PARIS AND LONDON.
(1816-1825.)
In the spring of 1816 the elder Garcia left Naples, and with his family
set out for Paris, which he had decided to make his home once more.
When he had last been in that city, upwards of four years previously,
Napoleon had still been all-powerful; when he returned Louis XVIII. was
on the throne and Bonaparte in hopeless exile at St. Helena.
After he had settled down he continued the singing lessons of his son,
whose general education was looked after by private tutors,--Reicha,
Basbereau, and others. As to himself, he was at once engaged as _primo
tenore_ at the Théâtre Italien, then under the management of
Catalani,--a woman whose story we will dwell on for a moment.
At the age of twelve she had been sent to a convent near Rome, being
introduced by Cardinal Onorati. Here her voice soon became a great
attraction owing to its extraordinary purity, force, and compass, which
extended to G in altissimo. On leaving the convent, where sometimes the
congregation had openly applauded her splendid notes in the services,
she found herself compelled to perform in public, owing to the sudden
poverty of her parents.
At the age of sixteen she obtained her first engagement at the Fenice
Theatre in Venice, and thence she went to other opera houses in Italy,
meeting everywhere with wonderful success.
In the year of Manuel's birth, Catalani signed her first agreement with
the managers of the King's Theatre in the Haymarket at £2000 per annum,
and remained in England for seven years. She was, however, a prima donna
of the deepest dye, capricious as she was extravagant. Neither would her
disposition endure the possibility of rivalry, nor would the size of her
increasing demands allow the managers to engage any other singers of
position. At last with the close of 1813, having unsuccessfully
attempted to purchase the King's Theatre outright, she fell out with the
directors and left London.
With the fall of Napoleon she went to Paris, where Louis XVIII. gave her
the management of the Théâtre Italien, with a subvention of 160,000
francs. Subsequently, during the Hundred Days, she fled before the
advance of the despot, fearing his wrath, and paid a tactful visit to
Germany and Scandinavia. It was only after the capture of the Emperor
that she dared return, and even then she did so by way of Holland,
instead of coming direct, lest at the last minute he might somehow free
himself and come back into power. However, all was well, Catalani
returned to her position at the Théâtre Italien, and at once engaged
Garcia _père_ on his arrival in Paris.
In the autumn of the year the tenor and his family paid their first
visit to England, but only made a short stay. The little daughter Maria,
who was now eight years old, accompanied them, and was left in England
for some years, her education being carried on in a convent school at
Hammersmith. It was to this fact that in after life she owed her success
in this country as a singer of oratorio and English songs.
Upon the elder Garcia's return to Paris, the "Caliph of Bagdad" was
revived, as well as another of his operas, "Le Prince d'Occasion." As
_primo tenore_ of Catalani's troupe, he appeared as Paolino in
Pergolesi's "Matrimonio Segreto," and sang in all the operas which were
in vogue at that time,--a very different repertoire to that which
audiences are accustomed to hear nowadays.
At last an unfortunate quarrel arose between Catalani and himself, and
at the end of 1817 he went once more to England. This was only a few
months after "Don Giovanni" had been given in England for the first time
at the Italian Opera House, with Mesdames Fodor, Camporese, and Pasta;
Signori Crivelli, Ambrogetti, and Agrisani.
His success in London was great during the ensuing season. He made his
_début_ with Mme. Fodor in "The Barber of Seville," his performance of
Almaviva being, according to a critic of that time, "commensurate with
his transcendent talent," while he appeared in other operas with equal
_éclat_. During the same season he created a further sensation by
singing at the chapel of the Bavarian Embassy in Warwick Street, where
several masses of his own composition were given.
In 1819 he returned to Paris and became once more a member of the
company at the Théâtre Italien, Catalani having failed and resigned the
reins of management during his absence in England. Here he repeated his
old success in "Otello" and "Don Giovanni," and also took part, on
October 26, in the first performance of "Il Barbiere" ever given in
Paris, at the Salle Louvois. It was again received coldly, as had been
the case on the original production in Rome three and a half years
before. Once more the critics demanded the "Barbiere" of Paisiello,
which was accordingly put on the stage at the Théâtre Italien, only to
meet with dismal failure; and thus in the end Rossini triumphed with it
in the French capital, as he had in that of Italy.
The cast of this Parisian _première_ was as follows:
_Rosina_ Mme. Ronzi de Begnis.
_Figaro_ Signor Pellegrini.
_Bartolo_ Signor Graziani.
_Basilio_ Signor de Begnis.
_Almaviva_ Signor Garcia.
In addition to appearing at the opera Garcia _père_ continued to compose
prolifically. "La Mort du Tasse" and "Florestan" were produced at the
Grand Opera, "Fazzoletto" at the Théâtre Italien, and "La Meunière" at
the Gymnase, while three others were finished but never performed.
Moreover, he devoted a good deal of attention to teaching singing, his
fame attracting a number of pupils, while at the close of the year 1819
he published a book on his 'Method of Singing.'
In the spring of the following year, in which took place the accession
of George IV. to the throne of England, Manuel Garcia paid a flying
visit to Spain. It was destined to be the last time he ever saw his
native country. The fact is a curious one when we remember his intense
love for Spain, which was so strong that, in spite of his spending the
last fifty-eight years of his life in England, nothing would have
induced him to become a naturalised British subject.
On his return from Madrid he commenced the study of harmony, for, as has
been already stated, his father was a firm believer in the necessity of
every singer being a musician in the broadest sense of the word. For
this work he was placed under François Joseph Fétis, who had just
succeeded Elen as professor of counterpoint and fugue at the
Conservatoire. This was six years before Fétis became librarian of the
institution--a position in which he was enabled to prepare his famous
'Biographie Universelle des Musiciens,' which is one of the greatest
monuments to the achievements of musical genius ever reared. He was
indeed a remarkable man, who displayed talent not only as teacher, but
composer, historian, critic, and author of various theoretical works.
In 1821, the year of Napoleon's death, Manuel's youngest sister was
born--Michelle Ferdinande Pauline,--who was in after years to become no
less famous than Maria. The second and third names were given her in
honour of her sponsors, Ferdinand Paër and Princess Pauline Galitzin.
In the spring of 1823 the elder Garcia was again appearing at the
King's Theatre, and during the season he founded his famous school of
singing in London. It was at this time, too, that he first began
seriously to take Maria's musical training in hand, since she was now
approaching her fifteenth birthday. His daughter soon showed the
individuality of her genius, in spite of a certain fear inspired by her
father's somewhat violent disposition.
He made his reappearance at the King's Theatre in May in Rossini's
"Otello," given with the following cast:--
_Otello_ Signor Garcia.
_Desdemona_ Mme. Camporese.
_Elmiro_ Signor Porto.
_Roderigo_ Signor Curioni.
_Iago_ Signor Reina.
_Emilia_ Signora Caradori.
_Doge_ Signor Righi.
In speaking of his return to London, the 'Harmonicon' tells us:
"Garcia's voice has an extensive compass and considerable power, and is
round and clear. Its flexibility is remarkable."
On June 5 we find the tenor taking part in the first performance of
Rossini's semi-serious opera, "Ricciardo e Zoraide," with this cast:--
_Agorante_ Signor Garcia.
_Ricciardo_ Signor Curioni.
_Ernesto_ Signor Reina.
_Ircano_ Signor Porto.
_Zoraide_ Mme. Camporese.
_Zomira_ Mme. Vestris.
_Fatima_ Mme. Graziani.
Four weeks later he is appearing at the _première_ of another of
Rossini's works with the strange title, "Matilde di Shabran e Corradino,
ossia Il Trionfa della Belta," with the principal parts distributed
thus:--
_Matilde di Shabran_ Mme. Ronzi di Begnis.
_Corradino_ Signor Garcia.
_Isidoro_ Signor di Begnis.
_Raimondo_ Signor Reina.
_Edvardo_ Mme. Vestris.
_Contessa d'Arca_ Signora Caradori.
From all this, it will be seen that Manuel Garcia lived in a musical
world day and night. Awake or asleep, music and musicians surrounded the
boy.
At the close of the London season his father returned to Paris.
An exceptional insight into the musical and artistic circles of the
French capital at this time, when Manuel was a young man of eighteen, is
given by the following paragraph from a paper of that day:--
"On November 15 some of the principal musical composers and theatrical
performers of Paris united to give a dinner to Signor Rossini, in the
great room of M. Martin, Place du Châtelet.
"Signor Rossini was seated between Mdlle. Mars and Mme. Pasta. M.
Lesueur, placed exactly opposite to him, had Mme. Colbran Rossini on his
right and Mdlle. Georges on his left; Mmes. Grassari, Cinti, and Denuri
sat next to these. MM. Talma, Boieldieu, Garcia, and Martin were in the
midst of this group of elegance and beauty. All the arts, all the
talents, were represented by MM. Auber, Hérold, Cicéri Panseron, Casimir
Bonjour, Mimaut, Horace Vernet, &c.
"When the dessert was served, M. Lesueur rose and gave the following
toast--'To Rossini! whose ardent Genius has opened a new path and formed
an epoch in the art of music.'
"Signor Rossini replied by this toast--'To the French School, and to the
prosperity of the Conservatoire.'
"M. Lesueur then gave--'Gluck.'
"Signor Garcia proposed--'Gretry! the most sensible and one of the most
melodious of French musicians.'
"Signor Rossini then gave--'Mozart.'
"M. Boieldieu offered his toast in the following words--'Mehul! I see
Rossini and the shade of Mozart applaud this toast.'
"M. Hérold proposed--'Paisiello! Full of ingenuity and passion, he
rendered popular in all parts of Europe the Italian School.'
"Finally M. Panseron (for M. Auber) gave--'Cimarosa! the precursor of
Rossini.'"
With this the proceedings were brought to an official close and an
unofficial commencement of others, which were doubtless continued into
"the sma' wee hours."
In the January of 1824 the Garcias returned to England once more, for we
find the following announcement made in one of the London musical
papers--
"The Italian Opera (King's Theatre) is to open towards the end of the
present month. Signor Rossini is engaged as composer and director of
the music: he is to superintend the performance of his own operas, and
to produce a new one. The engagements both for the opera and the ballet
are upon a liberal scale. Among these are--
_Mesdames_--Ronzi di Begnis, Colbran Rossini, Pasta, Vestris, &c.
_Signors_--Garcia, Curioni, Franceschi, Remorini,
di Begnis, Porto, &c.
_Conductor_--Signor Coccia.
_Leader_--Signor Spagnoletti.
_Poet_--Signor Vestris.
_In the Ballet will appear_--Mme. Ronzi Vestris; Mdlle.
Legras, Mdlle. Idalise Grener, Mdlle. Noblet; M.
Albert, M. Charles Vestris, M. Ferdinand, &c.
_Principal Ballet-master_--Mons. Aumer."
The season opened on January 24 with "Zelmira," a new opera conducted by
"the universally fashionable composer of the day, Signor Gioacchiso
Rossini."
How strangely reads the repertoire of the representations given at the
King's Theatre during the next months! Two only are heard at Covent
Garden nowadays, and those but rarely--"Don Giovanni" and "II Barbiere,"
which latter was given with Mme. Vestris as Rosina, di Begnis as
Bartolo, Benetti as Figaro, and Garcia in his old part of the Count. One
may perhaps add to the number of those still heard occasionally the
"Nozze di Figaro"; but this is only given at the most attenuated
intervals.
As for the rest, what can we say of Zingarelli's "Romeo e Giulietta"
and Rossini's "Otello," in which Mme. Pasta makes her _rentrée_? Add to
these "Ricciardo e Zoraide," "Semiramide," "Turco in Italia," "La Donna
del Lago," and "Il Fanatico per la Musica" which Catalani chooses for
her reappearance.
But there are other musical events worthy of attention during these
months.
We read that "Master Liszt, the young German pianist, had a concert at
the Argyll Rooms, when he exhibited talents that astonished all the
leading professors who were present."
Further, we find Signor Rossini giving two subscription concerts at
Almack's Rooms,--how strangely the names of the fashionable concert
rooms of the past sound to us now!--"Tickets two guineas."
They are announced "To Begin at Nine o'clock"; while the composer has
the assistance of the leading operatic artistes of the day--Catalani,
Pasta, Vestris, Garcia, di Begnis, _et hoc genus omne_.
But what is of especial interest is the fact that Rossini not only
conducted, but _sang_. He gave "a cavatino (_sic_) from Figaro," and a
duetto with Mme. Catalani, "Se fiato in corpo avete" by Cimarosa.
The second of these subscription concerts, given on June 9, 1824, is
worthy of our attention, for we find "Mdlle. Maria Garcia" making
apparently her first appearance in London, taking part with her father
in a duet, "Di Caprici," and adding a solo, "Nacqui al'affano," both by
Rossini.
With the close of the London season the elder Garcia returned to Paris.
Here his "Deux Contrats" was performed at the Opéra Comique. But the
early autumn of this year is principally memorable for the fact that he
allowed his daughter to make her first appearance in Paris as a
professional singer,--the concert in which she took part being given at
a musical club which he had just established in that city.
Two months later the entire family went to London, and here Maria's
musical education was continued in the singing-class which her father
had established. The elder Garcia was again engaged as first tenor at
the Royal Opera, his salary having now risen from £260 (1823) to £1250.
Here he continued to gain still greater fame as a teacher, while his
fertility as a composer was shown by two Italian operas, "Astuzia e
Prudenza" and "Un Avertimento."
On June 7, 1825, Maria had the opportunity of making her _début_ in
London at the King's Theatre, as Rosina in "Il Barbiere," under the
directorship of Mr Ebers.
It was owing to a fortuitous combination of circumstances--the sudden
return of Mme. Pasta to Paris, Ronzi losing her voice through illness,
Vestris seceding to the stage, and Caradori, an excellent _seconda
donna_, being _hors de combat_--that Maria found herself engaged to fill
the gap.
Manuel Garcia, by the way, in after years used sometimes to recall the
effect which Pasta's singing made on him, when he heard her in his
youth. He spoke of her as possessing a voice of ravishing beauty,
together with perfection of fioriture and grandeur of dramatic
conception, but in spite of this there was no doubt in his mind as to
his preference for the singing of Maria. Indeed, he would always declare
that his sister was the most natural and most precocious genius with
whom he had ever come in contact.
With her _début_ at the King's Theatre Maria achieved a triumphant
success, which was witnessed by her brother; and she was engaged by the
management for the remaining six weeks of the season for a sum of five
hundred pounds.
Once more we find that curious repertoire of operas in favour at that
time which contrasts so strangely with the taste of the present day, and
serves to illustrate the important changes in the form and character of
music which Manuel Garcia witnessed during his life.
We may, moreover, in this year trace the first introduction of
Meyerbeer's music to English audiences, for we read in the July
'Harmonicon'--
"On the 23rd of last month there was brought out 'Il Crociato in
Egitto,' the new grand opera of Meyerbeer, a composer whose name was
completely unknown in this country only a few weeks ago.... Mdlle.
Garcia, disguised in male attire, performed the part of Felicia with
great ability, both as a singer and actress."
Turning from opera to the concert world of 1825, we learn that "The only
regular subscription concerts now supported in London are the Ancient
and the Philharmonic," though we find Mme. Catalani during May giving a
series of four concerts at the Argyll Rooms, assisted by Mrs Salmon, Mr
Sapio, and Signor Remorini.
In the way of private musical entertainments, the Duke of Devonshire
gave a fashionable concert in May, with Pasta, Velluti, the last male
soprano who ever trod the boards in opera in this country, Puzzi, and a
pianist with the mellifluous cognomen "Szymanowska"; while on June 15, a
state concert was given by his Majesty King George IV. at--Carlton
Palace!
Among the artists taking part in the latter we find Signor and Mdlle.
Garcia, Caradori, Begrez, di Begnis, Curioni, Remorini, Velluti, and
Crivelli.
At the end of the season the elder Garcia, together with his wife, son,
and daughter, sang at several provincial concerts, and their names
appear in the programmes of two of the Gentlemen's Concerts at
Manchester on August 15 and September 9.
Four members of the family appearing together was surely a remarkable
event!
In the same month Maria was one of the soloists at the second York
Festival.
The committee had tried to get Catalani, but, after pecuniary terms had
been arranged, the treaty failed in consequence of a stipulation on her
part that several songs should be transposed into a lower key to suit
her voice.
"The committee had conceded," says the 'Harmonicon,' "to the condition
with regard to detached airs, but refused for those which are connected
with choruses. Then they tried to get Mme. Pasta, but this was refused,
as they could not give her permission to come without materially
compromising the interests of the Italian Theatre Royal. Thus
disappointed, they entered into negotiations with Mr Braham and other
eminent performers, and finally succeeded in obtaining the following
assemblage of talent:--
Mr Greatorex, _Conductor_.
Dr Camidge, _Assistant-Conductor_.
_Principal Vocalists._
Miss Stephens. Mr Braham.
Miss Caradori. Mr Vaughan.
_Mdlle. Garcia._ Mr Sapio.
Miss Travis. Mr Knyvett.
Miss Wilkinson. Mr Terrail.
Miss Goodall Mr Bellamy.
and Mr Phillips.
Miss Farrar. Signor di Begnis.
A Grand Chorus of 350 voices, and 248 Instrumentalists
in the Orchestra."
A perusal of the programme brings home to us the change which has taken
place in the last eighty years.
Handel naturally figured largely, while Mozart was represented by his
Jupiter Symphony, Beethoven by his Symphonies in C and D and one of the
Leonora overtures. Such names, however, as Pepusch, Spontini, and
Salieri have long since disappeared. Again, the style of Festival
programme was then of a very mixed, and, as regards some of the numbers,
of a very "popular" kind. Festivals of the present day are of a much
more serious character.
Mdlle. Garcia we find set down for such items as "Gratias" by Gugliemi,
"Alma invitta" from "Sigismondo," "O patria" from "Il Tancredi," a
terzetto from "Il Crociato in Egitto," and one of her "chevaux de
bataille," "Una voce poco fa" from "Il Barbiere."
With the York Festival the visit to England was brought to a close, and
at the end of the month the Garcia family embarked at Liverpool for New
York, where Manuel was to take part in the first American season of
Italian Opera.
Before following them there, let us seek a glimpse of some of the
operatic and theatrical events between the year of Manuel Garcia's first
visit to England and his trip to America.
In 1816 John Kemble was playing Coriolanus at his London season; Charles
Kean was at Drury Lane; and at Covent Garden Mrs Siddons reappeared as
Lady Macbeth, while Charles Mathews brought to an end his contract with
that theatre.
Next year Henry Bishop's operatic drama "The Slave" was produced at
Covent Garden, and a novel pantomime entitled "Robinson Crusoe," with
Grimaldi as Friday. It was, moreover, on June 13 of this season that
Kemble played Coriolanus for the last time, and retired. In 1818
Macready appeared in an acting version of "Rob Roy,"--a novel which Sir
Walter Scott had published shortly before.
This year, moreover, saw the birth of Gounod, and the death of Mrs
Billington, heroine of so many Covent Garden triumphs. In 1819 several
oratorios were given under Henry Bishop, with Samuel Wesley the church
musician as conductor; while on June 9, at the benefit of Mr and Mrs
Charles Kemble, Sarah Siddons appeared on the stage for the last time in
her life: a few months before this the beautiful Miss O'Neill retired
from the boards.
Shelley passed away in 1822 (the year which followed that of the
coronation of George IV.); while within a few weeks there took place an
interesting benefit performance, at which "The Rivals" was acted, with
the following cast:--
_Sir Anthony_ Munden.
_Captain Absolute_ Charles Kemble.
_Faulkland_ Young.
_Acres_ Liston.
_Lydia_ Mrs Edwin.
_Mrs Malaprop_ Mrs Davenport.
The next year is specially noteworthy for the production, in May, of
Henry Bishop and Howard Payne's opera, "The Maid of Milan," which
contained the air "Home, Sweet Home"; while in the following December, a
tragedy by Mrs Hemans saw the light under the title "The Vespers of
Palermo."
The year is, however, perhaps most important to us from the, at that
time, unparalleled constellation of stars who were appearing at Drury
Lane: Macready, Kean, Young, Munden, Liston, Elliston, Terry, Harley,
Knight, Miss Stephens, and Mme. Vestris.
In 1824, the year of Byron's death, Henry Bishop left Covent Garden for
Drury Lane, and Carl Von Weber was engaged in his place, in honour of
which event "Der Freischütz" was brought out at the English Opera House,
being also produced in the autumn at Covent Garden, where it was given
for no less than fifty-two performances during the season of 1824-25.
And what of the salaries which were being received by theatrical stars
at the beginning of the nineteenth century?
The great Charles Mathews writes at this time of a proposed engagement,
"Now to my offer, which I think stupendous and magnificent, £17 a-week."
John Kemble, for acting and managing, was receiving £36; Miss O'Neill,
at the most brilliant portion of her career, never had more than £25
a-week; while Mrs Jordan at her zenith had thirty guineas; and Charles
Kemble, until he became his own manager, never received more than £20
a-week.
Strange reading, indeed, when we compare it with the salaries which
theatrical stars were receiving during the last few years of Garcia's
life.