BACK IN THE OLD COUNTRY--THE LONDON SEASON--SLUGGISH AUDIENCES--MY
OUTSIDE PUBLIC--THE PATTI DISAPPOINTMENTS--THE "SANDWICH'S" STORY.
Shortly afterwards I organized a very strong opera party, determining,
during the coming September, to revisit the English provinces, which I
had rather neglected during the previous seven or eight years. I,
therefore, arranged to visit Dublin, Cork, Liverpool, Manchester,
Glasgow, Edinburgh, Birmingham, etc., etc., resolved on giving a series
of excellent performances. Engagements were concluded with Mdlle. Alma
Fohstroem, Mdme. Nordica, Mdlle. Dotti, Mdlle. Marie Engle, Mdme.
Hastreiter, Mdlle. Bianca Donadio, Mdlle. Jenny Broch, together with
Signor Frapolli, Signor Runcio, Signor Del Puente, Signor Padilla,
Signor Ciampi, Signor Vetta, a promising young basso, and Signer Foli;
my conductors being Signor Arditi and Signor Vianesi.
My performances were admirably given; which was readily acknowledged by
the whole of the provincial Press. But during the seven or eight years I
had been away a younger generation had grown up and the elder ones had
gone elsewhere. Inferior English Opera seemed now to be preferred to my
grand Italian Opera; and it was only after I had been playing three or
four nights in a town that the public began to understand the
superiority of the latter.
In Dublin we had to feel our way with the performances, which culminated
on the last night with a crowded house. I was anxiously expecting the
arrival of Mdlle. Fohstroem, who had been delayed in Russia through the
illness of a relative. She made her appearance at Dublin in the latter
part of September to one of the most crowded houses I have ever seen.
We afterwards visited Cork, where I fear, as in Mdme. Gerster's case
some years previously, Mdlle. Fohstroem took the germs of typhoid fever,
which developed some ten days afterwards. Whilst singing at the grand
concert of the Liverpool Philharmonic the lady found herself scarcely
able to move, much to the astonishment of myself as well as the
Committee. She, however, got through her work, and came on to
Manchester, where she lay in bed for nearly three months, which was, of
course, a great drawback to our success.
At Manchester, which is a great musical centre, our receipts the first
week were miserable. But with the commencement of our second and last
week they gradually increased, until there was not standing room. I
endeavoured in vain to buy off another Company in order to continue our
success.
Again, in Glasgow, where our old triumphs had been evidently forgotten,
we played to most miserable receipts until the second week, when
gradually the business grew until we had to refuse money. In fact, I had
to re-take the theatre, and return there a fortnight afterwards, when on
my last performance of _Il Flauto Magico_ people were paying 10s. for
standing room, while private boxes fetched London prices.
We next moved on to Birmingham, where my sole consolation was the
admirable articles, making over a column in each of the daily papers,
which appeared the morning after each representation, according the most
unstinted praise to my really excellent performances. We afterwards left
for Brighton, where we closed up just before Christmas.
Very early in the following month I started my Spring concert tour,
visiting some forty cities in as many days, and meeting with great
artistic success in every place we stopped at. My party consisted of
Mdme. Nordica, Mdme. Marie Engle, Mdme. Helene Hastreiter, and Mdlle.
Louise Dotti; likewise Signori Runcio, Del Puente, and Vetta, with M.
Jaquinot as solo violinist. No more excellent artistic party could have
been put together; but here, again, the provincial public, not knowing
my singers, attended with great caution; preferring old names to the
young voices I had with me.
In Liverpool, as well as in Bradford, both said to be great musical
centres (?), the receipts were nil.
We finished up in Dublin, where, as usual, the houses were crowded with
large and appreciative audiences. The Irish, thoroughly understanding
music, and judging for themselves, crammed the hall, and encored every
piece.
In England, as a rule, singers take some years to acquire a reputation;
but having once got it, they can never get rid of it.
I recollect hearing Mr. Braham sing when he was 82; and he was
applauded. We are a conservative nation, and value old friends as we do
old port wine.
Both on the Continent and in America I have been frequently interrogated
as to why the London opera season is held at a time when it is next to
impossible for so many patrons and supporters of music to attend on
account of the numberless _fetes_, flower shows, balls, garden parties,
races, &c., that are taking place; to say nothing of the Crystal Palace,
the Alexandra Palace, and (as regards the present season of 1888) the
Irish, Danish, and Italian Exhibitions.
I, of course, could make no reply, being fully aware that alike in
France, Spain, Austria, Germany, Italy, Russia, America, etc., the opera
season begins generally about the third week in October; at a time when
all outdoor attractions have ended. In the countries above mentioned
dances and balls are, it is true, given during the winter months,
whereas in London these social gatherings generally take place when the
weather is extremely hot; and, as a rule, the smaller the house the
greater the number of the guests invited.
In former times the London season was set by the opera; and its
beginning usually coincided with the arrival of the singers from abroad,
who in those days had to cross in sailing vessels, and would only come
in fine weather.
* * * * *
Returning to London in the latter part of February, I decided on opening
the Royal Italian Opera early in March; for which purpose I formed an
admirable Company, consisting in the prima donna department of Mdlle.
Alma Fohstroem, Mdlle. Emma Nevada, Mdlle. Jenny Broch, Mdlle. Marie
Engle, Mdlle. Lilian Nordica, Mdlle. Louise Dotti, Mdlle. Helene
Hastreiter, Mdlle. Borghi, Mdlle. Bauermeister, Mdme. Lablache, Mdlle.
Rosina Isidor, and Mdme. Minnie Hauk; my tenors being Signor Ravelli, M.
Caylus, and Signor Garulli; my baritones Signor Padilla, Signor Del
Puente, and M. Lherie; with Signor Miranda, Signor Vetta, Signor de
Vaschetti, and Signor Foli as basses, Signor Ciampi as buffo, and Signor
Logheder as musical conductor--in which capacity he proved most
efficient. I moreover introduced two danseuses of remarkable excellence,
Mdlle. Dell'Era and Mdlle. Hayten; both of whom must have left a
favourable impression.
The novelties I produced were _Leila_ (Bizet's _Pecheurs de Perles_);
and Gounod's _Mirella_, for the first time since twenty-five years. Thus
_Mirella_ was practically a new opera. Both works were newly mounted,
and both made their mark artistically.
But the season being a short one, and having no spare capital, I could
not resort to my old _Faust_ and _Carmen_ plan and hammer the music of
_Leila_ into people's heads. Consequently my production of the work did
not meet with the financial success it should have done. The day will,
however, come when it will form an attractive gem in the operatic crown.
_Leila_ is readily accepted all over the Continent; and even in Italy
has been the mainstay of some twelve or fourteen opera-houses. Here,
unfortunately, at its first production, many of the Pressmen were
absent; and at its repetition no further notice was taken of it--though
numbers of the public rely entirely upon what the newspapers say for
their opinions and views.
The same fate awaited Gounod's _Mirella_--another most charming opera,
in which Mdlle. Nevada sang to perfection.
The season continued for upwards of eight weeks, and was a pronounced
success, both artistically and financially. It terminated about the
middle of May. As I knew that London would be full of strangers on
account of Her Majesty's Jubilee, I rented Her Majesty's Theatre, and on
taking possession of it discovered it to be in a most desolate state.
There was not a scene or a rope in working order, and the interior of
the theatre was in a most deplorable condition, entailing upon me
considerable expense for cleaning and restoring, painting, papering,
carpeting, etc. There was nearly a mile of corridors and staircases to
whiten, paper, paint, and carpet.
I opened a fortnight afterwards, when I again brought forward a powerful
Company, including such valuable new-comers as Mdlle. Lilli Lehmann,
Mdme. Trebelli (after an absence of eight years), and Mdlle. Oselio.
The season commenced most auspiciously on Saturday, June 4. But soon
there was a difficulty with the orchestra, for there were now two other
Italian Operas going on. It was impossible to induce the players I had
engaged to attend rehearsals. There were Philharmonic, Richter, and
other concerts in full swing; and although I paid them weekly salaries I
could never command the services of my musicians for rehearsal, even
though I closed my theatre at night for the purpose. I therefore had to
suspend the representations for a week and form another orchestra, in
order that I might sufficiently rehearse Boito's _Mefistofele_, which I
had then in preparation. Ultimately I succeeded in bringing out that
work, when, as on its first performance, it met with considerable
success. This was followed by the _rentree_ of Mdlle. Lilli Lehmann in
Beethoven's _Fidelio_, which was probably the grandest and most perfect
performance given in London for many years. In the meantime I placed
Bizet's masterpiece, _Leila_, in rehearsal.
About this time the Royal Jubilee excitement began, followed by
extremely hot weather; and notwithstanding the brilliant performances
given the house was empty nightly, the public preferring the free show
they got out of doors, in the shape of processions, illuminations, etc.,
to performances at the theatre, where the temperature was now averaging
90 deg., notwithstanding all I did to keep it cool.
In fact, the only receipts I got for the purpose of paying my way were
from the letting of the exterior of my theatre instead of the interior;
seats on the roof fetching L1 apiece, whilst windows were let for L40.
These receipts helped to provide the sinews of war for carrying on my
arduous enterprise.
I now bestirred myself in order to obtain some attraction that would
replenish the depleted operatic chest. My efforts seemed rewarded when
I secured the services of Mdme. Adelina Patti, at the small salary of
L650 per night. Mdme. Patti in due course made her first appearance at
Her Majesty's Theatre in her favourite role of "Violetta" in _La
Traviata_, when there was L1,000 in the house. My hopes, however, of
recouping my heavy losses were dashed almost instantly to the ground.
Mdme. Patti having accepted an invitation from a wealthy banker for a
trip up the river, to be followed by a dinner, she took a violent cold,
from having been placed in a draught with a light muslin dress on. The
next evening Mdlle. Lilli Lehmann again made the old theatre ring with
her magnificent impersonation of "Fidelio." The house, however, was
nearly empty, all attention being directed to the next night, which was
to be Patti's second appearance--in _Il Barbiere di Siviglia_.
At five o'clock, however, on the evening of the performance, Signor
Nicolini came in to inform me that Patti was too ill to sing, but that I
might rely upon her services the following Saturday, when she would
appear as "Margherita" in Faust, transferring the _Barbiere_ performance
to the following Tuesday. He himself added to the programme an
announcement to the effect that she would introduce in the lesson scene
the valse from _Romeo and Juliet_.
It being too late to substitute another opera, I had no alternative but
to close the theatre that evening, leaving hundreds of carriage folks
who had sent their coachmen home to get away as best they could,
disappointed, and declaring (in many cases) that there was no reliance
to be placed on Mapleson!
On the following Friday, finding that the booking for the second Patti
night was very light, the public having lost all confidence, as is
generally the case after a disappointment, I suggested to Mdme. Patti
and to Nicolini that a small allowance ought to be made towards the vast
expenses I had incurred (rent, salaries to artists, band, chorus, &c.)
while keeping the theatre closed, which her incautiousness of the
previous Sunday up the Thames had alone prevented me from opening.
The following day Signor Nicolini offered to contribute a sum of L50. I
replied that that would be scarcely enough for the orchestra, and that
the entire representation would be jeopardized. He thereupon went home,
stating that Mdme. Patti would not sing that evening unless the
orchestra was duly secured.
I immediately made arrangements with my orchestra, and notified the fact
to Mdme. Patti by half-past three o'clock through her agent at her
hotel, who, after seeing her, informed me that it was all right. She was
then lying down in view of the evening performance, for which her
dresses had already been looked out by herself and her maid.
Just as I was leaving the hotel Mr. Abbey came downstairs, and
accompanied me to the ticket-office, adjoining the theatre, the
proprietors of which were large speculators for the occasion. On
ascertaining that some four or five hundred of the best seats had not
been disposed of--the public naturally holding back until Mdme. Patti
should have made her reappearance after the disappointment they had
experienced--Mr. Abbey informed me that Mdme. Patti should not sing that
evening. I may here mention that the full L650, being the amount of her
honorarium, was already deposited to her credit at the bank, so that it
was not on the score of money matters that her services were refused.
I waited until eight o'clock for the arrival of Mdme. Patti, her room
being prepared for her; but no message was sent, nor any notification
whatever, that she was not coming down. After the previous
disappointments the public had met with I could not find heart to close
the theatre. I, therefore, informed the numbers who were then getting
out of their carriages and gradually filling the grand vestibule that I
would perform the opera of _Carmen_, and that I invited all present to
attend as my guests; adding that their money would be returned to them
on presentation of their tickets. This, of course, it was.
As to the gratuitous representation of _Carmen_ (with Trebelli in the
principal part), it went off admirably. The audience was numerous and
enthusiastic; and among the distinguished persons who honoured me with
their presence, was, I remember, H.R.H. the Duchess of Edinburgh.
I wrote to Mdme. Patti the following day, entreating her not further to
disappoint the public, and to stand by the announcement Signor Nicolini
had given me of her appearance the following Tuesday in _Il Barbiere_.
To this I had no reply; and I afterwards learned that Mdme. Patti had
gone off by a special morning train to Wales, to avoid meeting the
chorus and _employes_ who, hearing of her probable flight, had assembled
in large bodies at Paddington to give her a manifestation of their
disapprobation.
I was now placed in a most difficult position, and left to struggle on
as best I could, having some three weeks' rent still to pay for the use
of the theatre until the end of the month; together with the salaries of
singers, choristers, bill-posters, supernumeraries, orchestra, etc.,
etc. These unfortunate people were actually following me in the street,
clamouring for money. There were, moreover, some sixty Italian
choristers, whose travelling expenses had to be provided for to send
them home to Italy. In fact the Opera Colonnade had become a regular
Babel, and it was only by dint of hard work amongst my numerous friends
that I was enabled to collect funds and see the last of my chorus
singers depart.
This affair threw me into contact with several supernumeraries as well
as bill-board men, and I was very much interested to hear their
different histories. One man, who had been a "Sandwich," gave me the
following account of his life:--
THE "SANDWICH'S" STORY.
"I was formerly," he said, "a captain in the---- Regiment, and many
a time have I paid my six guineas for a box at your Opera, both in
Edinburgh and in London. Subsequently I began to take a great
interest in the turf, and soon met with heavy losses, which
compelled me to give various promissory notes. This at last came to
the knowledge of my colonel, who recommended me to leave the
regiment without delay. Having nothing to live upon, and being a
fair performer on the cornet a piston, I joined a travelling
circus, and ultimately came across your Opera Company in
Philadelphia, where I was one of your stage band. Later on I joined
a party who were bound for the diamond fields in South Africa,
where I was most unsuccessful; and I had to work my passage home in
a sailing ship, till I got to London, where I became a
supernumerary under your management at Drury Lane.
"During your third season an aunt of mine died, and I found myself
the possessor of L10,000. My cousin, who was largely interested in
building operations, which he assured me paid him at least 60 per
cent., induced me to place half my fortune in his speculations. His
houses were in the west part of London, which had been considerably
overbuilt; and being mortgaged they would have been lost but for my
paying away the remainder of my fortune with the view of saving
them. In spite of this the mortgagee foreclosed, and I again became
a supernumerary, when, in the mimic fight in the second act of
_Trovatore_, one of my companions by mere accident with a point of
a spear put my eye out.
"I was now no longer qualified for engagement even as a
supernumerary, and I became a 'sandwich' man. My duties during the
last four and a half years have been to parade Bond Street and
Regent Street, receiving as payment ninepence a day."
On my handing the poor man his salary and settling up he at first
declined to take the money, saying that I had done him so many
kindnesses at different periods of his life that now, when I was in
trouble myself, he could not think of taking his week's pay. I, however,
not only insisted upon his accepting it, but gave him a sovereign for
himself. The unfortunate gentleman, as he showed himself to the last,
went away blessing me.