OPERATIC CAREER ABANDONED.
(1828-1830.)
Manuel Garcia, in the January of 1828, was present at the operatic
_début_ of his sister, Maria Malibran, in Paris, the details of which he
once gave to me. On another occasion he stated most distinctly that he
left his parents in Mexico about the middle of their stay, set out for
Paris, and, arriving there not long after his sister, remained with her
till after her _début_. He added that during this period she continued
her vocal studies under his tuition.
Under these circumstances one may safely assume that he arrived in the
French capital either in October or in the early part of November, 1827.
With regard to Mme. Malibran's _début_, the following is the story as he
gave it. I related the episode in 'Antoinette Sterling and Other
Celebrities,' from which I am enabled to quote here and elsewhere in the
present memoir by courtesy of the publishers, Messrs Hutchinson.
Rossini was director both of the Théâtre Italien and of the Grand Opera
House, where French alone was performed. He was a great friend of both
Maria Malibran and her brother, and frequently came to visit them at
their house. Moreover, he heard the young contralto sing many times at
social functions, often indeed himself accompanying her at the piano.
Yet, though perfectly aware what a splendid singer she was, the composer
never made her any offer to appear under either of the two managements.
At last her opportunity of making an operatic _début_ in Paris arrived,
but from quite another source. Galli, a famous basso of that time, who
was having a benefit at the Italian Opera House, called one day and told
her that he would put on "Semiramide" if she would like to sing the
title part. After consulting with Manuel, she decided to accept the
offer.
Of the performance itself one of the Paris journals gives a graphic
account:--
"The singer, at her entrance, was greeted with warm applause. Her
commanding figure and the regularity of her features bespoke the favour
of the public. The noble and dignified manner in which she gave the
first phrase, 'Fra tanti regi e popoli,' justified the reception she had
obtained, but the difficult phrase, 'Frema il empio,' proved a
stumbling-block which she could not surmount. Alarmed by this check, she
did not attempt the difficult passage in the 'da capo,' but, dropping
her voice, terminated the passage without effect, and made her exit,
leaving the audience in doubt and dissatisfaction. The prodigious talent
displayed by Pisaroni in the subsequent scenes gave occasion to
comparisons by no means favourable to Mme. Malibran. On her reentrance
she was coldly received; but she soon succeeded in winning the public to
her favour. In the andante to the air, 'Bel raggio lusinghier,' the
young singer threw out such powers, and displayed a voice so full and
beautiful, that the former coldness gave way to applause. Encouraged by
this, she hazarded the greatest difficulties of execution, and appeared
so inspired by her success that her courage now became temerity."
From that night she was the idol of the French public.
Another French critic writes, "If Maria Malibran must yield the palm to
Pasta in point of acting, yet she possesses a decided superiority in
respect to song."
"Since that time," remarks Mr Hogarth, "the superiority of Malibran to
Pasta in song became more and more evident; while in respect to acting,
though no performer has ever approached Pasta in her own peculiar walk
of terrible grandeur, yet none has ever surpassed Maria Malibran in
intelligence, originality, vivacity, feeling, and those 'tender strokes
of art' which at once reach the heart of every spectator. Her
versatility was wonderful. Pasta, it has been truly said, is a Siddons:
Malibran is a Garrick."
On the morning following the Parisian _début_ a note came asking Señor
Garcia to go round to Rossini's rooms. Upon doing so he found him in a
tremendous state of excitement, and prepared to give Maria Malibran a
four years' exclusive engagement, at the rate of more than a hundred
thousand francs per annum, if she would bind herself to sing
exclusively at the Grand Opera House during that period.
The terms were immense for those days. In spite of this, after careful
consideration, the contralto decided to refuse them, feeling that it
would be unwise to abandon Italian and confine herself to French for so
long a time. She _did_, however, appear for him in a few operas, at
enormous fees, with, if possible, greater success than before, at the
Théâtre Italien during April and May.
Now it seemed very extraordinary to Señor Garcia and to his sister that
Rossini should have heard her sing again and again in society without
even mentioning such a thing as engaging her, and yet, after hearing her
at the Opera House in music which she had sung before him on so many
occasions, he should at once make her a magnificent offer for a term of
years. Why was it? They could not understand it at all, and accordingly
asked one day for the explanation.
"It is true," answered Rossini, "that I knew Maria Malibran was a
brilliant singer from listening to her at private houses. But I had
never heard her in a big place before a large audience. Consequently I
felt that I could not make her a definite offer which would at all gauge
her true value. Either I should be offering her less than she was worth,
and by this be doing _her_ an injustice, or I should be offering her
more than she was worth, and so be doing _myself_ an injustice. But now
that I have heard her sing in front of an audience, and have observed
what effect they mutually had each on the other, I can offer the very
largest sum which her singing is intrinsically worth. That is the
explanation of what I have done."
After remaining for a time to see his sister successfully started on her
Parisian career, Manuel Garcia set out for Italy, and took up his
residence there for some months. During this period he made the
acquaintance of Lablache, whose voice was of the most marvellous power.
There is a story which the maestro used to tell of the basso and Carl
Weber which illustrates this fact.
Lablache was originally a double-bass player, and his first appearance
in opera as a singer came about through a happy chance. A celebrated
vocalist was suddenly indisposed just before the performance one night,
and Lablache was induced to take his place and attempt the _rôle_. His
rendering of the character was entirely successful, and he abandoned his
old career for this new one.
A few months afterwards Weber, who had known his massive figure in the
orchestra, heard him sing in opera. After listening to the enormous
voice and magnificent basso notes, the composer exclaimed, "Mein Gott!
he is still a double-bass."
The size of Lablache's voice aroused the emulation of Garcia, who, as
his sister Mme. Viardot puts it, proceeded to play the part of the frog
that wanted to make itself as big as a bull. In trying to imitate this
Gulliver of _bassi_ he undoubtedly did further injury to his voice,
which had already been much overstrained by the hard usage it had
received in Mexico.
When, therefore, about the beginning of 1829, he made a public
appearance at Naples, as his parents had persuaded him to do, he did
not come through the ordeal with much success. "Il débuta à Naples, je
crois," says Mme. Viardot, "et il eût ce qu'il désirait, un four noir."
The next day Manuel collected copies of the newspaper critiques, which
were unanimous in recommending him to tempt Fate no more on the stage,
but to abandon the lyric career for which he was unfitted. These
articles he dispatched to his father with a letter in which he wrote:
"You see from these notices that I can never hope to become an operatic
artiste." ("Je ne puis être artiste.") "From now onward I am going to
devote myself to the occupation which I love, and for which I believe I
was born." With this letter he definitely abandoned the operatic
calling.
He then made his way back to France, and there joined his parents, who
had arrived from Mexico in the late autumn of 1828.
During the period of the elder Garcia's stay in Mexico, political events
occurred which were the very reverse of propitious to any musical
venture.
In 1828 the candidates for the Presidency were Generals Pedraza and
Guerrero. On the election of the former the opposite party took up arms,
and a bloody contest ensued, which terminated in the downfall of
Pedraza's Government and in his flight from the country on January 4,
1829. The months which followed were full of turmoil, and at last in
March it became necessary for all Spaniards to leave.
Owing to this state of affairs the elder Garcia, after some eighteen
months of hard work and considerable financial success, was obliged to
bring his Mexican season to a hasty conclusion. He accordingly prepared
at once to journey to the coast with the £6000 which he had made during
his stay in America.
Owing to the disturbances he had the greatest difficulty in obtaining
the necessary passports. At last, however, he succeeded, and set off for
Vera Cruz with his wife and younger daughter Pauline, who was now seven
years old.
He was provided with a guard of soldiers, which, however, proved to be
too weak, or, what is far more likely, too faithless, to protect his
goods. At a place called Tepeyagualo, in the valley of Rio Frio, the
convoy was attacked by brigands, and he himself obliged to lie flat on
his face while his baggage was plundered of a thousand ounces of
gold--the savings of two and a half years' work. Not only this, but the
men seized everything else which was of value: in fact, he was left with
practically nothing save a small sum of money which he was carrying in a
belt around his body.
After this disastrous experience Garcia and his family made their way to
the coast, embarked at Vera Cruz, and finally arrived in Paris, without
any financial result to show for all the time they had spent in America.
The blow of losing £6000 in cash and all his properties affected him
less than most men: his disregard for money and his love of work for
its own sake were a byword among his friends.
Upon his return the elder Garcia made a few appearances at the Théâtre
Italien in "Don Giovanni" and "Il Barbiere." His voice, however, was no
longer what it had been. He was warmly welcomed by his old admirers; but
these quickly perceived that his travels and misfortune, if not the
advance of age, had much impaired his powers. He himself realised the
change, and almost at once retired from the operatic stage, being in his
fifty-fifth year, and devoted himself exclusively to the teaching which
he had already started in Paris before leaving for America.
Among those who studied under him one may recall Mmes. Ruiz-Garcia,
Rimbault, Favelli, and the Countess Merlin, who in later years was to
publish a life of Maria Malibran, which can be looked on as little more
than a fairy romance woven round a fascinating personality. Then there
was Mme. Meric-Lalande, a brilliant stage soprano, who came to him as a
natural singer of light opera, and after receiving some stricter
training from the old teacher, was highly successful in Vienna, Paris,
and the principal opera houses of Italy.
Of the men, Jean Geraldy is deserving of mention, since he afterwards
became well known both as vocalist in the operas of Rossini and as a
composer of many popular songs and operettas.
But of all the elder Garcia's pupils the tenor Nourrit was by far the
greatest. It was for him that Rossini wrote the part of Arnold in
"William Tell," and Meyerbeer the parts of Roberto in "Robert le Diable"
and of Raoul in "The Huguenots"; while he also created the parts of
Masaniello, and of Eleazar in Halévy's "La Juive."
Nourrit commenced his studies before the elder Garcia set out on the
American trip. When the teacher returned in 1829, his old pupil, who had
now been leading tenor at the opera for four years, came to resume
lessons. Of these Mme. Pauline Viardot still has a strong recollection.
She was then a child not yet ten years old, but, in spite of this fact,
used to assist her father by playing for him when he gave his lessons.
When, therefore, among the others, Adolph Nourrit came to the house, she
often used to accompany him at the piano at the lessons,--an experience
which she still recalls with the greatest delight.
Of her many memories of that time none is more interesting than the fact
that she read off with Nourrit the first melodies of Schubert which
arrived in Paris, and of which theirs was the only copy in the city.
Nourrit's end was a sad one. After having been leading tenor for many
years, he resigned eventually because Duprez was associated with him for
the interpretation of the principal _rôles_; and this fancied slight so
preyed on his spirits that at last, after singing at a benefit concert
at Naples, he threw himself out of the window and perished miserably.
While Garcia _père_ was giving lessons to his pupils, he would compose
at the side of the piano delightful airs which, in the moments when the
pupils were resting their voices, he would give his daughter to play at
the piano. Moreover, he used to write for the use of his little Pauline
many excellent studies; for she had been gently using her voice under
his guidance since she had been but four years old. One of these studies
commenced with a shake on the words "Aspri rimorsi atroci; figli del
fallo mio." And while uttering the phrase he would make her throw
herself completely into the feeling of the words, as well as into the
vocal rendering of the music.
As a teacher the elder Garcia was strict and vigorous, a man of rugged
discipline, so that the musical training which he gave his children was
of the most rigid and thoroughgoing type.
Something of this has been already alluded to in setting down the
experience of Manuel's early studies. There is, further, a well-known
story, doubtless authentic, of a stranger passing near their house in
Paris, and hearing sobs and objurgations proceeding from within. He at
once inquired what was the meaning of these noises, and was answered,
"Ce n'est rien. C'est Monsieur Garcia, qui fait chanter ses
demoiselles." However that may be, there can be no question of the
excellent results of his teaching.
As regards the accusations of violence, strictness, and tyranny which
were brought against him, Madame Viardot asserts that he was much
calumniated both as a father and as a man. "How often," she says, "have
I heard my sister Maria remark, 'Si mon père n'avait pas été si sévère
avec moi, je n'aurais rien fait de bon; j'étais paresseuse et
indocile.' As for myself," she adds, "I never saw my father lose his
patience with me while he taught me the solfège, music and singing."
When Manuel Garcia returned to France after his _début_ at Naples, he
did not immediately begin teaching at the vocal conservatoire which his
father had started. His predilections had always been scientific, and he
was passionately fond of all such studies, but specially of anatomy and
all that had to do with the human body. On his arrival he was suddenly
seized with an idea that he would prefer a seafaring life, and without
thinking the matter over twice he resolved to become an officer in the
French mercantile marine. With this object in view he began the study of
astronomy and navigation, and pursued the work with so much diligence
that he obtained a post on a ship. He was, in fact, on the point of
going on board to take up this new career when his mother and sisters
besought him with tears and supplications to relinquish his intentions.
So ardently did they implore him, that when actually starting he was
overcome with emotion and gave way to their entreaties.
Upon this he settled down with his parents in the Rue des Trois Frères
in Montmartre, and was of great assistance in helping the elder Garcia
to give lessons at the vocal conservatoire. The hall porter of their
house was no less a person than the father of Henry Mürger! Manuel often
used to catch up the boy Henry in his arms and kiss him as he ran about
the passages. "Little Mürger was a most charming child," recalls Mme.
Viardot, "full of fun and the pet of the house. At that time he was
winning prizes at school, and used to arrive home with his arms full of
them. Perhaps he was rather ashamed of his origin, for in the day of his
success he never came to see us. We should have been so happy if he
had."
And what a day of success it was! After having commenced as a notary's
clerk, he gave himself to literature, and led the life of privation and
adventure described in his first and best novel, 'Scènes de la Vie de
Bohème,' published in the year when Manuel Garcia was celebrating his
fortieth birthday. During Mürger's later years his popularity was secure
and every journal open to him, but he wrote slowly and fitfully in the
intervals of dissipation, and died in a Paris hospital over forty-five
years ago.
Unhappily Manuel with his nature found, on settling down in Paris with
his parents, that the somewhat overbearing manner of his father was
difficult to get on with, considering that he himself was now
twenty-five years of age.
At last, after a few months, he made up his mind that it would be best
to absent himself from Paris for a time, in the hopes that this might
result in a pleasanter state of things on his return.
It happened that the turn which events took in Algiers brought an
opportunity for carrying out this desire. A dispute arose about the
payment of seven million francs,--a debt incurred by France in the
Egyptian expedition. Of this sum 4-1/2 millions had been paid, but the
balance remained unsettled till certain counter-claims could be
adjusted.
"After a tedious delay, Hassein, the Dey of Algiers, the principal
creditor, became impatient,"--I quote from Dr Brewer--"and demanded
immediate payment. To this request no answer was vouchsafed; and the
next time the French consul presented himself at court Hassein asked him
why his master had not replied to his letter. The consul haughtily
replied, 'The King of France holds no correspondence with the Dey of
Algiers'; upon which the governor struck him across the face and
fiercely abused the king.
"An insult like this could not, of course, be overlooked; and it was at
once decided by the French Government that a squadron should be sent to
receive the consul on board, and revenge the insult."
As soon as this news became known Manuel talked the matter over with his
sister, Maria Malibran, and through her influence with the
Commander-in-chief he was enabled to obtain an appointment in the
commissariat of the army which was to accompany the expedition.
Accordingly he embarked at Toulon on May 11, 1830, and took part in the
severe conflicts which ended in less than two months with the
bombardment of Algiers and its surrender to the French armament under
Bourmont and Duperré, the deposition of the Dey, and the total overthrow
of the barbarian government. After the fall of Algiers the young
Spaniard returned to Paris to find the capital in a state of uproar.
On July 26 the obnoxious ordinances were made known regarding the press
and the reconstruction of the Chamber of Deputies, which had been
dissolved in May. This at once let loose the furies of revolution, and
hostilities were commenced with the raising of barricades on the very
next day. Repeated conflicts took place between the army and the police,
the latter ultimately aided by the National Guard. On the last day of
the month Charles X. retired to Rambouillet, and the flight of the
Ministry took place. On August 2 Charles abdicated, and five days later
the Duke of Orleans accepted the crown as Louis Philippe I.
These events were quickly followed by the publication of the
Constitutional Charter of July and the retirement of the ex-King to
England. The closing scene of the drama took place in the December of
the year, when Polignac and the other Ministers, who had been members of
the administration of 1829, were tried and sentenced to life-long
imprisonment.
During the last months of 1830 Manuel Garcia attached himself to the
military hospitals. His reason for taking this step was that he had
determined to go through a course of preliminary study in the scientific
side of singing before devoting his life to the career of teaching. At
the hospitals he took up medicine and some specialised studies which
embraced the physiology of everything appertaining to the voice and the
larynx, for he had already perceived the importance of physiology as an
aid to the rational development of the voice. His labours were crowned
with success, and contributed much to the determination of the exact
anatomy of the vocal cords.
During this time he used to carry home in his pockets the most
extraordinary things from his anatomy class. Madame Viardot speaks of it
thus:--
"What do you think he brought? You would never guess. The throttles of
all kinds of animals,--chickens, sheep, and cows. You would imagine that
these would have disgusted me. But it was not so. He would give me a
pair of bellows, which I would insert in these windpipes, one after
another, and blow hard. Heavens! what extraordinary sounds they used to
emit. The chickens' throttles would cluck, the sheep's would bleat, and
the bulls' would roar, almost like life."
At the remembrance of these rather gruesome incidents Madame Viardot
laughs, much in the spirit, one may suppose, of the delicate Spanish
beauty who applauds the thrusts of the matador at a bull-fight.
With the end of the year 1830 we find the first portion of Manuel
Garcia's life brought to a close, the period of preparation. During the
first twenty-five years we have found him brought up in music, learning
the old Italian method of singing from his father and Zingarelli, with a
few lessons from Ansani; while harmony he has studied under Fétis. He
has acquired practical knowledge as an actor and singer upon stage and
concert platform: he has heard nearly all the greatest operatic artists
in Italy, France, and England: he has already had some experience of
teaching, and is well acquainted with the lines followed by the famous
maestri who have gone before him. Moreover, when he makes his regular
start as _professeur de chant_ in 1831, he is able to apply his medical
knowledge to the greatest advantage.
With all these advantages, added to a fine intellect, intuitive
perception, and extraordinary patience, what wonder that when once he
embarks on his career as a singing-master he never again looks back, but
speedily establishes himself as a scientific teacher, with a reputation
unequalled by any of his contemporaries?
SECOND PERIOD
PARIS
(1830-1848)