ROYAL ITALIAN OPERA LIQUIDATES--GETTING PATTI OFF THE SHIP--HENRY WARD
BEECHER'S CIDER--PATTI'S SILVER WEDDING--A PATTI PROGRAMME OF 1855--A
BLACK CONCERT.
After my departure the Directors of the Metropolitan Opera-house,
convinced that they could make no arrangement with me in consequence of
my engagement with the Directors of the Academy, which had still a year
to run, took further steps towards securing Mr. Gye as manager; and it
was proposed that he should open his season at the new theatre on
November 10th, to continue for thirteen weeks. The negotiations were
conducted on his behalf by his agent, Mr. Lavine. The stockholders of
the Metropolitan Opera reserving seventy of the best boxes for
themselves, Mr. Gye was to have the house rent free, together with a
guarantee against loss, and L200 for each performance. This sum was
ultimately raised to L300 for each performance.
Seeing another opera looming in the distance, I at once set to work by
re-engaging Mdme. Adelina Patti on her own terms of L1,000 a night;
likewise Mdme. Scalchi, Galassi, and Arditi, thus forming a very strong
nucleus to start with. I afterwards learned that Gye had been making
overtures to Mdme. Patti, Galassi, and others; but fortunately they had
already signed contracts with me.
The Metropolitan Directors next dispatched their able attorney, George
L. Rives, to Europe for the purpose of completing the arrangements with
Gye.
Shortly after my return to London I learned that the Royal Italian
Opera, Limited, had gone into liquidation. This, of course, snuffed out
at once Gye's contract with the Metropolitan Opera Directors, who being
now left without an impresario contemplated diverting the grand building
to other purposes. They ultimately, however, resolved to try a German
Opera rather than have no Opera at all, and they dispatched their
energetic secretary, Mr. Stanton, to Europe for the purpose of engaging
artists, Dr. Damrosch being appointed orchestral conductor.
During the summer months I visited various parts of the Continent for
the purpose of obtaining the best talent I could find for the coming
contest. Various meetings were held by my Academy stockholders in New
York when they at length began to realize the justice of my demands for
assistance, as it could not be expected that 200 of the best seats, for
which no payment whatever was to be made, should be occupied for
listening to Mdme. Patti, who was receiving L1,000 a night. After
various meetings, a resolution was passed by which they agreed to give
me a nightly assessment of four dollars a seat for the proscenium boxes,
three for the other boxes, and two for the seats elsewhere, which during
my season it was estimated by them would produce some L6,000; and a
cable was sent me to that effect in order to obviate the trouble we had
all fallen into in the previous year. At the same time the Directors
passed a resolution to keep the theatre closed in case I did not accept
their promised support.
About this time a young singer named Emma Nevada was attracting
considerable attention in Europe, and after some difficulty I succeeded
in adding her name to my already powerful list, which, however, did not
include that of Madame Christine Nilsson, as I had contemplated; that
lady having cried off at the last moment without any valid reason, after
I had accepted all her conditions.
In due course the New York prospectus was issued, and a very fine
subscription was the result, the demand for boxes being particularly
brisk.
We sailed from Liverpool, and arrived in New York on the 1st November. I
had a few hours only to give preliminary instruction regarding the
commencement of my season when a telegram arrived to the effect that
the _Oregon_, with Mdme. Patti on board, had been sighted off Fire
Island.
I at once ordered the military band to go down to the _Blackbird_; but
as no further telegram reached me from Sandy Hook they went on shore for
beer. It was late in the evening when the expected telegram arrived, and
the vessel had to start immediately. The only musicians I had now on
board wherewith to serenade Patti were a clarinet, a trombone, and a big
drum.
Stretched from mast to mast was a huge tarpaulin with the word
"Welcome!" on both sides, in letters three feet long. In the lower bay
of quarantine I met the _Oregon_, and as my steamer came alongside a
small group appeared, and I at once recognized Patti. Handkerchiefs were
waved, and three cheers given by my friends on board the _Blackbird_. We
had a ladder with us which just reached from the top of our paddle-box
to about two feet below the sides of the vessel. I was on the point of
clambering up when the captain shrieked out--
"Patti cannot be taken out to-night without a permission from the
health-officer."
I at once tendered a permit I had obtained from the barge office,
allowing Patti to go on shore. I passed it to the captain, who, on
reading it, said--
"That is all right, but the health-officer must give me a permit before
I will let her out of the ship."
I, therefore, had to steam my vessel to quarantine, and it was nearly
two hours before I could find health-officer Smith, through whose kind
assistance I obtained a permit to take Patti off the ship. On my
returning the whole of the passengers gave three hearty cheers as Patti
was let over the side into my boat, followed by Nicolini, the maid, the
parrot, and the diamonds.
Mdme. Patti, Nicolini, the maid, the parrot, and the diamonds duly
arrived at the Windsor Hotel that evening, and the chief of the party
was, of course, interviewed forthwith as to how she had passed the
previous summer.
"Delightfully," was the _Diva's_ reply. "We had lots of Americans
stopping with us at my Castle, and the place grows dearer and dearer to
me every year."
She was very much grieved to hear of poor Brignoli's death, which had
occurred the previous day, and she sent a magnificent wreath to be
placed on his coffin. I attended the funeral on behalf of my Company.
When the arrival of Patti became known in New York great excitement
prevailed. The day afterwards the steamship _Lessing_ arrived from
Hamburg with an entire German Company for the Metropolitan Opera-house.
I now felt quite at my ease, having no anxiety whatever as to the result
of their season.
I opened brilliantly on the Monday following the arrival of Patti, with
her inimitable performance of "Rosina" in _Il Barbiere_.
On Sunday I was invited by Henry Ward Beecher to visit Plymouth Church,
at Brooklyn. On this occasion a number of railway guards and pointsmen
had been asked; and never shall I forget the sermon he preached to them.
It was magnificent, and in every way impressive. At the conclusion of
the service I was invited to Mr. Beecher's house to luncheon, where
there were some twenty of his relations and intimate friends present.
As the water came round he may possibly have observed a distressed look
on my countenance. But certain it is that within a few minutes
afterwards he said he thought he had a bottle of cider which I might
prefer to the beverage then before us; and, although it was labelled
cider, I discovered that the bottle contained something resembling
excellent old "Pommery _sec_."
Two nights afterwards I invited him to my box at the opera, scarcely
hoping that he would come; but shortly after the overture had commenced
I was surprised to find him sitting at my side. He remained there all
that evening, the eye of every one in the audience being fixed upon him.
Shortly afterwards my new prima donna, Mdlle. Emma Nevada, arrived, and
in due course made her first appearance, in _La Sonnambula_, when a
remarkable scene occurred. At the close of the performance the audience,
instead of rushing to the doors as usual, remained, rose to their feet,
and called the prima donna three times before the curtain.
This was followed by a production of Gounod's _Mirella_, in which Emma
Nevada again appeared with brilliant success; and afterwards by _La
Gazza Ladra_, with Patti and Scalchi in the leading _roles_.
On the 24th November, it being the 25th anniversary of Patti's first
appearance at the New York Academy of Music, great preparations were
made for the purpose of celebrating her silver wedding with the New York
operatic stage.
The opera selected for the occasion was _Lucia di Lammermoor_, being the
same work in which she had appeared exactly 25 years previously on the
Academy boards. Patti's first "Edgardo," Signor Brignoli, was to have
appeared with her. But his sudden death necessitated an alteration of
the original programme, and it was decided to give an opera which the
_Diva_ had never sung in America, namely, _Martha_.
The following account of Patti's _debut_, which appeared in the New York
Herald, of November 25th, 1859, will be read with interest:--
"DEBUT OF MISS PATTI.
"A young lady, not yet seventeen, almost an American by birth, having
arrived here when an infant, belonging to an Italian family which has
been fruitful of good artists, sang last night the favourite _role_ of
_debutantes_, 'Lucia di Lammermoor.'
"Whether it is from the natural sympathy with the forlorn _fiancee_ of
the Master of Ravenswood which is infused into the female breast with
Donizetti's tender music, or from a clever inspiration that to be
unhappy and pretty is a sure passport to the affections of an audience,
we cannot say. Certain it is, however, that the aspirants for the
ovations, the triumphs, the glories, that await a successful prima donna
almost always select this opera for their preliminary dash at the
laurels. The music affords a fine opportunity to show the quality and
cultivation of the soprano voice, and it is so familiar as to provoke
comparison with first-rate artists, and provoke the severest criticisms
by the most rigid recognized tests.
"All these were duly and thoroughly applied to Miss Adelina Patti a day
or two since by a very critical audience at what was called a show
rehearsal. It was then ascertained that Miss Patti had a fine voice, and
that she knew how to sing. The artists and amateurs were in raptures.
This was a certificate to the public, who do not nowadays put their
faith in managers' announcements, unless they are endorsed. With an
off-night and an opera worn to bits, the public interest in Miss Patti's
_debut_ was so great as to bring together a very large audience, rather
more popular than usual, but still numbering the best-known _habitues_
and most critical amateurs. The _debutante_ was received politely but
cordially--an indication that there was not a strong claque, which was
a relief. Her appearance was that of a very young lady, _petite_ and
interesting, with just a tinge of schoolroom in her manner. She was
apparently self-possessed, but not self-assured.
"After the first few bars of recitative, she launched boldly into the
cavatina--one of the most difficult pieces of the opera. This she sang
perfectly, displaying a thorough Italian method and a high soprano
voice, fresh and full and even throughout. In the succeeding cabaletta,
which was brilliantly executed, Miss Patti took the high note E flat,
above the line, with the greatest ease. In this cabaletta we noticed a
tendency to show off vocal gifts which may be just a little out of
place. The introduction of variations not written by the composer is
only pardonable in an artist who has already assured her position. In
the duet with the tenor (Brignoli) and with the baritone (Ferri), and
the mad scene, Miss Patti sang with sympathetic tenderness--a rare gift
in one so young--and increased the enthusiasm of the audience to a
positive _furore_, which was demonstrated in the usual way--recalls,
bouquets, wreaths, etc., etc. The horticultural business was more
extensive than usual.
"Of course we speak to-day only of Miss Patti's qualifications as a
singer. Acting she has yet to learn; but artists, like poets, are born,
not made. The mere _convenances_ of the stage will come of themselves.
She is already pretty well acquainted with them. So far as her voice,
skill, method, and execution are concerned, we are simply recording the
unanimous opinion of the public when we pronounce the _debut_ of Miss
Patti a grand success.
"Everyone predicts a career for this young artist, and who knows but the
managers may find in her their long-looked-for sensation?"
On repeating the character two days afterwards, said the same paper,
"the prima donna was twice called before the curtain, and the stage was
literally covered with the flowers thrown before her. The success of
this artist, educated and reared amongst us, with all the vocal gifts of
an Italian, and all the cleverness of a Yankee girl, is made. Everybody
talked of her, wondering who and what she is, where she has been, and so
on.
"She was brought out at the Academy to save the season. The manager had
a good Company, plenty of fine artists, everything required for fine
performances, but the great outside public, always thirsting for
something new, wanted a sensation.
"They have it in 'Little Patti,' who not only pleases the connoisseurs
and is the special favourite of the fair, but who has all the material
for a great popular pet."
The jubilee performance was a brilliant success. At the close of the
opera, after the usual number of recalls, accompanied by bouquets, etc.,
the curtain rose, and at the rear of the stage was an immense American
eagle about to soar, beneath which was the word "Patti," and over it
"1859-1884." The band of the 7th Regiment approached the footlights,
and the musicians played a march that Cappa, the bandmaster, had
composed in honour of Mdme. Patti twenty-five years before. Patti walked
up to him, and said, with a choking voice: "I thank you for your
kindness from the bottom of my heart."
She was afterwards recalled innumerable times, and on reappearing she
brought on with her Mdme. Scalchi. At the close of the opera a carriage
with four milk-white steeds which I had arranged for was standing to
convey its precious burthen to her hotel. Following this we had 100
torch-bearers, for the most part admirers and supporters of the opera.
Mounted police were on each side of Patti's carriage. At the end of the
procession was a waggon full of people letting off Roman candles and
large basins of powder, which, when ignited, made the streets and sky
look most brilliant. The route was up Broadway to Twenty-third Street,
and thence up Madison Avenue to Patti's hotel.
I on this occasion was to have taken the command of the troops as
brigadier. My horse, however, never reached me. It was found impossible
to get it through the crowd. This did not prevent the illustrated papers
from representing me on horseback, and in a highly military attitude.
Later on two other bands arrived, and took their stations under Patti's
windows. This terminated the festivities in honour of the twenty-fifth
anniversary of her first appearance on the American operatic stage.
I may here mention that, as a matter of fact, Adelina Patti did not make
her first appearance on the American stage in 1859. I find, too, that
she sang at Niblo's Saloon in 1855, and subjoin the programme of one of
her concerts given in that year:--
GRAND VOCAL AND INSTRUMENTAL CONCERT,
IN AID OF THE
_Hebrew Benevolent Societies_,
AT NIBLO'S SALOON,
On Tuesday Evening, Feb. 27th, 1855.
* * *
The management announces that MRS. STUART, in consequence of the severe
indisposition of her mother, will not be able to fulfil her engagement
this evening; also, that MME. COMETANT cannot appear in consequence of
her severe indisposition. The management have much pleasure in
announcing that the services
of
SIGNORINA ADELINA PATTI
Have been secured, in connection with whom the following
artistes have volunteered:--
SIGNOR BERNARDI,
SIGNOR RAPETTI,
HERR CHARLES WELS,
T. FRANKLIN BASSFORD,
MR. SANDERSON.
* * *
PROGRAMME:
PART FIRST.
1 Grand Duet, on "William Tell," Piano and Violin--Mr. Rapetti
and Mr. Wels _Osborne_ and _De Beriot_
2 Grand Cavatina, of Norma, Casta Diva--Signa. Adelina Patti _Bellini_
3 "La Chasse du jeune Henri," Overture for Piano--Mr. Bassford _Gottschalk_
4 Aria, from "Don Sebastian"--Sig. Bernardi _Donizetti_
5 Ballad, "Home, Sweet Home"--Signa. Adelina Patti _Bishop_
6 Grand Duo concertando on airs of "Norma," for Two Pianos--Messrs.
Wels and Bassford _Wels_
* * *
PART SECOND.
1 "Coronation March," from the Prophet, arranged and performed
by Mr. Sanderson, his First Appearance in public _Meyerbeer_
2 Aria, from the Opera _Le Chalet_--Sig. Bernardi _Adam_
3 {a. The Eolian Harp} Composed and performed by _C. Wels_
{b. Triumphal March}
4 Jenny Lind's Echo Song--Signa. Adelina Patti _Eckert_
5 Violin Solo, from _La Sonnambula_ _Sig. Rapetti_
6 Grand Fantasia, for Two Pianos, performed by Messrs. Bassford
and Wels, composed by _T. Franklin Bassford_
* * *
Conductor Mr. Charles Wels.
* * *
The Two Grand Prize Pianos, used on this occasion, are from
the Music Stores of Messrs. Bassford and Brower, and are for sale
at 603, Broadway.
Doors open at 7 o'clock. To commence at 8 o'clock.
TICKETS ONE DOLLAR
To be had at the Music Store of Messrs. Hall and Son, Bassford
and Brower, 603, Broadway, and Scharfenberg and Louis, and at
the door.
Going still further back, I may add that Adelina Patti made her very
first appearance on the operatic stage in 1850, at Tripler's Hall, New
York; where she sang and acted both. She was seven years old at the
time.
The season continued until the latter part of December.
On my applying to the Academy Directors for an instalment of the L6,000
which had been promised me in accordance with the assessment made, I was
informed by the Secretary that the assessment would only be allowed to
me on Patti nights. This reduced my L6,000 by three-fourths, I having
based my calculations on the amount that had been cabled to me. I in no
way blame the stockholders, who had been most heavily assessed, and had
paid up without a murmur. Some three-fourths of their contributions had
been used for other purposes, including the decoration of the theatre.
Finding the President of the Academy Directors obdurate, I at once
announced the farewell performances of Mdme. Adelina Patti, and shortly
afterwards made arrangements for her appearance, together with that of
the whole Company, at Boston, where I opened towards the close of
December, glad, indeed, to get away from the Academy.
Our success in Boston was very great. Amongst the productions was
Gounod's _Mirella_, in which Nevada, Scalchi, De Anna, and other artists
appeared. Afterwards, of course, came _Semiramide_, with Patti and
Scalchi; one of our surest cards.
We remained at Boston two weeks, concluding, what was then supposed to
be Patti's positive farewell to the Bostonians, with a magnificent
performance of _Linda di Chamouni_.
At the conclusion of a representation of _Mirella_ given the following
morning we started for Philadelphia, where we had a very remunerative
season, the house being crowded nightly to the ceiling.
The American theatres are much better kept than ours. They are dusted
and cleaned every day, so that a lady in America can go to the play or
to the opera without the least danger of getting her dress spoiled;
which in England, if the dress be of delicate material, she scarcely can
do. The American theatres, moreover, are beautifully warmed during the
winter months; so that the risk of bronchitis and inflammation of the
lungs to which the enterprising theatre-goers of our own country are
exposed has in the United States no existence.
Apart from the risk of getting her dress injured by dirt or dust, a lady
has no inducement to wear a handsome _toilette_ at a London Opera-house,
where the high-fronted boxes with their ridiculous curtains prevent the
dresses from being seen. At the American Opera-houses the boxes are not
constructed in the Italian, but in the French style. They are open in
front, that is to say, so that those who occupy them can not only see,
but be seen. As for the curtains, they are neither a French nor an
Italian, but exclusively an English peculiarity. What possible use can
they serve? They have absolutely no effect but to deaden the sound.
An interesting feature in every American Opera-house is the young
ladies' box--a sort of omnibus box to which young ladies alone
subscribe. The gentlemen who are privileged to visit them in the course
of the evening are also allowed full liberty to supply them with
bouquets, which are always of the most delicate and most expensive
kind--costing in winter from L4 to L5 a-piece. The front of the young
ladies' box is kept constantly furnished with the most beautiful flowers
that love can suggest or money buy; and if, as it frequently does, it
occurs to one or more of the young ladies to throw a few of the bouquets
to the singers on the stage, their friends and admirers are expected at
once to fill up the gaps.
Whilst at Philadelphia the head-waiter of the hotel informed me that a
very grand concert was to take place, for which it was difficult to
obtain tickets, but that a prima donna would sing there whom he
considered worthy of my attention. In due course he got me a ticket, and
I attended the concert, which was held in one of the extreme quarters of
the city. On entering I was quite surprised to find an audience of some
1,500 or 2,000, who were all black, I being the only white man present.
I must say I was amply repaid for the trouble I had taken, as the music
was all of the first order.
In the course of the concert the prima donna appeared, gorgeously
attired in a white satin dress, with feathers in her hair, and a
magnificent diamond necklace and earrings. She moreover wore white kid
gloves, which nearly went to the full extent of her arm, leaving but a
small space of some four inches between her sleeve and the top of her
glove. Her skin being black, formed, of course, an extraordinary
contrast with the white kid.
She sang the Shadow Song from _Dinorah_ delightfully, and in reply to a
general encore gave the valse from the _Romeo and Juliet_ of Gounod. In
fact no better singing have I heard. The prima donna rejoiced in the
name of Mdlle. Selika. Shortly afterwards a young baritone appeared and
sang the "Bellringer," so as to remind me forcibly of Santley in his
best days. I immediately resolved upon offering him an engagement to
appear at the Opera-house in London as "Renato" in _Un Ballo in
Maschera_, whom Verdi, in one version of the opera, intended to be a
coloured man; afterwards to perform "Nelusko" in _L'Africaine_, and
"Amonasro" in _Aida_. Feeling certain of his success, I intended
painting him white for the other operas.
After some negotiation I was unable to complete the arrangement. He
preferred to remain a star where he was.
After the final performance of our Philadelphia engagement we started at
about 3 a.m. with the whole Company for New Orleans, our special train
being timed to reach that city by the following Sunday. On arriving at
Louisville the gauge was broken, and the track became narrow gauge,
which necessitated the slinging of every one of my grand carriages to
have new trollies put under them to fit the smaller gauge. This was so
skilfully managed whilst the artists were asleep that they were unaware
of the operation.