The Mapleson Memoirs, 1848-1888 Volume I Part 17

I was next much troubled by a renewed outbreak in the orchestra, the occasion being the first performance of _Linda di Chamouni_, when to my astonishment more than half the musicians were absent. I was too perplexed with other matters to worry beyond appealing to the public, who sympathized with me.

A kind of operatic duel was now going on betwixt my two tenors, Campanini and Aramburo. The latter, with his magnificent voice, had quite conquered New York. Being a Spaniard, his own countrymen supported him nightly by their presence in large numbers. But the tenor was displeased at sundry hisses which came from unknown quarters of the gallery, whilst two or three newspapers attacked him without any reason.

It was the eve of his performance in _Rigoletto_ when I was informed that Senor Aramburo and the Gilda, Mdme. Adini (at that time his wife), had suddenly sailed for Europe. The last I could trace of them was that that very day they had both been seen in the city at five o'clock. Early that morning Aramburo had come to me wanting to borrow 300 dollars. At first I refused, but he pressed me, saying that he had property "in Spain," and that he really needed money to close up certain business transactions. I gave him the sum, and this was the last I saw of him. At 5.30, however, in the afternoon, I received a note from him, in which he said that he would like five nice seats for that evening's performance, as he wished to oblige some friends. I sent him the tickets, but by the time they reached his address he must have packed up and gone.

At length the day for Mdlle. Marimon's appearance arrived. It was not until Wednesday, 3rd December, that she made her _debut_ in _La Sonnambula_, when she was supported by Campanini as "Elvino," Del Puente as "Conte Rodolfo," and Mdme. Lablache as the mother. Mdlle. Marimon scored a positive success, and the ovations she received were something unprecedented. I at once forgot all my troubles, for I now plainly foresaw that she would replace Mdme. Gerster until the following year.

Anything like her success had not been witnessed since Gerster's. At one bound, as it were, she leaped into the highest favour and esteem of the music lovers of New York. I announced her reappearance for the following Monday.

But the reaction consequent on the agitation caused to her by the perils of the sea voyage now began to manifest itself. The nervousness from which she had suffered at sea, in the belief that her maid's dream was about to be verified, had caused such a disturbance to her nervous system that this, coupled with the subsequent excitement due to her brilliant success, caused the fingers of both her hands to be drawn up as if with cramp. She found it impossible to reappear for several days; and it was not until the 15th, some twelve days later, that she was able to give her second performance. She afterwards sang the part of the "Queen of Night," in _Flauto Magico_, which terminated the New York season.

We afterwards left for Boston, where on the opening night Mdlle.

Marimon's success was again most marked; and from the beginning until the end of the engagement there her receipts equalled those of Mdme.

Gerster. During the tour we visited Philadelphia, Chicago, St. Louis, Detroit, and Cleveland. We afterwards made a second visit to Philadelphia, the season concluding about the middle of March, 1880, when we returned to Europe.

During our stay in Philadelphia Mdlle. Marimon, who had met with such great success two evenings previously, was announced to appear as "Dinorah." About six o'clock in the afternoon she sent word that she would be unable to sing. All persuasion on my part was useless. However, as I was descending the staircase of the hotel I met Brignoli, who on hearing of my trouble declared that he had a remedy and that he felt sure he could induce Mdlle. Marimon to sing. He made it a condition, however, that in case of success I should re-engage him for the approaching London season. To this I readily consented, and I was greatly surprised at hearing within half an hour that Mdlle. Marimon and her maid had gone on to the theatre. This was indeed a relief to me, as nearly every seat in the theatre had been sold, Meyerbeer's romantic opera not having been performed in Philadelphia for some twenty years.

On the rising of the curtain Mdlle. Marimon's voice was inaudible. She was very warmly greeted, and went through all the gestures of the part; played it, in short, pantomimically. At the close of the act I went before the curtain, and announced that Mdlle. Marimon's voice, instead of recovering itself, was going gradually from bad to worse; and that the shadow scene in the second act would have to be omitted; but that, to compensate the public for the disappointment, Signor Campanini, who was then present in one of the boxes, had kindly consented, together with Miss Cary, to give the concluding acts of _Il Trovatore_. This at once restored the depressed spirits of the audience.

Miss Cary surprised everyone by the dramatic force of her "Azucena."

Gala.s.si was equally effective in the _role_ of the "Count di Luna." But Campanini, in _Di quella pira_, met with more than a success: it was a triumph. The house broke into rapturous applause, and cheered the singer to the echo. At the conclusion he was loaded with flowers. Thus I avoided the misfortune of having to close the theatre.

On returning home to supper I discovered the "remedy" Brignoli had employed, which was this: He presented himself on leaving me to Mdlle.

Marimon, and informed her that he understood Mapleson meant to close up the Opera-house that evening, and charge her the value of the receipts, then estimated at nearly 1,000. He, therefore, advised her to go to the theatre, even if she walked through the part.

One or two newspapers the following morning insisted on regarding my speech of the previous evening as a melancholy joke. I had announced that Mdlle. Marimon was physically unable to fulfil the demands of her _role_, and that she would omit the shadow song. But, said the papers, her efforts throughout the evening had all been shadow songs, the little lady having been absolutely voiceless.

Mdlle. Marimon, however, in settling up the account some weeks afterwards, charged me 120 for this performance, arguing that she had appeared and done her best under the circ.u.mstances.

CHAPTER XVI.

SIR MICHAEL AND HIS CHEQUE--SIX MINUTES' BANKRUPTCY--SUCCESS OF "LOHENGRIN"--PRODUCTION OF "MEFISTOFELE"--RETURN TO NEW YORK--"LOHENGRIN" UNDER DIFFICULTIES--ELSA'S TAILS--CINCINNATI OPERA FESTIVAL.

I BEGAN my London season of 1880 a few days after my return from the United States, Mdme. Christine Nilsson appearing as "Margherita" in _Faust_ on the opening night, followed by _La Sonnambula_, _Carmen_, _Aida_, etc., also _Lohengrin_, for which I had specially entered into an engagement with Richter, who after some fifteen rehearsals declared the work ready for presentation. He at the same time informed me that on looking through the orchestral parts he had discovered no less than 430 mistakes which had been pa.s.sed over by his predecessor, Sir Michael Costa, and which he had corrected.

About this time law proceedings were pretty hot between myself and Sir Michael Costa, and as they led to my becoming a bankrupt for about six minutes, I may as well explain to the reader how this occurred.

My engagement with Sir Michael Costa was for a season of three months in each year, for which I was to give him 1,500--500 each month, payable in advance. My season of 1875 was fixed to open on the 24th April, and to terminate on the 24th July, which it actually did; but having at that time secured the services of the great tragedian Salvini, I thought it desirable to open the theatre about a fortnight earlier, giving opera only twice or three times a week, and utilizing the other nights for the appearances of Salvini. I mentioned my idea to Costa, who said I had better pay him his regular cheque as from the commencement of the season, and that the few extra nights could be settled for apart.

On the 10th July Sir Michael Costa asked for his usual monthly cheque in advance. I reminded him of our conversation on the subject, and pointed out to him that I had already made him the three payments as agreed. He told me that he wanted particularly to have the cheque, as he desired to show it to H.R.H.; adding with a mysterious air: "You will be pleased!"

From his manner he led me to believe that he would return me the cheque after it had been shown. I, therefore, gave it to him; and, hearing no more of it for five years, thought he had destroyed it. However, prior to my announcing my season of 1880, application was made for the payment of this cheque. Sir Michael declined, in fact, to wield the _baton_ unless the old cheque were paid. He seemed quite determined on the subject; and I, on my part, was equally determined to resist the demand. I made various propositions for an equitable adjustment, as also did several influential friends; but all to no purpose. Sir Michael Costa, like Shylock, insisted on his bond; and the law was allowed to take its course. In the end the "blue paper" was signed by Mr. Registrar Hazlitt const.i.tuting me a bankrupt, and I left the Court in a state of depression quite unusual to me.

We had scarcely got outside when a happy thought struck my solicitor, who, hurrying back with me to the Registrar, addressed him as follows:--

"Pending the appointment of a trustee, which may take some eight or nine days, your honour is, in fact, the manager of Her Majesty's Theatre, and my client thinks it only right to take your honour's orders as to the production of _Lohengrin_ on Sat.u.r.day. Some new skirts, moreover, which might be of calico, but which your honour would, perhaps, prefer of silk, are wanted for the ballet in _Il Trovatore_ next Monday. But the _Lohengrin_ matter is the more pressing of the two, and we should be glad if you would meet Herr Richter, who, though unwilling to tamper with the score of so great a composer as Wagner, thinks some cuts, already on another occasion authorized by the master, might be ventured upon in the long duet between "Elsa" and "Ortrud." There is an obstinate tenor, moreover, whom your honour, by adopting a decided tone towards him, might perhaps bring to reason."

Mr. Registrar Hazlitt was amazed, and in tones of something like dismay declared that he had trouble enough where he was, and could not undertake the management of an Opera-house. He had not considered that, he continued, when he signed the paper. He rang for a messenger, caused the paper to be brought to him, and at once tore it up; thus putting an end to my six minutes of bankruptcy.

_Lohengrin_ met with very great success, and we ran it alternately with _Carmen_, _Don Giovanni_, _Faust_, and several other operas, in which Mdlle. Gerster maintained her pre-eminence. During all this time we were busily rehearsing Boito's _Mefistofele_, which I was unable to produce until the early part of July. The following was the cast:--

"Margherita" and "Helen of Troy" ... Mdme. Christine Nilsson.

"Martha" and "Pantalis" ... Mdme. Trebelli.

"Mefistofele" ... Signor Nannetti.

"Faust" ... Signor Campanini.

The rehearsals were under the immediate personal superintendence of the composer Boito, and the scenic department under that of the celebrated scene-painter Magnani. The greatest pains were taken to give such a representation of this opera as would be worthy of the composer's high reputation.

At last the day arrived, the 6th July; but not the properties, which were expected in large cases from Italy, but could not be heard of and were nowhere to be found. I went to all the likely places in London, telegraphed to Boulogne and to Calais, but in vain. Finally, however, at half-past six in the evening, they were brought to the stage door.

The reader cannot, of course, understand the enormous difficulty which arose in unpacking these hundreds of various properties, each one done up in separate paper. At last shields, armour, spears, serpents, goblets, torches, demon's wigs, etc., etc., were all piled up on the stage. The supernumeraries and chorus were ready dressed, and were left to help themselves, the supers, who were all guardsmen, picking out the prettiest properties they could find; and it was with immense difficulty that, with Boito's aid, we could distribute the most necessary for the performance. The success of this opera is doubtless fresh in the minds of most lovers of music. I look upon it as one of the most memorable on record. It went without a hitch. Madame Nilsson as "Margherita"

impressed me by her singing and acting in the prison scene as she had never done before. The opera was repeated every other night until the close of the season, the receipts continually increasing.

At the close of my London season I again went to the Continent in quest of talent, and paid a visit to Mdme. Gerster at her elegant villa near Bologna. She received me with every expression of delight, and we concluded forthwith our arrangements for her return to America, she making it a condition that the baby should accompany her. I now made great preparations to ensure a brilliant season. Great improvements were made by the Directors in the auditorium of the Academy of Music in New York, and new carpet was everywhere laid down. At my suggestion, too, a few feet were cut from the front of the stage, which improved the proscenium boxes, and gave me two extra rows of stalls or _parquet_ seats, numbering sixty in all. These were immediately let at high premiums for the whole of my season. Preparations were afterwards made for the production of Boito's _Mefistofele_, which had been such a great success during my past London season.

As I found it desirable not to leave myself entirely in the hands of one princ.i.p.al tenor, I concluded arrangements whereby Signor Ravelli was to form part of my Company. Ravelli made his _debut_ as "Edgardo" in _Lucia di Lammermoor_ on the opening night, when Mdme. Gerster made her _rentree_, after an absence of a year, as "Lucia." The house was crowded from floor to ceiling, Mdme. Gerster receiving more than her usual ovations.

The following night Campanini made his re-appearance as "Fernando" in _La Favorita_, Miss Annie Louise Cary undertaking her unrivalled impersonation of "Leonora."

Wishing to do all in my power to make the production of _Mefistofele_ a representation of the first cla.s.s in every respect, I caused to be removed from each end of the orchestra some five-and-twenty parquet seats in order that it might be enlarged, and I engaged some twenty-five extra musicians of ability so that the _ensemble_ of my orchestra might be equal to that of London. Arditi was indefatigable with his rehearsals, of which he had several, in order to obtain every possible perfection in the execution of the music, to secure even the minutest _nuances_ in the necessary light and shade. The cast included Signor Campanini as "Faust," Annie Louise Gary as "Martha" and "Pantalis," a new-comer, Signor Novara, as "Mefistofele," whilst Alwina Valleria undertook the _role_ of "Margherita"--and right well did the little lady fulfil the task she had undertaken. She had moments at which she showed herself quite equal to Mdme. Nilsson, especially in the prison scene.

In the newspapers the following morning no mention whatever was made either of the increase in my orchestra or of its performance; the critics at that time being less discerning than they are now. This greatly mortified Arditi, who had been working like a slave for so long a time before the production.

We shortly afterwards produced _Mignon_, when Arditi said one rehearsal would do, as sure enough it did; and this time we met with great praise.

On my returning for the following spring season I dispensed with the services of my twenty-five extra musicians; and the excellence of the orchestra was now fully commented upon.

About this time I remounted _Aida_ in grand style, with new properties, scenery, and dresses, Mdme. Gerster shortly afterwards appearing as "Elsa" in _Lohengrin_. This reminds me of an interesting occurrence.

The fatigues incident to the continued rehearsals of Lohengrin had rather unnerved Mdme. Gerster, who, however, made her appearance in the _role_ of "Elsa" on the night for which the opera had been originally announced. Her success, though great, was not what she desired, and the next day she complained of indisposition, though she at the same time insisted upon further rehearsals. I therefore closed the theatre at great loss, in order that her desires might be complied with.

At length the time for the second performance arrived. I had spent a fatiguing day, and had finished up with directing the difficult machinery of the scene in which the swan disappears to be replaced by the missing child, while the dove comes down from heaven to draw the boat which, as "Elsa" embraces her long-lost brother, bears "Lohengrin"

away.

Feeling sure that all was in order, I went home for a short time, not having tasted anything since early morn. I sat down to my dinner, and ordered my servant to bring me a pint of champagne. I had hardly taken the knife and fork into my hand when Dr. Gardini, Mdme. Gerster's husband, put his head through the door, beckoning to me, and saying that he wanted me for one "second" only. On my getting into the vestibule he entreated me to come over a moment to the Everett House, where his wife was residing, it being then about a quarter to seven (my opera was to commence at eight). On my reaching the Everett House her maid, her brother, and her sister-in-law desired me to step a moment into her bedroom. On entering I smelt a powerful odour of chloroform, and on inquiry found that her brother, who was a medical man of some standing in New York, had been prescribing chloroform to allay a tooth-ache, or some other ailment she was suffering from; but in the nervous condition she was in it had acted rather too violently upon her general system, and there she lay speechless.

I was beside myself, and I am afraid rather rude at the moment to those in attendance. However, I insisted upon taking the matter entirely into my own hands. I commenced by opening the tops of the windows so as to let the odour out, and dispatched the sister to get me a bottle of soda-water, together with some sal-volatile, also a bottle of strong smelling salts. By raising Mdme. Gerster's head I got her to take the soda-water and sal-volatile, and at each respiration I took good care to place the smelling-bottle to her nose, but all to no effect. She was in a state of semi-unconsciousness.

I, however, insisted upon raising her (it being then a quarter past seven), and by the aid of the maid I put a large shawl over her, and carried her off in my arms to the carriage, which I had ordered to be at the door, and took her over to the Academy, where I seated her on a chair. She now swooned on to the dressing-table.

Whilst I continued to apply the smelling-bottle I gave directions to the theatrical hair-dresser to be careful to come gently in and comb out her back hair and plait in the little tails which are sometimes added by prime donne. It was about twenty minutes to eight when Arditi came into the room, accompanied by the call-boy, and both looked upon the matter as hopeless. I, however, begged the maestro to go into the orchestra, and to leave the rest to me.

I got her to stand upright; but when I suggested the idea of singing "Elsa" she sighed, and said--

"It is utterly useless. It is just eight o'clock, and the tails are not in my hair."

I thereupon informed her that during her unconscious state I had carefully had the tails combed in. This brought a faint smile to her face, and I at once saw that there was still a chance of my opera going.

I led her to the entrance, when she went on accompanied by her attendant maidens. I then drew a long breath and went back to finish my dinner, knowing now that the opera would continue.