Chapter 6 ROYAL ITALIAN OPERA LIQUIDATES-GETTING PATTI OFF THE SHIP-HENRY WARD BEECHER'S CIDER-PATTI'S SILVER WEDDING-A PATTI PROGRAMME OF 1855-A BLACK CONCERT.

AFTER my departure the Directors of the Metropolitan Opera-house, convinced that they could make no arrangement with me in consequence of my engagement with the Directors of the Academy, which had still a year to run, took further steps towards securing Mr. Gye as manager; and it was proposed that he should open his season at the new theatre on November 10th, to continue for thirteen weeks. The negotiations were conducted on his behalf by his agent, Mr. Lavine. The stockholders of the Metropolitan Opera reserving seventy of the best boxes for themselves, Mr.

Gye was to have the house rent free, together with a guarantee against loss, and ￡200 for each performance. This sum was ultimately raised to ￡300 for each performance.

Seeing another opera looming in the distance, I at once set to work by re-engaging Mdme. Adelina Patti on her own terms of ￡1,000 a night; likewise Mdme. Scalchi, Galassi, and Arditi, thus forming a very strong nucleus to start with. I afterwards learned that Gye had been making overtures to Mdme. Patti, Galassi, and others; but fortunately they had already signed contracts with me.

The Metropolitan Directors next dispatched their able attorney, George L. Rives, to Europe for the purpose of completing the arrangements with Gye.

Shortly after my return to London I learned that the Royal Italian Opera, Limited, had gone into liquidation. This, of course, snuffed out at once Gye's contract with the Metropolitan Opera Directors, who being now left without an impresario contemplated diverting the grand building to other purposes. They ultimately, however, resolved to try a German Opera rather than have no Opera at all, and they dispatched their energetic secretary, Mr. Stanton, to Europe for the purpose of engaging artists, Dr. Damrosch being appointed orchestral conductor.

During the summer months I visited various parts of the Continent for the purpose of obtaining the best talent I could find for the coming contest. Various meetings were held by my Academy stockholders in New York when they at length began to realize the justice of my demands for assistance, as it could not be expected that 200 of the best seats, for which no payment whatever was to be made, should be occupied for listening to Mdme. Patti, who was receiving ￡1,000 a night. After various meetings, a resolution was passed by which they agreed to give me a nightly assessment of four dollars a seat for the proscenium boxes, three for the other boxes, and two for the seats elsewhere, which during my season it was estimated by them would produce some ￡6,000; and a cable was sent me to that effect in order to obviate the trouble we had all fallen into in the previous year. At the same time the Directors passed a resolution to keep the theatre closed in case I did not accept their promised support.

About this time a young singer named Emma Nevada was attracting considerable attention in Europe, and after some difficulty I succeeded in adding her name to my already powerful list, which, however, did not include that of Madame Christine Nilsson, as I had contemplated; that lady having cried off at the last moment without any valid reason, after I had accepted all her conditions.

In due course the New York prospectus was issued, and a very fine subscription was the result, the demand for boxes being particularly brisk.

We sailed from Liverpool, and arrived in New York on the 1st November. I had a few hours only to give preliminary instruction regarding the commencement of my season when a telegram arrived to the effect that the Oregon, with Mdme. Patti on board, had been sighted off Fire Island.

I at once ordered the military band to go down to the Blackbird; but as no further telegram reached me from Sandy Hook they went on shore for beer. It was late in the evening when the expected telegram arrived, and the vessel had to start immediately. The only musicians I had now on board wherewith to serenade Patti were a clarinet, a trombone, and a big drum.

Stretched from mast to mast was a huge tarpaulin with the word "Welcome!" on both sides, in letters three feet long. In the lower bay of quarantine I met the Oregon, and as my steamer came alongside a small group appeared, and I at once recognized Patti. Handkerchiefs were waved, and three cheers given by my friends on board the Blackbird. We had a ladder with us which just reached from the top of our paddle-box to about two feet below the sides of the vessel. I was on the point of clambering up when the captain shrieked out-

"Patti cannot be taken out to-night without a permission from the health-officer."

I at once tendered a permit I had obtained from the barge office, allowing Patti to go on shore. I passed it to the captain, who, on reading it, said-

"That is all right, but the health-officer must give me a permit before I will let her out of the ship."

I, therefore, had to steam my vessel to quarantine, and it was nearly two hours before I could find health-officer Smith, through whose kind assistance I obtained a permit to take Patti off the ship. On my returning the whole of the passengers gave three hearty cheers as Patti was let over the side into my boat, followed by Nicolini, the maid, the parrot, and the diamonds.

Mdme. Patti, Nicolini, the maid, the parrot, and the diamonds duly arrived at the Windsor Hotel that evening, and the chief of the party was, of course, interviewed forthwith as to how she had passed the previous summer.

"Delightfully," was the Diva's reply. "We had lots of Americans stopping with us at my Castle, and the place grows dearer and dearer to me every year."

She was very much grieved to hear of poor Brignoli's death, which had occurred the previous day, and she sent a magnificent wreath to be placed on his coffin. I attended the funeral on behalf of my Company.

When the arrival of Patti became known in New York great excitement prevailed. The day afterwards the steamship Lessing arrived from Hamburg with an entire German Company for the Metropolitan Opera-house. I now felt quite at my ease, having no anxiety whatever as to the result of their season.

I opened brilliantly on the Monday following the arrival of Patti, with her inimitable performance of "Rosina" in Il Barbiere.

On Sunday I was invited by Henry Ward Beecher to visit Plymouth Church, at Brooklyn. On this occasion a number of railway guards and pointsmen had been asked; and never shall I forget the sermon he preached to them. It was magnificent, and in every way impressive. At the conclusion of the service I was invited to Mr. Beecher's house to luncheon, where there were some twenty of his relations and intimate friends present.

As the water came round he may possibly have observed a distressed look on my countenance. But certain it is that within a few minutes afterwards he said he thought he had a bottle of cider which I might prefer to the beverage then before us; and, although it was labelled cider, I discovered that the bottle contained something resembling excellent old "Pommery sec."

Two nights afterwards I invited him to my box at the opera, scarcely hoping that he would come; but shortly after the overture had commenced I was surprised to find him sitting at my side. He remained there all that evening, the eye of every one in the audience being fixed upon him.

Shortly afterwards my new prima donna, Mdlle. Emma Nevada, arrived, and in due course made her first appearance, in La Sonnambula, when a remarkable scene occurred. At the close of the performance the audience, instead of rushing to the doors as usual, remained, rose to their feet, and called the prima donna three times before the curtain.

This was followed by a production of Gounod's Mirella, in which Emma Nevada again appeared with brilliant success; and afterwards by La Gazza Ladra, with Patti and Scalchi in the leading r?les.

On the 24th November, it being the 25th anniversary of Patti's first appearance at the New York Academy of Music, great preparations were made for the purpose of celebrating her silver wedding with the New York operatic stage.

The opera selected for the occasion was Lucia di Lammermoor, being the same work in which she had appeared exactly 25 years previously on the Academy boards. Patti's first "Edgardo," Signor Brignoli, was to have appeared with her. But his sudden death necessitated an alteration of the original programme, and it was decided to give an opera which the Diva had never sung in America, namely, Martha.

The following account of Patti's début, which appeared in the New York Herald, of November 25th, 1859, will be read with interest:-

"DéBUT OF MISS PATTI.

"A young lady, not yet seventeen, almost an American by birth, having arrived here when an infant, belonging to an Italian family which has been fruitful of good artists, sang last night the favourite r?le of débutantes, 'Lucia di Lammermoor.'

"Whether it is from the natural sympathy with the forlorn fiancée of the Master of Ravenswood which is infused into the female breast with Donizetti's tender music, or from a clever inspiration that to be unhappy and pretty is a sure passport to the affections of an audience, we cannot say. Certain it is, however, that the aspirants for the ovations, the triumphs, the glories, that await a successful prima donna almost always select this opera for their preliminary dash at the laurels. The music affords a fine opportunity to show the quality and cultivation of the soprano voice, and it is so familiar as to provoke comparison with first-rate artists, and provoke the severest criticisms by the most rigid recognized tests.

"All these were duly and thoroughly applied to Miss Adelina Patti a day or two since by a very critical audience at what was called a show rehearsal. It was then ascertained that Miss Patti had a fine voice, and that she knew how to sing. The artists and amateurs were in raptures. This was a certificate to the public, who do not nowadays put their faith in managers' announcements, unless they are endorsed. With an off-night and an opera worn to bits, the public interest in Miss Patti's début was so great as to bring together a very large audience, rather more popular than usual, but still numbering the best-known habitués and most critical amateurs. The débutante was received politely but cordially-an indication that there was not a strong claque, which was a relief. Her appearance was that of a very young lady, petite and interesting, with just a tinge of schoolroom in her manner. She was apparently self-possessed, but not self-assured.

"After the first few bars of recitative, she launched boldly into the cavatina-one of the most difficult pieces of the opera. This she sang perfectly, displaying a thorough Italian method and a high soprano voice, fresh and full and even throughout. In the succeeding cabaletta, which was brilliantly executed, Miss Patti took the high note E flat, above the line, with the greatest ease. In this cabaletta we noticed a tendency to show off vocal gifts which may be just a little out of place. The introduction of variations not written by the composer is only pardonable in an artist who has already assured her position. In the duet with the tenor (Brignoli) and with the baritone (Ferri), and the mad scene, Miss Patti sang with sympathetic tenderness-a rare gift in one so young-and increased the enthusiasm of the audience to a positive furore, which was demonstrated in the usual way-recalls, bouquets, wreaths, etc., etc. The horticultural business was more extensive than usual.

"Of course we speak to-day only of Miss Patti's qualifications as a singer. Acting she has yet to learn; but artists, like poets, are born, not made. The mere convenances of the stage will come of themselves. She is already pretty well acquainted with them. So far as her voice, skill, method, and execution are concerned, we are simply recording the unanimous opinion of the public when we pronounce the début of Miss Patti a grand success.

"Everyone predicts a career for this young artist, and who knows but the managers may find in her their long-looked-for sensation?"

On repeating the character two days afterwards, said the same paper, "the prima donna was twice called before the curtain, and the stage was literally covered with the flowers thrown before her. The success of this artist, educated and reared amongst us, with all the vocal gifts of an Italian, and all the cleverness of a Yankee girl, is made. Everybody talked of her, wondering who and what she is, where she has been, and so on.

"She was brought out at the Academy to save the season. The manager had a good Company, plenty of fine artists, everything required for fine performances, but the great outside public, always thirsting for something new, wanted a sensation.

"They have it in 'Little Patti,' who not only pleases the connoisseurs and is the special favourite of the fair, but who has all the material for a great popular pet."

The jubilee performance was a brilliant success. At the close of the opera, after the usual number of recalls, accompanied by bouquets, etc., the curtain rose, and at the rear of the stage was an immense American eagle about to soar, beneath which was the word "Patti," and over it "1859-1884." The band of the 7th Regiment approached the footlights, and the musicians played a march that Cappa, the bandmaster, had composed in honour of Mdme. Patti twenty-five years before. Patti walked up to him, and said, with a choking voice: "I thank you for your kindness from the bottom of my heart."

She was afterwards recalled innumerable times, and on reappearing she brought on with her Mdme. Scalchi. At the close of the opera a carriage with four milk-white steeds which I had arranged for was standing to convey its precious burthen to her hotel. Following this we had 100 torch-bearers, for the most part admirers and supporters of the opera. Mounted police were on each side of Patti's carriage. At the end of the procession was a waggon full of people letting off Roman candles and large basins of powder, which, when ignited, made the streets and sky look most brilliant. The route was up Broadway to Twenty-third Street, and thence up Madison Avenue to Patti's hotel.

I on this occasion was to have taken the command of the troops as brigadier. My horse, however, never reached me. It was found impossible to get it through the crowd. This did not prevent the illustrated papers from representing me on horseback, and in a highly military attitude.

Later on two other bands arrived, and took their stations under Patti's windows. This terminated the festivities in honour of the twenty-fifth anniversary of her first appearance on the American operatic stage.

I may here mention that, as a matter of fact, Adelina Patti did not make her first appearance on the American stage in 1859. I find, too, that she sang at Niblo's Saloon in 1855, and subjoin the programme of one of her concerts given in that year:-

GRAND VOCAL AND INSTRUMENTAL CONCERT,

IN AID OF THE

Hebrew Benevolent Societies,

AT NIBLO'S SALOON,

On Tuesday Evening, Feb. 27th, 1855.

* * *

The management announces that MRS. STUART, in consequence of the severe indisposition of her mother, will not be able to fulfil her engagement this evening; also, that MME. COMETANT cannot appear in consequence of her severe indisposition. The management have much pleasure in announcing that the services

of

SIGNORINA ADELINA PATTI

Have been secured, in connection with whom the following

artistes have volunteered:-

SIGNOR BERNARDI,

SIGNOR RAPETTI,

HERR CHARLES WELS,

T. FRANKLIN BASSFORD,

MR. SANDERSON.

----

PROGRAMME:

PART FIRST.

1 Grand Duet, on "William Tell," Piano and Violin-;Mr. Rapetti and Mr. Wels Osborne and De Beriot

2 Grand Cavatina, of Norma, Casta Diva-;Signa. Adelina Patti Bellini

3 "La Chasse du jeune Henri," Overture for Piano-;Mr. Bassford Gottschalk

4 Aria, from "Don Sebastian"-;Sig. Bernardi Donizetti

5 Ballad, "Home, Sweet Home"-;Signa. Adelina Patti Bishop

6 Grand Duo concertando on airs of "Norma," for Two Pianos-;Messrs. Wels and Bassford Wels

----

PART SECOND.

1 "Coronation March," from the Prophet, arranged and performed by Mr. Sanderson, his First Appearance in public Meyerbeer

2 Aria, from the Opera Le Chalet-;Sig. Bernardi Adam

3 {a. The Eolian Harp}

{b. Triumphal March} Composed and performed by C. Wels

4 Jenny Lind's Echo Song-;Signa. Adelina Patti Eckert

5 Violin Solo, from La Sonnambula Sig. Rapetti

6 Grand Fantasia, for Two Pianos, performed by Messrs. Bassford and Wels, composed by T. Franklin Bassford

----

Conductor Mr. Charles Wels.

----

The Two Grand Prize Pianos, used on this occasion, are from the Music Stores of Messrs. Bassford and Brower, and are for sale at 603, Broadway.

Doors open at 7 o'clock. To commence at 8 o'clock.

TICKETS ONE DOLLAR

To be had at the Music Store of Messrs. Hall and Son, Bassford and Brower, 603, Broadway, and Scharfenberg and Louis, and at the door.

Going still further back, I may add that Adelina Patti made her very first appearance on the operatic stage in 1850, at Tripler's Hall, New York; where she sang and acted both. She was seven years old at the time.

The season continued until the latter part of December.

On my applying to the Academy Directors for an instalment of the ￡6,000 which had been promised me in accordance with the assessment made, I was informed by the Secretary that the assessment would only be allowed to me on Patti nights. This reduced my ￡6,000 by three-fourths, I having based my calculations on the amount that had been cabled to me. I in no way blame the stockholders, who had been most heavily assessed, and had paid up without a murmur. Some three-fourths of their contributions had been used for other purposes, including the decoration of the theatre.

Finding the President of the Academy Directors obdurate, I at once announced the farewell performances of Mdme. Adelina Patti, and shortly afterwards made arrangements for her appearance, together with that of the whole Company, at Boston, where I opened towards the close of December, glad, indeed, to get away from the Academy.

Our success in Boston was very great. Amongst the productions was Gounod's Mirella, in which Nevada, Scalchi, De Anna, and other artists appeared. Afterwards, of course, came Semiramide, with Patti and Scalchi; one of our surest cards.

We remained at Boston two weeks, concluding, what was then supposed to be Patti's positive farewell to the Bostonians, with a magnificent performance of Linda di Chamouni.

At the conclusion of a representation of Mirella given the following morning we started for Philadelphia, where we had a very remunerative season, the house being crowded nightly to the ceiling.

The American theatres are much better kept than ours. They are dusted and cleaned every day, so that a lady in America can go to the play or to the opera without the least danger of getting her dress spoiled; which in England, if the dress be of delicate material, she scarcely can do. The American theatres, moreover, are beautifully warmed during the winter months; so that the risk of bronchitis and inflammation of the lungs to which the enterprising theatre-goers of our own country are exposed has in the United States no existence.

Apart from the risk of getting her dress injured by dirt or dust, a lady has no inducement to wear a handsome toilette at a London Opera-house, where the high-fronted boxes with their ridiculous curtains prevent the dresses from being seen. At the American Opera-houses the boxes are not constructed in the Italian, but in the French style. They are open in front, that is to say, so that those who occupy them can not only see, but be seen. As for the curtains, they are neither a French nor an Italian, but exclusively an English peculiarity. What possible use can they serve? They have absolutely no effect but to deaden the sound.

An interesting feature in every American Opera-house is the young ladies' box-a sort of omnibus box to which young ladies alone subscribe. The gentlemen who are privileged to visit them in the course of the evening are also allowed full liberty to supply them with bouquets, which are always of the most delicate and most expensive kind-costing in winter from ￡4 to ￡5 a-piece. The front of the young ladies' box is kept constantly furnished with the most beautiful flowers that love can suggest or money buy; and if, as it frequently does, it occurs to one or more of the young ladies to throw a few of the bouquets to the singers on the stage, their friends and admirers are expected at once to fill up the gaps.

Whilst at Philadelphia the head-waiter of the hotel informed me that a very grand concert was to take place, for which it was difficult to obtain tickets, but that a prima donna would sing there whom he considered worthy of my attention. In due course he got me a ticket, and I attended the concert, which was held in one of the extreme quarters of the city. On entering I was quite surprised to find an audience of some 1,500 or 2,000, who were all black, I being the only white man present. I must say I was amply repaid for the trouble I had taken, as the music was all of the first order.

In the course of the concert the prima donna appeared, gorgeously attired in a white satin dress, with feathers in her hair, and a magnificent diamond necklace and earrings. She moreover wore white kid gloves, which nearly went to the full extent of her arm, leaving but a small space of some four inches between her sleeve and the top of her glove. Her skin being black, formed, of course, an extraordinary contrast with the white kid.

She sang the Shadow Song from Dinorah delightfully, and in reply to a general encore gave the valse from the Romeo and Juliet of Gounod. In fact no better singing have I heard. The prima donna rejoiced in the name of Mdlle. Selika. Shortly afterwards a young baritone appeared and sang the "Bellringer," so as to remind me forcibly of Santley in his best days. I immediately resolved upon offering him an engagement to appear at the Opera-house in London as "Renato" in Un Ballo in Maschera, whom Verdi, in one version of the opera, intended to be a coloured man; afterwards to perform "Nelusko" in L'Africaine, and "Amonasro" in Aida. Feeling certain of his success, I intended painting him white for the other operas.

After some negotiation I was unable to complete the arrangement. He preferred to remain a star where he was.

After the final performance of our Philadelphia engagement we started at about 3 a.m. with the whole Company for New Orleans, our special train being timed to reach that city by the following Sunday. On arriving at Louisville the gauge was broken, and the track became narrow gauge, which necessitated the slinging of every one of my grand carriages to have new trollies put under them to fit the smaller gauge. This was so skilfully managed whilst the artists were asleep that they were unaware of the operation.