The Mapleson Memoirs, 1848-1888 Volume I Part 13

"His Royal Highness will be received by Mr. W. H. Smith, M.P., Sir James Hogg, Chairman of the Metropolitan Board of Works, Mr. F. H.

Fowler, the Architect, and Mr. J. H. Mapleson, the Director of the National Opera.

"On arrival at the platform an address will be read to the Duke of Edinburgh in the name of the founders of the Grand National Opera-house.

"His Royal Highness the Duke of Edinburgh will then proceed to lay the first stone.

"The trowel will be handed to His Royal Highness by Mr. Mapleson, the Director; the plumb-rule and level by Mr. F. H. Fowler, the Architect; and the mallet by Mr. W. Webster, the Builder.

"On the completion of the ceremony His Royal Highness will make a brief reply to the address.

"The Duke of Edinburgh will then be conducted to his carriage at the entrance by which His Royal Highness arrived, and will drive to the St. Stephen's Club.

"16th December, 1875."

The following address was then read by Sir James McGarel Hogg:--

"YOUR ROYAL HIGHNESS,--

"On behalf of the founders of the Grand National Opera-house, I have the honour to present to your Royal Highness the following address in which the objects of the undertaking are set forth:--

"The establishment of a National Opera-house in London has long been contemplated, the obstacle to which, however, was the impossibility of finding a suitable site, and it was not until that vast undertaking was carried out by the Metropolitan Board of Works, which has resulted in reclaiming from the Thames large tracts of land, and in throwing open the great thoroughfare of the Victoria Embankment, that a site sufficient to meet the requirements of a National Opera-house could be obtained; and it is this building that your Royal Highness is graciously pleased to inaugurate to-day.

"The National Opera-house is to be devoted firstly to the representation of Italian Opera, which will be confined as heretofore to the spring and summer months; and, secondly, to the production of the works of English composers, represented by English performers, both vocal and instrumental.

"It is intended, as far as possible, to connect the Grand National Opera-house with the Royal Academy of Music, the National Training School for Music, and other kindred inst.i.tutions in the United Kingdom, by affording to duly qualified students a field for the exercise of their profession in all its branches.

"The privilege, which it is the intention of the Director to grant to the most promising of these students, of being allowed to hear the works of the greatest masters performed by the most celebrated artists, will, in itself, form an invaluable accessory to their general training.

"Instead of being compelled to seek abroad further instruction when their prescribed course at the various establishments is finished, they will thus be able to obtain this at home, and more quickly and efficiently profit by example.

"In Paris, when sufficiently advanced, the students can make a short step from the Conservatoire to the Grand Opera; so it is hoped that English students will use the legitimate means now offered and afforded for the first time in this country of perfecting their general training, whether as singers, instrumentalists, or composers, according to their just claims.

"In conclusion I beg leave to invite your Royal Highness to proceed with the ceremony of laying the first stone of the new Grand National Opera-house.

"Grand National Opera house, Victoria Embankment, 16th December, 1875."

In designing this, I intended it to be the leading Opera-house of the world; every provision had been made. The building was entirely isolated; and a station had been built beneath the house in connection with the District Railway, so that the audience on leaving had merely to descend the stairs and enter the train. In the sub-bas.e.m.e.nt dressing-rooms, containing lockers, were provided for suburban visitors who might wish to attend the opera. A subterranean pa.s.sage, moreover, led into the Houses of Parliament; and I had made arrangements by which silent members, after listening to beautiful music instead of dull debates, might return to the House on hearing the division-bell. The Parliamentary support thus secured would alone have given an ample source of revenue.

Having plenty of surplus land, I had arranged with the Lyric Club to lease one corner, whilst the Royal Academy of Music had agreed to take another. The buildings, moreover, were to include a new concert room, together with a large gallery for pictures not accepted by the Hanging Committee of the Royal Academy, to be called the "Rejected Gallery."

There were recreation rooms, too, for the princ.i.p.al artists, including billiard tables, etc., besides two very large Turkish baths, which, it was hoped, would be of service to the manager in cases of sore throat and sudden indisposition generally.

The throat doctors appointed to the establishment were Dr. Morell Mackenzie and Mr. Lennox Brown.

Sir John Humphreys had arranged for the purchase of a small steamer to act as tug to a large house-boat which would, from time to time, take the members of the Company down the river for rehearsals or recreation.

The steamer was being built by the Thorneycofts. The house-boat was of unusually large dimensions, and contained a magnificent concert-room.

The nautical arrangements had been confided to Admiral Sir George Middleton, a member of my acting committee; or, in his absence, to Lord Alfred Paget.

When about 103,000 had been laid out on the building another 10,000 was wanted for the roofing; after which a sum of 50,000, as already arranged, could have been obtained on mortgage. For want of 10,000, however, the building had to remain roofless. For backing or laying against a horse, for starting a new sporting club or a new music-hall, the money could have been found in a few hours. But for such an enterprise as the National Opera-house it was impossible to obtain it; and, after a time, in the interest of my stockholders (for there was a ground rent to pay of 3,000), I consented to a sale.

The purchasers were Messrs. Quilter, Morris, and Tod-Heatly, to whom the building was made over, as it stood, for 29,000.

Later on it was resold for 500; and the new buyers had to pay no less than 3,000 in order to get the walls pulled down and broken up into building materials.

The site of what, with a little public spirit usefully applied, would have been the finest theatre in the world, is now to serve for a new police-station. With such solid foundations, the cells, if not comfortable, will at least be dry.

CHAPTER XIII.

FIRST VISIT TO AMERICA--MAKING MONEY OUT OF SHAKESPEARE--CHATTERTON'S SECRET AGENTS--BIDDING FOR HER MAJESTY'S THEATRE--ILLNESS OF t.i.tIENS--GERSTER'S SUCCESS--PRODUCTION OF "CARMEN."

AT the close of the year 1875 I was invited to spend the evening with some friends to see the old year out and the new year in. Amongst the visitors at the house I met an American gentleman who had seen many of my performances; and he a.s.sured me that if I would but go to America I should do a very fine business, but that prior to making arrangements I either ought to send over a trusted agent or go myself. So fully did he impress me by his conversation, that, although I had never contemplated such a thing, I went home late that night, or rather early the next morning, put a lot of traps together, and started the same afternoon for America, reaching Queenstown early on the morning of the 2nd January in time to catch the steamer.

I shall never forget my first voyage. I knew no one on board: we were six or seven pa.s.sengers in all. Few care to leave for a long voyage on New Year's Day. The vessel was not only small, although a Cunarder, but very unsteady. She was known amongst nautical men as the "Jumping Java."

Our pa.s.sage occupied 14 days, and we had to weather several very severe gales. One day we only made 16 knots.

However, I arrived on the other side in due course, and was forcibly struck with the grand country I had entered. As I could remain there only nine or ten days I hastened to visit Chicago, Philadelphia, Boston, Cincinnati, and other places, in addition to New York. I, however, "prospected" by carefully noting all I saw; and afterwards returned to England to join my touring concert party during the latter part of the month. It was then in the provinces. I felt myself fully master of what I intended the following year to undertake; namely, a tour of Her Majesty's Opera Company in America, which later on in these memoirs I shall have occasion to describe. I also organized another tour in the English provinces, with Salvini, who appeared afterwards in all the princ.i.p.al provincial towns with immense success.

In the middle of October, 1875, I had the honour of being invited by the Duke of Edinburgh to Eastwell Park. Thinking the invitation was only for the day, I took nothing with me but a small bag containing an evening suit and a single s.h.i.+rt. When I arrived at Ashford station I was met by two six-foot men in scarlet liveries, who had arrived with a fourgon, drawn by two splendid horses, into which they proposed to put my luggage. I noticed their efforts to restrain a smile when I handed to them my little hand-bag. Another magnificent equipage had been sent for me personally.

I was received with the greatest possible kindness; and it will interest many of my readers to know that just before dinner the d.u.c.h.ess took me to a buffet on which was laid out caviare, smoked salmon, salt herring (cut into small pieces), dried mushrooms, pickled cuc.u.mbers, and the various appetizing delicacies which, with spirits or liqueurs, form the preliminary repast known to the Russians as _zakuska_.

I had the honour of taking the d.u.c.h.ess in to dinner, where we formed a party of four: the Duke, the d.u.c.h.ess, the equerry in attendance, and myself. After dinner we adjourned to the music-room, where I noticed piles upon piles of music-books. I soon saw that the d.u.c.h.ess was an excellent musician. The Duke, too, received evidence of this; for in difficult pa.s.sages he was pulled up and corrected again and again.

Smoking being permitted and even enjoined, I lighted a cigar and smoked in silence on the sofa, listening with interest to the musical performances, which were in the form of duets for violin and piano, or violin solos with pianoforte accompaniment.

The next morning we were up early, and I was taken over the estate. The d.u.c.h.ess pointed out to me her own particular fish-pond, in which she sometimes angles with a view to the table.

Then I went out shooting with the Duke; a rather trying business, for I had neither shooting-clothes nor, far worse, shooting-boots. Of course it began to rain, and I was soon wet through to the skin, my ordinary walking boots being soaked in such a manner that when I got back to the house, by which time the leather had partially dried and contracted, I had considerable difficulty in getting them off. The Duke was kind enough to lend me an overcoat.

At luncheon the d.u.c.h.ess asked for the key of the wine cellar, at which the Duke expressed surprise and curiosity. He was reproached for his inquisitiveness, but was not at the time enlightened as to the object for which the keys were wanted.

It appeared later on at dinner that the d.u.c.h.ess had been visiting a curate at some eight miles distance, who was ill, and had been recommended port wine. This, out of his meagre income, he would be unable, she said, to afford.

"With eighty pounds a year and five children, how," she asked, "can he drink port wine and eat new-laid eggs?"--which the doctor had also recommended. She had herself, therefore, driven over in the afternoon through the pouring rain to take them to him.

After lunch we had more shooting, the weather being now a trifle better. We got home in good time for dinner, and in the evening played at billiards. The Duke is an infinitely better player than I am; but by a series of flukes I got ahead of him, and at last found myself within two points of the game, and with the b.a.l.l.s so left that it was most difficult for me to avoid making a final cannon. I saw, however, from the expression of the d.u.c.h.ess's countenance, that she had set her heart upon her husband's defeating me; and I must now confess that if I succeeded in not making that cannon, so difficult to miss, I did so simply out of regard for Her Royal Highness's feelings. The d.u.c.h.ess during the game acted as marker.

It was the d.u.c.h.ess's birthday, and in the course of the evening a courier from Russia, who had been anxiously expected all day, arrived with innumerable presents of jewellery. To these offerings the d.u.c.h.ess paid little or no attention. All she cared for was a letter she was awaiting from her father, and, on receiving it, she was soon absorbed in the perusal of its contents.

A few months afterwards, when the d.u.c.h.ess was present at a performance of _Fidelio_ given at Her Majesty's Opera, I had a new proof of Her Royal Highness's musical knowledge and of her delicate ear. She arrived before the beginning of the overture, and brought with her two huge orchestral scores. The d.u.c.h.ess sat on the floor of the box reading one of them, and turning of course very rapidly over the leaves during the stretto of the "Leonora" overture. Suddenly she noticed an uncertain note from the second horn, and exclaimed, as if to set the musician right, "B flat!" After the act I asked Sir Michael Costa whether something did not go wrong with one of the horns. "Yes," he said, "but only a person with a very fine ear could have perceived it." I repeated to Her Royal Highness Costa's remark precisely as he had made it.

I opened my season again at Drury Lane early in 1876; but the lessee, Mr. Chatterton, who had been secretly treating with Salvini, did not think it right that in the great national theatre under his control I should be making so much money out of Shakespeare. The only contract I could now get from him had practically the effect of excluding Salvini, and this was really the beginning of Chatterton's ruin. Although I was to pay him the same amount of rental he insisted on retaining the Wednesday and Friday evenings and Sat.u.r.day mornings for himself. I had therefore to rent another theatre wherein to place Salvini. Mr.

Chatterton brought over another Italian tragedian, Signor Rossi, and put him to perform at Drury Lane in opposition to Salvini, whom I had to present at the Queen's Theatre in Long Acre. The consequence was that both of us dropped money, and Mr. Chatterton's losses during that time were, I believe, considerable.