The Mapleson Memoirs, 1848-1888 Volume I Part 12

About this time the usual annual proposals were made for Mdlle.

t.i.tiens's services at a series of concerts to be given in the United States of America, by which she was to receive 160 a night guaranteed, and half the receipts beyond a certain amount. After some time I consented to this arrangement.

At the close of Salvini's engagement I handed him 8,000 for his half-share of the profits, retaining a like amount for myself.

In July, 1875, one of the most charming vocalists that it has been my pleasure to know, a lady who as regards voice, talent, grace, and style was alike perfect, and who was as estimable by her womanly qualities as by her purely artistic ones, made her first appearance at my temporary Operatic home, Drury Lane, as "Rosina," in _Il Barbiere_. This was Mdlle. Marguerite Chapuy, and no sooner had the news of her success been proclaimed than Adelina Patti came, not once, but twice running to hear her.

At the first performance Mdlle. Chapuy made such an impression on the public that in the scene of the music lesson she was encored no less than four times; particularly successful among the various pieces she introduced being the "Aragonese" from Auber's _Domino Noir_, and the waltz from Gounod's _Romeo and Juliet_. Sir Michael Costa hated encores, but on this occasion he departed willingly from his usual rule.

Marguerite Chapuy charmed everyone she came near; among others a young French sergeant, a gentleman, that is to say, who had enlisted in the French army, and was now a non-commissioned officer. Her parents, however, did not look upon the young man as a fit husband for such a prima donna as their daughter, and it was true that no vocalist on the stage seemed to have a brighter future before her. Mdlle. Chapuy remained meanwhile at Drury Lane, and the success of her first season was fully renewed when in the second she appeared as "Violetta" in _La Traviata_. A more refined impersonation of a character which requires very delicate treatment, had never been seen.

It struck me after a time that my new "Violetta" was not wasting away in the fourth act of _La Traviata_ alone. She seemed to be really perishing of some malady hard to understand; and when the most eminent physicians in London were called in they all regarded the case as a difficult one to deal with since there was nothing definite the matter with the patient. Gradually, however, she was fading away.

There could be no thought of her appearing now on the stage; and at her own desire, as well as that of her father and mother, who were naturally most anxious about her, she was removed to France. No signs of improvement, however, manifested themselves. She got weaker and weaker, and when she was seemingly on the point of death her hard-hearted parents consented to her marriage with the young sergeant. My consent had also to be given, and I naturally did not withhold it.

Mdlle. Chapuy had signed an engagement with me for several years. But everyone said that the unhappy vocalist was doomed; and such was beyond doubt the belief of her parents, or they never would have consented to her throwing herself away on an honourable young man who was serving his country for something less than a franc a day, when she might so easily have captured an aged banker or a ruined Count.

Shortly afterwards I met her in Paris looking remarkably well. She told me that her husband had received his commission soon after their marriage, and that he now held some local command at Angouleme. As I had not released her from her engagement, I suggested to her, and even entreated, that she should fulfil it. Her husband, however, would not hear of such a thing. He preferred that they should live quietly on the 120 a year which he was now receiving from the Government. I offered as much as 200 a night, but without effect.

All I could get was a promise from Mdlle. Chapuy that in the event of her returning to the stage she would give me her services in accordance with the terms of the contract she had previously signed. Later on she told me that she still sang once a year for charitable purposes; and I still hope for her return to the lyric stage.

I here append the letter she addressed to me just after her marriage:--

"Angouleme, 8 Decembre, 1876.

"CHER MONSIEUR MAPLESON,

"Je vous remercie de votre bonne lettre et je m'empresse d'y repondre pour vous a.s.surer que je m'engage aussi formellement que vous pouvez le desirer a ce que l'engagement que nous avions ensemble soit remis en vigueur si jamais je reprends la carriere theatrale: je vous promets aussi que vous pourriez compter sur moi pour la grande saison de Londres qui suivrait ma rentree sur la scene. Vous avez ete trop bon et trop aimable pour moi, pour que j'hesite un instant a vous faire cette promesse. Du reste, il me serait bien agreable, si je reprenais le theatre, de reparaitre sur la scene de Londres, car je n'ai pas...o...b..ie combien le public Anglais a ete bienveillant pour moi.

"En attendant votre reponse veuillez agreer cher Monsieur Mapleson l'a.s.surance de mes sentiments devoues.

"MARGUERITE ANDRe-CHAPUY, "Rue St. Gelais, 34.

"Mon mari, ma grande-mere, et ma mere sont bien sensibles a votre aimable souvenir et vous font tous leurs compliments."

There are two ways of judging a singer--by the vocalist's artistic merits, and by the effect of his or her singing on the receipts. In the first place I judge for myself by the former process. But when an appearance has once been made I fall back, as every manager is bound to do, on the commercial method of judgment, and calculate whether the amount of money drawn by the singer is enough to justify the outlay I am making for that singer's services. The latter was the favourite system of the ill.u.s.trious Barbaja, who, when he was asked his private opinion as to this or that member of his Company, would say--

"I have not yet consulted my books. I must see what the receipts were, and I will answer your question to-morrow."

Referring to my books, I find with great satisfaction that the charming artist, whom I admired quite as much before she had sung a note at my theatre as I did afterwards, when she had fairly captivated the public, drew at her first performance 488, and at her second 538; this in addition to an average nightly subscription of 600.

Thus Mdlle. Chapuy made her mark from the first.

Other vocalists, even of the highest merit, have been less fortunate.

Thus Mdlle. Marimon, when she appeared at my theatre in 1871, drew at her first performance (that of "Amina," in _La Sonnambula_) 73, at her second 280, at her third 358, at her fourth 428. To these sums, as in the case of Mdlle. Chapuy, the nightly proportion of the subscription has, of course, to be added.

As with singers, so with operas. I choose a work which, according to my judgment, ought to succeed, and cast it as well as I possibly can. It will not in any case please the public the first night; and I have afterwards to decide whether I shall make sacrifices, as with _Faust_, and run it at a loss in the hope of an ultimate success, or whether I shall cut the matter short by dropping it, even after a vast outlay in scenery, dresses, and properties, and after much time and energy expended at rehearsals.

When I brought out Cherubini's admirable _Deux Journees_ (otherwise _The Water Carrier_) I was complimented by the very best judges on the beauty of the work, and also (how little they knew!) on its success. I received congratulations from Jenny Lind, from Benedict, from Halle, from Millais, from the Baroness Burdett-Coutts. But there was not more than 97 that night in the treasury. Thereupon I made my calculation. It would have cost me 1,200 to make the work go, and I could not at that moment afford it. I was obliged, then, to drop it, and that after five weeks' rehearsals!

Some time afterwards I produced Rossini's _Otello_ with a magnificent cast. Tamberlik was the "Otello," Faure the "Iago," Nilsson the "Desdemona." The other parts were played by Foli, Carrion (an excellent tenor from Spain), and others. All my friends were delighted to find that I had made another great success. I listened to their flattering words. But the treasury contained only 167 3s., for which reason _Otello_ was not repeated.

In rebuilding Her Majesty's Theatre Lord Dudley did not think it worth while to consult me or any other operatic manager. He had the opportunity of erecting the only isolated theatre in London, and the most magnificent Opera-house in the world, for the shops in the Opera Colonnade and the adjoining hotel in Charles Street might at that time have been purchased for comparatively small sums. The Earl, however, as he himself told me, cared only to comply with the terms of his lease, which bound him to replace the theatre which had been destroyed by another of no matter what description, provided only that it had four long scenes and four short ones.

Messrs. Lee and Paine, the architects entrusted with the duty of covering the vacant site, acted after their own lights, and they succeeded in replacing two good theatres by a single bad one. The old Opera-house, despite its narrow stage, had a magnificent auditorium, and the Bijou theatre, enclosed within its walls, possessed a value of its own. It was let to Charles Mathews, when theatrical property possessed less value than now, for 100 a week; and Jenny Lind sang in it to houses of 1,400.

When the new theatre had been quite finished Lord Dudley was shown over it by the delighted architects. His lordship was a tall man, and his hat suffered, I remember, by coming into collision with the ceiling of one of the corridors. Turning to the senior partner, who was dying to catch from his aristocratic patron some word of satisfaction, if not of downright praise, the Earl thus addressed him--

"If narrow corridors and low ceilings const.i.tute a fine theatre you have erected one which is indeed magnificent."

The architect, lost in confusion at being addressed in terms which he thought from his lordship's finely ironical demeanour must be in the highest degree complimentary, did nothing but bow his acknowledgments, and it was not until a little later that some good-natured friends took the trouble to explain to him what the Earl had really said.

CHAPTER XII.

THE NATIONAL OPERA-HOUSE--FOUNDATION DIFFICULTIES--PRIMaeVAL REMAINS--t.i.tIENS LAYS THE FIRST BRICK--THE DUKE OF EDINBURGH THE FIRST STONE--THE OPERA AND PARLIAMENT--OUR RECREATION ROOMS.

DURING all this time I was busily engaged selecting plans for the construction of my new National Opera-house, which I then considered a most desirable investment, inasmuch as Her Majesty's Theatre, which had been hastily built, was ill-adapted for the requirements of Italian Opera, whilst Covent Garden was heavily enc.u.mbered with liabilities.

Indeed, more than one negotiation had already taken place with the Duke of Bedford with a view to its purchase and demolition. I, therefore, saw that sooner or later London would be without a suitable Opera-house. In order to expedite the works it was considered desirable that the foundations should be proceeded with pending the final settlement of the drawings, taking out the quant.i.ties, etc., and deciding who the contractors should be.

Mr. Webster, who constructed the best part of the Thames Embankment, was deemed to be the fitting man, and I therefore had an interview with him on the subject. In this interview he told me he would execute the whole of the foundations up to the datum level for the sum of 5,000.

On consulting with my architect he advised that it would be more economical that this preliminary work should be paid for by measurement, which Mr. Webster ultimately agreed to. No sooner had they dug to a certain depth than it was discovered that no foundation could be obtained. Afterwards screw piles were attempted and all other kinds of contrivances to obviate the expense with which we were threatened in the prosecution of the works. The digging proceeded to a depth of some 40 or 50 feet without discovering anything but running springs and quicksands, covered by a large overlying ma.s.s of rubbish, being the acc.u.mulation of several ages in the history of Westminster. Many relics of olden times came to light, including the skulls and bones of wild elks and other primitive animals that once roamed about the Thames Valley and were hunted by ancient Britons in the days of the Druids. Various swords, gold and inlaid, often richly-fashioned, told of the feuds of York and Lancaster; while many other objects, concealed for centuries, now came forth to throw a light on the faded scroll of the past.

As the builders had got considerably below the depth of the Thames and consequently that of the District Railway, the water began to pour in, which necessitated some fifteen or twenty steam-pumping machines being kept at work for several months. At length the London Clay was reached, which necessitated various cuttings, some 16ft. wide, down which had to be placed some 40ft. of concrete.

At length the foundations were completed, and the sum I had to pay, according to measurement, was not 5,000, but 33,000. This was really one of the first blows to my enterprise.

Early in September the first brick of my new National Opera-house, prior to the commencement of the substructure, was laid. A number of friends were on the ground at one o'clock, and in a short time a great throng of spectators had a.s.sembled around the spot. Punctually at 1.30 Mdlle.

t.i.tiens arrived, under the escort of Lord Alfred Paget, Mr. Fowler, the Architect, and myself. The party pa.s.sed along the wooden platform, and descended a handsomely-carpeted staircase, which led to the foundation of concrete upon which the "brick" was to rest. On reaching the bottom, Mdlle. t.i.tiens, as she leaned on the arm of Mr. Fowler, was presented with an elaborately-engraved silver trowel by Mr. Webster, the Contractor. The fair singer was then conducted to the spot, where a thin, smooth layer of white mortar had been spread on the concrete. The foreman of the masons placed a brick in the midst of this, and Mdlle.

t.i.tiens then in a formal manner laid the first brick, using the plumb-line to ascertain that the work had been properly done. Second, third, and fourth bricks were afterwards laid by Mr. Fowler, Lord Alfred Paget, and myself. Hearty cheers were then given for Mdlle.

t.i.tiens by the 600 workmen congregated around, who wished the Queen of Song success and happiness on her approaching Atlantic voyage.

Prior to her departure, Mdlle. t.i.tiens gave four farewell concerts in Ireland; and it was with great difficulty after the last one, at Cork, that she escaped from the concert room at all, so numerous were the encores. The steamer having been signalled, she had to rush straight from the concert room, in her concert dress, with all her jewellery on, to catch the train leaving for Queenstown.

In the autumn of 1875 Mdlle. t.i.tiens was replaced on the provincial tour by Madame Christine Nilsson; and the business again was highly successful. The tour continued until Christmas. I came up to London on the 16th December, to be present at the laying of the first stone of the new Opera-house by H.R.H. the Duke of Edinburgh.

The following was the programme of the ceremonial, which was duly carried out:--

CEREMONY OF LAYING THE FIRST STONE OF THE GRAND NATIONAL OPERA-HOUSE, _VICTORIA EMBANKMENT_.

_Holders of Cards of Invitation will not be admitted after 1.15_.

"The bands of the Coldstream Guards and Honourable Artillery Company will be in attendance, and a Guard of Honour will line the entrance.

"His Royal Highness the Duke of Edinburgh and suite will arrive at the entrance on the Victoria Embankment at half-past one o'clock.