion of my tenancy, which still had two years to run. The agreement in reference to my services for the next season at the Academy had to be drawn so as to make it appear that I had not in any way parted with my interest or any portion thereof; although by another agreement it was stipulated that I ran no pecuniary risks whatever in connection with the approaching season, simply receiving my personal expenses, my salary of £1,000 a year, and my 50 per cent. of the profits, while retaining, as hitherto, the sole direction of the whole concern.
On starting from Europe, the Royal Italian Opera Company, Limited, gave me a financial secretary to accompany me; and I was also assisted by Commander Gye as treasurer. I formed, as I considered, a most brilliant Company, which included Mdme. Adelina Patti, Mdlle. Savio, a new singer whom I had heard in Italy, Mdlle. Rossini, Mdlle. Minnie Hauk, Mdme. Fursch-Madi, Mdlle. Dotti, Mdlle. Valleria, Mdlle. Zagury, Mdme. Scalchi, Signori Mierzwinski, Ravelli, Campanini, Nicolini, Galassi, Del Puente, and Durat, a Parisian baritone of some note. I augmented the strength of the chorus, and when on the point of publishing my prospectus I found that the general manager in London had added a Mdlle. Berghi, without my knowledge, who on her appearance later on made probably the greatestfiascoever known in America. He also, however, added his wife, Mdme. Albani, whose brilliant talents added lustre to the season. We began, therefore, in grand style, and had an enormous subscription.
The opera troupe arrived in New York early in October, and was met in the usual way by steamers and bands of music up the bay. These accompanied us to the wharf, where the party landed amidst great cheering.
Whilst on board I organized a grand opera concert, in which the whole of the principal singers and chorus took part, under the direction of Arditi, in aid of the Liverpool Sailors' Orphanage. Thesaloon was elegantly decorated for the occasion, and, without exception, every passenger aided the scheme by attendance and contributions. I directed the musical arrangements, whilst the prince of American orators, the Hon. Daniel Dogherty, presided. Over £50 was realized for the charity.
It was now announced by the Royal Italian Opera Company, Limited, that on the completion of the new Metropolitan Opera-house, which Gye felt so sure of obtaining, the Academy would be closed, so that a monopoly of Italian Opera would thus be established in New York.
The papers took the idea up warmly, but in a hostile spirit; theHeralddeclaring in a leading article that if the Royal Italian Opera, Covent Garden, Limited, of London, ever expected to monopolize opera in America it was very much mistaken. The people in America, it stated, would heartily encourage them in all efforts to establish and maintain a first-class Opera in New York; but when they talked of repeating the London proceeding by closing up either one of the existing Opera-houses for the purpose of monopolizing the business, they might as well understand that they were proposing a scheme which the American public would readily defeat. It was contended that New York was large enough for two Italian Opera-houses, and, if the performances in both were meritorious, both would be well supported.
Of course all the attention of the public wasconcentrated on the expected arrival of Patti, which in due course took place. There was the usual crowd on the wharf all night awaiting the ship's arrival. I had left orders for a telegram to be sent to me as soon as the vessel passed Fire Island in order that I might be in time to dress and go down to one of the specially chartered steamers with Signor Franchi, Patti's agent, Commander Herbert Gye, and a party of artists and reporters, accompanied by military bands, fireworks, etc. TheServiawas out in the middle of the stream, and we steamed up alongside, when we saw Patti, who had been up since half-past four in the morning, in feverish anxiety to reachterra firma.
Our band struck up "God Save the Queen" and everyone bared his head; the Englishmen partly from traditional reverence, but most of those present from admiration of the lyric queen who had come for another reign to the delighted people of New York. Handshaking and greetings followed.
After we had got the Patti through the Custom House she was placed in a carriage and taken to the Windsor Hotel, the room being piled up with telegrams, cards, and bouquets. There was also a large set piece with the word "Welcome!" embroidered on it in roses. In the evening there was a midnight serenade in front of the Windsor Hotel, and ultimatelyla Divahad to appear at the window, when orchestra and chorus, who were outside, performed the grand prayer fromI Lombardi. Afterthree hearty cheers for Adelina Patti people went home, and she was left in peace.
Mdme. Patti made herdébuta few days afterwards as "Lucia di Lammermoor," followed by theTraviata, etc. To describe in detail her success would be to repeat an oft-told tale.
Amongst the numberless inquiries at the box-office several were made as to how long Mdme. Patti remained on the stage in each of the different operas; and the newspapers busied themselves as to the number of notes she sang in each particular work; larger demands for seats being made on those evenings when she sang more notes.La Traviatagenerally carried off the palm, perhaps because one journal had calculated the interest of the money accruing on her diamonds, whilst she was singing in that work.
A party of amateurs would buy a ticket between them, each one taking 20 minutes of the ticket and returning with the pass-out check to the next. Lots were drawn to decide who was to go in first; and in the event of anyone overstaying his 20 minutes he had to pay for the whole ticket; correctness of time being the essence of the arrangement.