MY COVENT GARDEN SEASON--PATTI'S LONDON SILVER WEDDING--RETURN TO NEW
YORK--DIFFICULTIES BEGIN--RIVAL REHEARSALS--GRAND OPERA AND OPERETTA.
On my return to London I opened Covent Garden for a series of Italian
Opera performances, in which Mdme. Patti was the principal prima donna,
and but for Mdme. Patti's twice falling ill should certainly have made
some money.
On the opening night I was notified as late as seven o'clock that Mdme.
Patti would be unable to appear in "La Traviata," having taken a severe
cold. This was a dreadful blow to me. On inquiry I found that madame's
indisposition arose from a morning drive she had taken on the previous
day over some Welsh mountains during the journey from her castle to the
station. Signor Nicolini, either from fear of the bill at the Midland
Hotel, where they were to put up, or from some uncontrollable desire to
catch an extra salmon, had exposed _la Diva_ to the early morning air;
an act of imprudence which cost me something like a thousand pounds.
The season nevertheless promised to be unusually successful. But within
a few days I met with another misfortune, _la Diva_ having taken a
second cold, of which I was not notified until seven p.m. There was
scarcely time to make the news public before the carriages were already
setting down their distinguished burdens before the Opera vestibule.
I had no alternative but to introduce a young singer who, at a moment's
notice, undertook the difficult part of "Lucia di Lammermoor." I allude
to the Swedish vocalist, Mdlle. Fohstroem, who afterwards made a very
successful career under my management. Of course, on this occasion she
was heavily handicapped, as people had gone to the theatre only for the
purpose of hearing Mdme. Patti; whose two disappointments caused me
considerable loss.
I ended my season about the third week of July, when Mdme. Patti
appeared as "Leonora" in _Il Trovatore_, renewing the success which
always attends her in that familiar impersonation.
On this night, the final one of the season, Mdme. Patti concluded her
25th consecutive annual engagement at Covent Garden. Numbers of her
admirers formed themselves into a committee for the purpose of
celebrating the event by presenting her with a suitable memorial, which
consisted of a very valuable diamond bracelet. At the termination of
the opera I presented myself to the public, saying--
"Ladies and Gentlemen,--Whilst the necessary preparations are being made
behind the curtain for the performance of 'God Save the Queen,' I crave
your attention for a very few moments. My first reason for doing so is,
that I desire to tender my sincere thanks for the liberal support you
have accorded my humble efforts to preserve the existence of Italian
Opera in this country. When I state to you that I had barely ten days to
form my present Company, including the orchestra and chorus, I feel sure
you will readily overlook any shortcomings which may have occurred
during the past season. My second reason is to solicit your kind consent
to present to Mdme. Patti in the name of the Committee a testimonial to
commemorate her twenty-fifth consecutive season on the boards of this
theatre."
The curtain then rose, and disclosed Mdme. Adelina Patti ready to sing
the National Anthem, supported by the band of the Grenadier Guards, in
addition to the band and orchestra of the Royal Italian Opera. This was
the moment chosen for the presentation of a superb diamond bracelet,
subscribed for by admirers of the heroine of the occasion. Its
presentation was preceded by my delivery of the following address from
the Committee of the Patti Testimonial Fund:--
"Madame Adelina Patti,--You complete this evening your 25th annual
engagement at the theatre which had the honour of introducing you, when
you were still a child, to the public of England, and indirectly,
therefore, to that of Europe and the whole civilized world. There has
been no example in the history of the lyric drama of such
long-continued, never interrupted, always triumphant success on the
boards of the same theatre; and a number of your most earnest admirers
have decided not to let the occasion pass without offering you their
heartfelt congratulations. Many of them have watched with the deepest
interest an artistic career which, beginning in the spring of 1861,
became year after year more brilliant, until during the season which
terminates to-night the last possible point of perfection seems to have
been reached. You have been connected with the Royal Italian Opera
uninterruptedly throughout your long and brilliant career. During the
winter months you have visited, and have been received with enthusiasm
at Paris, St. Petersburg, Berlin, Vienna, Madrid, and all the principal
cities of Italy and the United States. But you have allowed nothing to
prevent you from returning every summer to the scene of your earliest
triumphs; and now that you have completed your twenty-fifth season in
London, your friends feel that the interesting occasion must not be
suffered to pass without due commemoration. We beg you, therefore, to
accept from us, in the spirit in which it is offered, the token of
esteem and admiration which we have now the honour of presenting to
you."
The National Anthem, which followed, was received with loyal cheers, and
the season terminated brilliantly.
After the performance an extraordinary scene took place outside the
theatre. A band and a number of torch-bearers had assembled at the
northern entrance in Hart Street, awaiting Mdme. Patti's departure. When
she stepped into her carriage it was headed by the bearers of the
lighted torches; and as the carriage left the band struck up. An
enormous crowd very soon gathered; and it gradually increased in numbers
as the procession moved on. The carriage was surrounded by police, and
the procession, headed by the band, consisted of about a dozen carriages
and cabs, the rear being brought up by a vehicle on which several men
were standing and holding limelights, which threw their coloured glare
upon the growing crowd, and made the whole as visible as in the daytime.
The noise of the band and of the shouting and occasional singing of the
very motley gathering, which was reinforced by all sorts and conditions
of persons as it went along, awakened the inhabitants throughout the
whole of the long route, which was as follows: Endell Street, Bloomsbury
Street, across New Oxford Street and Great Russell Street, down
Charlotte Street, through Bedford Square by Gower Street, along Keppel
Street, Russell Square, Woburn Place, Tavistock Place, Marchmont
Street, Burton Crescent, Malleton Place to Euston road, halting at the
Midland Railway Hotel, where Mdme. Patti was staying. Along the whole of
this distance the scene was extraordinary. The noise, and the glare of
the coloured lights, and the cracking of fireworks which were let off
every now and then, aroused men, women, and children from their beds,
and scarcely a house but had a window or door open, whence peered forth,
to witness the spectacle, persons, many of whom, as was apparent from
their night-dresses, had been awakened from their sleep. Not only were
these disturbed, but a number of horses were greatly startled at the
unusual sound and noise. The procession, which left Hare Street just
before midnight, reached the Midland Hotel in about half an hour, almost
the whole distance having been traversed at a walking pace. When Mdme.
Patti reached the Hotel she was serenaded by the band for a time, and
more fireworks were let off. The great crowd which had assembled
remained in Euston Road outside the gates, which were closed immediately
after the carriages had passed through.
My season having thus terminated, I at once started for the Continent in
order to secure new talent for the forthcoming American campaign.
For my New York season of 1885-6, after some considerable trouble, I
succeeded in forming what I considered a far more efficient Company than
I had had for the previous five years; except that the name of Adelina
Patti was not included, she having decided to remain at her castle to
take repose after her four years' hard work in America. I subjoin a copy
of the prospectus:--
"ACADEMY OF MUSIC, NEW YORK.
_Season_ 1885-86.
PRIME-DONNE--SOPRANI E CONTRALTI.
Madame Minnie Hauk, Madame Felia Litvinoff, Mdlle. Dotti, Mdlle. Marie
Engle, Madame Lilian Nordica, Mdlle. de Vigne, Mdlle. Bauermeister,
Madame Lablache, and Mdlle. Alma Fohstroem.
TENORI.
Signor Ravelli, Signor de Falco, Signor Bieletto, Signor Rinaldini, and
Signor Giannini.
BARITONI.
Signor de Anna and Signor Del Puente.
BASSI.
Signor Cherubini, Signor de Vaschetti, Signor Vetta, and Signor
Caracciolo.
DIRECTOR OF THE MUSIC AND CONDUCTOR.
Signor Arditi.
PREMIERE DANSEUSE.
Madame Malvina Cavalazzi.
The following were the promised productions:--
For the first time in New York Massenet's famous opera MANON: words by
MM. H. Meilhac and Ph. Gille. Mr. Mapleson has secured the sole right of
representation, for which M. Massenet has made several important
alterations and additions. "The Chevalier des Grieux," Signor Giannini;
"Lescaut," Signor Del Puente; "Guillot Morfontaine," Signor Rinaldini;
"The Count Des Grieux," Signor Cherubini; "De Bretigny," Signor
Caracciolo; "An Innkeeper," Signor de Vaschetti; "Attendant at the
Seminary of St. Sulpice," Signor Bieletto; "Poussette," Mdlle.
Bauermeister; "Javotte," Mdme. Lablache; "Rosette," Mdlle. de Vigne; and
"Manon," Mdme. Minnie Hauk. Gamblers, croupiers, guards, travellers,
townsfolk, lords, ladies, gentlemen, &c., &c. The action passes in 1721.
The first act in Amiens; the second, third, and fourth in Paris. The
last scene, the road to Havre.
Also Vincent Wallace's opera, MARITANA. For the first time on the
Italian stage, by special arrangement with the proprietors. The
recitatives by Signor Tito Mattei. "Don Caesar de Bazan," Signor Ravelli;
"The King," Signor Del Puente; "Don Jose," Signor De Anna; "Il
Marchese," Signor Caracciolo; "La Marchesa," Mdme. Lablache;
"Lazarillo," Mdlle. De Vigne; and "Maritana," Mdlle. Alma Fohstroem.
Mdme. Malvina Cavalazzi will dance the Saraband.
Likewise Auber's FRA DIAVOLO. "Fra Diavolo," Signor Ravelli; "Beppo,"
Signor Del Puente; "Giacomo," Signor Cherubini; "Lord Allcash," Signor
Caracciolo; "Lorenzo," Signor De Falco; "Lady Allcash," Mdme. Lablache;
and "Zerlina," Mdme. Alma Fohstroem.
Ambroise Thomas' opera, MIGNON, will be also presented. "Mignon," Mdme.
Minnie Hauk; "Wilhelm," Signor Del Falco; "Lothario," Signor Del Puente;
"Laertes," Signor Rinaldini; "Frederick," Mdlle. De Vigne; "Giarno,"
Signor Cherubini; "Antonio," Signor De Vaschetti; and "Filina," Mdlle.
Alma Fohstroem."
The list of singers, which I give above _in extenso_, would have done
honour to any theatre in Europe. But, alas! the magic name of Patti not
being included had at once the effect of damaging seriously the
subscription. In addition to this, a strong leaning showed itself on the
part of my New York supporters towards the German Opera at the
Metropolitan House; while a newly-formed craze had been developed for
Anglo-German Opera, or "American Opera," as it was denominated. The
prospectus of the latter setting it forth as a "national" affair,
everyone rushed in for it, and considerable sums of money were
subscribed. Its projectors rented the Academy of Music where I was
located. The upshot of it was that a considerable number of intrigues
were forthwith commenced for the purpose, if possible, of wiping me
entirely out. I will mention a few of them in order that the reader may
understand the position in which I was placed. Just prior to leaving
England, and after I had completed my Company, I was informed by the
Directors that I should be called upon to pay a heavy rental for the use
of the Academy, my tenancy, moreover, being limited to three evenings a
week and one _matinee_.
Having made all my engagements, I was, of course, at their mercy, and it
was with the greatest possible difficulty that I could even open my
season, as they began carpentering and hammering every time I attempted
a rehearsal. However, I succeeded in making a commencement on the 2nd of
November with a fine performance of CARMEN, cast as follows:--
"Don Jose," Signor Ravelli; "Escamillo (Toreador)," Signor Del Puente;
"Zuniga," Signor De Vaschetti; "Il Dancairo," Signor Caracciolo; "Il
Remendado," Signor Rinaldini; "Morales," Signor Bieletto; "Michaela,"
Mdlle. Dotti; "Paquita," Mdlle. Bauermeister; "Mercedes," Mdme.
Lablache; "Carmen" (a Gipsy), Mdme. Minnie Hauk.
The incidental divertissement supported by Mdme. Malvina Cavalazzi and
the Corps de Ballet.
This was followed by an excellent performance of _Trovatore_, in which
Mdlle. Litvinoff, a charming Russian soprano from the Paris Opera, made
a successful appearance, supported by Lablache, De Anna, the admirable
baritone, and Giannini, one of the favourite tenors of America, who
after the _Pira_ was encored and recalled four times in front of the
curtain. I afterwards introduced Mdlle. Alma Fohstroem, who had made such
a great success during my London season at the Royal Italian Opera,
Covent Garden.
On the occasion of my attempting a rehearsal two days afterwards of
_L'Africaine_, I found the stage built up with platforms to the height
of some 30 feet, which were occupied by full chorus and orchestra.
Remonstrance was useless, the Secretary of the Academy being "out of the
way," whilst the conductor, Mr. Theodore Thomas, was closed in and
wielding the _baton_ with such vigour that no one could approach him. I
said nothing, therefore. In spite of formidable obstacles, the march and
the procession in the fourth act of the opera had to be rehearsed under
the platform, and, as good luck would have it, the opera went
magnificently.
Rehearsals of _Manon_ had now to be attempted; but whenever a call was
put up, so surely would I find another call affixed by the rival Company
for the same hour; and as they employed some 120 choristers, who had
about an equal number of hangers-on in attendance on them, the reader
can guess in what a state of confusion the stage was.
The public has but little idea of the difficulties by which the career
of an opera manager is surrounded. An ordinary theatrical manager brings
out some trivial operetta which, thanks in a great measure to scenery,
upholstery, costumes, and a liberal display of the female form divine,
catches the taste of the public. The piece runs for hundreds of nights
without a change in the bill, the singers appearing night after night in
the same parts. The _maladie de larynx_, the _extinction de voix_ of
which leading opera-singers are sure now and then, with or without
reason, to complain, are unknown to these honest vocalists; and if by
chance one of them does fall ill there is always a substitute, known as
the "understudy," who is ready at any moment to supply the place of the
indisposed one.
The public, when it has once found its way to a theatre where a
successful operetta or _opera bouffe_ is being played, goes there night
after night for months, and sometimes years, at a time. The manager
probably complains of being terribly over-worked; but all he has really
to do is to see that some hundreds of pounds every week are duly paid in
to his account at the bank. To manage a theatre under such conditions is
as simple as selling Pears' Soap or Holloway's Pills.
The opera manager does not depend upon the ordinary public, but in a
great measure upon the public called fashionable. His prices are of
necessity exceptionally high; and his receipts are affected in a way
unknown to the ordinary theatrical manager. Court mourning, for
instance, will keep people away from the opera; whereas the
theatre-going public is scarcely affected by it. The bill, moreover, has
to be changed so frequently, so constantly, that it is impossible to
know from one day to another what the receipts are likely to be.
What would one give for a prima donna who, like Miss Ellen Terry or
Mrs. Kendal, would be ready to play every night? Or for a public who,
like the audiences at the St. James's Theatre and the Lyceum, would go
night after night for an indefinite time to see the same piece!
Finally, at a London Musical Theatre the prima donna of an Operetta
Company, if she receives L30 or L40 a week, boasts of it to her friends.
In an Italian Operatic Company a seconda donna paid at such rates would
conceal it from her enemies.