Garcia the Centenarian And His Times Part 7

The piece, from its own intrinsic merits and the excellent manner in which it is performed, cannot fail to have a good run."

Evidently the Italian language was not a strong point in the office of 'The Albion.' We have already seen how "Il Barbiere" figured as "Il Barbiera," and Madame Barbieri as "Barbiere," while Signor Garcia appeared as "Senior." A still stranger mistake occurred in the notice of the _premiere_ of "Otello" on February 11:--

"Rossini's opera of 'Otella' (_sic_) has been produced by the Italian, troupe. It was a most fortunate effort, and the piece, we trust, will have a good run. Signor Garcia astonished the audience with his masterly powers, many of whom had no conception that so much tragic effect could be given in recitative.

"After the performance Signor Garcia was addressed by Mr Kean behind the scenes, who complimented the highly-talented vocalist on the great talent he had that night displayed, and expressed in the warmest terms the gratification experienced in listening to him. Several of the troupe were present on Wednesday to see Mr Kean in the part of Oth.e.l.lo."

In this American _premiere_ of Rossini's "Otello," one of the greatest successes of the season, we find the parts distributed as follows:--

_Otello_ Signor Garcia.

_Iago_ Signor Garcia (junior).

_Elmiro_ Signor Angrisani.

_Doge_ Signor Crivelli.

_Roderigo_ Madame Barbieri.

_Emilia_ Signora Garcia.

and _Desdemona_ Signorina Maria Garcia.

It must be many years since any operatic version of "Oth.e.l.lo" has been performed other than that of Verdi, which was produced in Milan exactly sixty-one years after the performance of Rossini's setting just described. Indeed at the date of this American _premiere_, Giuseppe Verdi was but a lad entering his teens.

Another important production of the season was "Don Giovanni," given on May 23, with the elder Garcia in the t.i.tle-_role_. His son appeared as Leporello, and, as the criticism in 'The Albion' stated four days later: "In the part of Saporello"--the office shines once more in spelling--"the younger Garcia exhibited more musical ability than he has been generally thought to possess. His duet with Don Giovanni in the banquet scene was spirited enough."

Some other portions of this critique read rather quaintly. It will be remembered how the editor of the paper was perturbed after the opening performance of the season at not receiving the "scientific critique, which we are promised from a professor." He is evidently "still harping on my daughter," for one reads with infinite regret that--"To enter into any minute examination of 'Don Giovanni's' _scientific_ merits is beyond our s.p.a.ce and purpose"; while later we learn that "Madame Barbiere's taste is pure, and her _science_ considerable."

The critic comes to the regrettable conclusion that "Garcia Senior is not at home in the simple melodies of Mozart," the reason which he gives for this fact being set forth in a delightful bit of phraseology,--"He must have a wide field for display: he must have ample room to verge enough for unlimited curvetings and flourishes."

Maria was able to satisfy this most learned and scientific judge, and we may presume that she found sufficiency of verging-room in Mozart, for we are told, "Mdlle. Garcia's Zerlina, though not so simple and rustic as Fador's (_sic_), the great Zerlina of Europe, is much more pleasing and fascinating. It was admirably acted, which for a singer is high praise.

The celebrated 'Batti, batti,' was never better sung."

"In proportion as she is excellent," the notice concludes, "must we regret that a few nights longer and she will disappear from the public gaze."

Why the good gentleman should have been so perturbed it is a little difficult to see, for the season did not terminate for four months.

Perhaps the explanation is that, just as other scientific men declared that the seven days of the World's Creation really meant seven periods, each extending over hundreds of years, so this one in saying "a few nights," took each night to stand for a period of a month. After all, as has been observed in Lewis Carroll's immortal book, it is only a question of who is to be master, the man or the word.

On August 26 we are informed that "'Il Barbieri de Siviglia'"--mark the dazzling array of fresh mistakes in spelling--"was performed last night for the fortieth time without any abatement of attraction."

Finally we are told of the approaching end of the season:--

"_Sept. 16th._--The Italian operas are about to close in this city. We believe it is not finally arranged how the troupe is to be disposed of, but the Philadelphia papers express strong hopes of having this delightful entertainment"--enchanting phrase for such an occasion--"in that city." The following is Signor Garcia's card:--

"'Signor Garcia respectfully announces to the public that his engagement is limited to five representations of Italian operas, and will positively conclude on the 30th inst. On Sat.u.r.day, September 16th, the benefit of Garcia, jun.'"--this was how Manuel appeared on the bills throughout the New York season--"'Tuesday the 19th, benefit of Mme.

Garcia; Sat.u.r.day the 23rd, benefit of Signor Garcia, Tuesday the 26th, benefit of Signorina Garcia, concluding Sat.u.r.day the 30th, this being positively the last night of performance.'"

And so, on September 30, 1826, the first American season of Italian opera was brought to a close, after lasting ten months,--seventy-nine performances in all.

As to the repertoire, we have already set down the names of "Il Barbiere," "Don Giovanni," "Tancredi," and "Otello"; besides these we find Zingarelli's "Romeo e Giulietta," which in later years was to be ousted as completely from the field by Gounod's version as Rossini's "Otello" was fated to be by Verdi's. The list was completed by "Cenerentola," "Semiramide," "Turco in Italia," and two operas specially written by the elder Garcia, with a view to showing off his daughter's talents, "L'Amante Astuto," and "La Figlia dell' Aria."

As to the composition of the orchestra, we learn that it consisted of seven violins, two violas, three violoncellos, two double-ba.s.ses, two flutes, two clarinets, one ba.s.soon, two horns, two trumpets, and drums,--twenty-four performers in all. The first violin and leader was De Luce, while a M. Etienne presided at the pianoforte. That the orchestral standard was by no means as high as that of the vocalists, may be readily surmised from the following criticism of one of the earliest performances:--

"The violins might be a little too loud; but one soul seemed to inspire and a single hand to guide, the whole band being throughout the magic mazes of Rossini's most intricate flights under the direction of M. de Luce; while M. Etienne presided in an effective manner at a piano, of which every now and then he might be heard to touch the keynote by those whose attention was turned that way, and just loud enough to be heard throughout the orchestra, for whose guidance it was intended."

As has been already stated, the performance took place on Tuesday and Sat.u.r.day evenings. The latter was a very great mistake, owing to the strong religious feelings of the city, which kept the inhabitants from going out on this evening for fear of interfering with preparation for the Sabbath. As we may read in a notice of the season, which was sent over by the New York correspondent to one of the English papers: "Sat.u.r.days were fixed on in imitation of London, but on the night which is your best n.o.body goes to the theatre, for we are very _serious_ in this city, and do not go to the late amus.e.m.e.nts on Sat.u.r.day."

However, in spite of this _contretemps_, the season turned out a complete success, for the 79 performances brought in gross receipts of 56,685 dollars (ranging from 1962 dollars on the best night to 250 dollars on the worst), which made an average of some 700 dollars at each representation.

It is rather ludicrous to read some of the articles which appeared in the New York papers during the earlier months of the Italian Opera. In them advice was given to those who had written asking questions as to how to dress in a fashionable way for the opera nights, according to the European manner, and how to behave during an opera performance.

In fact, it was thought "the thing" to go to the Park Theatre season, and the whole affair created the greatest excitement among the fashionables of Manhattanville.

Finally, we read towards the end of September of the future plans of the company:--

"They have been invited to New Orleans and also to Mexico, and it is believed that they will go to the latter place when their engagement here is over."

With the 1st of October 1826 the New York opera season had become a thing of the past, and on October 2 the dramatic season of Macready, a thing of the present, for on that date the tragedian trod the boards of an American stage for the first time. One cannot perhaps bring the chapter to a more seemly close than with the announcement which the ever-fascinating 'Albion' made in speaking of the opening performance:--

"Mr Macready appeared in the character of Virginius, in the presence of an audience of the most respectable description, and comprising all the talent and critical ac.u.men of this great city." One can only pray that the scientific ac.u.men was not absent on that memorable and respectable occasion.

CHAPTER VI.

NEW YORK AND MEXICO.

(1826-1827.)

Picture to yourself Senor Garcia sallying forth into the streets of New York on February 4, 1826, and purchasing a paper, to be confronted with this piece of up-to-date intelligence:--

"The following despatch was transmitted from Strasburg to Paris on Sat.u.r.day afternoon, 'The Emperor Alexander I. of Russia died at Taganrog on December 1st, after a few days' indisposition.' The express which brought this intelligence left Warsaw on the 8th inst."

Here, then, we find that it has taken exactly nine weeks for important Russian news to reach New York. A fortnight later a short article appeared in one of the American papers which gives a rather good insight into the state of civilisation at that period. It has been sent over by a London correspondent. Above the contribution is the heading, in large type, "STEAM GUN EXPERIMENTS." I quote some of the more interesting portions:--

"At length this formidable weapon, destined, if ultimately adopted, to change the whole system of modern warfare, has been so perfected by Mr Perkins that the effects of its projectile power from a musket bore and with a lead ball may be fully judged. A trial was made last month at Mr Perkins' manufactory in the Regent's Park before the Duke of Wellington and staff." A strange piece of reading indeed.

"The adoption of the most destructive implements possible in war will be most friendly to humanity, by shortening its duration. Offensive war will profit much less than defensive. A fort may be made impregnable against an attacking force, and a breach (could such a thing be made under the fire of steam artillery) could not be stormed. It is impossible to foresee what changes this discovery may not make in the history of nations.

"It is not exceeding the bounds of probability to suppose that we shall ere long as commonly see vessels propelled by Perkins' steam-engines undertaking the most distant voyages, as we now see them employed on our coasts. In this case, calms, contrary winds, and tides will be comparatively of little consequence, since a steam vessel, under such favourable circ.u.mstances, can always make some way on her voyage or retreat into harbour."

Here I may be permitted to quote a series of paragraphs culled from 'The Albion' of March 25 of this same year, as being good specimens of the news which the maestro was accustomed to read. They give a series of vivid glimpses into the days when he was a young man. First, let us see some of the t.i.t-bits of up-to-date gossip and fashionable news which the London correspondents have to retail to their subscribers in New York:--

"Mr Charles Mathews, the celebrated comedian, is on a visit to Sir Walter Scott at Abbotsford."

"Madame Pasta was expected to be in London by the first of April."

Inauspicious date!

"His Majesty [this would be George IV.] on his return to town will occupy apartments at St James's. Carlton House will not again be the Royal residence."