Chapter 10 MY COVENT GARDEN SEASON-PATTI'S LONDON SILVER WEDDING-RETURN TO NEW YORK-DIFFICULTIES BEGIN-RIVAL REHEARSALS-GRAND OPERA AND OPERETTA.

ON my return to London I opened Covent Garden for a series of Italian Opera performances, in which Mdme. Patti was the principal prima donna, and but for Mdme. Patti's twice falling ill should certainly have made some money.

On the opening night I was notified as late as seven o'clock that Mdme. Patti would be unable to appear in "La Traviata," having taken a severe cold. This was a dreadful blow to me. On inquiry I found that madame's indisposition arose from a morning drive she had taken on the previous day over some Welsh mountains during the journey from her castle to the station. Signor Nicolini, either from fear of the bill at the Midland Hotel, where they were to put up, or from some uncontrollable desire to catch an extra salmon, had exposed la Diva to the early morning air; an act of imprudence which cost me something like a thousand pounds.

The season nevertheless promised to be unusually successful. But within a few days I met with another misfortune, la Diva having taken a second cold, of which I was not notified until seven p.m. There was scarcely time to make the news public before the carriages were already setting down their distinguished burdens before the Opera vestibule.

I had no alternative but to introduce a young singer who, at a moment's notice, undertook the difficult part of "Lucia di Lammermoor." I allude to the Swedish vocalist, Mdlle. Fohstr?m, who afterwards made a very successful career under my management. Of course, on this occasion she was heavily handicapped, as people had gone to the theatre only for the purpose of hearing Mdme. Patti; whose two disappointments caused me considerable loss.

I ended my season about the third week of July, when Mdme. Patti appeared as "Leonora" in Il Trovatore, renewing the success which always attends her in that familiar impersonation.

On this night, the final one of the season, Mdme. Patti concluded her 25th consecutive annual engagement at Covent Garden. Numbers of her admirers formed themselves into a committee for the purpose of celebrating the event by presenting her with a suitable memorial, which consisted of a very valuable diamond bracelet. At the termination of the opera I presented myself to the public, saying-

"Ladies and Gentlemen,-Whilst the necessary preparations are being made behind the curtain for the performance of 'God Save the Queen,' I crave your attention for a very few moments. My first reason for doing so is, that I desire to tender my sincere thanks for the liberal support you have accorded my humble efforts to preserve the existence of Italian Opera in this country. When I state to you that I had barely ten days to form my present Company, including the orchestra and chorus, I feel sure you will readily overlook any shortcomings which may have occurred during the past season. My second reason is to solicit your kind consent to present to Mdme. Patti in the name of the Committee a testimonial to commemorate her twenty-fifth consecutive season on the boards of this theatre."

The curtain then rose, and disclosed Mdme. Adelina Patti ready to sing the National Anthem, supported by the band of the Grenadier Guards, in addition to the band and orchestra of the Royal Italian Opera. This was the moment chosen for the presentation of a superb diamond bracelet, subscribed for by admirers of the heroine of the occasion. Its presentation was preceded by my delivery of the following address from the Committee of the Patti Testimonial Fund:-

"Madame Adelina Patti,-You complete this evening your 25th annual engagement at the theatre which had the honour of introducing you, when you were still a child, to the public of England, and indirectly, therefore, to that of Europe and the whole civilized world. There has been no example in the history of the lyric drama of such long-continued, never interrupted, always triumphant success on the boards of the same theatre; and a number of your most earnest admirers have decided not to let the occasion pass without offering you their heartfelt congratulations. Many of them have watched with the deepest interest an artistic career which, beginning in the spring of 1861, became year after year more brilliant, until during the season which terminates to-night the last possible point of perfection seems to have been reached. You have been connected with the Royal Italian Opera uninterruptedly throughout your long and brilliant career. During the winter months you have visited, and have been received with enthusiasm at Paris, St. Petersburg, Berlin, Vienna, Madrid, and all the principal cities of Italy and the United States. But you have allowed nothing to prevent you from returning every summer to the scene of your earliest triumphs; and now that you have completed your twenty-fifth season in London, your friends feel that the interesting occasion must not be suffered to pass without due commemoration. We beg you, therefore, to accept from us, in the spirit in which it is offered, the token of esteem and admiration which we have now the honour of presenting to you."

The National Anthem, which followed, was received with loyal cheers, and the season terminated brilliantly.

After the performance an extraordinary scene took place outside the theatre. A band and a number of torch-bearers had assembled at the northern entrance in Hart Street, awaiting Mdme. Patti's departure. When she stepped into her carriage it was headed by the bearers of the lighted torches; and as the carriage left the band struck up. An enormous crowd very soon gathered; and it gradually increased in numbers as the procession moved on. The carriage was surrounded by police, and the procession, headed by the band, consisted of about a dozen carriages and cabs, the rear being brought up by a vehicle on which several men were standing and holding limelights, which threw their coloured glare upon the growing crowd, and made the whole as visible as in the daytime. The noise of the band and of the shouting and occasional singing of the very motley gathering, which was reinforced by all sorts and conditions of persons as it went along, awakened the inhabitants throughout the whole of the long route, which was as follows: Endell Street, Bloomsbury Street, across New Oxford Street and Great Russell Street, down Charlotte Street, through Bedford Square by Gower Street, along Keppel Street, Russell Square, Woburn Place, Tavistock Place, Marchmont Street, Burton Crescent, Malleton Place to Euston road, halting at the Midland Railway Hotel, where Mdme. Patti was staying. Along the whole of this distance the scene was extraordinary. The noise, and the glare of the coloured lights, and the cracking of fireworks which were let off every now and then, aroused men, women, and children from their beds, and scarcely a house but had a window or door open, whence peered forth, to witness the spectacle, persons, many of whom, as was apparent from their night-dresses, had been awakened from their sleep. Not only were these disturbed, but a number of horses were greatly startled at the unusual sound and noise. The procession, which left Hare Street just before midnight, reached the Midland Hotel in about half an hour, almost the whole distance having been traversed at a walking pace. When Mdme. Patti reached the Hotel she was serenaded by the band for a time, and more fireworks were let off. The great crowd which had assembled remained in Euston Road outside the gates, which were closed immediately after the carriages had passed through.

My season having thus terminated, I at once started for the Continent in order to secure new talent for the forthcoming American campaign.

For my New York season of 1885-6, after some considerable trouble, I succeeded in forming what I considered a far more efficient Company than I had had for the previous five years; except that the name of Adelina Patti was not included, she having decided to remain at her castle to take repose after her four years' hard work in America. I subjoin a copy of the prospectus:-

"ACADEMY OF MUSIC, NEW YORK.

Season 1885-86.

PRIME-DONNE-SOPRANI E CONTRALTI.

Madame Minnie Hauk, Madame Felia Litvinoff, Mdlle. Dotti, Mdlle. Marie Engle, Madame Lilian Nordica, Mdlle. de Vigne, Mdlle. Bauermeister, Madame Lablache, and Mdlle. Alma Fohstr?m.

TENORI.

Signor Ravelli, Signor de Falco, Signor Bieletto, Signor Rinaldini, and Signor Giannini.

BARITONI.

Signor de Anna and Signor Del Puente.

BASSI.

Signor Cherubini, Signor de Vaschetti, Signor Vetta, and Signor Caracciolo.

DIRECTOR OF THE MUSIC AND CONDUCTOR.

Signor Arditi.

PREMIèRE DANSEUSE.

Madame Malvina Cavalazzi.

The following were the promised productions:-

For the first time in New York Massenet's famous opera MANON: words by MM. H. Meilhac and Ph. Gille. Mr. Mapleson has secured the sole right of representation, for which M. Massenet has made several important alterations and additions. "The Chevalier des Grieux," Signor Giannini; "Lescaut," Signor Del Puente; "Guillot Morfontaine," Signor Rinaldini; "The Count Des Grieux," Signor Cherubini; "De Bretigny," Signor Caracciolo; "An Innkeeper," Signor de Vaschetti; "Attendant at the Seminary of St. Sulpice," Signor Bieletto; "Poussette," Mdlle. Bauermeister; "Javotte," Mdme. Lablache; "Rosette," Mdlle. de Vigne; and "Manon," Mdme. Minnie Hauk. Gamblers, croupiers, guards, travellers, townsfolk, lords, ladies, gentlemen, &c., &c. The action passes in 1721. The first act in Amiens; the second, third, and fourth in Paris. The last scene, the road to Havre.

Also Vincent Wallace's opera, MARITANA. For the first time on the Italian stage, by special arrangement with the proprietors. The recitatives by Signor Tito Mattei. "Don C?sar de Bazan," Signor Ravelli; "The King," Signor Del Puente; "Don Josè," Signor De Anna; "Il Marchese," Signor Caracciolo; "La Marchesa," Mdme. Lablache; "Lazarillo," Mdlle. De Vigne; and "Maritana," Mdlle. Alma Fohstr?m. Mdme. Malvina Cavalazzi will dance the Saraband.

Likewise Auber's FRA DIAVOLO. "Fra Diavolo," Signor Ravelli; "Beppo," Signor Del Puente; "Giacomo," Signor Cherubini; "Lord Allcash," Signor Caracciolo; "Lorenzo," Signor De Falco; "Lady Allcash," Mdme. Lablache; and "Zerlina," Mdme. Alma Fohstr?m.

Ambroise Thomas' opera, MIGNON, will be also presented. "Mignon," Mdme. Minnie Hauk; "Wilhelm," Signor Del Falco; "Lothario," Signor Del Puente; "Laertes," Signor Rinaldini; "Frederick," Mdlle. De Vigne; "Giarno," Signor Cherubini; "Antonio," Signor De Vaschetti; and "Filina," Mdlle. Alma Fohstr?m."

The list of singers, which I give above in extenso, would have done honour to any theatre in Europe. But, alas! the magic name of Patti not being included had at once the effect of damaging seriously the subscription. In addition to this, a strong leaning showed itself on the part of my New York supporters towards the German Opera at the Metropolitan House; while a newly-formed craze had been developed for Anglo-German Opera, or "American Opera," as it was denominated. The prospectus of the latter setting it forth as a "national" affair, everyone rushed in for it, and considerable sums of money were subscribed. Its projectors rented the Academy of Music where I was located. The upshot of it was that a considerable number of intrigues were forthwith commenced for the purpose, if possible, of wiping me entirely out. I will mention a few of them in order that the reader may understand the position in which I was placed. Just prior to leaving England, and after I had completed my Company, I was informed by the Directors that I should be called upon to pay a heavy rental for the use of the Academy, my tenancy, moreover, being limited to three evenings a week and one matinée.

Having made all my engagements, I was, of course, at their mercy, and it was with the greatest possible difficulty that I could even open my season, as they began carpentering and hammering every time I attempted a rehearsal. However, I succeeded in making a commencement on the 2nd of November with a fine performance of CARMEN, cast as follows:-

"Don José," Signor Ravelli; "Escamillo (Toreador)," Signor Del Puente; "Zuniga," Signor De Vaschetti; "Il Dancairo," Signor Caracciolo; "Il Remendado," Signor Rinaldini; "Morales," Signor Bieletto; "Michaela," Mdlle. Dotti; "Paquita," Mdlle. Bauermeister; "Mercedes," Mdme. Lablache; "Carmen" (a Gipsy), Mdme. Minnie Hauk.

The incidental divertissement supported by Mdme. Malvina Cavalazzi and the Corps de Ballet.

This was followed by an excellent performance of Trovatore, in which Mdlle. Litvinoff, a charming Russian soprano from the Paris Opera, made a successful appearance, supported by Lablache, De Anna, the admirable baritone, and Giannini, one of the favourite tenors of America, who after the Pira was encored and recalled four times in front of the curtain. I afterwards introduced Mdlle. Alma Fohstr?m, who had made such a great success during my London season at the Royal Italian Opera, Covent Garden.

On the occasion of my attempting a rehearsal two days afterwards of L'Africaine, I found the stage built up with platforms to the height of some 30 feet, which were occupied by full chorus and orchestra.

Remonstrance was useless, the Secretary of the Academy being "out of the way," whilst the conductor, Mr. Theodore Thomas, was closed in and wielding the baton with such vigour that no one could approach him. I said nothing, therefore. In spite of formidable obstacles, the march and the procession in the fourth act of the opera had to be rehearsed under the platform, and, as good luck would have it, the opera went magnificently.

Rehearsals of Manon had now to be attempted; but whenever a call was put up, so surely would I find another call affixed by the rival Company for the same hour; and as they employed some 120 choristers, who had about an equal number of hangers-on in attendance on them, the reader can guess in what a state of confusion the stage was.

The public has but little idea of the difficulties by which the career of an opera manager is surrounded. An ordinary theatrical manager brings out some trivial operetta which, thanks in a great measure to scenery, upholstery, costumes, and a liberal display of the female form divine, catches the taste of the public. The piece runs for hundreds of nights without a change in the bill, the singers appearing night after night in the same parts. The maladie de larynx, the extinction de voix of which leading opera-singers are sure now and then, with or without reason, to complain, are unknown to these honest vocalists; and if by chance one of them does fall ill there is always a substitute, known as the "understudy," who is ready at any moment to supply the place of the indisposed one.

The public, when it has once found its way to a theatre where a successful operetta or opéra bouffe is being played, goes there night after night for months, and sometimes years, at a time. The manager probably complains of being terribly over-worked; but all he has really to do is to see that some hundreds of pounds every week are duly paid in to his account at the bank. To manage a theatre under such conditions is as simple as selling Pears' Soap or Holloway's Pills.

The opera manager does not depend upon the ordinary public, but in a great measure upon the public called fashionable. His prices are of necessity exceptionally high; and his receipts are affected in a way unknown to the ordinary theatrical manager. Court mourning, for instance, will keep people away from the opera; whereas the theatre-going public is scarcely affected by it. The bill, moreover, has to be changed so frequently, so constantly, that it is impossible to know from one day to another what the receipts are likely to be.

What would one give for a prima donna who, like Miss Ellen Terry or Mrs. Kendal, would be ready to play every night? Or for a public who, like the audiences at the St. James's Theatre and the Lyceum, would go night after night for an indefinite time to see the same piece!

Finally, at a London Musical Theatre the prima donna of an Operetta Company, if she receives ￡30 or ￡40 a week, boasts of it to her friends. In an Italian Operatic Company a seconda donna paid at such rates would conceal it from her enemies.