HOUSE DIVIDED AGAINST ITSELF--REV. H. HAWEIS ON WAGNER--H.R.H. AND
WOTAN--ELLE A DECHIRE MON GILET--ARDITI'S REMAINS--RETURN TO SAN
FRANCISCO.
To return to my difficulties at the New York Academy of Music, I was at
length compelled to rehearse where I could; one day at the Star Theatre,
another at Steinway Hall; a third at Tony Pastor's--a Variety Theatre
next door to the Academy.
In the midst of these difficulties I caught a severe cold and found
myself one morning speechless. I was surprised that afternoon to find a
bottle of unpleasant sticky-looking mixture left with the hall-keeper,
accompanied by a letter strongly recommending it from an admirer, who
had heard, with sorrow, that I had taken cold. Not liking the smell of
it, I sent it to an apothecary's for analysis, when it was found to
contain poison. Fortunately I had not tasted it.
Finding myself so heavily handicapped, I decided, pending the
preparation of _Manon_, to get ready Auber's _Fra Diavolo_, which had to
be rehearsed under the same difficulties. I, however, succeeded in
producing it on the 20th November, and an excellent performance we gave.
Fohstroem was charming as "Zerlina," and in the _roles_ of the two
brigands, Del Puente and Cherubini were simply excellent. I have seen
many performances of _Fra Diavolo_ in London with Tagliafice and
Capponi, whom I considered admirable; but on this occasion they were
fairly surpassed in the brigands' parts by Del Puente and Cherubini. The
part of "Fra Diavolo" was undertaken by Ravelli, and the scenery and
dresses were entirely new; the former having been painted on the roof of
the theatre, either late at night or early in the morning, with the
finishing touches put in on the Sundays.
The majority of my stockholders were careful to remain away, thus
leaving a very bare appearance in the proscenium boxes. They, too, were
siding with the enemy, or had not quite recovered from the three-dollar
assessment which they had been called upon to pay for Patti the previous
year. All these intrigues, however, marked in my mind the future
downfall of the Academy and its stockholders, the house being now
"divided against itself."
I will quote from the _Evening Post_, a paper hostile to my enterprise,
a criticism on the _Fra Diavolo_ performance:--
"_Fra Diavolo_, as presented at the Academy last evening, was by far the
most enjoyable performance given by Mr. Mapleson's Company for a long
time. There was an element of brightness and buoyancy in the acting and
singing of all the principals that admirably reflected the spirit of
Auber's brilliant and tuneful score. Next Monday, when the season of
German Opera opens at the Metropolitan with _Lohengrin_, there will be
doubtless hundreds who will be unable to secure seats. All such we
earnestly advise to proceed straight to the Academy next Monday, where
_Fra Diavolo_ will be repeated; not only because they cannot fail to
enjoy this performance, since it is an entertaining opera entertainingly
interpreted, but because Mr. Mapleson ought to be encouraged, when he
undertakes to vary his old repertory.... Ravelli sang admirably last
evening, and so did Fohstroem, who acted her part with much grace and
dainty _naivete_. Lablache, Del Puente, and Cherubini were unusually
good and amusing. The Academy, we repeat, ought to be crowded on Monday
next."
The production of _Fra Diavolo_ gave great satisfaction. Meanwhile, I
made another attempt to continue my rehearsals of _Manon_. Not only was
I excluded from the stage by the hammering and knocking of this new
Anglo-German Opera Company, but they turned one of the corners of the
foyer into a kind of business office, where their chatterings greatly
interrupted my rehearsals with pianoforte. These, at least, I thought,
might be managed within the theatre.
On ordering an orchestral rehearsal at Steinway Hall the following
morning I was surprised to find that Mr. Thomas and his orchestra had
actually gone there before me; and I had to dismiss my principal
singers, chorus, and orchestra for a couple of hours, when with
difficulty I was enabled to make a short rehearsal.
This went on day after day much to my annoyance. The Directors now began
troubling me to pay the rent; to which I replied that I would willingly
do so as soon as they performed their portion of the contract by
allowing me to rehearse.
About this time I was challenged to meet the Rev. H. Haweis, author of
_Music and Morals_, in a discussion on Wagner to be held at the
Nineteenth Century Club, at which a great number of the fashionables of
New York were present. After a brief introductory address, Mr.
Courtlaudt Palmer, President of the Club, introduced the Rev. Mr.
Haweis. His paper was a running series of anecdotes about Wagner, many
of them keeping the audience in a continual laugh. He then made an
onslaught on Italian Opera, assuring the audience that its days were
numbered, that Wagner for the future was the one composer of dramatic
music, and that every support should be given to his works now being
represented at the Metropolitan Opera-house.
When he had concluded I rose and said, "You have told us much about
Wagner, but nothing about his music. I trust I am not unparliamentary
when I say that if he is to be judged by the effect of his works on the
public--works that have now been for years before the world--Wagner is
an operatic failure, and that what the Rev. Mr. Haweis has told us about
his operas is sheer nonsense. One question he puts to me is: 'Did I ever
lose money by Wagner?' I say emphatically, 'yes.' I once brought over
all the material for his trilogy, the _Ring des Nibelungen_, from Munich
to London, where it was to have been produced (according to one of the
conditions of the agreement) under the supervision of Wagner himself.
The master did not come; but his work was produced under a conductor of
his own choice, and when the series had been twice given about six
thousand pounds had been lost.
"My time will come yet. I labour under many difficulties now; but when
New Yorkers are tired of backing German and American Opera, and will
only subsidize me with one per cent. of the millions they are going to
lose, I will return and give them Italian Opera."
I remember an interesting and, I must admit, not altogether inexact
account of my production of the _Ring des Nibelungen_ being given in the
_Musical Journal_ of New York.
"The series," wrote the American journalist, "was given under the
special patronage of the Prince of Wales, who loyally remained in his
box from the rising to the going down of the curtain, although he
confessed afterwards that it was the toughest work he had ever done in
his life. When Wotan came on the darkened stage and commenced his little
recitative to an accompaniment of discords the Prince took a doze, but
was awakened half-an-hour later by a double forte crash of the
orchestra, and, having fallen asleep again, was startled by another
climax fifteen minutes afterwards, when he found Wotan still at it,
singing against time. At the end of five weeks Mapleson's share of the
losses was 30,000 dollars; and the Prince told him confidentially that
if Wotan appeared in any more operas he should withdraw his patronage."
By dint of perseverance, together with the aid of various managers, I
succeeded in producing Wallace's _Maritana_. I first performed it over
in Brooklyn, where it met with the most unqualified success, nearly
every piece of music being encored, while Ravelli roused the audience to
frantic enthusiasm by a finely-delivered high C from the chest at the
conclusion of "Let me like a soldier fall." On a third encore he sang it
in English. I then returned to the New York Academy with this opera,
thus fulfilling the second of my promises in the prospectus.
It wanted now but nine days to the conclusion of my season, and as I had
given to the public, despite the grumbling and cavilling, all the
singers announced in my prospectus, I strained every nerve to produce
the last of my promised operas, which caused more difficulty than all
the others put together. This was _Manon_, which I succeeded in placing
on the stage with entirely new scenery and dresses, and with a
magnificent cast.
Glad indeed was I to shake the dust off my feet on leaving the Academy,
where during a course of some eight or nine years I had given the New
York public every available singer of eminence, including Adelina Patti,
Etelka Gerster, Albani, Fursch-Madi, Scalchi, Campanini, Aramburo,
Mierzwinski, Galassi, De Anna, Del Puente, Foli, and other celebrities.
I confess I was not chagrined when I gradually saw after a couple of
seasons had passed the downfall of the Anglo-German-American Opera
Company, which from the very beginning had failed to benefit musical art
in any way. Not a single work by an American composer was given, the
repertory being entirely made up of translations of German operas. I
also read without any deep regret of the total break-up of the Academy
with all its belongings. It is now the home of a "variety show."
This New York season of 1885 was a most disastrous one financially, as
it necessitated my closing for nearly a fortnight in order that the
promised productions should all be given. It was with great difficulty
that I could start the tour, as every combination seemed to be against
me.
However, I opened at Boston with _Carmen_ early in January, 1886, to a
crowded house; the other performances of that week being _Fra Diavolo_,
_Manon_, _Maritana_, _Traviata_, and _Carmen_ for a _matinee_, the
receipts of which exceeded even those of its performance on the previous
Monday.
During the second week _Faust_, _Don Giovanni_, _Rigoletto_, _Martha_,
etc., were performed. We left the next day for Philadelphia, where we
remained until the middle of the following week. From there we went on
to Baltimore, Washington, Pittsburg, Chicago, opening in the last-named
city very successfully with a performance of _Carmen_; when a violent
scene occurred during the third act from which may be said to date the
disastrous consequences which followed throughout the whole of the
route; one paper copying from another, with occasional exaggerations, so
that in every town we visited the public expected a similar disturbance.
Hence a general falling off in the receipts.
It was in the middle of the third act, when "Don Jose," the tenor
(Ravelli), was about to introduce an effective high note which generally
brought down the house, that "Carmen" rushed forward and embraced
him--why I could never understand. Being interrupted at the moment of
his effect, he was greatly enraged, and by his movements showed that he
had resolved to throw Madame Hauk into the orchestra. But she held
firmly on to his red waistcoat, he shouting all the time, "_Laissez
moi, Laissez moi!_" until all the buttons came off one by one, when she
retired hastily to another part of the stage. Ravelli rushed forward and
exclaimed, "_Regardez, elle a dechire mon gilet!_" and with such rage
that he brought down thunders of applause, the people believing this
genuine expression of anger to be part of the play.
Shortly afterwards, on the descent of the curtain, a terrible scene
occurred, which led to my receiving this letter the following morning:--
"Palmer House, Chicago,
"February 9th, 1886.
"DEAR COLONEL MAPLESON,
"The vile language, the insults, and threats against the life of my wife
in presence of the entire Company, quite incapacitate her from singing
further, she being in constant fear of being stabbed or maltreated by
that artist, the unpleasant incident having quite upset her nervous
system. She is completely prostrate, and will be unable to appear again
in public before her health is entirely restored, which under present
aspects will take several weeks. I have requested two prominent
physicians of this city to examine her and send you their certificates.
Please, therefore, to withdraw her name from the announcements made for
the future.
"As a matter of duty, I trust you will feel the necessity to give ample
satisfaction to Miss Hauk for the shameful and outrageous insults to
which she was exposed last night, and Mr. Ravelli can congratulate
himself on my absence from the stage, when further scenes would have
occurred.
"I fully recognize the unpleasant effect this incident may have on your
receipts, more especially so should I inflict upon him personally the
punishment he deserves.
"I am, dear Colonel Mapleson,
"Very truly yours,
"(Signed) E. DE HESSE WARTEGG."
The following day I received this, other epistle:--
"February 10th.
"DEAR SIR,
"My client, Baron Hesse Wartegg, has applied to me for advice concerning
the indignities which Signor Ravelli, of your troupe, has offered to
Mdme. Minnie Hauk on the stage. Signor Ravelli has uttered serious
threats against the lady, and has on several occasions in presence of
the public assaulted her and inflicted bodily injuries, notably on
Monday evening last, during the performance of _Carmen_. My client
wishes me to invoke the protection of the law against similar
occurrences, as Mdme. Hauk fears that her life is in imminent danger.
Under these circumstances I am compelled to apply to the magistrates for
a warrant against Signor Ravelli, in order that he may be bound over to
keep the peace. The law of this State affecting offences of this
character is very severe, and should the matter be brought to the
cognizance of our courts, Miss Hauk will not only have ample protection,
but Mr. Ravelli will be punished. It is her desire, however, to avoid
unpleasant notoriety, which would doubtless reflect on your entire
troupe, and on your undertaking to execute a bond for 2,000 dollars to
guarantee the future good conduct of Ravelli I shall proceed no further.
I respectfully invite your immediate attention to this, and beg you will
favour me with an early reply. Should I fail to hear from you before
to-morrow evening I shall construe your silence as a refusal to secure
proper protection for Miss Hauk and proceed accordingly.
"Miss Hauk and her husband are actuated by no other motives but those
which are prompted by the lady's own safety. Please favour me with an
early answer.
"Very respectfully yours,
"(Signed) WILLIAM VOCKE,
"Attorney for Miss Minnie Hauk."
I had no option but to give the bond.
That evening Signor Arditi, on leaving the theatre, caught a severe
cold, which confined him to his bed, developing afterwards into an
attack of pneumonia. The assistant conductor, Signor Sapio, was attacked
by a similar malady; also Mdlle. Bauermeister, who was soon indeed in a
very dangerous condition.
The following evening Mdlle. Fohstroem appeared as "Lucia di Lammermoor,"
and met with very great success.
With much persuasion I induced Miss Hauk to reappear as "Carmen",
replacing Ravelli by the other tenor, De Falco.
During the ensuing week Arditi's condition became worse and worse. As we
were engaged to appear the following evening at Minneapolis we were
compelled to leave him behind as well as various other members of the
Company, who were also indisposed. Prior to my departure I saw the
doctor, who informed me that he considered Arditi's case hopeless; on
which I prepared a cable for his wife asking what was to be done with
his remains. This I left confidentially with the waiter.
I managed to get with the remnants of my Company to Minneapolis, where a
severe attack of gout developed itself, which confined me to my bed; I
in turn being left behind whilst the Company went on to St. Paul.
On the Company leaving St. Paul I managed to join the train on its road
to St. Louis, where we remained a week. On the last day of our stay
there I was pleased to see Arditi again able to join the Company, though
in a very delicate state. Mdme. Hauk arrived at St. Louis the last day
we were there. The following week we performed in Kansas City, where for
the opening we gave _Carmen_ with Minnie Hauk, followed by _Faust_ with
Mdme. Nordica as "Margherita." The following night at Topeka we played
_Lucia di Lammermoor_ with Fohstroem.
During these lengthened journeys across the Continent to the Pacific
Coast the whole of the salaries ran on as if the artists were performing
regularly.
As a rule we all travelled together; but occasionally, when the distance
between one engagement and the next was too great, and the time too
short, we separated. Sometimes one town in which we performed was four
or five hundred miles away from the next. In that case the train was
either divided into two or into three pieces, as the case might be. For
instance, when we left for Chicago the engineer saw that he was unable
to get to that city in time for our engagement the same evening. He
therefore telegraphed back to Pittsburg, and the railroad officials
there telegraphed on to Fort Wayne to have two extra locomotives ready
for us. Our train was then cut into three parts, and sent whizzing along
to Chicago at a lively rate, getting there in plenty of time for the
evening's performance. It was wonderful, and nothing but a great
corporation like the Pennsylvania Railroad Company could accomplish such
a feat. By leaving at two o'clock in the morning we arrived at four the
same afternoon at our next destination, in ample time to perform that
evening; my hundred and sixty people having travelled a distance of four
or five hundred miles with scenery, dresses, and properties.
We afterwards visited St. Joseph and Denver, opening at the latter with
_Carmen_ on a Saturday at the Academy of Music. Early the next morning
we decided to give a grand Sunday concert at the Tabor Opera-house; but
as no printing could be done, and no newspapers were published, the
announcements had to be chalked upon the walls. With some difficulty we
got a programme printed towards the latter part of the day, but
notwithstanding this short announcement, so popular was the Company that
the house was literally packed full. We played at Cheyenne the following
evening, afterwards visiting Salt Lake City, where we presented
_Carmen_. The irascible Mr. Ravelli again showed temper, and by doing so
caused great inconvenience. I replaced him by one of the other tenors of
the Company.
Of course I was blamed for this. Ravelli, however, had declared himself
to be indisposed, and I at once published the certificate signed by Dr.
Fowler.
The opera went exceedingly well.
Immediately after the performance we started for San Francisco, where we
arrived the following Sunday afternoon, opening with _Carmen_ on the
Monday night before a most distinguished audience. Signor Ravelli
performed "Don Jose," but in a very careless manner, omitting the best
part of the music. He made little or no effect, whilst Minnie Hauk, who
had not recovered from her previous fatigues, obtained but a _succes
d'estime_.
Meantime a sale of seats by auction, which had been held, was an entire
_fiasco_.
The second evening Mdlle. Fohstroem made a most brilliant success. The
third night was devoted to Massenet's _Manon_, in which Miss Hauk did
far better than on the opening night. The following evening we performed
_La Traviata_, in which Mdme. Nordica made her appearance, Signor
Giannini undertaking the _role_ of "Alfredo." During this time great
preparations were being made for a production of _L'Africaine_. The
whole of the scenery and dresses, even to the ship, had been brought to
the Pacific coast, at a considerable outlay; no less than L900 being
paid for overweight of baggage through transporting this costly vessel
across the plains.
The performance was a fine one, and the work was rendered admirably
throughout, the great ballets and the processions gaining immense
applause.
In the meantime a great deal of unpleasantness was going on in the
Company, which greatly crippled my movements, besides diminishing my
nightly receipts.
Although Ravelli, who was really the cause of all the trouble, had been
ill for nearly three weeks, he refused to sing any more unless his full
salary were paid him for the whole of the time. This, of course, I
refused, and law proceedings were the consequence.
De Anna, the baritone, had an engagement for the whole six months of our
American tour; and there was a clause in his contract which provided
that during the interval of eight days, about the latter part of
December, whilst the Company was idle, the salary should be suspended.
But on our resuming the tour Mr. De Anna immediately notified me that
unless I paid him for those eight days he would stop singing. This was
the commencement of my trouble with him. Prior to our arrival his salary
was handed to him, half in cash, and half in a cheque payable at San
Francisco. He presented his cheque at the bank before the money had been
placed there, and notified me that in consequence of non-payment he
refused to sing that evening. Thereupon the treasurer went down to his
hotel with the money, which was only a small amount of some L50 or L60.
But he refused to accept it and surrender the cheque. The money was
again tendered to him, and again refused.
De Anna, following suit with Ravelli, immediately inserted an
advertisement in the daily papers setting forth that the part of
"Nelusko" in _L'Africaine_ was one of the most arduous _roles_ in the
_repertoire_ of a baritone, and that he alone was capable of performing
it; while he at the same time respectfully informed the public that he
did not intend to do so.
In the production of _L'Africaine_, however, Del Puente undertook the
_role_ of "Nelusko," and met with signal success, so that the
recalcitrant baritone was left out in the cold and not missed. This
tended still further to rouse his ire, and he resorted to a series of
daily statements of some kind or other with the view of discrediting the
Opera.
It was, indeed, a trying matter to me. The baritone, De Anna, refused to
sing, and Ravelli was in bed with a bad cold; so, too, was Mdlle.
Fohstroem. News, moreover, arrived from Minneapolis that Mdme. Nordica's
mother, who had been left there, was at the point of death. Nordica
insisted on rushing off at a moment's notice to make the journey of five
days in the hope of reaching her while she was yet alive; and the rest
of the Company were in open rebellion.
The season, however, despite these almost insurmountable difficulties,
was a complete artistic success; and the Company I presented to my
supporters in San Francisco was one that would have done honour to any
European Opera-house. But, again, the name of _la Diva_ being missing,
the patronage accorded me was of a most scanty kind. The wealthy and
luxurious inhabitants of the suggestively named "Nobs' Hill" remained
carefully away.
I managed, however, to give the twenty-four consecutive performances
promised, together with three Sunday concerts, the penultimate
performance being devoted to my benefit.