OPERA IN AMERICA.
(1825-1826.)
The earliest operatic performances in America were derived not from
Italian but from English sources. Elson tells us in his book on American
music that "The Beggar's Opera," which created such a furore in Great
Britain, probably was the first entertainment of the kind given in the
colonies, being performed in New York as early as December 3, 1750, and
innumerable times thereafter. This was followed by a series of other
ballad operas.
"From the conglomerate Ballad Opera, often the work of half a dozen
composers," Elson continues, "New York passed on to a more unified
art-work, and the operas of Arnold, Storace, and Dibdin were given with
some frequency. During the British occupation, in revolutionary days,
the English regimental bands often assisted in the orchestral parts of
the operatic performances. At a later period many refugees, driven from
France by the Revolution, were to be found eking out a precarious
livelihood in the orchestra.
"At the beginning of the nineteenth century Charleston and Baltimore
entered the operatic field, and travelling troupes came into existence,
making short circuits from New York through the large cities, but
avoiding Boston, which was wholly given over to Handel, Haydn, and
psalms.
"In March 1825 New Yorkers heard a great opera for the first time, for
'Der Freischütz' came to America by way of England. It was adapted and
arranged with the boldest of alterations and makeshifts. Extra dances
were introduced to charm the audience, and the incantation scene was
often given without singing, as melodrama that is, recitation with
orchestral accompaniment, while the fireworks let off during the scene
won public favour at once.
"But the real beginning of opera in New York, and in a certain sense in
America, occurred in the autumn of this year, when the elder Garcia
arrived with his well-equipped opera troupe. Well might a critic of that
day speak of the Spanish tenor as 'our musical Columbus.' The whole
season of opera during that memorable period was a revelation to the new
world."
The company which the elder Garcia brought with him from Europe
consisted of the following principal artists. His daughter Maria, who
was seventeen years old, undertook all the contralto _rôles_, while his
wife and Mme. Barbieri were the soprani. He himself was, naturally,
_primo tenore_, being assisted by the younger Crivelli as the _secondo_.
The latter artist, the son of Gaẽtano, one of the best Italian
tenors, had first met the Garcia family in Naples, where he had spent
some years in vocal study under Millico and Zingarelli.
During the last year of Garcia's stay in Italy Crivelli had written an
opera, which was performed by the San Carlo company, of which it will be
remembered the elder Garcia was a member.
The baritone for the New York season was "Garcia, jr.," as the subject
of this memoir was advertised, and the cast was completed by d'Angrisani
as the _basso cantante_, and Rosich as the _buffo caricato_. The chorus,
which was collected and organised by Garcia only with the greatest
difficulty, consisted chiefly of mechanics settled in America, who were
accustomed to serve in choirs and could read music.
Of the circumstances which brought about this scheme of giving Italian
opera in America we may read in the biography of the poet, Fitz-Greene
Halleck. In it the author, General James Grant Wilson, tells us that
Halleck was one of the two thousand New York pupils of Signor Daponte,
who was for many years professor of Italian literature in Columbia
College there. "To this Signor Daponte, the personal friend of Mozart,
and writer of the libretto of 'Don Giovanni,' the poet told me," says
the biographer, "that we were indebted for the introduction of Italian
opera here, he having, with the late Dominick Lynch and Stephen Price,
induced the elder Garcia to visit them with his troupe, and appear at
the Park Theatre, of which Price was the manager."
When the elder Garcia arrived in New York he was at once visited by this
Daponte, and it is reported that he rushed up to the Italian librettist
and embraced him with the greatest warmth, singing all the while the
aria "Fin ch'han dal vino," the Drinking Song from "Don Giovanni," for
the words of which Daponte had been responsible.
During October and November, in addition to appearing in oratorio, the
Garcia family gave a number of concerts, during which the tenor
delighted to show the perfection of his method. He had a custom of
striking a single chord, and then with his wife, son, and daughter,
rendering a difficult operatic quartette, unaccompanied. At the end he
would strike the chord again, to show that they had not deviated from
the pitch to the extent of even a hair's-breadth. They certainly formed
a quartette of pre-eminent ability; indeed, Chorley, one of the greatest
musical authorities of his day, wrote of them, "The family of Spanish
musicians are representative artists, whose power, genius, and
originality have impressed a permanent trace on the record of the
methods of vocal execution and ornament."
The first mention of their arrival we find in the 'Harmonicon,' which
had a notice on October 25, to the effect that "The Spanish family of
the Garcias, consisting of husband, wife, son, and daughter, have been
engaged by Mr Price."
Some three weeks later a preliminary notice of their forthcoming venture
appeared in a New York paper called 'The Albion, or British, Colonial,
and Foreign Weekly Gazette.' In its issue of November 19 there was
printed the following prospectus, which may be quoted in full, as it
contains several points of interest:--
"Signor Garcia respectfully announces to the American public that he
has lately arrived in this country with an Italian troupe (among whom
are some of the first artists in Europe), and has made arrangements with
the managers of the New York Theatre to have the house on Tuesdays and
Saturdays, on which nights the choicest Italian operas will be performed
in a style which he flatters himself will give general satisfaction.
"For the succeeding eight days the names of persons desirous to take
boxes or benches for the season of three months, or for one month, will
be received at the box office at the theatre, and the applicants for the
longest term and greatest number of seats will be entitled to the choice
of boxes. The seats in the pit will also be numbered, and may be taken
for the same periods.
"The price of the box places will be two dollars; of pit, one dollar;
and of gallery, twenty-five cents.
"The opera of 'Il Barbiera (_sic_) di Seviglia' is now in rehearsal, and
will be given as soon as possible.
"Tickets of the permanent boxes will be transferable. Performance to
commence at 8 o'clock."
In the next issue of the paper we read that
"Signor Garcia has the honour to announce to the public that the opera
of 'Il Barbiere di Seviglia' will be performed on Tuesday next. The
books are now open, and places may be taken at the Box Office."
The advertisement goes on to state that "the best operas of Cimarosa,
Mozart, and Paisiello, with others by Rossini, will be immediately put
in rehearsal."
The opening performance was given at the Park Theatre on November 29,
1825, the opera being "Il Barbiere," cast as follows:--
_Almaviva_ Garcia, Senior.
_Figaro_ Garcia, Junior.
_Rosina_ Maria Garcia.
_Bertha_ Madame Garcia.
_Bartolo_ Rosich.
_Basilio_ d'Angrisani.
_Fiorello_ Crivelli.
'The Albion' gave the opera company an encouraging send-off in the
following naïve announcement:--
"We have been disappointed in not receiving a _scientific_ critique,
which we were promised from a professor, on the Italian Opera of Tuesday
night; we shall, however, have something to say later, and meanwhile can
state that the experiment has proved completely successful, and the
troupe may be assured of making a fortunate campaign."
It is recorded further that "an assemblage of ladies so fashionable, so
numerous, so elegantly dressed, has probably never been witnessed in an
American theatre."
General Grant Wilson gives us some further details of this fashionable
audience, for, according to him, it included Joseph Bonaparte, the
ex-King of Spain, and the two friends, Fenimore Cooper and Fitz-Greene
Halleck, who sat side by side, delighted listeners. Another account
refers to the representation in these terms:--
"We were last night surprised, delighted, enchanted: and such were the
feelings of all who witnessed the performance. The repeated plaudits
with which the theatre rung were unequivocal, unaffected bursts of
laughter. The best compliment that can be paid to the merit of the
company was the unbroken attention that was yielded throughout the
entire performance, except that every now and then it was interrupted by
judiciously bestowed marks of applause, which were simultaneously given
from all parts of the house. In one respect the exhibition excelled all
that we have ever witnessed in any of our theatres--the whole troupe
were almost equally excellent: nor was there one whose exertions to fill
the part allotted to him did not essentially contribute to the success
of the piece.
"Signor Garcia indulges in a florid style of singing: with his fine
voice, fine taste, admirable ear, and brilliancy of execution, we could
not be otherwise than delighted.... Signorina Garcia's voice is what is
denominated a fine contra-alto"--the gentleman is nothing if not
correct, while we trace in the next words the unquestionable fact that
he has been comparing notes with our "scientific" friend of 'The
Albion.' "Her science and skill are such as to enable her to run over
every tone and semitone with an ease and grace that cost apparently no
effort." The sentence reads for all the world like a twentieth-century
eulogy of an ardent motorist, if we substitute for tone and semitone the
words woman and child.
He concludes with a vivid little sketch of Maria Garcia as she was at
the age of seventeen:--
"Her person is about the middle height, slightly _embonpoint_; her eyes
dark, arch, and expressive; and a playful smile is almost constantly
the companion of her lips. She was the magnet who attracted all eyes
and won all hearts."
This was Manuel Garcia's operatic _début_: it was not his first
appearance before the public, for, as we have seen, he had already been
singing previously at several concerts. It has been asserted by some
that his _début_ in opera was made in Paris in the preceding year, but
he himself declared this was untrue; while his sister, Pauline
Viardot-Garcia, has stated most definitely that it took place in New
York.
His voice was never powerful: he had sung with charm as a boy, and when
his voice broke it developed into high baritone--not tenor, as has been
asserted by many. The latter mistake probably originated in the fact
that sometimes, as will be related later, he undertook the tenor parts
when his father felt indisposed; but on these occasions he always
altered the melody of the higher passages to suit his baritone voice.
In the first and subsequent performances of "Il Barbiere" his artistic
singing of the air "Largo al factotum" made a considerable stir in New
York, and his popularity was thereby considerably increased, but from
the criticisms it is obvious that Manuel Garcia would never have been an
operatic artist of the first rank, and, as we shall see, he was to find
his _métier_ in another field of music.
On the last day of the year we read in 'The Albion' that "The celebrated
opera of 'Tancredi' will be produced at the Park Theatre this evening."
The paragraph which followed immediately after the above announcement
recalls the mixed receptions which the immortal Kean sometimes
experienced when he made his earlier appearances on the American
stage:--
"Mr Kean has returned from Boston. The managers of the Boston theatre
declare in an address to the public that they had no reason whatever to
suppose that any serious or organised opposition existed against Mr Kean
until 4 o'clock of the evening of his appearance.
"That amiable lady and excellent actress, Mrs Hilson, takes a Benefit at
the Park on Wednesday, on which occasion Mr Kean has offered to perform
in a favourite part."
In the next issue, January 7, 1826, we find the criticism of the
performance of "Tancredi." One of the company had apparently discharged
the duties of scene-painter for the production, and with success.
"'Tancredi' has been performed twice to crowded houses by Senior (_sic_)
Garcia and his admirable troupe. Nothing could exceed the enthusiasm
with which it was received. The scenery, painted by one of the troupe,
is of matchless vigour and beauty, displaying magnificent ruins,
paintings, &c., so peculiar to modern Italy.
"The corps has received a most efficient auxiliary in the person of
Madame Barbiere (_sic_). Signorina Garcia takes the part of Tancredi.
The piece, from its own intrinsic merits and the excellent manner in
which it is performed, cannot fail to have a good run."
Evidently the Italian language was not a strong point in the office of
'The Albion.' We have already seen how "Il Barbiere" figured as "Il
Barbiera," and Madame Barbieri as "Barbiere," while Signor Garcia
appeared as "Senior." A still stranger mistake occurred in the notice of
the _première_ of "Otello" on February 11:--
"Rossini's opera of 'Otella' (_sic_) has been produced by the Italian,
troupe. It was a most fortunate effort, and the piece, we trust, will
have a good run. Signor Garcia astonished the audience with his masterly
powers, many of whom had no conception that so much tragic effect could
be given in recitative.
"After the performance Signor Garcia was addressed by Mr Kean behind the
scenes, who complimented the highly-talented vocalist on the great
talent he had that night displayed, and expressed in the warmest terms
the gratification experienced in listening to him. Several of the troupe
were present on Wednesday to see Mr Kean in the part of Othello."
In this American _première_ of Rossini's "Otello," one of the greatest
successes of the season, we find the parts distributed as follows:--
_Otello_ Signor Garcia.
_Iago_ Signor Garcia (junior).
_Elmiro_ Signor Angrisani.
_Doge_ Signor Crivelli.
_Roderigo_ Madame Barbieri.
_Emilia_ Signora Garcia.
and
_Desdemona_ Signorina Maria Garcia.
It must be many years since any operatic version of "Othello" has been
performed other than that of Verdi, which was produced in Milan exactly
sixty-one years after the performance of Rossini's setting just
described. Indeed at the date of this American _première_, Giuseppe
Verdi was but a lad entering his teens.
Another important production of the season was "Don Giovanni," given on
May 23, with the elder Garcia in the title-_rôle_. His son appeared as
Leporello, and, as the criticism in 'The Albion' stated four days later:
"In the part of Saporello"--the office shines once more in
spelling--"the younger Garcia exhibited more musical ability than he has
been generally thought to possess. His duet with Don Giovanni in the
banquet scene was spirited enough."
Some other portions of this critique read rather quaintly. It will be
remembered how the editor of the paper was perturbed after the opening
performance of the season at not receiving the "scientific critique,
which we are promised from a professor." He is evidently "still harping
on my daughter," for one reads with infinite regret that--"To enter into
any minute examination of 'Don Giovanni's' _scientific_ merits is beyond
our space and purpose"; while later we learn that "Madame Barbiere's
taste is pure, and her _science_ considerable."
The critic comes to the regrettable conclusion that "Garcia Senior is
not at home in the simple melodies of Mozart," the reason which he gives
for this fact being set forth in a delightful bit of phraseology,--"He
must have a wide field for display: he must have ample room to verge
enough for unlimited curvetings and flourishes."
Maria was able to satisfy this most learned and scientific judge, and we
may presume that she found sufficiency of verging-room in Mozart, for we
are told, "Mdlle. Garcia's Zerlina, though not so simple and rustic as
Fador's (_sic_), the great Zerlina of Europe, is much more pleasing and
fascinating. It was admirably acted, which for a singer is high praise.
The celebrated 'Batti, batti,' was never better sung."
"In proportion as she is excellent," the notice concludes, "must we
regret that a few nights longer and she will disappear from the public
gaze."
Why the good gentleman should have been so perturbed it is a little
difficult to see, for the season did not terminate for four months.
Perhaps the explanation is that, just as other scientific men declared
that the seven days of the World's Creation really meant seven periods,
each extending over hundreds of years, so this one in saying "a few
nights," took each night to stand for a period of a month. After all, as
has been observed in Lewis Carroll's immortal book, it is only a
question of who is to be master, the man or the word.
On August 26 we are informed that "'Il Barbieri de Siviglia'"--mark the
dazzling array of fresh mistakes in spelling--"was performed last night
for the fortieth time without any abatement of attraction."
Finally we are told of the approaching end of the season:--
"_Sept. 16th._--The Italian operas are about to close in this city. We
believe it is not finally arranged how the troupe is to be disposed of,
but the Philadelphia papers express strong hopes of having this
delightful entertainment"--enchanting phrase for such an occasion--"in
that city." The following is Signor Garcia's card:--
"'Signor Garcia respectfully announces to the public that his engagement
is limited to five representations of Italian operas, and will
positively conclude on the 30th inst. On Saturday, September 16th, the
benefit of Garcia, jun.'"--this was how Manuel appeared on the bills
throughout the New York season--"'Tuesday the 19th, benefit of Mme.
Garcia; Saturday the 23rd, benefit of Signor Garcia, Tuesday the 26th,
benefit of Signorina Garcia, concluding Saturday the 30th, this being
positively the last night of performance.'"
And so, on September 30, 1826, the first American season of Italian
opera was brought to a close, after lasting ten months,--seventy-nine
performances in all.
As to the repertoire, we have already set down the names of "Il
Barbiere," "Don Giovanni," "Tancredi," and "Otello"; besides these we
find Zingarelli's "Romeo e Giulietta," which in later years was to be
ousted as completely from the field by Gounod's version as Rossini's
"Otello" was fated to be by Verdi's. The list was completed by
"Cenerentola," "Semiramide," "Turco in Italia," and two operas specially
written by the elder Garcia, with a view to showing off his daughter's
talents, "L'Amante Astuto," and "La Figlia dell' Aria."
As to the composition of the orchestra, we learn that it consisted of
seven violins, two violas, three violoncellos, two double-basses, two
flutes, two clarinets, one bassoon, two horns, two trumpets, and
drums,--twenty-four performers in all. The first violin and leader was
De Luce, while a M. Etienne presided at the pianoforte. That the
orchestral standard was by no means as high as that of the vocalists,
may be readily surmised from the following criticism of one of the
earliest performances:--
"The violins might be a little too loud; but one soul seemed to inspire
and a single hand to guide, the whole band being throughout the magic
mazes of Rossini's most intricate flights under the direction of M. de
Luce; while M. Etienne presided in an effective manner at a piano, of
which every now and then he might be heard to touch the keynote by those
whose attention was turned that way, and just loud enough to be heard
throughout the orchestra, for whose guidance it was intended."
As has been already stated, the performance took place on Tuesday and
Saturday evenings. The latter was a very great mistake, owing to the
strong religious feelings of the city, which kept the inhabitants from
going out on this evening for fear of interfering with preparation for
the Sabbath. As we may read in a notice of the season, which was sent
over by the New York correspondent to one of the English papers:
"Saturdays were fixed on in imitation of London, but on the night which
is your best nobody goes to the theatre, for we are very _serious_ in
this city, and do not go to the late amusements on Saturday."
However, in spite of this _contretemps_, the season turned out a
complete success, for the 79 performances brought in gross receipts of
56,685 dollars (ranging from 1962 dollars on the best night to 250
dollars on the worst), which made an average of some 700 dollars at each
representation.
It is rather ludicrous to read some of the articles which appeared in
the New York papers during the earlier months of the Italian Opera. In
them advice was given to those who had written asking questions as to
how to dress in a fashionable way for the opera nights, according to the
European manner, and how to behave during an opera performance.
In fact, it was thought "the thing" to go to the Park Theatre season,
and the whole affair created the greatest excitement among the
fashionables of Manhattanville.
Finally, we read towards the end of September of the future plans of the
company:--
"They have been invited to New Orleans and also to Mexico, and it is
believed that they will go to the latter place when their engagement
here is over."
With the 1st of October 1826 the New York opera season had become a
thing of the past, and on October 2 the dramatic season of Macready, a
thing of the present, for on that date the tragedian trod the boards of
an American stage for the first time. One cannot perhaps bring the
chapter to a more seemly close than with the announcement which the
ever-fascinating 'Albion' made in speaking of the opening performance:--
"Mr Macready appeared in the character of Virginius, in the presence of
an audience of the most respectable description, and comprising all the
talent and critical acumen of this great city." One can only pray that
the scientific acumen was not absent on that memorable and respectable
occasion.