ADELINA'S SUCCESSOR--A PRIMA DONNA'S MARRIAGE NEGOTIATIONS--POUNDS
_V._ GUINEAS--NILSSON AND THE SHAH--PRODUCTION OF
"LOHENGRIN"--SALVINI'S PERFORMANCES AND PROFITS--MARGUERITE
CHAPUY--IRONY OF AN EARL.
HAVING relied upon Mdme. Nilsson's services for my Drury Lane season of
1871, I felt in a position of great difficulty. I thereupon set about
inquiring for a capable prima donna to supply her place. About two days
afterwards I received a letter from America informing me of a most
extraordinary singer, the writer further setting forth that his father
had, some twenty years previously, recommended me Adelina Patti, and
that he could equally endorse all that was now said of this coming star.
Without one moment's hesitation I accepted, feeling sure the "tip" must
be a good one, and in due course the lady arrived. She was of short
stature and remarkably stout, which I considered at once a drawback; but
so unbounded was my confidence in the recommendation that I persuaded
myself these defects would be of no consequence whatever in the general
result.
At the conclusion of the first rehearsal Sir Michael Costa came down in
a most mysterious way, asking me if I was sure as to the prima donna's
talents. I told him he need be under no apprehension whatever on the
subject.
At length the general rehearsal arrived, and a message came from Sir
Michael, begging me to ask the little lady to sing out, as up to the
present time nobody had heard her voice at any of the rehearsals. I came
on to the stage, but as our new _Diva_ was conducting herself with great
importance, and moreover seemed to be busy with the preparation of her
music, I told Sir Michael that he need labour under no misapprehension,
as she was guaranteed to take the town by storm.
Evening came, and a more dismal _fiasco_ I do not recollect. Such
unbounded faith had I placed in my American friend's recommendation,
together with the laudatory notices which had appeared in the numerous
journals he had sent, that I confess I was on this occasion taken in.
This is the only instance in the course of my lengthened career in which
an artist introduced by me has not been forthwith accepted by the
public, and I admit that the result in this particular case was entirely
due to my own neglect in not hearing her beforehand.
It was rather hard lines on the "Faust" of the evening, M. Capoul, who
made his first appearance in England on this occasion; likewise on
Moriami, the favourite baritone, and Rives, a young French artist, who
sustained the _rôle_ of "Mephistopheles" with great credit.
The following evening I produced _Robert le Diable_, in which Signor
Nicolini made his first appearance in England, enacting the _rôle_ of
"Roberto" to perfection. Belval, the first bass of the Paris opera, was
the "Bertramo," Mdme. Ilma de Murska the "Isabella," and Titiens the
"Alice." In the excellence of this performance my "Margherita" of the
previous evening was soon forgotten, and I booked her an early passage
back to America, where, strange to say, she still retained a first-class
position, and did so for many years afterwards.
As matters were still unsettled between Lord Dudley and his would-be
tenant, Gye, I again secured Drury Lane for my season of 1872. Prior to
concluding Mdlle. Nilsson's engagement, as she was still unmarried, her
Paris agent, who advised her, called upon me, stating that in the event
of my requiring her services I had better notify to him that the
marriage must be postponed until the close of my proposed opera season.
To this I consented, and I attended at a meeting where I met the future
husband and the agent, when it was explained to the former that Mdlle.
Nilsson was ready and willing to perform her agreement to marry him, but
that in that case she would lose her London engagement, and would be
very angry; whereupon it was agreed the marriage should be further
postponed. Papers were drawn up, and the proper stamps affixed, whereby
Mdlle. Nilsson was to return to me for my season of 1872.
On the 28th May she made her reappearance, after an absence of two
years, renewing her success as "La Traviata," followed by _Faust_,
_Trovatore_, etc.
During this season I produced Cherubini's Water-carrier, in which
Titiens sang; also _Lucia di Lammermoor_, with Nilsson for the first
time as the heroine, which drew enormous houses; followed by the
_Marriage of Figaro_, in which Titiens and Kellogg appeared, Nilsson
acting the "saucy page" to perfection. A most successful season was the
result, and in lieu of appearing only four times Mdlle. Nilsson sang
never less than twice a week until the close. The terms I was paying her
caused a deal of trouble between Patti and Gye; for _la Diva_ had heard
of Nilsson's enormous salary. Gye had ultimately to give in; but £200 a
night would not satisfy Mdme. Patti, although previously she had been
contented with £80; and it was ultimately arranged that she should have
more than Nilsson. Gye managed this by paying her 200 guineas nightly,
whilst Nilsson had only 200 pounds.
Some two or three weeks after the opening of the season I heard of a
desirable tenor in Italy, named Campanini, and at once endeavoured to
add him to my already strong Company. My agent reached Rome before Mr.
Gye, and secured the prize. I thereupon set to work to create all the
excitement I possibly could, knowing that unless this were done no
curiosity would be felt by the public as to his first appearance. I said
so much of him that general expectation was fully aroused. In the
meantime I was anxiously awaiting his arrival. One evening, about nine
o'clock, the hall-keeper brought me word that there was someone "from
Campini, or some such name." I immediately brightened up, and said,
"Send the messenger in," who accordingly entered. He had a coloured
flannel shirt on, no shirt collar, a beard of two or three days' growth,
and a little pot-hat. He, in fact, looked rather a rough customer. In
reply to my interrogation he informed me that Campanini had arrived, and
was in London. I replied, "Are you sure?" Thereupon he burst out
laughing, and said that he was Campanini. I felt as if I should go
through the floor.
However, the night arrived for his first performance, which took place
on May 4th, when he appeared as "Gennaro" in _Lucrezia Borgia_, with
Titiens and Trebelli, and with Agnesi as the "Duke." The house was
crowded from floor to ceiling, and I must say the tenor fulfilled every
anticipation, and, in fact, surpassed my expectations. The salary I paid
him was not a large one, and I had engaged him for five years. After ten
or twelve days an agent arrived from America who had heard of his
success, and offered him £1,000 a month, which was five times what I was
to pay him. I need hardly say that this offer, coupled with his great
success, completely turned his head, and he became partially
unmanageable. Marie Roze, I may add, made her first appearance in
England during this season.
At its close Mdlle. Christine Nilsson was married to M. Rouzaud at
Westminster Abbey, surrounded by a numerous circle of friends, the
ceremony being performed by Dean Stanley. The wedding party were
afterwards entertained by the Cavendish Bentincks at their splendid
mansion in Grafton Street, where a sumptuous _déjeuner_ was served.
After two or three weeks' holiday at Aix-les-Bains, I started my autumn
tour, as usual, at Dublin, for which I engaged Titiens, Marimon, de
Murska, Trebelli, Scalchi, Agnesi, Campanini, Fancelli, Foli, etc. This
season of fourteen weeks, which carried us up to Christmas, was an
unbroken series of triumphs, the receipts being simply enormous; whilst
on the spare days when certain of my singers were not required I filled
in sometimes as much as £1,000 a week from concerts, without the regular
service of the tour being disturbed. We visited Dublin, Cork, Belfast,
Glasgow, Edinburgh, Manchester, Liverpool, Birmingham, Bristol, and
Brighton. This was followed by the usual spring concert tour of 1873,
when we did, as usual, our 60 or 70 towns, concluding with a spring
opera tour in the north.
For my season of 1873, which again took place at Drury Lane--Her
Majesty's Theatre, although built, being still without furniture or
scenery--I re-engaged Mdme. Nilsson, paying her £200 per night, in
addition to my regular company, which, of course, included Titiens; also
Ilma de Murska, Marie Roze, Trebelli, etc., etc. I, moreover, introduced
Mdlle. Valleria, Mdlle. Macvitz, an excellent contralto; Aramburo, a
tenor possessing a marvellous voice, who has since achieved European
fame; Signor Del Puente, the eminent baritone, and many others.
I likewise engaged Mdme. Ristori, who appeared in several of her
favourite characters alternately with the operatic performances. Her
success was striking, notably in the parts of "Medea," "Mary Stuart,"
"Elizabeth," and "Marie Antoinette." In the latter impersonation she
moved the audience to tears nightly by her pathetic acting.
During this season, early in the month of July, it was intimated to me
that His Majesty the Shah of Persia would honour the theatre with his
presence. I thereupon set about organizing a performance that would give
satisfaction both to my principal artists and to the Lord Chamberlain,
who had charge of the arrangements, and decided that the performance
should consist of the third act of La Favorita, Mdlle. Titiens enacting
the _rôle_ of "Leonora," the first act of _La Traviata_, and, after a
short ballet, the first act of _Mignon_, Mdme. Nilsson taking the title
_rôle_ in the two latter operas. Mdlle. Titiens, who rarely created
difficulties, took rather an exception to commencing the evening, and
said that it would be better to divide the two appearances of Nilsson by
placing the act of _La Favorita_ between them; Mdme. Nilsson, on the
other hand, objected to this arrangement. Two days before the
performance Mdme. Nilsson suddenly expressed her willingness to commence
the evening with the act of _La Traviata_, she having ascertained from
the Lord Chamberlain, or some other high personage (as I afterwards
discovered), that His Majesty the Shah could only be present from
half-past eight until half-past nine, being due at the grand ball given
by the Goldsmiths in the City at about ten o'clock.
Mdme. Nilsson had ordered, at considerable expense, one of the most
sumptuous dresses I have ever seen, from Worth, in Paris, in order to
portray "Violetta" in the most appropriate style. On the evening of the
performance His Royal Highness the Prince of Wales arrived punctually at
half-past eight to assist in receiving the Shah, who did not put in an
appearance; and it was ten minutes to nine when Sir Michael Costa led
off the opera. I shall never forget the look the fair Swede cast upon
the empty royal box, and it was not until half-past nine, when the act
of _La Favorita_ had commenced, that His Majesty arrived. He was
particularly pleased with the ballet I had introduced in the _Favorita_.
The Prince of Wales, with his usual consideration and foresight,
suggested to me that it might smooth over the difficulty in which he saw
clearly I should be placed on the morrow in connection with Mdme.
Nilsson, if she were presented to the Shah prior to his departure.
I thereupon crossed the stage and went to Mdme. Nilsson's room,
informing her of this. She at once objected, having already removed her
magnificent _Traviata_ toilette and attired herself for the character of
"Mignon," which consists of a torn old dress almost in rags, with hair
hanging dishevelled down the back, and naked feet. After explaining that
it was a command with which she must comply, I persuaded her to put a
bold face on the matter and follow me. I accompanied her to the
ante-room of the royal box, and before I could notify her arrival to His
Royal Highness, to the astonishment of all she had walked straight to
the farther end of the room, where His Majesty was then busily employed
eating peaches out of the palms of his hands.
The look of astonishment on every Eastern face was worthy of the now
well-known picture on the Nabob pickles. Without a moment's delay Mdme.
Nilsson made straight for His Majesty, saying--
"Vous êtes un très mauvais Shah," gesticulating with her right hand.
"Tout à l'heure j'étais très riche, avec des costumes superbes, exprès
pour votre Majesté; à present je me trouve très pauvre et sans
souliers," at the same time raising her right foot within half an inch
of His Majesty's nose; who, with his spectacles, was looking to see what
she was pointing to. He was so struck with the originality of the fair
prima donna that he at once notified his attendants that he would not go
to the Goldsmiths' Ball for the present, but would remain to see this
extraordinary woman.
His Majesty did not consequently reach the Goldsmiths' Hall until past
midnight. The Lord Mayor, the Prime Warden, the authorities, and guards
of honour had all been waiting since half-past nine.
On the close of my London season of 1873 I had considerable difficulty
in obtaining a renewal of Mdme. Nilsson's contract for the ensuing year;
in fact, she declined altogether to discuss the matter with me. I was
fully aware that she was very jealous of the firm position which Mdlle.
Titiens enjoyed in the good opinion of the British public. This had
manifested itself on the occasion of Titiens's benefit, when _Nozze di
Figaro_ had been selected for the closing night of the season. Much
correspondence took place, in the course of which it was asserted that
M. Rouzand would not allow his wife to put on "Cherubino's" trunks, he
having decided that her legs should never again be seen by the public.
I, therefore, had to substitute Mdme. Trebelli, who, as an experienced
contralto, could make no objection on such points.
Mdme. Nilsson's agent, Mr. Jarrett, succeeded at last in inducing her to
sign a contract, and he then explained to me that Mr. Gye had been
repeatedly making offers to her during the previous week, which, in
spite of his notorious friendship for Mr. Gye, he had the greatest
difficulty in making her refuse.
Ultimately an engagement had been prepared, and Jarrett asked me to sign
it at the station just as Mdme. Nilsson was about to start for Paris.
Before doing so I requested permission at all events to glance it over,
when Mdme. Nilsson replied--
"The train is going. Either sign or leave it alone. I can make no
possible alteration."
I mechanically appended my signature; the train started.
On perusing the engagement I discovered that she had reserved for
herself the exclusive right of playing "Norma," "Lucrezia," "Fidelio,"
"Donna Anna," "Semiramide," and "Valentine" in _Les Huguenots_. But
having omitted the words "during the season," and inasmuch as her
engagement for 1874 did not commence until the 29th day of May, I had a
clear period of eleven weeks during which another prima donna could play
the parts Mdme. Nilsson claimed without overstepping her stringent
condition.
I, moreover, felt placed in great difficulty with regard to Mdlle.
Titiens, who was then at the Worcester Festival, and to whom it was, of
course, necessary to mention the matter. I decided to go to Worcester at
once and unbosom myself.
The great prima donna, on hearing what I had to tell her, smiled and
said--
"By all means let her play the parts she wants; and, if the public
prefers her rendering of them to mine, by all means let her keep them.
But during the first eleven weeks they are open to other singers, and I
will repeat them one by one so that the public may have a fair
opportunity of judging between us."
The great artist was, therefore, on her mettle during the early
performances of 1874, prior to Nilsson's arrival.
The season opened with _Semiramide_, followed immediately by _Fidelio_,
_Norma_, _Huguenots_, _Lucrezia_, etc., which were played one after the
other until the arrival of Nilsson, who sang first in _Faust_, and
immediately afterwards in Balfe's _Talismano_, after which I called on
her to appear as "Lucrezia."
The next morning I had a visit from her agent requesting me not to press
the matter, as she was not quite prepared. I thereupon said "Semiramide"
would do as well; to this he offered some objection; but at length, on
my urging "Fidelio," he explained to me that if I insisted upon her
playing any of those characters which she had expressly stipulated for
I should mortally offend her. I could not even induce her to appear as
"Donna Anna." Not one of those parts which she had reserved for her
exclusive use was she able to undertake. We, therefore, had to fall back
on _Faust_, alternated with _La Traviata_.
Finally a compromise was made whereby Mdme. Nilsson undertook the _rôle_
of "Donna Elvira" in _Don Giovanni_, Mdlle. Titiens retaining her great
impersonation of "Donna Anna," in which she was acknowledged throughout
the world of music to be unrivalled. This happy combination having been
brought about, the season concluded with my benefit, when _Don Giovanni_
was given to some £1,200 receipts.
During the autumn of 1873 I made my usual operatic tour, commencing in
Dublin about the middle of September, where we remained three weeks,
afterwards visiting Belfast, Glasgow, Edinburgh, Newcastle, Liverpool,
Manchester, Birmingham, Bristol, Bath, and Brighton, where we concluded
on the 20th December.
Early in January, 1874, I again gave my usual forty-eight concerts in
the various cities, opening the Edinburgh opera season about the middle
of February. We afterwards visited other places, which brought us on to
the London season, when I again occupied Drury Lane Theatre.
During this year I produced Auber's _Crown Diamonds_, and afterwards
Balfe's _Talismano_, in which Mdlle. Nilsson undertook the principal
_rôle_, Marie Roze appearing as the "Queen." Balfe's opera was very
successful, and this, coupled with the alternate appearances of Titiens
and Nilsson in other characters, followed by the revival of the _Magic
Flute_, in which the whole Company took part, brought the season to a
successful conclusion.
In the autumn of 1874 I opened, as usual, at Dublin, with a very
powerful company, and continued out in the provinces until the latter
part of December. I then went on the Continent in search of talent for
the ensuing year, and returned in time to be present at my first
concert, which took place in Liverpool early in January, 1875. We
afterwards went through Ireland and the English provinces, commencing in
the beginning of March the regular Italian Opera season in the northern
capital, followed by Glasgow, Liverpool, &c.
Ilma de Murska was punctual with a punctuality which put one out quite
as much as utter inability to keep an appointment would have done. She
was sure to turn up on the very evening, and at the very hour when she
was wanted for a representation. But she had a horror of rehearsals, and
never thought it worth while, when she was travelling from some distant
place on the Continent, to announce that she had started, or to give any
idea as to when she might really be expected. Her geographical
knowledge, too, was often at fault, and some of the routes--"short cuts"
she called them--by which she reached London from Vienna, were of the
most extraordinary kind. She had taken a dislike to the Railway Station
at Cologne, where she declared that a German officer had once spoken to
her without being introduced; and on one occasion, partly to avoid the
station of which she preserved so painful a recollection, partly in
order to get to London by a new and expeditious route, she travelled
from Vienna to St. Petersburg, and from St. Petersburg took boat to
Hull, where she arrived just in time to join my Opera Company at the
representations that I was then giving in Edinburgh. We had not heard of
her for weeks, and she came into the dressing-room to find Madame Van
Zandt already attired for the part Mdlle. de Murska was to have played,
that of "Lucia." She argued, with some truth, that she was in time for
the performance, and declared, moreover, that in entrusting the part of
"Lucia" to another singer she could see a desire on my part to get rid
of her.
The prima donna has generally a parrot, a pet dog, or an ape, which she
loves to distraction, and carries with her wherever she goes. Ilma de
Murska, however, travelled with an entire menagerie. Her immense
Newfoundland, Pluto, dined with her every day. A cover was laid for him
as for her, and he had learned to eat a fowl from a plate without
dropping any of the meat or bones on the floor or even on the table
cloth.
Pluto was a good-natured dog, or he would have made short work of the
monkey, the two parrots, and the Angora cat, who were his constant
associates. The intelligent animal hated travelling in the dog-truck,
and he would resort to any sort of device in order to join his mistress
in her first-class carriage, where he would, in spite of his immense
bulk, squeeze himself beneath the seat. Once I remember he sprang
through the closed window, cutting himself severely about the nose in
his daring leap.
The other animals were simple nuisances. But I must do the monkey the
justice to say that he did his best to kill the cat, and a bare place on
Minette's back showed how badly she had once been clawed by her
mischievous tormentor.
The most expensive of Mdlle. de Murska's pets were probably the parrots.
They flew about the room, perching everywhere and pecking at everything.
Once at the Queen's Hotel, Birmingham, they tore with their beaks the
kid off a valuable set of chairs, for which the hotel-keeper charged
£30. The hotel bill of this reckless prima donna was always of the most
alarming kind. She had the most extraordinary whims, and when Signor
Sinico, Mdme. Sinico's first husband, in order to show the effect of
parsley upon parrots, gave to one of Mdme. de Murska's birds enough
parsley to kill it, nothing would satisfy the disconsolate lady but to
have a post-mortem examination of the bird's remains. This was at
Glasgow, and the post-mortem was made by two very grave, and I have no
doubt very learned, Scotch practitioners. Finding in the parrot's maw
some green matter for which they could not satisfactorily account, they
came, after long deliberation, to the conclusion that the bird had been
eating the green wall-paper of the sitting room, and that the arsenic
contained in the colouring matter had caused its death. The cost of this
opinion was three guineas, which Mdlle. de Murska paid without a murmur.
I again returned to Drury Lane for my London season of 1875. After
lengthy negotiations with a great Italian tragedian, engagements were
signed, and he duly arrived in London, and appeared the second night of
my season in the character of "Otello." I need scarcely say that this
tragedian was Salvini, who at once struck the public by his magnificent
delineation of Shakespeare's hero. I was now compelled to open my
theatre seven times every week (four for opera, three for tragedy), from
the early part of March until the latter end of July. I produced various
works, notably Wagner's _Lohengrin_, in which Mdlle. Titiens, who very
kindly undertook the _rôle_ of "Ortruda," really excelled herself. This,
with Mdlle. Christine Nilsson as "Elsa," Campanini as the "Knight of the
Swan," and Galassi as "Telramund," with an increased orchestra under Sir
Michael Costa's able direction, caused me to increase the prices of
admission; and even then it was impossible to get a seat during the
remainder of the season.
About this time the usual annual proposals were made for Mdlle.
Titiens's services at a series of concerts to be given in the United
States of America, by which she was to receive £160 a night guaranteed,
and half the receipts beyond a certain amount. After some time I
consented to this arrangement.
At the close of Salvini's engagement I handed him £8,000 for his
half-share of the profits, retaining a like amount for myself.
In July, 1875, one of the most charming vocalists that it has been my
pleasure to know, a lady who as regards voice, talent, grace, and style
was alike perfect, and who was as estimable by her womanly qualities as
by her purely artistic ones, made her first appearance at my temporary
Operatic home, Drury Lane, as "Rosina," in _Il Barbiere_. This was
Mdlle. Marguerite Chapuy, and no sooner had the news of her success been
proclaimed than Adelina Patti came, not once, but twice running to hear
her.
At the first performance Mdlle. Chapuy made such an impression on the
public that in the scene of the music lesson she was encored no less
than four times; particularly successful among the various pieces she
introduced being the "Aragonese" from Auber's _Domino Noir_, and the
waltz from Gounod's _Romeo and Juliet_. Sir Michael Costa hated
encores, but on this occasion he departed willingly from his usual rule.
Marguerite Chapuy charmed everyone she came near; among others a young
French sergeant, a gentleman, that is to say, who had enlisted in the
French army, and was now a non-commissioned officer. Her parents,
however, did not look upon the young man as a fit husband for such a
prima donna as their daughter, and it was true that no vocalist on the
stage seemed to have a brighter future before her. Mdlle. Chapuy
remained meanwhile at Drury Lane, and the success of her first season
was fully renewed when in the second she appeared as "Violetta" in _La
Traviata_. A more refined impersonation of a character which requires
very delicate treatment, had never been seen.
It struck me after a time that my new "Violetta" was not wasting away in
the fourth act of _La Traviata_ alone. She seemed to be really perishing
of some malady hard to understand; and when the most eminent physicians
in London were called in they all regarded the case as a difficult one
to deal with since there was nothing definite the matter with the
patient. Gradually, however, she was fading away.
There could be no thought of her appearing now on the stage; and at her
own desire, as well as that of her father and mother, who were naturally
most anxious about her, she was removed to France. No signs of
improvement, however, manifested themselves. She got weaker and weaker,
and when she was seemingly on the point of death her hard-hearted
parents consented to her marriage with the young sergeant. My consent
had also to be given, and I naturally did not withhold it.
Mdlle. Chapuy had signed an engagement with me for several years. But
everyone said that the unhappy vocalist was doomed; and such was beyond
doubt the belief of her parents, or they never would have consented to
her throwing herself away on an honourable young man who was serving his
country for something less than a franc a day, when she might so easily
have captured an aged banker or a ruined Count.
Shortly afterwards I met her in Paris looking remarkably well. She told
me that her husband had received his commission soon after their
marriage, and that he now held some local command at Angoulême. As I had
not released her from her engagement, I suggested to her, and even
entreated, that she should fulfil it. Her husband, however, would not
hear of such a thing. He preferred that they should live quietly on the
£120 a year which he was now receiving from the Government. I offered as
much as £200 a night, but without effect.
All I could get was a promise from Mdlle. Chapuy that in the event of
her returning to the stage she would give me her services in accordance
with the terms of the contract she had previously signed. Later on she
told me that she still sang once a year for charitable purposes; and I
still hope for her return to the lyric stage.
I here append the letter she addressed to me just after her marriage:--
"Angoulême, 8 Decembre, 1876.
"CHER MONSIEUR MAPLESON,
"Je vous remercie de votre bonne lettre et je m'empresse d'y répondre
pour vous assurer que je m'engage aussi formellement que vous pouvez le
désirer à ce que l'engagement que nous avions ensemble soit remis en
vigueur si jamais je reprends la carrière théâtrale: je vous promets
aussi que vous pourriez compter sur moi pour la grande saison de Londres
qui suivrait ma rentrée sur la scène. Vous avez été trop bon et trop
aimable pour moi, pour que j'hésite un instant à vous faire cette
promesse. Du reste, il me serait bien agréable, si je reprenais le
théâtre, de reparâitre sur la scène de Londres, car je n'ai pas oublié
combien le public Anglais a été bienveillant pour moi.
"En attendant votre réponse veuillez agréer cher Monsieur Mapleson
l'assurance de mes sentiments dévoués.
"MARGUERITE ANDRÉ-CHAPUY,
"Rue St. Gelais, 34.
"Mon mari, ma grande-mère, et ma mère sont bien sensibles à votre
aimable souvenir et vous font tous leurs compliments."
* * * * *
There are two ways of judging a singer--by the vocalist's artistic
merits, and by the effect of his or her singing on the receipts. In the
first place I judge for myself by the former process. But when an
appearance has once been made I fall back, as every manager is bound to
do, on the commercial method of judgment, and calculate whether the
amount of money drawn by the singer is enough to justify the outlay I am
making for that singer's services. The latter was the favourite system
of the illustrious Barbaja, who, when he was asked his private opinion
as to this or that member of his Company, would say--
"I have not yet consulted my books. I must see what the receipts were,
and I will answer your question to-morrow."
Referring to my books, I find with great satisfaction that the charming
artist, whom I admired quite as much before she had sung a note at my
theatre as I did afterwards, when she had fairly captivated the public,
drew at her first performance £488, and at her second £538; this in
addition to an average nightly subscription of £600.
Thus Mdlle. Chapuy made her mark from the first.
Other vocalists, even of the highest merit, have been less fortunate.
Thus Mdlle. Marimon, when she appeared at my theatre in 1871, drew at
her first performance (that of "Amina," in _La Sonnambula_) £73, at her
second £280, at her third £358, at her fourth £428. To these sums, as in
the case of Mdlle. Chapuy, the nightly proportion of the subscription
has, of course, to be added.
As with singers, so with operas. I choose a work which, according to my
judgment, ought to succeed, and cast it as well as I possibly can. It
will not in any case please the public the first night; and I have
afterwards to decide whether I shall make sacrifices, as with _Faust_,
and run it at a loss in the hope of an ultimate success, or whether I
shall cut the matter short by dropping it, even after a vast outlay in
scenery, dresses, and properties, and after much time and energy
expended at rehearsals.
When I brought out Cherubini's admirable _Deux Journées_ (otherwise _The
Water Carrier_) I was complimented by the very best judges on the beauty
of the work, and also (how little they knew!) on its success. I received
congratulations from Jenny Lind, from Benedict, from Hallé, from
Millais, from the Baroness Burdett-Coutts. But there was not more than
£97 that night in the treasury. Thereupon I made my calculation. It
would have cost me £1,200 to make the work go, and I could not at that
moment afford it. I was obliged, then, to drop it, and that after five
weeks' rehearsals!
Some time afterwards I produced Rossini's _Otello_ with a magnificent
cast. Tamberlik was the "Otello," Faure the "Iago," Nilsson the
"Desdemona." The other parts were played by Foli, Carrion (an excellent
tenor from Spain), and others. All my friends were delighted to find
that I had made another great success. I listened to their flattering
words. But the treasury contained only £167 3s., for which reason
_Otello_ was not repeated.
In rebuilding Her Majesty's Theatre Lord Dudley did not think it worth
while to consult me or any other operatic manager. He had the
opportunity of erecting the only isolated theatre in London, and the
most magnificent Opera-house in the world, for the shops in the Opera
Colonnade and the adjoining hotel in Charles Street might at that time
have been purchased for comparatively small sums. The Earl, however, as
he himself told me, cared only to comply with the terms of his lease,
which bound him to replace the theatre which had been destroyed by
another of no matter what description, provided only that it had four
long scenes and four short ones.
Messrs. Lee and Paine, the architects entrusted with the duty of
covering the vacant site, acted after their own lights, and they
succeeded in replacing two good theatres by a single bad one. The old
Opera-house, despite its narrow stage, had a magnificent auditorium, and
the Bijou theatre, enclosed within its walls, possessed a value of its
own. It was let to Charles Mathews, when theatrical property possessed
less value than now, for £100 a week; and Jenny Lind sang in it to
houses of £1,400.
When the new theatre had been quite finished Lord Dudley was shown over
it by the delighted architects. His lordship was a tall man, and his hat
suffered, I remember, by coming into collision with the ceiling of one
of the corridors. Turning to the senior partner, who was dying to catch
from his aristocratic patron some word of satisfaction, if not of
downright praise, the Earl thus addressed him--
"If narrow corridors and low ceilings constitute a fine theatre you have
erected one which is indeed magnificent."
The architect, lost in confusion at being addressed in terms which he
thought from his lordship's finely ironical demeanour must be in the
highest degree complimentary, did nothing but bow his acknowledgments,
and it was not until a little later that some good-natured friends took
the trouble to explain to him what the Earl had really said.