The Mapleson Memoirs, 1848-1888 Volume I Part 4

The opera, then, was announced with Signor Corsi in the part of "Pollio;" and there seemed to be no reason why the performance should not go off successfully. I noticed, however, some ominous signs, and, for one reason or another, it seemed to me that the carefully-laid mine, if it exploded at all, would burst that evening.

Giuglini was in a very excited condition, and I knew that whenever he felt unduly agitated he sent for "Mamma Puzzi" to come and soothe his irritated nerves. I did not know where Mdme. Puzzi was; but I _did_ know that she might at any moment arrive, and I therefore gave orders that she was not, under any circ.u.mstances, to be admitted. The stage door was closed absolutely against her. With or without explanations, she was not to be let in.

When the night for the performance arrived I took care to see that Signor Corsi, at the proper time, was fitly attired for the character of "Pollio." He had often played the part before in company with Mdlle.

t.i.tiens, and I saw no reason for believing that his performance would not on this, as on previous occasions, be thoroughly satisfactory. The house was crowded. "Oroveso" had sung his air, and was being warmly applauded. I stood at the wing close to the first entrance and waited for Corsi to appear. The music in announcement of "Pollio's" entry was played; but no "Pollio" was to be seen. I motioned to Arditi, and the introductory strains were heard again. Still no "Pollio."

I rushed to Corsi's room in order to find out the meaning of the delay, when, to my consternation and horror, I saw Corsi seated in a chair with Mdme. Puzzi--Mdme. Puzzi, to whom all access to the theatre had been so strictly forbidden!--pulling off his fles.h.i.+ngs (she had already divested him of his upper garments) while Giuglini was hurriedly taking off his costume of ordinary life in order to put on the uniform of the Roman soldier.

Giuglini, I found, had some days before telegraphed to Mdme. Puzzi at Turin begging his "mamma" to hurry to Edinburgh, where her child was in a terrible difficulty; and to Edinburgh she had come.

Mdme. Puzzi, refused admission at the stage door, had before the raising of the curtain gone round to the pit entrance, paid for her place, climbed over into the stalls, and then clambered from the stalls to the orchestra, and--most difficult of all these gymnastic performances--from the orchestra to the stage. She had then made her way to the dressing-rooms, and, finding Corsi already costumed for the part, had by persuasion or force induced him to change clothes with the excited tenor, who, by the very lady who was now helping him to break his vow, had sworn never to play the part he was on the point of undertaking.

The curtain, meantime, had been lowered, amidst deafening protests from the audience; and it was difficult to know what to do, until Giuglini, having, with due a.s.sistance from his "mamma," completed his toilette, declared himself ready to sing the part of "Pollio" provided one hundred pounds were stopped out of the receipts to pay him for his extra performance!

On my afterwards taunting Giuglini with having broken his vow, he declared that Mdme. Puzzi possessed the power to liberate him from it.

When the audience were informed that the part of "Pollio" would be played by Signor Giuglini, they were naturally delighted. The performance was begun again from the beginning. The drum-stick, however, in accordance with Giuglini's earnest prayer, was kept in the property-room under lock and key, and Mdlle. t.i.tiens struck the gong with her hand.

Afterwards Giuglini showed himself a little ashamed of his conduct; and of the hundred pounds paid to him for the extra performance he presented fifty to Mrs. Wyndham, with a request that she would expend the money in the purchase of a shawl. Mrs. Wyndham, however, would do nothing of the kind. She considered that I had been very badly treated, and made over the sum to me.

The remaining fifty pounds had to be shared between Giuglini and the conspirators who had put him up to the trick, each of them having bargained beforehand for a share in such plunder as might be obtained.

Then a claim was put in by Mdme. Puzzi for her travelling expenses from Turin. This her affectionate child was not prepared to allow, and some violent language was exchanged between him and his "mamma." How the delicate matter was ultimately arranged I forget; but in the end, when he had satisfied all demands made upon him, Giuglini could scarcely have gained much by his too elaborate stratagem.

CHAPTER V.

RUNNING OVER A TENOR--t.i.tIENS IN ITALY--CAs.h.i.+NG A CHEQUE AT NAPLES--A NEAPOLITAN BALL--APPROACHING A MINISTER--RETURN TO LONDON.

ONE afternoon about four o'clock, during the month of November, 1862, Giuglini sent word that he would be unable to sing the part of "Lionel"

in _Martha_ that evening, having had some dispute at home. All my persuasion was useless; nothing would induce him, and as at that period of the year there were no tenors to be found in London, I was at my wits' ends to know what to do, and I ultimately decided to close the theatre, having no alternative. I therefore got into a hansom and drove off to inform Mdme. Trebelli, also Mdlle. t.i.tiens, who was dining at her house, that there would be no need of their coming down.

On turning the corner of the Haymarket, Piccadilly, the horse's head struck a gentleman and forced him back on to the pavement. The cab was stopped, and a policeman came up. The gentleman was not, however, injured, and to my great astonishment he turned out to be an English tenor, who had been lately in Italy. On learning this I politely took him into my cab and inquired what had brought him back to England. He said that he had been performing at various Italian theatres, and that he was now very desirous of obtaining a _debut_ in this country.

I at once informed him that nothing could be easier, and that it would be best for him to make his appearance immediately, without any further preparation, for thus he would have no time to reflect and get nervous.

I then quite casually, as we were going along, asked him if he knew the opera of _Martha_, to which he replied that he knew nothing of the music and had never seen the work. This for the moment wrecked all my hopes as to saving my receipts that evening, the booking for which exceeded 600.

My impulse was to stop the cab and put him out; but first I sang to him a few bars of _M'appari_. This romance he said he knew, having occasionally sung it at concerts, but always with the English words. I thought no more of ejecting him from the cab, and continued my drive up to St. John's Wood.

On my relating to Mdlle. t.i.tiens and Mdme. Trebelli how by good luck I had nearly run over a tenor they both said it was useless to think of attempting any performance.

I a.s.sured, however, my newly-caught tenor that if he would only be guided by me and appear forthwith he would make a great success. I at once set to work and showed him the stage business in the drawing-room, requesting Mdme. Trebelli to go through the acting of the part of "Nancy," and Mdlle. t.i.tiens through that of "Martha." I explained to the tenor that on entering he merely had to come on with his friend "Plunkett," go to the inn table, seat himself, drink as much beer as he liked, and at a given signal hand over the s.h.i.+lling to enlist the services of "Martha" at the Richmond Fair, after which he would drive her away in a cart. This would complete Act I.

In Act II. he simply had to enter the cottage leading "Martha," and afterwards to attempt to spin (two drawing-room chairs served as spinning wheels), until at last the wheels would be taken away by the two ladies. When the spinning quartet began he was merely to laugh heartily and appear joyous. In the third act I explained that he might sing his song provided always that he confined himself to Italian words.

It did not much matter, in view of the public, what he sang if he only kept clear of English; and I advised him to keep repeating _M'appari_ as often as he felt inclined. This he did, and in consequence of a printed apology which I had previously circulated in the theatre, to the effect that Signor Giuglini had refused his services without a.s.signing any reason, my new tenor was warmly applauded, receiving for his princ.i.p.al air a double encore, and afterwards a recall. In the last act there was, of course, nothing for him to do, and the newspapers of the next morning were unanimous in his praise.

The singer who rendered me these services was Mr. George Bolton, who some years later (his voice having by that time become a baritone) played with great success the part of "Petruchio" to Minnie Hauk's "Katherine" in Goetz's _Taming of the Shrew_.

In the course of the season, which ended about the 18th December, I had accepted an engagement for Mdlle. t.i.tiens to sing at the San Carlo of Naples. The contract was made direct with the Prefect, at the recommendation of the "Commissione." The leading soprano engaged by the manager had not given satisfaction, and the "Commissione" had the power, before handing over the subvention, of insisting on the engagement of a capable artist so as to restore the fortunes of the establishment.

Naturally, then, on my arrival with the great prima donna every possible difficulty was thrown in our way. At length the _debut_ took place, when t.i.tiens appeared as "Lucrezia Borgia." The vast theatre was crowded from floor to ceiling, the first four rows of stalls being occupied by the most critical "cognoscenti," who literally watched every breath and every phrase, ready in case of need to express hostile opinions. At length the boat came on, and "Lucrezia" stepped on to the stage amidst the most solemn silence; and it was not until the close of the _cabaletta_, of the first aria that the public manifested its approbation, when it seemed as if a revolution were taking place. Mdlle.

t.i.tiens' success went on increasing nightly, and the theatre was proportionately crowded.

I recollect on one occasion after I had made four or five applications to the Prefect for the money payable for the lady's services he handed me a cheque the size of a sheet of foolscap paper. The amount was 800 for her first eight nights' services. On presenting myself at the bank I was referred from one desk to another, until I was told that I must see the chief cas.h.i.+er, who had gone out to smoke a cigar, and would not return that day. I went again the following day, and after waiting a considerable time at length saw him, when he told me to go to a certain counter in the bank where I should be paid.

I endorsed the cheque in the presence of the cas.h.i.+er, who told me, however, that he could not hand me the money for it unless my signature was verified by the British Consul. On going to the British Consul I found that he had gone to Rome, and would not be back for a couple of days. At length I obtained the official verification of the signature, and presented myself for the seventh time at the bank, when I was invited by the cas.h.i.+er to go down into the cellars, where a man told me off the amount in bags of silver ducats, which he drew from a large iron grating. He did not count the sacks he was giving me, but only those remaining behind; which left me one bag short. This he did not care for; he only wanted his own remainder to be right.

Eventually the manager of the bank insisted on my having the amount stated in the cheque, and I was then left to myself, surrounded by my bags, with no porters to move them for me.

On my returning to the manager, who was very polite, and telling him that I wished for the money in gold napoleons, he said it would be very difficult, and that in the first place I must hire men to carry the bags of silver up into the gold department. Thereupon I bargained with four ill-looking individuals who were brought in out of the streets, and who moved the bags at my risk to the gold department, when a vast premium had to be paid. On my leaving the bank with the gold I saw my four lazzaroni who had helped to move the silver, with hundreds of others, all extending their hands and following me.

I drove with difficulty to the British Consul, who happened to be a banker, followed by this vast mult.i.tude; for such a sum of money had not been seen for a long time in or about Naples. I had now to pay another large premium to get a bill on London for my gold, and this concluded the matter, which had occupied me altogether seven days and a half.

After the next payment had become due I went three or four times to the Prefect, but could never find him. One day, however, about twelve o'clock, I was told he was within, but that he had a headache, and could not see anyone. I nevertheless insisted on the necessity of his receiving me, saying that otherwise the night's performance at the San Carlo might be jeopardized. I was invited upstairs, where his Excellency was eating macaroni in the grand ball-room, lying on a sofa, which had served as a bed, he having returned home too late to mount the stairs, whilst about eighty Bersaglieri were rehearsing a selection from _Rigoletto_ for a ball he was going to give that evening. The sound was deafening.

The Prefect was very polite, and gave me another of those large cheques, which with a little manipulation I induced the British Consul to change, and get me a bill for it. The Prefect invited me very courteously to the ball he was giving, at which over 2,000 persons were present. It was a most magnificent affair, the four angles of the large room being occupied by wild boars roasted whole (with sundry fruits, wines, etc.), to which the guests after every dance or two helped themselves, and then continued their dancing.

At that time I was very anxious to secure the lease of the San Carlo Opera-house, and by the aid of my friend the Prefect so far advanced the matter, that it wanted but the sanction of the Minister at Turin to complete it. The pay-sheet of the orchestra contained over 150 names, but as the salaries varied from six to eight s.h.i.+llings a week I made no objection to this. The heaviest salary was that of the conductor Mercadante (composer of _Il Giuramento_, &c.), who received 5 a week.

On leaving Naples I went to Turin to present myself to the Marquis Braham, but before I could get my card forwarded, even to the first room, I was obliged to make a monetary advance. On reaching the second room I was referred to another room on the entresol. It was impossible to gain entrance, or even get my card sent further, without the help of a napoleon. On going into the fourth room another tax was laid upon me, and it being evening I thought it better to go home and reserve my money offerings towards meeting the Marquis Braham until the next day. I returned, armed with sundry five-franc pieces and napoleons; but it was not until the fourth day, when I gave an extra douceur, that I could approach him at all. It then appeared that someone had antic.i.p.ated me, and I was recommended to wait another year. I left for England, and the matter dropped.

CHAPTER VI.

PRODUCTION OF GOUNOD'S "FAUST"--APATHY OF THE BRITISH PUBLIC--A MANAGERIAL DEVICE--DAMASK CRUMB CLOTH AND CHINTZ HANGINGS--HEROIC ATt.i.tUDE OF A DYING TENOR--PRAYERS TO A PORTMANTEAU.

ON my return from Italy I set to work preparing for my grand London season of 1863, and entered into several important engagements. About this time I was told of an opera well worthy of my attention which was being performed at the Theatre Lyrique of Paris. I started to see it, and at once decided that Gounod's _Faust_--the work in question--possessed all the qualities necessary for a success in this country. On inquiry I found that Mr. Thomas Chappell, the well-known music publisher, had acquired the opera for England. The late Mr. Frank Chappell, on the part of his brother, but acting in some measure on his own responsibility, had bought the Faust music for reproduction in England from M. Choudens, of Paris; and I have heard not only that he acquired this privilege for the small sum of 40 (1,000 francs), but moreover that he was remonstrated with on his return home for making so poor a purchase.

The music of an opera is worth nothing until the opera itself has become known, and Messrs. Chappell opened negotiations with Mr. Frederick Gye for the production of _Faust_ at the Royal Italian Opera. The work, however, had not made much impression at the Theatre Lyrique, and Mr.

Gye, after going to Paris specially to hear it, a.s.sured his stage manager, the late Mr. Augustus Harris, who had formed a better opinion of Gounod's music than was entertained by his chief, that there was nothing in it except the "Chorus of Soldiers." After due consideration Mr. Gye refused to have anything to do with _Faust_, and the prospect of this opera's being performed in London was not improved by the fact that, in the Italian version, it had failed at Milan.

Meanwhile I had heard Faust at the Theatre Lyrique, and, much struck by the beauty of the music, felt convinced that the work had only to be fitly presented to achieve forthwith an immense success in London. Mr.

Chappell was ready to give 200 towards the cost of its production, and he further agreed to pay me 200 more after four representations, besides a further payment after ten representations.

Certain that I had secured a treasure, I went to Paris and bought from M. Choudens a copy of the score, the orchestral parts, and the right for myself personally of performing the work whenever I might think fit in England. I then visited Gounod, who for 100 agreed to come over and superintend the production of what he justly declared to be his masterpiece.

I was at that time (as indeed I always was when anything important had to be done) my own stage manager. My orchestral conductor was Arditi; t.i.tiens undertook the part of "Margherita;" Giuglini that of "Faust;"

Trebelli was "Siebel;" Ga.s.sier "Mephistopheles;" and Santley "Valentine."

Far from carrying out his agreement as to superintending the production of the work, Gounod did not arrive in London until nearly seven o'clock on the night of production; and all I heard from him was that he wanted a good pit box in the centre of the house. With this, for reasons which I will at once explain, I had no difficulty whatever in providing him.

One afternoon, a few days before the day fixed for the production of the opera, I looked in upon Mr. Nugent at the box-office and asked how the sale of places was going on.