The Mapleson Memoirs, 1848-1888 Volume I Part 14

To my Opera Company I had added M. Faure, while retaining all the favourites of the previous year, including t.i.tiens, Trebelli, Nilsson, &c.; Sir Michael Costa remaining as conductor.

At the close of 1876 I again visited the provinces, beginning my usual Italian Opera season at Dublin, with Mdlle. t.i.tiens, who had returned fresh from her American triumphs, supported by Marie Roze, Valleria, Ilma de Murska, Emma Abbot, Trebelli, etc., etc. The tour was indeed a most prosperous one, and it terminated towards the latter part of the December of that year.

Early in 1877, when I applied for the renewal of my lease of the Theatre Royal, Drury Lane, Mr. Chatterton showed much ill-will, which I attributed to his jealousy at my previous success with Salvini, and to my having declined to allow him to engage the Italian tragedian on his own account. He insisted that I should have the theatre but three days a week, and then only from ten in the morning till twelve at night. Not only was I precluded from using the theatre on the other days, but I was to finish my performance always by midnight and then hand him the key.

As my rehearsals invariably have to take place on the "off days," when there is no opera, I should have been prevented by this arrangement from rehearsing at all. In fact, I found nothing but impossible clauses and conditions in the contract now offered.

At this time Mr. Chatterton was very anxious to find out whether or not the Earl of Dudley was prepared to let me Her Majesty's Theatre; and to ascertain this the good offices of some highly attractive young ladies performing in the pantomime were employed. Lord Dudley gave Mr.

Chatterton to understand that though he was willing to sell the theatre, of which he saw no probability, he would not under any circ.u.mstances let it to Mapleson or any other man. Hence Chatterton continued to insist on his stringent conditions, although I had been his tenant for some eight or nine years, paying a very large amount of rent in addition to cleaning and carpeting his theatre every year, which was very much required after the pantomime.

On learning, in a direct manner, Lord Dudley's decision, I saw that it was hopeless to approach him in the character of a tenant. A purchaser I did not wish to be, as my new Opera-house, it was antic.i.p.ated, would be ready for opening the following spring. All I, for the present, desired was a theatre where I could, unmolested, continue my season. I therefore made offers to Lord Dudley with a view to purchase, at the same time explaining to him my inability to pay the whole of the amount he then demanded, namely, 30,000. All I could do was to give him a deposit of 6,000 on account, and a further 6,000 in the following November, leaving 18,000 still due, with a clause, in case of any default being made in regard to the second instalment, by which the first was to be forfeited. To this his lords.h.i.+p a.s.sented. I had been ready to pay him 7,000 as rent for a single year, but this he would have refused. By paying an instalment of 6,000 I saved 1,000, and equally obtained the use of the theatre. In due course the matter was completed.

During the month of February I entered into possession. There was not a single seat in the house, not a particle of paper on the walls; neither a bit of carpet, nor a chair, nor a table anywhere. I therefore had to go and see Blundell Maple, the well-known upholsterer, who, out of regard for me and the advertis.e.m.e.nt I promised him, consented to give me a few things I required for the sum of 6,000. It involved the furnis.h.i.+ng of the whole of the dressing-rooms, the auditorium, and corridors.

About four miles of carpeting were required, there being so many staircases and pa.s.sages, all of which were luxuriously covered. New amber satin curtains, the traditional colour of the house, had to be manufactured specially. Stall chairs, appointments, fittings, and looking-gla.s.ses were also, of course, required. A room had to be built through solid masonry for the Prince of Wales, as a retiring-room. In fact, it was a very heavy affair; and on my inviting a few friends and members of the Press to a dinner I gave at my club some two days before the opening, they confessed to having believed that the theatre could not be opened for two months. Maple, in order to show what he could do in a short s.p.a.ce of time, had purposely left all to the last day, when he sent in some 200 workmen and upholsterers, together with about 300 girls and carpet-sewers, so that the effect was really like the magic of Aladdin's Palace. The theatre, I need scarcely say, was finished in time, and gave great satisfaction.

The new theatre opened on 28th April, t.i.tiens appearing as "Norma;" and a grand performance it was. Sir Michael Costa directed the orchestra, which went _a merveille_.

The day following it became evident that the great prima donna was suffering from a complaint which caused her the most serious inconvenience. The next evening Mdlle. Salla appeared with some success in _Il Trovatore_. On the succeeding Sat.u.r.day, Mdme. Christine Nilsson made her _rentree_ in _La Traviata_; but immediately afterwards she too fell ill.

It seemed as if the new theatre was to bring nothing but bad luck, as it since has done to all connected with it. Mdlle. t.i.tiens, however, had to make an effort, and she appeared again the next night as "Norma," and the Sat.u.r.day afterwards in the _Trovatore_. Meantime Mdme. Nilsson recovered and reappeared on the following Thursday. Mdlle. t.i.tiens was sufficiently well to appear at St. James's Hall, for Mr. Austin's benefit, at which she sang superbly, Mr. Austin, after the performance, a.s.suring me that he had never before heard such magnificent singing.

Mdlle. t.i.tiens now informed me that she felt considerably better, and would appear on the following Sat.u.r.day, 19th May, as "Lucrezia Borgia,"

which she in fact did. But, as the evening progressed she felt she could hardly get through the opera. Her voice was in its fullest perfection; but her bodily ailments caused her acute agony, and it was not until some time after the conclusion of the opera that she was able to leave the theatre.

The best advice was sought for, and it was decided by the lady herself that the operation, which ultimately caused her death, should be performed. At the end of three weeks, having recovered from the effects of the operation, as she thought, she expressed a wish to return to her duties at the theatre. But, alas! that wish was never to be fulfilled, and I had to go through the season with a loss, as it were, of my right hand.

She lived on in hopes of being able to recover, and she was even announced to appear at the usual period in the following September. But as time drew on it was clear that she was not long for this world. I last saw her on the 29th day of September. Early on the morning of the following Wednesday, October 3rd, she pa.s.sed away.

I continued the London season of 1877 as best I could without the invaluable services of Mdlle. t.i.tiens, although from time to time we had formed hopes of her reappearing. I again brought Mdme. Nilsson to the front, but found it inc.u.mbent on me to discover a new planet, as Mdme.

Nilsson, finding she was alone in the field, became somewhat exacting.

At last I found one; but, unfortunately, she was just on the point of being married, and nothing could induce her future husband to defer the ceremony. However, by dint of perseverance I succeeded in persuading him, for a consideration, to postpone the honeymoon; and in addition to this I was to pay a very large extra sum per night, while his wife's appearances were strictly limited to two each week.

About this time a great deal of intrigue was going on in order to prevent the success of the new star. I, however, discovered the authors of it, and worked accordingly. Thus I induced several members of the Press to attend after they had been positively a.s.sured that she was not worth listening to. Mdme. Gerster's success was really instantaneous, and before her three or four nights were over I had succeeded in again postponing the honeymoon--still for a consideration. Her success went on increasing until the very close of the season, by which time her receipts fairly balanced those of Mdme. Nilsson.

The charges for postponing the honeymoon were put down under a separate heading lest they should by any mistake be regarded as a portion of the prima donna's salary and be used as a precedent in connection with future engagements. At last, when several large payments had been made, the season came to a close, and the young couple, after several months'

marriage, were at liberty to begin their honeymoon.

After a journey through Italy and Germany in search of talent I returned to England, when I found the great prima donna's case was hopeless.

Although it had been fully antic.i.p.ated that she would make her reappearance in Dublin, she being in fact announced to sing there, it was, unhappily, decreed otherwise; and on the third night of our opening I had to subst.i.tute Mdlle. Salla in _Il Trovatore_, in which t.i.tiens had been originally announced. I received early that day (October 3, 1887) a telegram stating that she was no more. The Irish public on hearing the sad news at once left the theatre. It cast a gloom over the entire city, as it did throughout the musical world generally. A grand and gifted artist, an estimable woman, had disappeared never to be replaced.

After visiting several of the princ.i.p.al towns I returned to London and reopened Her Majesty's Theatre, reviving various operas of repute, and producing for the first time in this country _Ruy Blas_, which met with considerable success. My season terminated on the 22nd of December.

At Christmas time I reopened the theatre with an admirable ballet, composed expressly by Mdme. Katti Lanner, in which none but the children of my National Training School for Dancing took part. I afterwards performed a series of English operas, which were successful, Sir Julius Benedict conducting. Concurrently with this I continued my regular spring concert tour, which did not terminate until the middle of March.

The London season of 1878 opened inauspiciously, the loss of the great prima donna causing a cloud to hang over the theatre. However, Mdme.

Nilsson duly arrived, likewise Mdme. Gerster, and each sang so as to enhance her reputation.

Prior to the commencement of the season I had heard Bizet's _Carmen_ in Paris, which I contemplated giving; and my decision was at once taken on hearing from Miss Minnie Hauk of the success she was then making in that opera at Brussels.

I therefore resolved upon engaging her to appear as "Carmen." In distributing the parts I well recollect the difficulties I had to encounter. On sending Campanini the _role_ of "Don Jose" (in which he afterwards became so celebrated), he returned it to me stating he would do anything to oblige, but could not think of undertaking a part in an opera of that description where he had no romance and no love duet except with the _seconda donna_. Shortly afterwards Del Puente, the baritone, entered, informing me that the part of "Escamillo," which I had sent him, must have been intended for one of the chorus, and that he begged to decline it.

In vain did Sir Michael Costa order the rehearsals. There was always some trouble with the singers on account of the small parts I had given them. Mdlle. Valleria suggested that I should entrust the part of "Michaela" either to Bauermeister or to one of the chorus; as on no account would she undertake it.

This went on for some time, and I saw but little prospect of launching my projected opera. At length, by force of persuasion, coupled with threats, I induced the various singers, whether they accepted their parts or not, to attend a general rehearsal, when they all began to take a great fancy to the _roles_ I had given them; and in due course the opera was announced for the first representation, which took place on the 22nd June.

The receipts for the first two or three performances were most miserable. It was, in fact, a repet.i.tion of what I had experienced on the production of _Faust_ in 1863, and I frankly confess that I was forced to resort to the same sort of expedients for securing an enthusiastic reception and thus getting the music into the heads of the British public, knowing that after a few nights the opera would be sure to please. In this I was not mistaken, and I closed my season with flying colours.

CHAPTER XIV.

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, Gala.s.si, 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 princ.i.p.al 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 G.o.ds 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 pa.s.sage 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 p.r.o.nounced 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 a.s.sured 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 pa.s.sage 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 pa.s.sengers 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 _debut_ 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, wis.h.i.+ng 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 princ.i.p.al 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, Gala.s.si, 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 Gala.s.si 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 _debut_ 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 Sat.u.r.day 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.