FIRST AMERICAN CAMPAIGN--DIFFICULTIES OF EMBARKATION--CONCERT ON
BOARD--DANGEROUS ILLNESS OF GERSTER--OPERA ON WHEELS--"THE
DRESSING-ROOM ROW"--A LEARNED THROAT DOCTOR--GERSTER SINGS BEFORE
HER JUDGE--THE PIANOFORTE WAR--OUR HURRIED DEPARTURE.
AT the end of the season I went abroad to complete my Company for the
first American tour, which was to begin about the middle of October. I
started my Opera Company from London on the 31st August on its way to
America, numbering some 140 persons, including Gerster, Minnie Hauk,
Trebelli, Valleria, Campanini, Frapolli, Galassi, Del Puente, Foli,
etc., with Arditi as conductor. This also comprised a magnificent chorus
of some 60 selected voices, together with the whole of the _corps de
ballet_ and principal dancers; and I had decided to give some three or
four weeks' performances in Ireland prior to sailing, in order to get
things in working order, as well as to recruit the exchequer for my
costly enterprise. Although immense success attended the appearance of
my new singers in the Irish capital, they were not sufficiently known to
draw the great houses more famous artists would have done. Etelka
Gerster almost drove the gods crazy with her magnificent singing; but as
she was totally unknown, never having been in Ireland before, the
receipts were not commensurate with her artistic success. Minnie Hauk,
again, had never appeared in that country; nor had the opera of _Carmen_
been heard, its very name seeming to be unknown. However, the artistic
success was beyond measure, and the representations, moreover, served as
a kind of general rehearsal for my coming performances in America. On
reaching Cork I found the receipts were again below what they ought to
have been, and I began to realize that in lieu of increasing my
exchequer prior to starting for America I ran the chance of totally
exhausting it.
I therefore telegraphed to my representative in New York for £2,000, in
order that I might straighten up my position, and pay the balance of our
passage money, the boat being then off Queenstown.
I was really anxious on this occasion, and it was not until late in the
day that my cable arrived, notifying to me that the money was at my
credit in the Bank of Cork. With some difficulty, it being after banking
hours, I obtained admittance, when lo! the money was all payable in
Irish notes. These the singers pronounced to be useless for their
purpose in America. They absolutely refused to embark, and it was not
until towards evening that I was enabled with great difficulty to find
gold at the various hotels and shops in exchange for my Irish notes.
At length we departed from Queenstown; though it was late in the evening
before I succeeded in getting the last squad on board. Some of the
Italian choristers had been assured by Irish humorists that the streets
of New York were infested by crocodiles and wild Indians; and these they
were most unwilling to encounter. We had a splendid passage across. The
day before our arrival in New York it was suggested to give a grand
concert in aid of the sufferers by the yellow fever then raging in New
Orleans. I recollect on the occasion of the concert the collection made
amongst the passengers amounted to some £3 or £4. One Western gentleman
asked me particularly, in the presence of the purser, if the money would
really be devoted to the relief of the sufferers. He, moreover, demanded
that Captain Brooks, the officer in command, should guarantee that the
money would reach them. The collection was made by those two charming
young pianists, Mdlles. Louise and Jeanne Douste, and by the equally
charming young dancer, Mdlle. Marie Muller; and at the conclusion of the
concert, in which he had encored every one of the pieces, the careful
amateur from the West gave the sum of sixpence. Gerster, Minnie Hauk,
Campanini, and the others were irate, at the result of their united
labours; and as they thought it might injure them on their arrival in
New York, were the public to know of it, they privately subscribed £20
apiece all round to make the return look a little decent.
On our arrival in New York we were met by thousands of people,
accompanied by military bands, etc., and although I had left, as it
were, a winter behind me, we landed in the midst of a glorious Indian
summer.
I set about making my preparations for the opening of my season, which
was to commence on the 16th October, and to prepare the way for the
_début_ of Madame Etelka Gerster, who since our arrival had scarcely
been her usual self. This I attributed to the sea voyage. Two days
before the opening I gave a dinner, to which I invited several
influential friends including members of the New York Press. As I was
just about responding to the toast of the evening, wishing health to
Madame Gerster and success to the Opera, the waiter beckoned me to the
door, whispering that a gentleman wanted to speak to me for one moment.
I went out, when Dr. Jacobi, the New York physician, called me into an
adjoining room, where the eminent specialist, Dr. Lincoln, was waiting.
They had just visited Madame Gerster, and regretted to inform me that a
very bad attack of typhoid fever had developed itself, and that
consequently there would be no probability of her appearing the
following Wednesday, while it was even doubtful in their minds if she
would survive. She was in a very bad state.
This was indeed a great blow to me; but I returned to the room,
continued my speech, and then went on with my dinner as if nothing had
happened.
Making it a point never to think of business when I am not in my office,
I decided to turn matters over the following morning, which was the day
preceding the opening of the house. Being so far away, it would be
impossible to replace Mdme. Gerster. I thereupon persuaded Miss Minnie
Hauk to undertake her part in _La Traviata_, which she did with success.
Del Puente, our principal baritone, refused, however, to sing the part
of the father, in consequence, I presume, of this change.
This was a most fortunate thing for the other baritone, Galassi, who
replaced Del Puente. It virtually made his fortune. He possessed the
ringing quality of voice the Americans are so fond of. He literally
brought down the house that evening. I cannot recall a greater success
at any time, and henceforth Galassi became one, as it were, of the idols
of the American public.
I opened my theatre in London the following night with a very powerful
Company, Mdme. Pappenheim making her _début_ as "Fidelio"; for I was now
working concurrently the London and the New York Operas. This I did for
the whole of that season, closing Her Majesty's Theatre on the 21st
December, though the American "Academy" was kept open beyond.
Costumes, properties, and even singers, were moved to and fro across the
ocean in accordance with my New York and London requirements. Franceso,
who was ballet-master on both sides of the Atlantic, made again and
again the voyage from New York to Liverpool, and from Liverpool to New
York. On one occasion the telegraph played me false. I had wired to my
acting-manager at Her Majesty's Theatre, with whom I was in daily
telegraphic communication, desiring him to send me over at once a "2nd
tenor." The message was inaccurately deciphered, and out came "2
tenors;" one of whom was kneeling on the quay at New York returning
thanks for his safe arrival, when I requested him to re-embark at once,
as otherwise he would not be back at Her Majesty's Theatre by Monday
week in time to sing the part of "Arturo" in the _Lucia_, for which he
was already announced.
I afterwards produced Carmen at the Academy of Music, which met with
very great success, as likewise did _Faust_, _Don Giovanni_, etc. It was
not till the 8th November that Mdme. Gerster was declared out of danger,
and I was in constant attendance upon her until the 18th November, when
she appeared as "Amina" in La _Sonnambula_. Her success was really
electric, the public going quite wild about her.
I afterwards produced all the great operas I had been giving in London,
including the _Magic Flute_, _Talismano_, _Robert le Diable,_ etc.,
etc., my season continuing without intermission some six months, during
which time I visited Boston, where public breakfasts and other
entertainments were given to my singers. A special train was fitted up
expressly for my large Company, and all the carriages elegantly
decorated. I had also placed at my disposal by the Railroad Company a
carriage containing writing-room, drawing-room, bedrooms, and kitchen
stocked with wines and provisions, under the direction of a _chef_.
Whilst at Boston I had the honour of making the acquaintance of
Longfellow, who, being anxious to hear Mdme. Gerster, occupied my box
one evening, the attention of the audience being very much divided
between its occupant and Mdme. Gerster, who on that occasion was singing
"Elvira" in _I Puritani_. He likewise attended the final morning
performance, which took place on the last Saturday of our engagement,
when Gerster's receipts for "Lucia" reached no less than £1,400. We left
that evening for Chicago, a distance of some 1,100 miles, arriving in
that city just in time to commence the opera the following Monday, when
Gerster appeared and created an excitement only equalled by that of
Jenny Lind. I recollect, by-the-bye, an amusing incident that occurred
the second night, on the occasion of the performance of _Le Nozze di
Figaro_.
On the right and left-hand sides of the proscenium were two
dressing-rooms alike in every respect. Madame Gerster, however, selected
the one on the right-hand side, which at once gave the room the
appellation of the prima donna's room. On the following evening _Le
Nozze di Figaro_ was to be performed, in which Marie Roze was to take
the part of "Susanna," and Minnie Hauk that of "Cherubino." In order to
secure the prima donna's room Minnie Hauk went to the theatre with her
maid as early as three o'clock in the afternoon and placed her dresses
in it, also her theatrical trunk.
At four o'clock Marie Roze's maid, thinking to be the first in the
field, arrived for the purpose of placing Marie Roze's dresses and
theatre trunks in the coveted apartment. Finding the room already
occupied, she mentioned it to Marie's husband, who with a couple of
stage men speedily removed the trunks and dresses, put them in the room
opposite, and replaced them by Marie's. He then went back to his hotel,
desiring Marie to be at the theatre as early as six o'clock.
At about 5.30 Minnie Hauk's agent passed by to see if all was in order
and found Marie Roze's theatrical box and costumes where Minnie Hauk's
were supposed to be. He consequently ordered the removal of Marie Roze's
dresses and trunk, replaced those of Minnie Hauk, and affixed to the
door a padlock which he had brought with him.
Punctually at six o'clock Marie Roze arrived, and found the door locked.
By the aid of a locksmith the door was again opened, and Minnie Hauk's
things again removed to the opposite room, whilst Marie Roze proceeded
to dress herself in the "prima donna's room."
At 6.30 Minnie Hauk, wishing to steal a march on her rival, came to
dress, and found the room occupied. She immediately returned to Palmer
House, where she resided, declaring she would not sing that evening.
All persuasion was useless. I therefore had to commence the opera minus
"Cherubino;" and it was not until the middle of the second act, after
considerable persuasion by my lawyers, that Minnie Hauk appeared on the
stage. This incident was taken up throughout the whole of America, and
correspondence about it extended over several weeks. Pictures were
published, also diagrams, setting forth fully the position of the trunks
and the dressing-rooms. The affair is known to this day as "The great
dressing-room disturbance."
During all this visit to Chicago there was one unbroken line of
intending buyers waiting to secure tickets at the box office; and
frequently I had to pay as much as twenty dollars for wood consumed
during the night to keep the purchasers warm.
About the middle of the second week I produced Bellini's _Puritani_,
with Gerster as "Elvira," Campanini as "Arturo," Galassi as "Riccardo,"
and Foli as "Giorgio." On this occasion the house was so crowded that
the outer walls began to crack, and in the managerial room, in which I
was working, I could put my hand through one of the corners where the
two walls met. I communicated with Carter Harrison, who was then Mayor.
He at once proceeded to the theatre, and, without creating any alarm,
and under the pretext that the house was too full, caused upwards of a
thousand people to leave the building. So pleased were they with the
performance that they all refused to have their money returned.
We terminated one of the most successful Chicago seasons on record, and
the Company started the following morning for St. Louis. As I was
suffering from a sharp attack of gout I had to be left behind, and but
for the kindness of Lord Algernon Lennox (who had acted as my
aide-de-camp at one of our Easter sham-fights) and Colonel Vivian I do
not know what I should have done. Both these gentlemen remained in the
hotel with me, interrupting their journey to do me this act of kindness,
for which I felt very grateful.
On the Company's arriving at St. Louis, Mdme. Gerster declared her
inability to sing the opera of _Lucia_ that evening. My son Henry, who
had charge of the Company until I could rejoin it, explained to madame
that it would be necessary to have a medical certificate to place before
the public. Mdme. Gerster replied she was too honourable an artist to
require such a thing, and that when she said she was ill, she was ill.
My son, however, brought in a doctor, who insisted upon seeing her
tongue. She merely, in derision, said, "There!"--rapidly putting it out
as she left the room. The doctor immediately put on his spectacles, and
proceeded to write his certificate, saying that there was a little
irritation in the epiglottis, that the uvula was contracted, together
with the muscles of the throat, and that the tonsils were inflamed. On
Mdme. Gerster's husband showing the certificate to his wife she got so
angry that she insisted upon singing--just to show what an "ass" the
doctor was. Of course, this answered my purpose very well, and my large
receipts were saved.
On leaving the hotel at the end of that week the eminent physician
presented Mdme. Gerster with a bill of $60 for medical attendance. This,
of course, she resisted; and she gave bonds for her appearance when
called upon, in order to save her trunks from seizure, which the M.D.
had threatened.
Whilst I am on this subject, I may as well inform the reader that two
years afterwards when we visited St. Louis the matter was brought before
the Court. Feeling sure that this attempt at extortion would not be
allowed, and that the Court proceedings would be of very short duration,
I attended at nine o'clock, the hour set down for trial, leaving word
that I should be home at about half-past ten to breakfast. It was not
until eleven that I was called up to the witness-stand. On my
mentioning to my counsel that I felt very faint, as I had not yet eaten
anything, he repeated it to the judge, who at once adjourned the Court
in order that I might have my breakfast. He enjoined me not to lose too
much time in "mastication," and ordered the reassembly of the Court at
half-past eleven. On my return my evidence was duly given; but when the
defendant, Etelka Gerster, was summoned, the call-boy from the theatre
appeared, stating to the judge that as she had to sing "Lucia" that
night, and was not very well, it would jeopardize the whole performance
if she left the hotel.
His honour, thereupon, considerately ordered the Court to adjourn to
Mdme. Gerster's rooms at the Lindell House, where the trial could be
resumed. On our arrival there counsel and others amused themselves by
looking at various pictures until the prima donna appeared, accompanied
by her two dogs, her birds, etc., when the judge entered into
conversation with her on musical matters. Later on his honour solicited
Mdme. Gerster to kindly sing him a song, especially the "Last Rose of
Summer," which he was very partial to, being from the Emerald Isle. At
the close of the performance he thought it was useless troubling Mdme.
Gerster to go further into the case, which was at once decided in her
favour.
Talking of law, I may mention another lawsuit in which I was concerned.
Whilst in Boston in January, 1879, Mdme. Parodi, who lived in an hotel
close by the theatre, had need of medical attendance, and the theatrical
doctor, who had the _entrée_ to the house, was naturally selected to see
what the matter was. He prescribed a gargle for Mdme. Parodi; and Mdlle.
Lido, who had been attending on the patient, having shown the doctor her
tongue as he went out, he merely said "You want a little
Friedrichshall," and left the room.
Nothing more was heard of the matter until January, 1880, when, as I was
seated at the breakfast table in the hotel with my wife and family, two
Deputy-Sheriffs forced their way unannounced into the room to arrest me
for the sum of 30 dollars, which the doctor claimed as his fee. This was
the first intimation I had had of any kind, and it was afterwards shown
in evidence that the doctor had debited Parodi and Lido in his day-book
separately with the amount which he also charged to them collectively.
Finding that both ladies had left the city he thought it better to
charge the attendance to me. Rather than be arrested, I of course paid
the money, but under protest.
The next day I commenced proceedings against the doctor, as well as the
Sheriff, for the return of my money, which I contended had been handed
over under duress, and was not a voluntary payment on my part. The
doctor's counsel contended on the other hand--first, that I had derived
benefit from the treatment he had given these ladies; secondly, that I
was liable. In due course the matter went to trial, and was heard by
Judge Parmenter in the Municipal Civil Court at Boston. It was proved
that the doctor was the regular physician to the Boston Theatre, and
that in consideration of free entrance he attended without fee members
of the Company who played there. The Judge, after commenting on the
testimony, decided the matter in my favour. I was, however, baulked of
both money and costs; for the same afternoon the doctor went home and
died.
On my return to New York for the spring opera season I produced
_Dinorah_, in which Mdme. Gerster again achieved a triumph. The business
went on increasing. About this time a meeting of the stockholders of the
Academy of Music was convened, and I ultimately signed a new lease for
three more years, commencing October 20th following.
During my first sojourn in America I gave 164 performances of opera,
likewise 47 concerts. Concurrently with this I gave 135 operatic
performances and 48 concerts in England. The season in New York extended
from October 16th to December 28th, 1878, also from February 29th to
April 5th, 1879. At Boston the season lasted from December 30th, 1878,
to January 11th, 1879; at Chicago from January 13th to 25th; at St.
Louis from January 27th to February 1st; at Cincinnati from February 3rd
to 8th; at Philadelphia 10th to 18th, at Baltimore and Washington 19th
to 25th. During this period _Lucia_ was performed twenty times,
_Sonnambula_ nineteen times, _Carmen_ twenty-six times, _Faust_ sixteen
times, _Trovatore_ nine times, _Flauto Magico_ eight times, _Puritani_
eight times, _Nozze di Figaro_ seven times, _Rigoletto_ five times, _Don
Giovanni_ five times, _Traviata_ four times, _Lohengrin_ ten times,
_Barbiere_ twice, _Ruy Blas_ twice, _Dinorah_ twice, _Talismano_ ten
times, _Robert le Diable_ twice, _Huguenots_ six times, _Freischutz_
three times; making altogether twenty-four morning performances and one
hundred and forty evening performances.
About this time the disastrous floods took place at Szegedin, in
Hungary. This being Mdme. Gerster's birth-place I proposed a grand
benefit concert for the sufferers, in which my prima donna at once
joined. By our united efforts we raised about £800, which was remitted
by cable to the place of disaster within five days of its occurrence,
much (I need scarcely add) to the relief of many of the sufferers.
My benefit, which was fixed for the last night of the season, took place
on Friday, April 4th. At quite an early hour crowds collected right down
Fourteenth Street and Irving Place, and within a very short time every
square inch of available room in the house was occupied. The enthusiasm
of the auditors was immeasurable, and they began to show it as soon as
the performance opened. The representation consisted of the third act of
the _Talisman_, with Mdme. Gerster as "Edith Plantaganet," and
Campanini as "Sir Kenneth;" followed by the fourth act of _Favorita_, in
which Mdme. Marie Roze undertook the _rôle_ of "Leonora;" and concluding
with an act of _La Traviata_, with Mdme. Gerster as "Violetta." Mdme.
Gerster's performance was listened to with the deepest attention, and
rewarded at the end with enthusiastic cheers. Mdme. Gerster afterwards
came out three times, but her courtesies were of no avail in quieting
the multitude. It was necessary, at the demand of the public, to raise
the curtain and repeat the entire act. Then nothing would satisfy the
audience but my appearance on the stage; when I thanked the ladies and
gentlemen present for their support, notifying, moreover, that,
encouraged by my success, I should return to them the next autumn. This
little speech was vehemently applauded, especially the references I made
to the singers and to the conductor, who, I promised, would come back
with me.
During our stay in New York we were supplied with pianos both for the
artists individually as well as for use at the theatre by Messrs.
Steinway and Sons; and before we left the following flattering but just
letter of compliment and of thanks was addressed to the firm:--
"Academy of Music, New York,
"December 28, 1878.
"GENTLEMEN,
"Having used your pianos in public and private during the present Opera
season we desire to express our unqualified admiration of their
sonority, evenness, richness, and astonishing duration of tone, most
beautifully blending with and supporting the voice. These matchless
qualities, together with the precision of action, in our opinion, render
the Steinway pianos, above all others, the most desirable instruments
for the public generally.
"(Signed) ETELKA GERSTER, MARIE ROZE,
MINNIE HAUK, C. SINICO,
CAMPANINI, FRAPOLLI, GALASSI, FOLI,
DEL PUENTE, ARDITI."
Messrs. Steinway now offered and undertook to supply each leading member
of the Company with pianos in whatever town we might visit throughout
the United States.
On our arrival in Philadelphia I was surprised to find that every artist
in the Company had had a magnificent Steinway placed in his or her
bedroom; this in addition to the pianos required at the theatre. But
while the Company were dining, a rival pianoforte maker, who had shown
himself keenly desirous of the honour of supplying us with instruments,
invaded the different bedrooms and placed the Steinway pianos outside
the doors, substituting for them pianos made by his own firm--that of
Weber and Co. The Webers, however, were ultimately put outside and the
Steinways replaced.
Shortly afterwards a pitched battle took place in the corridors between
the men employed by the rival firms, when the Weber men, being a more
sturdy lot, entirely defeated the Steinway men and ejected them bodily
from the hotel. The weapons used on this occasion were piano legs,
unscrewed from the bodies of the instruments.
Not only did physical force triumph, but the superior strength exhibited
by the Weber side was afterwards supplemented by cunning. That very
night Weber gave a grand supper to the whole of my Company, and I was at
once astonished and amused the next day to find that a new certificate
had been signed by them all stating that Weber's pianos were the best
they had ever known. A paper to that effect had been passed round after
sundry bottles of "Extra Dry," and signatures appended as a matter of
course.
Such was the impartiality of my singers that they afterwards signed on
behalf of yet a third pianoforte maker, named Haines.
In accordance with numerous solicitations, I agreed to give a Farewell
_matinée_ the next day. But the steamer had to sail for Europe at two
o'clock in the afternoon; and this rendered it necessary that my morning
performance should commence at half-past eleven, the box-office opening
at eight. In the course of a couple of hours every seat was sold.
Towards the close of the performance, Arditi, the conductor, got very
anxious, and kept looking up at my box. It was now half-past one, Madame
Gerster's _rondo finale_ in _La Sonnambula_ had absolutely to be
repeated, or there would have been a riot; and we were some three miles
distant from the steamer which was to convey us all to Europe.
At length, to my relief, the curtain fell; but the noise increased, and
I had again to show myself, while Arditi and the principal singers and
chorus took their departure, Signor Foli, with his long strides,
arriving first. I afterwards hastened down in a carriage I had expressly
retained. As the chorus had scarcely time to change their dresses, many
of them rushed down as best they could in their theatrical attire,
followed by a good portion of the audience, who were anxious to get a
last glimpse of us all.
Arriving on board the Inman steamer _City of Chester_, I found it
crowded with personal friends, many of whom had been there at least an
hour. Hearty embraces were exchanged by the men as well as the women,
and numerous bottles of champagne were emptied to fill the parting cups.
The cabins of the steamer were literally piled up with flowers. Trunks
and boxes containing the wardrobe of the morning performance were lugged
on board.
"All ashore!" shouted the captain. Prior to my arrival, the bell had
rung for the seventh and positively last time. The steamer's officers
now urged all but passengers to get on shore, and hinted at the
probability of some of them being inadvertently carried over to Europe.
The women hurried back to escape that dreadful fate.
Ole Bull, whom I had invited to go to Europe with me, darted across the
gang-plank carrying his fiddle in a box. The whistle then blew, and the
bell rang for the eighth and now absolutely last time. At length the
steamer took her departure. A band of music on the wharf had been
playing lively airs, to which my chorus responded by singing the grand
prayer from _I Lombardi_.
To my dismay, I discovered that the prima donna had been left behind;
also the property-master, the ladies' costumier, one of the ballet, and
five of the chorus. The latter had nothing with them but the theatrical
costumes they carried on their bodies. They had previously sent all
their worldly belongings on board the ship, and we now saw them
gesticulating wildly on the quay as we passed down the bay. They were
treated very kindly after our departure; ordinary day clothes were
provided for them, and they were sent over by the next steamer.
On entering my cabin I found a silver épergne, a diamond collar-stud,
any quantity of literature, several boxes of cigars, bottles of brandy,
etc., which had been left anonymously; also an immense basket of fruit.
There were, moreover, two large set-pieces of flowers in the form of
horse-shoes that had been sent me from Boston, likewise a basket of
rose-buds, lilies, and violets, and an embroidered table-cover.
A few minutes later, a tug carrying a large American flag at the side of
an English one steamed up to the pier and took on board a number of
ladies and gentlemen who, accompanied by an orchestra, followed the
steamer down the bay, giving the Company a farewell ovation of cheering
as the vessel passed the Narrows and got out to sea.