UNIVERSITY of CALIFORNIA LOS ANGKLES UBRARY A, N. SULLIVAN. THE MAPLESON MEMOIRS VOL. I. 1848-1888 IN TWO VOLUMES WITH PORTBAIT OF THE AUTHOR VOL I CHICAGO, NEW YORK, AND SAN FRANCISCO: BELFORD, CLARKE & CO., PUBLISHERS. 1888 [All riffhf.t rexerrd\. 107967 COPYRIGHT, 1SSS, BY JAMES H. MAPLESON THOWt lTr0 AND OOOWftMNO COWAMT, Nf W TOUIC. MUSfC LIBRARY ML PBEFACE HAVING been repeatedly urged by numerous friends ~ on both sides of the Atlantic to set forth a few of ^ tie difficulties attending the career of an impresario, who, during the last thirty years, has fought mauy operatic battles, I have undertaken the task, having at the present moment for the first time in my * recollection a few weeks of comparative repose before again renewing my lyrical campaigns. ,o I willingly sat down to the work, trusting that an account of the few partial defeats and the many brilliant victories incident to my life may be found interesting. This being my first appearance as an author, I ^ am naturally unpractised in the artifices of style ^ familiar to more experienced hands. -^\ Some of my plain statements of facts will not, I fear, be fully appreciated by the personages to whom they refer; and in case they should feel offended by my frankness, I ask their pardon before- hand, convinced that they will readily accord it. J. H. MAPLESON. Junior Carlton Club, 2lst September, 1833. CONTENTS. CHAPTER I. Qualifications for the Career of Impresario My First Appear- ance as Violinist Debut as a Vocalist Difficulties as a Critic Engaged at Lodi and Verona Radical Operation on my Throat I start as Musical Agent Meeting with Mr. E. T. Smith Management of Drury Lane . pp. 1-12 CHAPTER II. Injunction against the Birds on the Trees Drury Lane Season of 1859 Debuts of Victoire Balfe, Mongini, and Guar- ducci My Contralto Marries a Duke The Duke and Duchess at Naples pp. 13-22 CHAPTER III. Nocturnal Negotiations Reopening of Her Majesty's Theatre Sayers and Heenan Patronize the Opera English and Italian Opera Combined Smith and his Speculations Discovery of Adelina Patti My Management of the Lyceum ....... pp. 23-39 nii CONTENTS. CHAPTER IV. At Her Majesty's Theatre Verdi's Cantata Ginglini at the Seaside Pollio and the Drum-stick An Operatic Con- piracy Confusion of the Conspirators . . pp. 40-57 CHAPTER V. Running over a Tenor Titiens in Italy Cashing a Cheque at Naples A Neapolitan Ball Approaching a Minister- Return to London ...... pp. 58*65 CHAPTER VI.. Production of Gounod's Faust Apathy of the British Public A Managerial Device Damask Crumb Cloth and Chintz Hangings Heroic Attitude of a Dying Tenor Prayers to a Portmanteau ....... pp. 66-80 CHAPTER VH. Garibaldi Visits the Opera Giuglini's Trouble at St. Peters- burg Ginglini Visited by Titiens Alarm of Fire Production of Medea Grisi's Last Appearance An Enraged Tenor pp. 81-98 CHAPTER Vin. Payment after Performance Discovery of Madge Robertson Mario and the Sheriff Generosity of the Great Tenor Debut of Christine Nilsson Destruction of Her Majesty's Theatre A Great Philanthropist . . . pp. 99-117 CONTENTS. be CHAPTER IX. y Proposal for an Operatic Uir.on Titiens in Dublin Her Services as a Pacificator Autumn Season at Covent Garden The Combination Season Immense Success Costa's Despotism An Operatic Conspiracy Lucca and her Husbands *. pp. 118-135 CHAPTER X. Gye's Fraternal Embrace Law-suits Interminable Dissolution of Partnership Return to Drury Lane Arrival of Albani Debut of Cainpanini The Annual Onslaughts of Mr. Gye pp. 136-149 CHAPTER XI. Adelina's Successor A Prima Donna's Marriage Negotiations Pounds v. Guineas Nilsson and the Shah Production of Lohengrin Salvini's Performances and Profits Marguerite Chapuy Irony of an Earl . pp. 150-174 CHAPTER XII. The National Opera-house Foundation Difficulties Primaeval Remains Titiens Lays the First Brick The Duke of Edinburgh the First Stone The Opera and Parliament Oar Recreation Rooms . . . pp. 175-183 x CONTENTS. CHAPTER XIII. First Visit to America Making Money out of Shakespeare Chattel-ton's Secret Agents Bidding for Her Majesty's Theatre Illness of Titiena Gerster's Success Produc- tion of Carmen pp. 184-198 CHAPTER XIV. First American Campaign Difficulties of Embarkation Concert on Board Dangerous Illness of Gerster Opera on Wheels The "Dressing-room Row" A Learned Throat Doctor Gerster Sings before her Judge The Pianoforte War Our Hurried Departure . pp. 199-219 CHAPTER XV. Reception of a Tenor Belocca and Lady Spencer Marimon's Superstitions Her Lovesick Maid An Encouraging Telegram Marimon in the Cathedral Disappearance of a Teuor pp. 220-236 CHAPTER XVI. Sir Michael and his Cheque Six Minutes' Bankruptcy Success of Lohengrin Production of Mejistofele Return to New York Lohengrin under Difficulties Elsa's Tails Cincinnati Opera Festival . . .pp. 237-253 CONTENTS. xi CHAPTER XVII. Production of Jl Einnegato RaveJJi!s_--Qperatic Theory ~ Negotiations with Covent Garden, " Limited " A Search for a Prima Donna Failure of Patti's Concerts Cincinnati Opera Festival of '82 Patti's Indisposi- tion pp. 254-272 CHAPTER XVIII. I Engage Patti My Military Experience Influencing Electors Operatic Joint Stock Company Objections to English Monopoly Patti in New York . . .pp. 273-291 CHAPTER XIX. Non- Arrival of Scalchi General Indisposition King Kalakaua Ennobles Patti Ravelli Consults his Dog The Company Vaccinated Patti Eaten by Mice Arrival of Albani Cincinnati Opera Festival of '83 Freedom of the City .pp. 292-30H CHAPTER XX. Galassi Distinguishes Himself Politeness of Prime Donne English Welcome to Canada Concert at the White House Value of Patti's Notes Phantom Ship Wrecked Nils ;on's Contract Patti'a Contract Return to England ...,.. pp. 309-327 CHAPTER I. QUALIFICATIONS FOE THE CAREER o IMPRESARIO MY FIKST APPEARANCE AS VIOLINIST DE"BUT AS A VOCALIST DIFFICULTIES AS A CRITIC ENGAGED AT LODI AND VERONA EADICAL OPERATION ON MY THROAT I START AS MUSICAL AGENT MEETING WITH MR. E. T. SMITH MANAGEMENT OF DRURY LANE. BEFORE beginning my thirty years' career as an operatic manager, I had already had a large and varied experience of music in the character of student, critic, violinist, vocalist, composer, concert director, and musical agent. At the age of four- teen I entered the Royal Academy of Music, where the Principal was at that time Cipriani Potter. I took as my first study the violin, my professor being Watson, under whom I made good progress. Harmony I studied under Lucas. My compositions are limited to two pianoforte pieces and a song, which I published soon after leaving the Academy, where I remained about two years. I made my first public appearance among the first violins at Her Majesty's Theatre, where, during VOL I. B 2 THE MAPLESON MEMOIRS. the Jenny Lind seasons of 1848 and a portion of 1849, I plnyed from the same desk as Rcmcriyi, the famous Hungarian violinist. Remenyi, too, shared my rooms, and often kept me up at night by his loud and passionate declamations on the subject of Hungarian independence, and of liberty generally. He had taken part in the revolutionary movement of 1848, and on its collapse had flrd for his life to foreign parts. Fortunately, he had his violin to depend upon; and it was in London, I believe, that he first turned his remarkable talent to prac- tical and pecuniary account. Mr. [afterwards Sir Michael] Costa had left Her Majesty's Theatre two years previously to take part in establishing the Royal Italian Opera at Covent Garden, and the new conductor at Her Majesty's Theatre was our eminent composer M. W. Balfe. It had already occurred to me to quit the compara- tive obscurity of the orchestra for a brilliant posi- tion on the stage ; and this idea was encouraged by Balfe, who, during the intervals of operatic busi- ness, gave me singing lessons. I also received instruction from Gardoni, the tenor, and Belletti, the baritone. As I had a tenor voice, Gardoni's lessons were particularly useful to me ; and I was led to believe by each of my distinguished pro- fessors that I had in me the making of a primo tenore. Long before I had completed my studies as a vocalist, an opportunity, indeed a necessity, for AN IMPRESARIO'S QUALIFICATIONS. 3 making my first appearance as a singer presented itself. Not to remain idle during the long months separating one opera season from another, I took out in the English Provinces in 1840 a company in which were included Sontag, Calzolari, Belletti, Lablache, and the famous pianist Thalberg. On one occasion, after giving a concert at Salisbury, the whole party paid a visit to Stonehenge, where Sontag sang " Casta diva," and Lablache a portion of Orovrso's solo music among the Dniidical remains, so suggestive of the opera of Norma. I have now before me a handsome little clock which Madame Sontag presented to me at the end of the tour. It is inscribed : " To J. H. Mapleson from Madame Sontag (Countess Rossi)." I may mention in connection with this charming vocalist, whose good nature and good temper were on a par with her talent, a peculiarity which will perhaps astonish some of the concert singers of the present day. Instead of avoiding, according to the modern practice, the task of either beginning or ending a concert, she was ready and even anxious to sing both the first piece and the last. " If I do not begin the concert people will not come in time," she would say ; " and if I do not end it they will go away before it is over." In the autumn of 1850 I took on tour a company which included Roger and Madame Viardot, the famous representatives of " John of Leyden " and " Fides *' in Le Proj.j/tete. Meyerbeer was in constant 4 THE MAPLESOK MEMOIRS. correspondence with them. To avoid the expense of postage, he used to send his music written on such fine paper that to be able to read it with any ease it was necessary to place it on a back-ground of ordinary writing paper. In a subsequent tour my leading tenor was one night for some reason or other not forthcoming. There was no one to replace him, and as I was myself a tenor I plunged boldly into the gap. I sang with success, but it occurred to me even as I was singing that I had need of further instruction. On my return to London I called on Sims Reeves, and sang to him ; when he at once recommended me to go to Milan, and place myself under Signer Mazzucato, director and principal professor of sing- ing at the celebrated Conservatorio. Reeves was kind enough to give me a letter to Mazzucato, under whom he had himself studied, with results which need not here be set forth. Before taking farewell of England in order to go through a three years' course of training in Italy I did a little work as musical critic for a journal called the Atlas, which for years past has ceased to exist, but which, at the time I speak of, enjoyed a good reputation, especially in connection with literary and artistic matters. The proprietor, and ostensible editor, was a well-known journalist, Mr. George Francis, author of " The Orators of the Age," a series of papers which made some stir when, before appearing in book-form, they were DIFFICULTIES OF A CRITIC, 5 published in the pages of Frazer's Magazine. Mr. Francis had, I believe, gained his experience of our British orators in the gallery of the House of Commons, where he was for many years one of the principnl reporters of the Times staff. Mr. Francis was also a brilliant foreign correspondent, and it afterwards became a speciality of his to assist and preside at the birth of new journals. His fee as accoucheur on these occasions was, I believe, a con- siderable one. After a time nothing would satisfy him but to have a paper of his own. He bought the Atlas, and while entrusting most of the editorial work to a Mr. Joyce, who was my immediate chief, appropriated to himself all free admissions that rerched the office. Accordingly, when it became my duty to write an account of the first production of Le Prophete at the Royal Italian Opera, I received instructions from my editor about sending in "copy," but was not furnished with a stall. I was to manage, somehow or other, to hear the opera, and I was in any case to send in a notice of it. I enfeavoured to buy a ticket, but everything was sold. In my despair I chanced to meet the American philanthropist, Mr George Peabody, well known by his charitable deeds, and who hastened on this occa- sion to perform a good work towards me. He assured me that the difficulty w,hich troubled me was not so great as I imagined. It was now late in the afternoon. The performance was to take 6 THE MAPLESON MEMOIRS. place that evening, and Mr. Peabody suggested that first of all the best" thing I could do was to dine with him at the " Hummums." Thence, after finishing a bottle of excellent port, we walked quietly to the gallery entrance of the opera at that time under the piazza, next door to the Bedford Hotel bought our tickets, and found places in the very front row. Soon, however, I was to start for Milan, where, studying constantly with Professor Mazzucato, I spent nearly three years. Then an engagement was offered to me at Lodi, where I was to make ray first appearance on any stage as " Carlo " in Linda di Chamonni. Manners and customs at the Lodi Opera-house were at that time rather peculiar. Refreshments of all kinds used to be served in the audience depart- ment between the acts. Every box was furnished with a little kitchen for cooking macaroni, baking or frying pastry, and so on. The wine of the country was drunk freely, not out of glasses, but in classical fashion from bowls. Attired in the brilliant uniform of my part I was in the middle of the pit draining one of these bowls, when suddenly the signal was given for the rising of the curtain. All seemed lost. But I hurried back to the stage, and fortunately was not very late for my entry. My success in Lodi was such that I was offered four pounds a month to sing at Verona. Here my first duty was to replace Bettini (not the husband of ENGAGED AS A VOCALIST. 7 Madame Trebelli Bettini, but the dramatic tenor of that name) in the important part of " Manrico." If Trovatore had but lately been brought out, and was then in the first period of its success. I had never heard the work, but the tenor part had been sent to me, and I had to master it in four days, my final study being made in the diligence, with no musical instrument to aid me except a tuning-fork. I studied the part all day and, by the light of a candle, all night, and before I reached Verona knew it perfectly. The prima donna of the cast was Mcllle. Lotti, afterwards known in London and elsewhere as Madame Lotti Delia Santa, the second part of her name being derived from her husband, Signor Delia Santa, who, during my stay at Verona, played the part of the "Count di Luna" to the "Leonora" of his future wife. Bettini married a sister o. Max Maretzek, afterwards well known as conductor and impresario in the United States. I made a sufficiently good impression at Verona to cause Signor Bettini, who on my arrival was seriously ill, to get perfectly well after I had made but two appearances. Returning to London early in 1854, I gave a grand concert with the following eminent artists : Mdme. Clara Novello, Miss Dolby, Mr. Sims Reeves, Herr Formes, and Mdme. Arabella God- dard. I also took part in it. My throat, how- ever, had become affected, and after I had been very thoroughly operated upon by Dr. 8 THE MAPLESON MEMOIRS. Billing, I found myself deprived alike of tonsils, uvula, and voice. My path had now been marked out for me. For the future I might bo a musical agent, 0 names, but as the salaries varied from six to eight shillings a week I made no objec- tion to this. The heaviest salary was that of the conductor Mercadante (composer of II Qiuramento, &c.)> who received 5 a week. On leaving Naples I went to Turin to present myself to the Marquis Braliam, but before I could get my card forwarded, even to the first room, I was obliged to make a monetary advance. On reaching the second room I was referred to another room on the entresol. It was impossible to gain entrance, or even get my card sent further, without the help of a napoleon. On going into the fourth room another tax was laid upon me, and it being evening I thought it better to go home and reserve my money offerings towards meeting the Marquis Braham until the next day. I returned, armed with sundry five-franc pieces and napoleons ; but it was not until the fourth day, when I gave an extra douceur, that I could approach him at all. It then appeared that someone had anticipated me, and I was recommended to wait another year. I left for England, and the matter dropped. VOL. I. CHAPTER VI. PaoDUCTiON OF GOUNOD'S" FAUST" APATHY OF THE BRITISH PUBLIC A MANAGERIAL DEVICE DAMASK CRDMB CLOTH AND CHINTZ HANGINGS HEROIC ATTITUDE OF A DYING TENOE PKAYERS TO A PORTMANTEAU. ON my return from Italy I set to work preparing for my grand London season of 1863, and entered into several important engagements. About this time I was told of an opera well worthy of my atten- tion which was being performed at the Theatre Lyrique of Paris. I started to see it, and at once decided that Gounod's Faust the work in question possessed all the qualities necessary for a success in this country. On inquiry I found that Mr. Thomas Chappell, the well-known music publisher, had acquired the opera for England. The late Mr. Frank Chappell, on the part of his brother, but acting in some measure on his own responsibility, had bought the Faust music for reproduction in England from M. Choudens, of Paris ; and I have heard not only that he acquired this privilege for PRODUCTION OF GOUNOD'S "FAUST." 67 the small sura of 40 (1,000 francs), but moreover that he was remonstrated with on his return home for making so poor a purchase. The music of an opera is worth nothing until the opera itself has become known, and Messrs. Chappell opened negotiations with Mr. Frederick Gye for the production of Faust at the Royal Italian Opera. The work, however, had not made much impression at the Theatre Lyrique, and Mr. Gye, after going to Paris specially to hear it, assured his stage manager, the late Mr. Augustus Harris, who had formed a better opinion of Gounod's music than was enter- tained by his chief, that there was nothing in it except the " Chorus of Soldiers." After due con- sideration Mr. Gye refused to have anything to do with Faust, and the prospect of this opera's being performed in London was not improved by the fact that, in the Italian version, it had foiled at Milan. Meanwhile I had heard Faust at the Theatre Lyrique, and, much struck by the beauty of the music, felt convinced that the work had only to be fitly presented to achieve forthwith an immense success in London. Mr. Chappell was ready to give 200 towards the cost of its production, and he further agreed to pay me 200 more after four representations, besides a further payment after ten representations. Certain that I had secured a treasure, I went to Paris and bought from M. Choudens a copy of the score, the orchestral parts, and the right for myself 68 THE MAPLESON MEUOIltS. personally of performing the work whenever I might think fit in England. I then visited Gounod, who for 100 agreed to come over and superintend the production of what he justly declared to be his masterpiece. I was at that time (as indeed I always was when anything important had to be done) my own stage manager. My orchestral conductor was Arditi; Titiens undertook the part of "Margherita;" Giuglini that of " Faust ; " Trebelli was " Siebel ; " Gassier *' Mephistopheles ; " and Sautley " Valentine." Far from carrying out his agreement as to super- intending the production of the work, Gounod did not arrive in London until nearly seven o'clock on the night of production ; and all I heard from him was that he wanted a good pit box in the centre of the house. With this, for reasons which I will at once explain, I had no difficulty whatever in pro- viding him. One afternoon, a few days before the day fixed for the production of the opera, I looked in upon Mr. Nugent at the box-office and asked how the sale of places was going on. "Very badly indeed," he replied. Only thirty pounds' worth of seats had been taken. This presaged a dismal failure, and I had set my mind upon a brilliant success. I told Mr. Nugent in the first place that I had decided to announce Faust for four nights in succession. He thought J must be mad, and assured me that one night's per- APATHY OF THE BRITISH PUBLIC. 69 formance would be more than enough, and that to persist in offering to the public a work in which it took no interest was surely a deplorable mistake. I told him that not only should the opera be played for four nights in succession, but that for the first three out of these four not one place was to be sold beyond those already disposed of. That there might be no mistake about the matter, I had nil the remaining tickets for the three nights in question collected and put away in several carpet bags, which I took home with me that I might distribute them far and wide throughout the Metropolis and the Metropolitan suburbs. At last, after a prodigious outlay in envelopes, and above all postage stamps, nearly the whole mass of tickets for the three nights had been carefully given away. I at the same time advertised in the Times that in consequence of a death in the family, two stalls secured for the first representation of Faust the opera which was exciting so much interest that nil places for the first three representations had been bought up could be had at twenty-five shillings each, being but a small advance on the box-office prices. The stalls thus liberally offered were on sale at the shop of Mr. Phillips, the jeweller, in Cockspur Street, and I told Mr. Phillips that if he succeeded in selling them I would present him with three for the use of his own family. Mr. Phillips sold them three times over, and a like success was 70 THE AIAPLESON MEMOIRS. achieved by Mr. Baxter, the stationer, also in Cock- spur Street. Meanwhile demands had been made at the box- office for places, and when the would-be purchasers were told that " everything had gone," they went away and repeated it to their friends, who, in their turn, came to see whether it was quite impossible to obtain seats for the first performance of an opera which was now beginning to be seriously talked about. As the day of production approached the inquiries became more and more numerous. " If not for the first night, there must surely bo places somewhere for the second," was the cry. Mr. Nugent and his assistants had, however, but one answer, " Everything had been sold, not only for the first night, but also for the two following ones." The first representation took place on June llth, and the work was received with applause, if not with enthusiasm. I had arranged for Gounod to be recalled ; and he appeared several times on the stage, much, I think, to the annoyance of Arditi, to whom the credit of a good ensemble and a fine performance generally was justly due. The opinions expressed by several distinguished amateurs as to the merits of Gounod's admirable work were rather amusing. The late Lord Dudley said that the only striking pieces in the opera were the " Old Men's Chorus " and the " Soldiers' March ; " which was going a step beyond Mr. Gye, who had seen nothing in the work but the " Soldiers' Chorus." A MANAGERIAL DEVICE. 71 Another noble lord, when I asked him what he thought of Faust, replied " This demand is most premature. How am I to answer you until I have talked to my friends and read the criticisms in the morning papers ?" The paucity of measured tunes in the opera which is melodious from beginning to end caused many persons to say that it was wanting in melody. The second night Faust was received more warmly than on the first, and at each succeeding representa- tion it gained additional favour, until after the third performance the paying public, burning with desire to see a work from which they had hitherto been debarred, filled the theatre night after night. No further device was necessary for stimulating its curiosity ; and the work was now to please and delight successive audiences by its own incontestable merit. It was given for ten nights in succession, and was constantly repeated until the termination of the season. So successful was Faust at Her Majesty's Theatre that Mr. Gye resolved to produce it at once; and he succeeded in getting it out by July 2nd. The following was the cast of the work at the Royal Italian Opera: " Margherita," Miolan-Car- valho(the creator of the part at the Theatre Lyrique); " Siebel," Nantier Didiee; '"Mephistopheles," Faure; " Valentine," Graziani ; " Faust," Tamberlik. The success of Faust at the Royal Italian Opera was so great that it enabled the manager to keep 72 THE At. \PLESON MEMOIRS. his theatre open until long beyond the usual period. On the 1 5th May of the following year Faust was reproduced with Mdlle. Pauline Lucca- and Signor Mario in place of Madame Miolan-Carvalho and Signor Tamberlik. Three weeks afterwards, June 7th, the part of " Margherita *' was assumed for the first time by Adelina Patti. Mr. Gye, who had purchased of M. Gounod "ex- clusive rights " over the work, sent to inform mo that he did not wish to interfere with my arrangements during the season already begun, but that for each performance given at Her Majesty's Theatre he should expect in future to be paid, and that mean- while he had a claim against me of 800 for per formance of the work given in London and the provinces during 1803 and 1864. I, of course, resisted this extraordinary pretention on the part of Mr. Gye; for, as the reader has already been in- formed, I had, before producing Faust, purchased from the Paris publishers the right of performing it wherever I personally might think fit. Mr. Gye brought his action, of which the result was to establish the fact, painful enough for M. Gounod, that, owing to some defect in regard to registration, no exclusive rights of performance could be secured for Faust in England by anyone. After the close of the season of 1863 I made a concert tour in the autumn, a recital of Faust being the chief attraction. The company comprised Mdlle. Titiens, Mdme. Trebelli, Mdlle. Yolpioi, Signor DOCTORS DIFFER. 73 Betlini who had just married Trebelli and Signer Volpini. After we had been out about two or three weeks Signer Yolpini became very ill, and whilst at Birmingham sent for a leading physician, who, on examining him, said he would require a deal of at- tention, but that he hoped to bring him round in about a couple of weeks. The patient replied that on no account would he separate himself from his wife, who had to travel to some fresh city daily, but that the doctor must do what he could for him until he left the following morning with the Com- pany. This he insisted upon doing. From Birmingham we went to Bristol, and on arriving the sick tenor was at once put to bed and the leading physician sent for, who, on examining him, asked who had been attending him. On the name of the Birmingham physician being mentioned, the Bristol physician rejoined : " A very able man. One of the very first in the profession." The patient had been in good hands. But on seeing the last prescription the doctor was astonished that his predecessor should have written such a thing ; in fact , he could scarcely believe it, and it was fortunate for the patient he had left Birmingham and come to place himself under his care. The patient informed the physician that on no account could he part from his wife, and that he would have to move off with the Company the fol- lowing morning to Exeter. 74 THE MAPLESON MEMOIRS. From Exeter we went to Plymouth, from Ply- mouth to Bath, from Bath to Oxford, and so on during a space of some two or three weeks, the sick tenor being carried from the hotel to the railway and from the railway to the hotel, and each medical man of eminence making the same observations with re- gard to his esteemed colleague in the previous town ; each one exclaiming that had Volpini remained in the previous city he must have died. He was carried to London, and there he remained, as all thought, on his death-bed, at the H6tel Previtali, Panton Square. He was not yet, however, destined to die, and, as I am about to relate, it was a miracle that saved his life. About this time I had engaged Sims Reeves to sing the role of " Faust" on certain evenings at Her Majesty's Theatre, and one day received a telegram from the eminent tenor, dated " Crewe," expressing his astonishment that I had announced him for that evening, when the engagement was for the following one. I at once went off to Sims Reeves's house, and learned from the butler that his dinner had been ordered for half-past seven o'clock. I thereupon informed the man that the orders had been changed, and that the dinner was to be served at twelve o'clock instead of the time originally fixed. I ascer- tained that Mr. Beeves was to arrive at Euston Station, and there met him, accompanied by Mrs. Sims Reeves. A TENOR'S CHINTZ HANGINGS. 75 While she was busying herself about the general arrangements, I got the tenor to myself and told him the difficulty I was in, to which he replied that it was quite impossible for him to sing that evening, as he had ordered his dinner at home. I at once explained that I had postponed it for a few hours, and that a light dinner was being prepared for him in his dressing-room at the theatre. The suddenness of my proposition seemed rather to amuse him, as he laughed ; and I was delighted to get a kind of half-promise from him that, provided I mentioned the matter to his wife, he would con- sent. At this moment she appeared, asking me what I was talking about to her husband. One of us began to state what the object in view was, when she ex- claimed "It's all nonsense; but I can well understand. Mapleson is an impresario, and wants to ruin you by making you sing." She then asked me how I could possibly think of such a thing when the chintz and the crumbclothof his dressing-room had not been fixed ? It was the custom of Mrs. Reeves to hang the walls with new chintz and place a fresh-mangled white damask cloth on the floor the nights her husband sang; and on this occasion the sacred hangings had gone to the wash. I explained that I had provided other chintz, but to no effect. Reeves was hurried to his brougham 76 THE MAPLESON MEMOIRS. and driven away, his wife remarking as she looked scornfully at me : " He's only a manager ! " It being now half-past six I was in a nice state of mind as to how I could possibly replace the great tenor in Faust. Signer Bettini, it was true, had on the concert tour sung portions of the garden scene and the duet of the prison scene in the recital of Faust which we had given throughout the provinces. Signor Volpini, moreover only he was on his denth bed knew the introduction and the trio of the duel scene. Putting all this together I decided on my course of action. First I called on Signor Bettini, requesting him to oblige me by going to the theatre. I next presented myself at Volpini's hotel, when I was informed that I must step very quietly and say but few words. On entering I was told by the invalid in a faint whisper that it was very kind of me to call upon him ; and he wished to know whether I had really come to spend the evening with him. I told him that I had been informed on entering that my visit must be a short one. He asked me again and again what could possibly be done to save his life, as he had tried all the doctors, but in vain. I said I would give him my advice if he would only follow it. I then assured him that he had but one chance of recovery. He must first allow me to mix him a pint of Chateau Lafite and a couple of raw eggs, beaten up with powdered sugar, and come down with me to the theatre, where, HEROISM OF A DYING TENOR. 77 after drinking it, if he was to die, he could die like a man before the footlights. A faint smile came over his pallid countenance. Of course he thought I was joking. But in due course the Chateau Lafite appeared, and the eggs were beaten up, and I managed to make him swallow the stimulating beverage. I put him on his flannel dressing-gown, took the blankets off the bed, and, wrapping him up in them, carried him my- self in a four-wheeler down to the theatre. I explained to him that he would have very little to do, beginning simply with the few bars of the introduction ; after that nothing but the music he had been in the habit of singing on the concert tour. I explained to him that although " Mephis- topheles," the Prince of Darkness, would in the eyes of the public transform him from an old man into a young one, there would be no difficulty about this inasmuch as Bettini would continue the part. Later on he could sing the trio in the duel scene, where with his lovely voice a great effect would be produced. The long and short of it was I induced him to dress; and all now seemed in good order. 1 explained the matter to Titiens, Trebelli, and Arditi ; and as I had not touched a particle of food since nine o'clock that morning, I went next door to Epitaux's, where I ordered a very small repast, pending the commencement of the opera. I had liardly seated myself at the table when my 7 tf THE MAPLESOX MEM OIKS. servant rushed in, stating that there was a general row going on amongst the artists, and that they were all going home. The doors of the theatre had been opened, and the apology for the absence of Sims Reeves, which I had posted on the outer doors, had been accepted by the public. This was evident from the fact that over 650 of money was now in the house. The audience must be already a little irritated by the disappointment, and I knew that any further one might be attended with serious consequences. I believed that there would bo a riot unless the representation took place. On entering the stage-door I met Mdlle. Titiens, who was about to step into her carriage, going home. She told me it was useless to think of per- forming. This was at ten minutes past eight. I begged her to remain. I gave orders to the hall- keeper not to let anyone out of the place, and to get two policemen to assist him. I then crossed the stage to the dressing-room, where high words were going on first between the two tenors, and after- wards between their two pretty wives. Mdine. Vol- pini's voice was uppermost, and I heard her say to Trebelli- " Of course you will rejoice I My poor sick hus- band brought out at the risk of his life, and then simply to undertake an old man's part, with grey hair and beard concealing his beauty; whilst your husband is to come on and make all the love in the garden scene, and get all the applause." PRAYERS TO A PORTMANTEAU. 79 Mdme. Trebelli responded by snapping her fingers at Mdme. Volpini, and taking her husband, despite my entreaties, from the theatre. All this excite- ment tended to work Volpini up ; and, like a true artist, he said he would do his best even if he had to walk through the scenes in which he was un- acquainted with the music rather than let me be disappointed. It was now half-past eight, and the opera was on the point of commencing. This I had ordered should be done punctually. Meanwhile I had fol- lowed Mdme. Trebelli to her apartments in Regent Street. The excitement had made her quite ill, and she was totally unable to appear in conse- quence. I appealed forcibly to her husband, begging him if he would not sing " Faust " to help ine by taking the part of " Siebel." He was a very good musician, and as at this time he never quitted his wife's side I knew that he must be intimately acquainted with the music. I thereupon got him down to the theatre in time for the garden scene, had his moustache taken off, and put him into his wife's clothes. Everything went off brilliantly, the male " Siebel" and the dying "Faust" sharing with the admirable " Margherita " the applause of the evening. The sudden exertion, the unwonted excitement, had really the effect of saving Volpini's life ; and he lived happily for many years afterwards. During the worst stage of poor Volpini's illness, 80 THE MAPLESON MEMOIRS. when, as already set forth, he persisted in being moved from town to town, wherever his charming wife had to go, they were both astonished one night to find that their little girl, a child of three or four years of age, had got out of bed, and apparently was praying to a large travelling trunk which accompanied them on all their journeys. Kneeling before the huge box, the little thing was heard to say : *' And make my dear papa well again, or I will believe in you no more." The explanation of this touching mystery was that the little girl had been in the habit of saying her prayers before an image of the Holy Virgin, which the family carried with them from town to town. The image, or picture, was now enclosed within the travelling trunk which had not yet been unpacked, and the affectionate child addressed it where she knew it to be. CHAPTER VII. GARIBALDI VISITS THE OPERA GIUGLINI'S TROUBLE AT ST PETERSBURG GIUGLINI VISITED BY THIENS ALARM OP FIRE PRODUCTION OP "MEDEA" GBISI'S LAST APPEARANCE AN ENRAGED TENOR. IN 1864 my season opened brilliantly, and on the fifth night I induced Garibaldi, who was then in this country, to visit the theatre ; which filled it to overflowing. On that evening Titiens and Giuglini really surpassed themselves ; and at the close of the opera Garibaldi told me he had never witnessed such a spirited performance, and that he had been quite carried away by the admirable singing of the two eminent artists. The opera was Lucrezia Borgia. Some few nights afterwards 1 placed Nicolai's opera, the Merry Wives of Windsor, before the public, under the name of Falstoff, introducing a charming contralto named Bettelheim ; who under- took the role of " Mrs. Page," whilst Titiens imper- sonated "Mrs. Ford," Giuglini " Fenton," Bettini " Slender," Gassier " Mr. Page," Santley " Mr. VOL I. ft 82 THE MAPLESON MEMOIRS. Ford," &c., &c. The magnificent new scenery was by Telbin. The opera met with most unequivocal success, and was repeated for several consecutive nights. But, as with so many other operas, the public were so slow in expressing their approbation that it gradually had to drop out of the repertoire. Shortly afterwards I produced, remounted, Beet- hoven's Fidelio, with Titiens as the heroine, which was given some seven or eight nights in succession to the most crowded houses. In the winter I gave my usual extra performances in the provinces and in London. Prior to the close of the London season of 1864 Giuglini signed an engagement for St. Petersburg, receiving a very large honorarium for his services. Regarding himself as the only representative of " Faust," he had not taken the precaution of stipu- lating for his appearance in this, or, indeed, any other part in his repertoire. On his arrival he was much mortified to find the Covent Garden artists, of whom there were several, always working and intriguing together ; and to Giuglini's great dismay the part of " Faust " was assigned to Signer Tarn- berlik ; Patti being the *' Margherita " and Nantier Didie*e the " Siebel." Now passed some two or three weeks before Giuglini could obtain a debut. One afternoon, about three o'clock, he was informed by the intendant that he was called upon to perform the role of " Faust," Tamberlik being taken suddenly ill. This was indeed good news, and he set about GIUGLINI AT ST. PETERSBURG. 68 arranging his costumes and looking over the music. Towards six o'clock he heard it rumoured that Madame Patti would be too indisposed to sing the role of " Margherita," and that he would have to appear with some debutante. This thoroughly unnerved him, and he himself became indisposed, which he at once notified to the intendant. At the advice of some friends he was induced to take a walk, and pay a visit to some acquaintances to spend the evening. About ten o'clock the door was rudely opened without any warning, and an employe entered, accompanied by two officials, one of whom politely raised his hat and said, "Signor Giuglini, I believe?" to which the Signor replied that he was Giuglini. They thereupon immediately left. Nothing more was heard of this matter until about a fortnight afterwards. It being pay day for the principal artists, thaii. afternoon the Imperial Treasurer called at Giuglini's house with a roll of rouble notes, request- ing him to sign the receipt for his month's pay, wbich Giugliui at once did. But on leaving, tho treasurer begged to draw his attention to the notes, as a deduction of 150 had been made from his monthly stipend in consequence of his having left the house on the day he was reported to be indis- posed. He got into a towering fit of rage, request- ing the balance to be handed to him, as he was allowed certain days of indisposition according to the terms of his contract. The treasurer replied 84 THE MAPLESON MEMOIRS. that according to the provisions of that clause he should have remained at home in his house on the day of his reported illness. The arguments became very warm, and Giuglini, in a fit of rage, threw the whole bundle of rouble notes into the stove, which was then burning ; and from that moment his reason seemed to have left him. On the termination of my spring concert tour in 1865 we began a season of opera in the beginning of March at Dublin, Giuglini promisiug to join us at the conclusion of his St. Petersburg engagement, which ended about that time. One morning at breakfast I received a telegram from London : " Come on at once. Giuglini arrived.'* I was indeed delighted, and, having notified the good news to the Dublin press, left immediately for London. On my arrival at Giuglini's house in Welbeck Street I was told that he was very much indisposed in consequence of the fatigues of the journey, and that his mind did not seem quite right. I went upstairs to him at once. He was very pleased to see me, but to my astonishment he had no trousers on. Otherwise he was all right. I talked with him some time, and advised him to put on the necessary garment, so that we might start that evening for Dublin. By force of per- suasion I at last obtained his consent to let me put his trousers on for him, and in the course of an hour succeeded in getting one leg in. I then ordered some oysters for him, and talked to him GIUGLINI AND HIS TROUSERS. 85 whilst I was coaxing in the other leg. This I at length managed to do, when to my horror I found the first leg had come out again. After wasting the whole of the day I found myself too late to catch the Irish mail, and the Signor still with one leg only in his pantaloons. Whilst Giuglini was sleeping I inquired as to the full particulars of his condition, and was informed that he had arrived from St. Petersburg in charge of a hired courier, who simply wanted a receipt for him. At the same time his magnificent fur coats and other costly clothing were all missing. He had made the journey in second-class, wearing a summer suit although it was the depth of winter; and on examining his jewel case I found that the stones had been taken out of everything he possessed, although the articles themselves were there. It was indeed a sad affair. I was advised to place him for a short time under the care of Dr. Tuke, and I had then to hurry back to Ireland. On my return to London I wer-t to pay Giuglini a visit at Chiswick, Mdlle. Titiens insisting on accom- panying me. We waited some time during which we were particularly cautioned not to approach him. At length he entered ; he was delighted to see us and talked quite rationally. We persuaded the doctor to allow us to take him for a drive, the signor at the same time expressing a wish to be driven to the Star and Garter, at Richmond, to dine. To this the keeper, who was on the box alongside 36 THE MAPLESON MEMOIRS. the coachman, objected, promising Giuglini that if he would return to the doctor's he should have a nice large plate of meat, which seemed greatly to please him. Giuglini had previously complained to me that he was made to drink sherry, a wine which he particularly disliked, his ordinary drink being claret or claret and water. He afterwards sang us " Spirto gentil " from the Favorita, followed by " M'appari " from Martha^ singing both airs divinely. The only thing peculiar was that his tongue was drawn very much to the 'right, and that he had to stop after every ninth or tenth bar to straighten it. When we got back to the doctor's Mdlle. Titiens and myself stayed to dinner. During the repast Giuglini, who had been looking forward to his plate of meat, carne into the room exhibiting on a very small plate a very small piece of meat. " Look what they have given me, TheYese," he said to Titiens. " I am afraid to eat it," he added, in a tone of irony ; " it might give me an indiges- tion." My firm belief is that if I could have got both Giuglini's legs into his trousers the day that he arrived in London I should have saved him. Living something like his ordinary life, among his old com- panions, he would have had at least a chance ot getting well. Thus matters went on until the London season ol 1865 opened, which took place on the Saturday night of the Easter week. I had made a series of ALARM OF FIRE. 87 improvements throughout the theatre, by reducing considerably the number of the private boxes, and enlarging those I retained. I likewise removed the twelve proscenium boxes, ten each side of the stage, thereby advancing the drop curtain some 16 feet nearer the public. This gave me much more room behind the scenes. Amongst the new singers I introduced was Miss Laura Harris, who afterwards, as Mdme. Zagury, achieved brilliant success throughout the whole of Europe ; also Mdlle. lima de Murska, a lady who at once took high rank from her phenomenal vocal qualities. I also presented Signer Foli, a young artist, who was engaged at the Italian Opera in Paris, and who soon became a public favourite ; likewise Signer Rokitanski, another eminent basso. Despite the blow I had received in the loss of Giuglini I went to work with renewed energies, and presented to the public Beethoven's Fidelio, with a magnificent cast, including Titiens, the incomparable " Leonora." I, moreover, mounted in great style Mozart's Flauto Magico, Titiens being the "Pamina,'' lima de Murska the " Queen of Night," Sinico the " Papagena," and Santley the "Papageno;" whilst the subordinate parts were all undertaken by prin- cipal artists. During the last act an accident occurred, which might have been very serious, inasmuch as the house was crowded from the stalls right up to the back of the gallery. In preparing for the final scene some 88 THE MAPLESON MEMOIltS. of the gauze, which had been used for clouds during the evening, caught fire over the gas battens. Instantly the alarm was given, when one of the flymen, at the risk of his neck, flung himself across the stage, balancing himself on a " batten " (a narrow strip of wood, some forty feet long), while he cut the ropes with his knife, causing the burning gauze to fall down on to the stage, where it was extinguished by the firemen. Mr. Santley, who was undertaking the role of the "Bird-catcher,'* remained on the stage unmoved. He walked forward to the audience, and addressed them in these eloquent words " Don't act like a lot of fools. It's nothing." This speech had an immediate effect ; and Santley continued his song as if nothing had happened. But for his presence of mind the loss of life would have been most serious. I likewise produced Cherubim's tragic opera, Medea ; a work considered by musical amateurs one of the finest dramatic compositions ever written. No musician ever exercised more influence on his art than Cherubini. His compositions are of the first authority, so that no musical library, whether of the professor or the amateur, can claim to be considered complete without them. The part of " Medea " was represented by Mdlle. Titiens. In assuming this role Mdlle. Titiens certainly added the final touch of lustre to her lyric crown. I need scarcely say the opera was magnificently mounted, PRODUCTION OF MEDEA. 8ft even to the smallest detail. It was particularly successful, and still retains its place in the repertowe^ I was interested to find in what large numbers- the relatives and descendants of Cherubini were- attracted to ray theatre by the announcement of his Medea. Naturally they all expected free admissions, even to great-grandchildren and third cousins. The season was a very successful one. In the autumn I started the regular provincial opera tour, Mario being my principal tenor, vice Giuglini. We commenced in Manchester, where Mario's unrivalled performances in Faust, Rigoletto, Martha, Ballo in Maschera, and Don Giovanni attracted crowded houses. We afterwards visited Dublin, proceeding thence to Belfast, Liverpool, etc., terminating, as usual, about Christmas. In the early part of January, 1866, I made a very successful concert tour, giving no less than one hundred and twenty concerts in some seventy cities in sixty successive days, with two very strong parties : Titiens, Trebelli, Santley, Stagno, and Bossi in one; and Grisi, Lablache, Mario, Foli, and Arditi in the other; ending up with a brilliant series of operas with casts combined from the two parties in the northern capital and at Glasgow, where Mdme. Grisi distinguished herself in the roles of " Lucrezia Borgia," " Norma," " Donna Anna," etc. Thus matters went on until the London season. On each occasion when I visited Giuglini I found no improvement, and it was ultimately decided that 90 Til E MAPLE SON MEM OIKS. a sea trip might benefit him. He, therefore, left London in a sailing ship for Italy. I never saw him afterwards. 1 need scarcely add that his loss was irreparable. I opened my London season of 1866 early in April, for which I engaged a very powerful Com- pany, including Mdme. Grisi. I announced her xtfigagement in the following terms : ' Mr. Mapleson has the gratification to announce fthat Ue has prevailed on Mdme. Grisi to revisit the cei>e of her eariy triumphs, and again to appear at the Theatre, her previous connection with which formed one of the most brilliant epochs in operatic history, Mdme, Grisi will once more undertake some of the paKs which she created, and in her im- personations of which will be revived the traditions obtained direct from Rossini, Donizetti, and Bellini. These representations can only extend for a few nights, and they will derive additional interest from the fact that Mdlle. Titiens has consented to take part in them as a mark of respect to one who for so many years reigned absolutely without a rival on the lyric stage.*' I was justified in making this announcement in consequence of the magnificent style in which Mdme. Grisi had been singing during our spring opera tour, Grisi seemed interested and affected by her re- turn to the old house of which she had taken leave twenty yeari previously. The old habitues came in LAST APPEARANCE. i large numbers to see her, to hear her, and naturally to support her with their applause on her first (which proved also to be her last) appearance. This took place on the evening of May 5, 1866. The Prince and Princess of Wales were both present. When the gondola came down, from which, in the first act of Lucrezia Borgia, the heroine makes her entry, there was breathless attention throughout the house. The great vocalist had the command of all her resources, and sang the two verses of " Com'o bello " admirably, omitting, according to her custom, the cabaletta, which Titiens and all other " Lucre- zias " made a point of giving. Well as she sang, I noticed some signs of nervous- ness. She had been visited by misgivings before the performance began. I had done my best, however, to reassure her, and was under the impression, judging from the apparent result, that I had suc- ceeded. But her hands, I remember, just as she was going on, were extremely cold. I took them in my own, and found that they were like stone. At the end of the first act, on the conclusion of the scene in which " Lucrezia " is taunted and re- proached by her victims and their friends, Mdme. Grisi, accustomed to the stage of the Royal Italian Opera, remained too far in front, though at a point where, at Covent Garden, the curtain would have fallen between her and the audience. It was other- wise at Her Majesty's Theatre (I refer, of course, to the old building), where the stage advanced far into 9* ThE MAPLESON MEMOIRS. the audience department; and when the curtain came down the " Lucrezia *' of the evening found herself kneeling on the ground (in which attitude she had defied the conspirators) and cut off by the curtain from the stage behind. This placed the un- fortunate singer in a ludicrous and, indeed, painful position ; for she had a stiffness in one of her knees, and was unable on this occasion to rise without the help of the stage attendants. Mdme. Grisi was, of course, much distressed by this contretemps. She had recourse, however, to the homeopathic remedies which she always carried with her, and after a time was herself again. These remedies were for the most part in the form of stimulants, which, however, Mdme. Grisi took only in the smallest quantities. Her medicine-chest con- tained a dozen half-pint wicker-covered bottles, which held, besides orgeat and other syrups, brandy, whisky, hollauds, port-wine, and bottled stout. In the second act Mdme. Grisi got on very well, especially in the scene with the bass preceding the famous trio. In the passionate duet with the tenor, just when the Duke, after administering the poison .to " Gennaro," has gone away, she made an unsuccessful attempt to reach the A natural ; and the failure caused her much confusion. She got through the performance ; but she ran up to me immediately the curtain fell and exclaimed that it was all over with her, and that she never could appear again. GRISI AND MARIO'S AMIABILITY. 93 The notices next morning were sufficiently favour- able ; but it was evident that the career of the great vocalist was now, indeed, at an end. Let me here say a word about Mdrae. Grisi's pecuniary affairs. After the duel between her husband, M. de Melcy, and Lord Castlereagh a separation took place ; and the injured spouse made an arrangement by which he was to receive out of his wife's salary the moderate income of two thousand a year. This she was to pay as long as she remained on the stage. In order that the famous singer might enjoy the use of her own earnings, I made an agreement with her by which on my provincial tours she was to sing for me gratuitously, while I at the same time engaged to pay Signor Mario 300 a week. For this salary the two admirable artists were ready to sing as often as I liked. They were most obliging ; full of good nature, and without any of the affectation or caprice from which so few singers at the present day are free. They took a pleasure in their per- formances, and thought nothing of playing three or four times a week. They would have sung every night had I been unreasonable enough to ask them to do so. Far from insisting that she should never be called upon to do anything that was not expressly set down for her in her written contract, Mdme. Grisi would often volunteer her assistance in cases where it was really very useful. In Don Pasquah, for instance, while Mario was singing the beautiful 94 THE MAPLESOX MEMOIRS. serenade " Com'e gentil ! " she would direct the chorus behind the scenes, singing herself and mark- ing the time on the tambourine. She was invaluable to Mario in many ways, not only in connection with his art, but also with the occupations of his ordinary life. She was always punctual, and, indeed, a little before the time; whereas Mario was invariably late. He had always his cravat to tie or a fresh cigar to light just when the last moment for catching the train had arrived. He was the most inveterate smoker I ever knew. He had always a cigar in his mouth, except when he was on the stage and actually in the presence of the audience. When he came off, if only for a moment, he would take a puff at his still burning cigar, which he had carefully left in the wings where he would be sure to find it again. " Faust " in the garden scene passes for a few moments behind some bushes at the back of the stage. During those moments Mario had just time to enjoy a few whiffs, after which he returned to continue his love- making. Mario spent large sums of money on his favourite weed, and thought nothing of giving away a box of cigars to a friend for which he had paid (to some friendly tobacconist who had cheated him) 5 or 6 a hundred. About this time I charged Mr. Telbin and his talented sons to paint me the whole of the scenery for Meyerbeer's Dinorak, which was brought out in IP HI GEN I A IN TAURIS. 95 due course, lima do Murska appearing as the de- mented heroine, Gardoni as " Corentino," and Santley as " Iloel." It was a truly magnificent performance, well worthy the reputation of the theatre. Shortly afterwards I produced another classical opera, which was gladly welcomed by all musical amateurs. The work I refer to was Gluck's Iphigenia in Tauris a work not less remarkable for its intrinsic merits than for having been the cause of one of the most fierce and prolonged artistic controversies on record. Paris, ever the champ de bataille of such contests, was, figuratively speaking, shaken to its foundations by the antagon- istic Gluckists and Piccinists ; and the dispute was only ended by Gluck leaving France. This work was likewise magnificently put upon the stage, Titiens, Santley, and Gardoni really surpassing themselves. I afterwards had the honour of introducing Mozart's comic opera, II Seraglio, in which Mdlle. Titiens appeared as " Constauza," the remaining personages being entrusted to Dr. Gunz, Signor, Stagno, Rokitanski, &c. One evening, when the opera of Rigoletto was being performed, with Mongini as the " Duke," feeling tired, as I had been working in the theatre throughout the day, I went home just before the termination of the third act. I had been at home about three-quarters of an hour when iny servant aa THE MAPLESON MEMOIRS. hurried up in a cab to inform mo that the curtain had not yet risen for the final act, and that a dreadful disturbance was going on in consequence of some question with Mongini, who was brandish- ing a drawn sword and going to kill everybody. I immediately slipped on my clothes and went down to the theatre. At the stage door, without her bonnet, I met the tenor's charming wife, the only person, as a rule, who could control him in any way ; and she entreated me not to go near him, or there would be bloodshed. I insisted, however, on going to his room without delay, as the curtain was still down and the public was getting tumultuous. I took the precaution of buttoning my overcoat across my chest, and in I went, my first words being - " This time, Mongini, I hear you are right (Questa volta sento die avete ragione)'* With this preliminary we got into conversation, but he still remained walking up and down the room with nothing but his shirt on and a drawn sword in his hand. I saw that I had to pro- ceed very slowly with him, and began talking on indifferent matters. At last I asked him the details of all the trouble. He thereupon explained to me that the master tailor, who had been requested by him in the morning to widen his overcoat by two inches, had misunderstood, and contracted it by two inches. I wished to have a look at the dress, which, however, was lying on the floor torn to AN ENRAGED TENOR. 97 pieces. I assured Mongini that the man should be cruelly punished, and he and his family put upon the streets to starve early the next morning. He then got calmer, and I casually observed, " By-the-bye, is the opera over yet, Mongini ? " to which he replied, " No, it is not." "Never mind that," I continued; "the public can wait. Everyone, by the way, is talking of the magnificent style in which you have been singing to-night." His eyes brightened, and he said he should like to go on with the opera. " Not at all a bad idea ! " I remarked. "But I have no dress," said Mongini, rather sadly ; " it is destroyed." I suggested that he should wear the dress of the second act, putting on the breastplate and the steel gorget with the hat and feathers, and he would then be all right, and " La Donna e Mobile" would make amends for the delay. He dressed and fol- lowed me to the stage, when I made the sign for the stage manager to ring up the curtain, greatly to the astonishment of Mongini's wife, who was fully expecting to hear that I had been run through the body. The next day at twelve o'clock, as per appointment, Mongini came to my office to be present at the punishment of the master tailor. I had taken the precaution to inform the tailor, who was a single man, that he had a wife and four children, and that VOL. i. H 98 THE MAPLESON MEMOIRS. he was to be sure and recollect this. I called him into my room in the presence of Mongini, and told him gravely that he with his wife and children must now starve. There was no alternative after the treatment Alongini had received the previous even- ing. Mongini at once supplicated me not to let the children die in the gutter, as it might injure him with the public, and he ended by promising that if I would retain the tailor in my service he would sing an extra night for nothing. CHAPTER VIIL PAYMENT AFTER PERFORMANCE DISCOVERT OF MADGE ROBERTSON MARIO AND THE SHERIFF GENEROSITY OF THE GREAT TENOR D^BUT OF CHRISTINE NILSSON DESTRUCTION OF HEB MAJESTY'S THEATRE A GREAT PHI LANTHROPIST. AT the close of the London season of 1866 we went to Ireland for the usual autumn operatic tour, stopping en route at Liverpool to give a morning concert. The rush was so great that all the metal cheques for the half-crown seats were exhausted and we had to use penny pieces. Numbers of the public found out, therefore, a ready way of getting in without payment. As soon as I observed this, and as there were still many hundreds unable to obtain admission, I conducted them across to another door which led into the orchestra. There being no money-taker, I let some four hundred of them crowd in, impress- ing upon them that they would have to pay half-a- crown apiece as they came out ; and I must add that every one paid up punctually. 100 THE MAPLESON MEMOIRS. We left Liverpool after the concert for Dublin, where we fulfilled a very profitable engagement. After leaving Dublin we went, early in October, to Leeds, and afterwards to Hull, at which latter place I recollect well that a full rehearsal of Les Huguenots was necessary in consequence of a new " Queen " having joined the company. Both Mario and Titiens complained of the incident and wondered how they were to finish the rehearsal in time to dine by a quarter past three, it being a general rule with artists not to eat later than that hour when they have to sing the same evening. We began the rehearsal early ; and it was not until after two that it was concluded. The dinner being nearly ready at the hotel, I went in a carriage to fetch Mario and Titiens back from the theatre without loss of time. At a quarter past three I found them both seated in the stalls, witnessing a morning performance, at which a Miss Madge Robertson was playing in a piece called A Wolf in Sheep's Clot/iing. So rivetted to the spot were Titiens and Mario both exclaiming " Do not disturb us, let us wait a little longer" that it was nearly five o'clock before I got them home, when it was, of course, too late to dine. Not that they regretted this. They both told me that I ought to write to every London manager telling them what a charming actress they had discovered. I need hardly say that the Miss Robertson of those days is now Mrs. Kendal, more perfect in her art than ever. MARIO'S TROUBLES. 101 I again started my concert tour in the early part of January, 1867, with Titiens, Trebelli, and others; and was as usual pre-eminently successful all along the line. Mario joined us about the 7th March in Scotland. About this time he experienced considerable worry through being served with various writs for bills of exchange, for which he had received no considera- tion whatever, and which had been accumulat- ing for many years. In more prosperous times preceding the period in question he had frequently assisted young artists, painters, sculptors, and Italians generally, who had come to this country with recom- mendations to him, and who had nearly all proved most ungrateful. It was computed that over 40,000 had been distributed by the great tenor on various occasions amongst his compatriots and others seeking aid. I recollect meeting at Pulham one Sunday at dinner a young sculptor who had arrived with a letter of recommendation to Mario, and who on presenting himself exclaimed that he had not come to borrow money, hearing how much victimized Mario had been by others. All he wanted was to bring a piece of sculpture from Rome to London, for which he already had a purchaser in view ; and if Mario would but accept a bill at two months, which he then had with him, he would within a month have sold his work and the money could be put to Mario's credit, so that the bill would be 102 THE MAPLESON MEMOIRS. punctually met. In fact, every possible device wns resorted to by persons well acquainted with his generous nature which brings me to the case in point. We had gone through a most arduous tour, and Mario had been singing four times a week throughout the whole time, and with most brilliant voice. As he had sung four nights running during the week I am speaking of, and was to be replaced the following evening (Saturday) by Signor Tasca in 'the Huguenots, he devoted his last day to the packing of his luggage, intending to leave by an early train for York, whence, after a night's rest, he would go on to London, presenting himself on the Monday for rehearsal at the Royal Italian Opera, Covent Garden, where the season was to commence on Tuesday. In the hall at the Edinburgh Hotel, where Mario had put up, a Sheriffs officer was waiting for him with a writ or an attachment for 100; and I thought to help him out of the dilemma by the following device, knowing how delicate and sensitive he was. I called to bid him good-bye, taking with me a closed envelope containing a 100 note. I by degrees gave him to understand that I had been looking about the city for some little souvenir, but without success, and as his taste was so superior to mine, if he would select one in memory of the pleasant time we had spent together, I should feel obliged. I at the same time handed him the enve- lope. I was on the point of leaving the room when KWDNESS OF MARIO. 103 a note was brought to me, requesting me to come to the theatre at once, as Tasca, the new tenor, had been taken ill at the rehearsal, and was obliged to go home. Mario, noticing signs of displeasure across my brow, insisted upon knowing the reason ; and after some pressure I informed him that the new tenor, who was to replace him, had fallen sick, and that I must be off to see how the matter could be remedied. My dear friend patted me on the shoulder, and said he knew of a way. The opera to be performed being Les Huguenots, for the benefit of Mdlle. Titiens, he would try, he said, to satisfy the public in the part of " Raoul," and thus help me out of my difficulty. I readily acceded, and asked him to name any terms he liked ; but he assured me that he should consider himself amply repaid if I would be present at Covent Garden on the following Tuesday, when he was to appear as the " Duke " in Un Ballo in Maschera, as that would encourage him. I thanked him, and was again leaving when he called me back to express his displeasure at my having offered him the hundred-pound note in the envelope, requesting me at once to take it back. This I, of course, declined to do, until at last he said " If no one is to have it, it had better go into the fire ; but sing I do not unless you allow me to return it to you at once.'* All argument was useless. Then reluctantly I left him. The following Monday night I started for London, 104 THE MAPLKSOX MEMOIRS. where I attended the opening of the Royal Italian Opera the next evening, and had the pleasure of applauding Mario, and complimenting him in his dressing-room, after the second act. He could not express sufficiently his delight at my being present. The London season of 1867 was remarkable for the first performance in England of Verdi's Forza del Destino. Prior to the commencement of this season my at- tention had been drawn to a young Swedish singer, named Christine Nilsson, who had appeared at the Theatre Lyrique of Paris, and was attracting a cer- tain amount of attention. I went over and heard her in the Magic Flute, and was delighted with the purity of her voice. She was also singing La Traviata and Martha. I at once concluded an en- gagement with her. Before disclosing the fact to Arditi, or any other member of my Company, I invited Mdlle. Titiens and Mdme. Trebelli, with Signor and Mdme. Arditi, over to Paris for a fortnight's holiday prior to the commencement of our laborious London season. Amongst the places of amusement we visited was the The'iltre Lyrique, where the Swedish singer was that night filling the r6le of " Martha." I must say I was not impressed myself, whilst the remainder of the party thought nothing whatever of her. T, therefore, refrained from even hinting that I had already en- gaged her. As the time approached, the lady insisted on making her delut as "Martha." I plainly foresaw CHRISTINE NILS SON'S DfiBUT. 105 that it would be the greatest possible mistake to acquiesce in her desire; and, after a lengthy discus- sion, Verdi's Traviata was decided upon. I at once instructed a Bond Street dressmaker to rnake her four of the most elegant toilettes possible, discard- ing in toto the costume of the 16th century so far as " Violetta" was concerned. At all times it is a difficult thing for a manager to employ with advantage assistants placed among the audience to support either a new singer or a new piece ; for grave mistakes are sure to be made, thus defeating the object for which the supporters were intended. I have often known singers send in friends to applaud ; but they invariably begin their uproar on the appearance of the singer, even before he or she has uttered a sound. On one occasion I recollect at Her Majesty's Theatre a singer appearing in 11 Trovatore, and about a dozen bouquets falling at her feet from the top boxes before she had sung a note. I saw that great judgment was necessary, while convinced in my own mind that I possessed a jewel of the first water. I, therefore, gave the very simplest instructions as to the amount of encourage- ment necessary for my fair Swede in order to ensure the rapture of London ; knowing that when once serious attention had been drawn to her she could do the rest herself on her own merits. Being very fond of rowing in my spare time on the River Thames, I made an arrangement with the head-boatman at 106 THE MAPLESON MEMOIRS. Essex Stairs, near where I resided, to supply me with some twenty-five horny-handed watermen, who were merely told that they should receive one shilling apiece provided they did not applaud Mdlle. Nilsson the lady who would appear on the stage at the beginning of the opera, wearing a pink dress. They were moreover informed that when the first act was over and the curtain down, they would be paid a shilling apiece for each time they could get it up again ; and I believe they succeeded some five or six times in their repeated attempts. That was all that was ever done for Mdlle. Nilsson ; her extraordinary talent did the rest. At all events, it gave her a fair start, and her debut was the talk of London. Mdlle. Nilsson's performances were continued throughout the season with increasing success, she appearing successively as " Martha," " Donna Elvira," and the "Queen of Night" in the Magic Flute. She repeated the Traviata again and again, bringing the season to a most brilliant termination. After a short holiday I recommenced my regular autumn tour in Dublin, repeating the usual Liver- pool morning concert with the usual success. After visiting Liverpool and Manchester, I re- turned to London and opened my season on the 28th October. In consequence of my having engaged a female harpist I received a round Robin from the orchestra, threatening to leave at the end of the week unless I at once replaced her by a male performer. 1 insisted BURNING OF HER MAJESTY'S THEATRE. 107 on receiving the week's notice to which I was entitled, and, seeing evidence of a conspiracy, took out a summons against every member of my orchestra. On the day fixed for the hearing the musicians excused themselves, through their solicitor, from appearing, their case not being ready. After- wards I myself was unable through indisposition to appear on the day to which the case had been ad- journed. At this there was much groaning among the defendants, and threats were uttered. The Trade Unions were very active just then throughout the country, and the players had been promised unlimited support towards maintaining their menaced strike. At last the case was heard ; but on the very day before the one fixed by the Magistrate for giving his decision an occurrence took place which rendered all further proceedings in the matter un- necessary. Towards the end of November an insurance agent called upon me urging the necessity of effecting an insurance on my properties, scenery and dresses, which had been accumulating since the beginning of my tenancy. I replied that in conse- quence of the high rate of premium it was better to let things take their chance. Besides, there was no probability, under my management, of the theatre ever being destroyed by fire. Eventually we came to terms as to the rate to be charged. About this time a proposition was made to let the theatre to Professor Risley for his Japanese per- formances, to run from Christmas to February. A 108 THE MAPLESON MEMOIRS. large sum of money was to be paid to me, and it was verbally agreed that my treasurer should be retained by the new-comers to superintend the front of the house and the monetary arrangements. On the 7th December, during a rehearsal of Fidelia, my insurance agent called to complete the insurance. I showed him the inventories of the different de- partments, and agreed to insure for 30,000 ; but as the costumier's list was not at hand, and the costumier himself was out at dinner, the agent suggested my giving him 10 on account and keeping the matter open until the following Monday, when he would call again. Just as he was leaving the room my treasurer came in, stating that he had just heard that the Japanese people did not intend to avail themselves of his services after he had given them all the information respecting the working of his department. I asked whom they had engaged. He mentioned the name of Mr. Kingston, at which I started, and said " If Kingston is engaged, good-bye to the theatre. It will make the fifteenth that will have been burnt under his management." On hearing this, the insurance agent stepped across the room and again suggested that I should hand him the 10 to keep me right till Monday. I jokingly said : " There is no fear ; " and he took his departure. I remained working in my office at Pall Mall AN EARLY BIRD. 109 until about six o'clock that evening. As I was engaged to dine at Mdlle. Titiens's in St. John's Wood, I had but a few moments to put my head into the box-office, which was just closing, and ask Mr. Nugent for some opera tickets for the following night. I did not, according to my custom, go through his office on to the stage (which I might have done while he was getting out the tickets), fearing I should be too late for the dinner. About half-past eleven o'clock that evening our party was alarmed by a violent ringing of the bell. Then my servant rushed in with his clothes very much torn, uttered some inarticulate sounds, and fell on a chair, pointing upwards. On looking out of the window we saw that the sky was bright red, although we were four miles from the fire. Mdlle. Titieus and Signor Bevignani exclaimed with one voice : " It's the theatre ! " I hastened down at once, accompanied by Bevig- nani, only to find impassable barriers of soldiers and populace, and it was not without great difficulty I could approach the building. On my pointing out to the firemen certain doors which they ought to break open in order to recover wardrobes, music, &c., I was told to *' mind my own business." They then went to quite another part and began chopping and breaking, whereas had they allowed themselves to be guided by me they might have saved a con- siderable portion of my property. It was not until three hours afterwards that the fire reached that 110 THE MAPLESON MEMOIRS. part of the theatre which I had pointed out as con- taining things which might have been saved. Lord Colville was very kind, and with his assist- ance I reached one portion of the building, to which he accompanied me, enjoining me to save engage- ments or any important documents in my private rooms at Pall Hall. But I was so bewildered that all I could do was to seize a dress coat and an opera hat, with which I came downstairs, leaving all my papers and documents on the table. I remained until two or three in the morning. Then, my presence being useless, I went home to change my clothes, which were freezing on me, and next hurried to Jarrett, my acting manager. Jarrett was in bed. But he had already heard of the calamity, and expressed great regret. I desirtnl him at once to go over to Chatterton, the then les&ee of Drury Lane, who resided in the neighbour- hood of Clapham, and endeavour to secure his theatre from March till the end of July before he could hear of my disaster. " Go as quickly as possible," I said, "and if the newspaper is lying about be careful he does not see it." On arriving at Chatterton's the first thing Jarrett saw, lying on the hall table, was the Times news- paper. He threw his top coat over it, and waited quietly downstairs until Chatterton, who was dressing, could receive him. Then, like the able diplomatist he was, without appearing at all anxious, he concluded a short agreement whereby 30,000 FOR 10. Ill I was to bave the use of Drury Lane for the follow- ing spring and summer seasons, with a right to renew the occupation for future years. By half- past nine o'clock Mr. Jarrett was abfe to hand me the agreement, and it was not until half-past ten that Mr. Gye drove up to Mr. Chattertou's to inform him of the disaster Mapleson had met with, and at the same time to offer him 200 per week provided he did not let Drury Lane for Italian Opera. The day after the fire I received letters of sympathy from all parts of the country ; likewise telegrams of condolence, including one from Her Majesty the Queen, which greatly affected me. In fact, my nerves were so unstrung that I was hardly master of myself. In the course of the next day His Royal Highness the Prince of Wales came to see me. I showed him over the ruins of what the day before had been the Opera-house. After his depar- ture I was so unnerved that I took to my bed in the adjoining hotel, and remained there some two weeks. The Monday after the fire the insurance agent, with whom I had neglected to do business, called upon me to assure me of his deep sympathy, since if 1 had paid him the 10 on account of the proposed insurance he would now have had to give me a cheque for 30,000. I told him that I was exceed- ingly glad I had not paid him the 10, as I certainly should have been suspected of having myself caused the fire, and should never afterwards have been able to set myself right with the public. 112 THE MAPLESON MEMOIRS. Prior to my recovery, amongst the numerous callers was one particularly sympathetic gentleman, who caine in a carriage and pair, and said he would see that the theatre was rebuilt, asking, as it were, my permission for this. I was deeply touched by his kindness. Some short time afterwards he wrote saying that he thought it better, for my sake, that Covent Garden should be closed, and that he had seen Mr. Gye and made terms for its purchase. On a later occasion he called upon me, and stated that the site of Her Majesty's Theatre, which had then been cleared by Lord Dudley, being such a desirable one, he was in treaty with the Bank of England to lease it to them at a considerable ground rent, they erect- ing the building. By this means, he explained, the 80,000 then lying in consols for the purpose of re- erecting the theatre could be handed over to me. But he ultimately consented that I should give him half. Notwithstanding all my troubles, within three weeks after the fire I was already on the road with a strong concert company for the usual spring tour ; all my spare time being utilized in the crea- tion of a new wardrobe, music library, etc. Whilst at Manchester Mdlle. Titiens aided me kindly in the purchase of various goods, stuffs, cottons, needles, etc., etc. ; all the prime donne of the Com- pany volunteering their services as dressmakers in order to have everything ready for my Opera season, which was to commence early the following month in Glasgow. A GREAT PHILANTHROPIST. 113 Being under the belief that this fire had cancelled the contract I had already made at the Theatre Royal, Glasgow, I got entangled, in my mistake and hurry, into an engagement at another theatre, the Prince of Wales's; and as the time approached for my coming to Scotland both managers threatened me with an attachment if I did not fulfil my engage- ment. In fact, I found myself announced at both houses, with war to the knife threatened by the two rival managers. At one time they proposed to combine against me and leave me, with my expensive Company, outside in the cold. But about ten days before the date fixed I paid a visit to each, when, out of consideration for me personally, they both agreed to have me alternately at their theatres. This caused great excitement in the city, and as the adherents of each manager mustered in force the receipts at both houses were very great, so that eventually each manager had taken more money in the half number of representations than he would have received had I given him the full number. Prior to the opening of my London season of 1868 I received another visit from my philanthropic friend, Mr. "VVagstaff. He told me that he had purchased Mr. Gye's interest, showing me the agreement, and he considered that it would be more desirable that Covent Garden for the future should be run by a Company, of which I should be the manager, receiving some 20,000 cash as a con- sideration for my goodwill and for any property I VOL. i. I 114 THE MAPLESON MEM OIKS. might have in music or other effects, with a salary of 3,000 a year as long as I chose to retain my post, and a fair share in the profits. I became quite uncomfortable at having so much wealth suddenly thrust upon me, and wished I were back in my old position of trouble and anxiety. In due course all the necessary documents were signed, Mr. Gye at the same time writing a letter to a high personage, in which he stated that his long-sought desire to quit the cares of management had at length been satisfied, and strongly urged that all patronage should now be transferred to me, as the shattered state of his health would preclude him for the future from taking part in operatic affairs. On entering upon my duties I began to reorganize the establishment by, in the first place, relieving myself of some sixty old choristers who had been engaged from time immemorial, and introducing in their stead my fresh, full-voiced young Italians whom I had imported the previous year. One evening a card was brought to me from a young gentleman, the son of an old musical friend of mine, requesting an interview. He told me that he had been promised the secretaryship of the Grand Opera (meaning Her Majesty's and Covent Garden, united under the new arrangement) for seven years at a salary of 800 a year, provided he lent 200 for a month to my philanthropic friend, who had organized the whole thing. It appeared to me like a dream. I could not understand it; but still, as nothing astonishes me in this world, I took TERROR OF A BOY BANKER. 115 it as a matter of course, and later in the day went over to Wands worth to call on Mr. Gye, in order to see how matters stood. On my entering, Mr. Gye said how pleased he was to leave operatic management for ever, and that he wondered how he had found the nerve to continue it so long. Before I could say a word to him, he desired me to be seated and handed me a ci^ar, when o * he began to inform me of his plans for the future. He told me he had secured by private treaty a vast estate in Scotland of some 20,000 acres, with the right of shooting and fishing. He was arranging, moreover, to purchase a large estate in Oxfordshire. Yarious guns had been ordered, with fishing rods and other appurtenances. Steps, too, had been taken for the sale of the house in which he was then living. I made two or three attempts to get a word in, but without success; and at last I had scarcely the courage to hint that the projected arrangements might, possibly, not be carried out. I explained, however, that on the following Monday a small payment of 10,000 would be due to me ; also that a further deposit on Drury Lane would become payable, and that I should make that deposit, as it was probable, nay, very possible, that I should be called upon to resume ray position at Drury Lane, instead of Covent Garden. I at the same time recommended Mr. Gye at all events to be prepared to open Covent Garden, as it wanted but some three or four weeks to the beginning of the season. This 116 THE MAPLESON MEMOIRS. he replied he could not do, as the deposit lio was to receive would not be payable before some three or four weeks. He still, moreover, doubted all I had been telling him. On the Monday following I attended nt the Egyptian Bank, which had been specially hired for the occasion, and on entering with my order for the payment of 10.000, found one small boy seated on a very high stool, drawing figiires on a sheet of blotting paper. On my demanding 10,000 the boy turned deadly pale and was at first inclined to run. I explained to him that it was not his fault if the money was not forthcoming:, but I requested him, in the presence of a witness I had brought with me, to present seven letters which I already had in my pocket, each one containing notice to the Directors that, they having failed to pay me my money at the appointed time, my contract as general manager was at an end. I at once informed Gye of what had occurred, recommending him again to get his Company together and re- engage Costa and the orchestra, as my own pros- pectus was to come out the middle of that week. From what I afterwards learned, the 200 my musical friend's son was to have advanced prevented some thousands of circulars from being posted for want of stamps, and the printer from delivering the remainder of the circulars he had prepared for want of a deposit. I must add that Mr. Gye repeatedly thanked me for my straightforward con- OUR SUCCESS AT DRURY LANE. 117 duct in preventing him from being practically ruined. Considerable changes were necessary in adapting the Theatre Royal, Drury Lane, for Italian Opera. I was obliged to have sundry discussions with the Committee before I could be allowed to alter the floor of the pit and boxes, and to take about twenty feet off the stage, its removal enabling me to add some two or three rows of stalls. I had, moreover, to decorate, clean, and carpet the house from top to bottom, the outlay for which, irrespective of the rent, cost me from 3,000 to 4,000. A further difficulty presented itself, as there were some six or seven hundred renters who were at that time allowed free admission to any part of the theatre, and it was only by temporizing with their represen- tatives that I ultimately made an equitable arrange- ment satisfactory to all parties. The season opened in due course, and a magnifi- cent Company I was enabled to introduce : Mdlle. Titiens,in the zenith of her powers; Christine Nilssou, who had made such a prodigious success the previous season at Her Majesty's; also Miss Clara Louise Kellogg, Mongini, Fraschini, Santley, etc. The performances were really of the first order, and Mozart's masterpieces were given with such strong combined casts as to attract the whole of London. In fact, the success was such as to paralyze the efforts of the rival manager. CHAPTER IX. PROPOSAL FOE AH OPERATIC UNION TITIEHS nr DUBLIN HER SERVICES AS A PACIFICATOR AUTUMN SEASON AT COVENT GARDEN THE COMBINATION SEASON IM- MENSE SUCCESS COSTA'S DESPOTISM AN OPERATIC CONSPIRACY LUCCA AND HER HUSBANDS. DUUING my successful Drury Lane season, in the month of June, 1868, a letter addressed to me was left by an unknown person in the hall. The super- scription on the envelope was in a disguised hand, but the letter enclosed was in the writing of Mr. Gye. The manager of the Royal Italian Opera proposed a coalition with the manager of Her Majesty's Theatre, and Mr. Gye suggested a personal inter- view on the subject. Here, however, is his letter : [coi'Y.] " Springfield House, " Wand s worth Road, " June 19th, 1868. " DEAR MB. MAPLF.SON, " The last time you were over here I believe we were pretty well agreed that our interests lay rather in the combination of the two LETTER FROM MR. GTE. 119 operas tlian in fighting one another. As we shall both of us be making our engagements for the next year, if anything is to bo arranged between us it is time it were thought about. I should be very glad to see you on the subject if you still remain in the same mind as when I saw you last. It would perhaps be well if we did not meet either at Drury Lane or at Covent Garden. AVould you mind coming over here, or would you prefer our meeting somewhere in town ? This matter, for obvious reasons, had better remain strictly between ourselves for the present. " Yours very truly, " (Signed) FREDERICK GTE. "James Mapleson, Esq." When I met Mr. Gye by appointment his first proposition was that we should work together at either of the two theatres, the other one being kept closed ; and that I should take a quarter of the profits. I suggested, as a more equitable adjustment, an equal division of profits; and to that Mr. Gye at last agreed. Articles of partnership were then drawn up bind- ing us to remain together for three years on the basis of half profits, and our agreement was to be kept secret for the next six months. At the close of my engagement at Dublin, in the beginning of October, 1868, a great demonstration 123 THE MAPLE SON MEMOIRS. took place in honour of Mdlle. Titiens, it being the last night of the season. Weber's opera of Oberon was performed, and after Titiens had sung the exacting air of the third act, " Ocean, thou Mighty Monster," a most animated scene took place, many requiring the great air to be repeated, whilst others called out the names of different Irish songs. The uproar lasted upwards of fifteen minutes before silence could be restored, when it was decided that " The Last Rose of Summer " should be given. But the orchestra had no music and the conduc- tor would not venture a performance without it. Further delay and further uproar took place, until at length Signor Bettini, who had undertaken the role of " Oberon," came from the wing, pulling on a cottage piano, whilst Titieus helped the conductor to get out of the orchestra in order to accompany her. As Bettini was turning the piano round, in consequence of the slope of the stage it fell right over, causing an immense cheer from the gods, when no less than five demons (who were to appear in the next scene of Oberon) rushed from the wings to raise it up again on its legs. At length order was restored, and such was the silence that when Mdlle. Titiens was on the point of beginning the beautiful air I remember taking a pin from my collar and dropping it on the stage in order to give a practical and effective illustration of the old say- ing that you " could hear a pin drop." No sooner had the singer finished the last verse AN IRISH TEAM. 121 than a roar of admiration was heard, so loud, so overpowering, that I can only compare it to t!:e belching forth of huge pieces of artillery. At the close of the opera a great crowd, composed of the public and the medical students who habitually occupy the gallery (always without their coats, sometimes without their waistcoats, occasionally without their shirts), was awaiting the Queen of Song's departure. They had actually cut the traces of her carriage, and from a ship chandler's opposite had got two long coils of rope which they fastened to the vehicle. Titiens shortly afterwards appeared, amidst deafening cheers, and the procession started. No less than a dozen of the singer's most enthu- siastic admirers were on the roof letting off fire- works. All went on in something like order until with our two long strings of volunteer horses we arrived at Dawson Street, when, in consequence of no previous arrangement having been made, one half of the team went up Dawson Street and the other half down Nassau Street, the result being a violent collision against Morrison's Hotel. It was not without considerable difficulty and delay that things could be readjusted. On our arriving at Shelbourne Hotel the police found themselves powerless to cope with the multi- tude. But we had been accompanied by a young man, who, standing on the carriage step, had re- peatedly addressed Mdlle. Titiens both in German and in French, telling her that she had " nothing to 122 TUE MAPLESON MEMOIRS. fear." On arriving at the door of the Shelbourne he gave a shrill whistle as a call for volunteer special constables, when a passage was at once chared. It being a wet night the enthusiasts around us made a carpet for Titiens to walk on by throwing their coats on to the pavement. The crowd lemained opposite the hotel for over an hour, dur- ing which time repeated calls were made for a song. But the gas of Mdlle. Titiens's sitting-room had been turned low, and the blinds being drawn down she hoped it might appear that she had retired for the night. Shortly afterwards, however, a deputation came up accompanied by one of the chief constables, stating that if madame could not disperse the crowd the consequences would be very serious, as it reused to move. She at last felt compelled to go to the window of her hotel, when, after entreating for silence, she addressed the crowd in these words : "I will sing you * The Last Rose of Summer* pro- vided you promise to go home immediately after- wards like mice." And sure enough they did, for at the conclusion of the song the crowd melted away in dead silence, not one person being left. The inspector afterwards remarked to Mdlle. Titiens that if ever a revolution broke out in Ireland they would send over for her to quell it. During the stay of my Opera Company at Dublin I allowed some of the principal artists to sing in A DUBLIN STREET BOW. 123 various churches for charitable purposes. Mdlle. Titiens's services were sought for far and wide, arid she was always ready to devote her Sunday, which was the only day of rest she had during the week, to the cause of charity. On one occasion I recol- lect her singing in a poor neighbourhood near Thomas Street, when many persons actually stooped to kiss the ground where she had trodden. She was held in the highest esteem by the clergy. One Saturday evening, after the termination of the opera, several of my Italian choristers were wending their way home when they were accosted by some rowdy, good-natured Irishmen, who insisted upon having a drink with them. They, not comprehending the language, thought the men were robbers, and placed themselves in a position of defence, whereupon they were boldly attacked by the sons of Erin, and a free fight ensued, in which some two or three Irish- men got stabbed. About noon the following day it was notified to me that some four or five of my choristers were in prison on account of this serious affair, and would be kept there until the wounded men, who were then in hospital, were sufficiently recovered to appear against them. I at once sought Mdlle. Titiens's aid, who went with me to one of the priests, with whom we afterwards visited the prison where our choristers were. They insisted that it was only a small affair, and that they had defended themselves against their aggressors. They seemed also in great distress because the 124 THE MAPLE SOX MEMOIRS. police authorities had taken away their week's salary which they had in their pockets, together with such pieces of jewellery or keys they had about them. By the advice of the priest we afterwards visited the hospital, and I, accompanied by the surgeon, inspected their wounds, which were triangular, as if caused by an Italian stiletto. My clerical friend was very kind, and after a deal of whispering with the hospital surgeons, and afterwards with the wounded men themselves, he stated that they might have done it in acci- dentally falling down, but that it was not their intention to appear against the choristers, who were afterwards bailed out by Mdlle. Titiens. They duly appeared the next morning at the police-court and were dismissed, no one appearing against them. I omitted to inform the reader that on the conclu- sion of the partnership agreement with Mr. Gye, which was to be kept a secret for the next six months, I rented the Royal Italian Opera for the autumn of 18(>8 for this double reason : first, that Her Majesty's Theatre was in ashes, and that I had no place wherein to give my autumn performances; and secondly, that ray being seen about Covent Garden would in that case cause no surprise, whilst it would enable me occasionally to meet Mr. Gye in order to discuss our coming arrangements. During my autumn season at Covent Garden I discovered Mdlle. Scalchi, the eminent contralto- then singing at a building which had been a COSTA'S DESPOTISM. 125 circus. Struck with the lovely quality of her voice I engaged her for five years, events fully con- firming my judgment on that occasion. About this time I first brought to this country Miss Minnie Hauk, a young singer about 18 years of age. She made her debut at Covent Garden as " Amina" in La Sonnambula, her next part being that of " Cheru- bino " in Mozart's Nozze di Figaro. After due discussion with Mr. Gye it was decided that our joint enterprise should be carried on at the Royal Italian Opera pending the rebuilding of my new theatre. As the time for opening the season approached Mr. Gye suggested that we should ourselves make all engagements with the orchestra, instead of leaving that duty, as heretofore at the Royal Italian Opera, to Mr. Costa. This famous conductor was a despot, not only in the musical direction of his orchestra, but in other ways. He made his own engagements, and, leaving, of course, the manager to pay the appointed salaries, took care to be always pre- sent on pay day; when, in the case of any short- coming on the part of a musician, he would stop a portion of the salary payable to him, if not the whole amount. It was his custom to arrive at the theatre half-an-hour before the time fixed for the be- ginning of the evening's performance. He then took up a position as if of inspection, and, as he sat on the stage, the players passed him one by one as if in order of review. I remember on one occasion a 126 THE MAPLE SON MEMOIRS. young violinist arriving with mud on bis boots, and in a frock coat. Costa pulled bim up sbort, and asked bim bow be could venture to present himself in such a condition. The musician replied that be had just arrived from the Crystal Palace, and had not had time to make bis toilet. "Go home instantly,*' said Costa, "and come back with clean boots and in evening dress." By the time the violinist (who lived in some distant suburb) got back the second act of the opera was nearly over ; and when on pay-day the offender presented himself for bis monthly salary he was informed that by reason of his absence on the occa- sion in question one week's salary was stopped. This sort of treatment the musicians had to put up with, or, as the only alternative, to accept their dismissal, which really meant the loss of the pro- vincial festivals and of the Sacred Harmonic Society. It must be added in favour of Costa's despotic ways that be never allowed any musician that he bad engaged to be replaced by a substitute, even at rehearsal ; a practice which in orchestras less severely governed has become only too frequent, to the great detriment of the performances. Costa, meanwhile, by mere force of will, had gained so much authority at the Royal Italian Opera that the manager feared him, and was most anxious to be rid alike of bis services and of bis tyranny. When it was intimated to Costa that the joint managers proposed to reserve to themselves the IMMENSE SUCCESS. 127 right of making direct engagements with the musicians for the orchestra, he would not hear of such an arrangement, and, much to Mr. Gye's satis- faction, resigned his post. In view of the new works we proposed to give, and of the large number of rehearsals that would be required, two conductors were now engaged, Arditi and Vianesi. Long before the theatre opened we had abundant signs of a prosperous season, and as the event drew near money poured in from various sources. We received in private subscriptions as much as 12,000. The booksellers' subscriptions amounted to 29,000 more, and in the course of the season the box-office sales alone brought in another 29,000. Altogether, counting profits from the Floral Hall concerts and sums received for the services of singers at public as well as private concerts, we received during the season of 1869 a grand total of 80,000. On the other hand, we paid away in artists' salaries 22,000; for working expenses (including chorus), 13,000; orchestra, 7,500; sundry charges, 2,000. Our whole expenditure came to 44,000, leaving us a clear profit of about 36,000. Out of my half-share of this profit I had to pny for insurance and poor rates 3,000. Against this Mr. Gye put the use of the theatre, which was his property. 128 THE MAPLESON MEMOIRS. By our articles of partnership Mr. Gye had stipu- lated that he should " take no part in the management of the theatre unless he wished to do so." This wish came upon him after about a fortnight. Our success during this season proved that though two rival Italian Operas can scarcely be carried on without loss on both sides, one Italian Opera can be made the source of very considerable profit. Even, however, with a monopoly there are two things essential to success. The operatic manager who would prosper must appeal to the public with a very strong Company, and with new works. Such casts as we secured for some of the recognized master- pieces of dramatic music could not fail to fill the theatre. Among the new works or revivals produced at tlie Royal Italian Opera during the season of 18G9 may be mentioned : Ftdello, The Mayic Flute, Robert le Viable, Cherubini's Medea, Hamlet (first time in England), with Nilsson as " Ophelia," and Don Bucefalo (also first time in England). Medea had before been given at my own establishment with Mdlle. Titiens in the tragic part of the heroine. In Le Prophete, Titiens and Mongini appeared together, Titiens, of course, as "Fides," Mongini as " John of Leyden." Don Giovanni was played with Titiens as " Donna Anna," Nilsson as " Donna Elvira," and Patti as " Zerlina ; " while the part of the dissolute hero was taken by Faure, and that of " Don Ottavio " by Mario. ANOTHER INTRIGUE. 129 About this time the secret oozed out that Mr. Jarrett, who had come with me from Her Majesty's Theatre to the Royal Italian Opera, had made engagements with Mongini, lima de Murska, Tre- belli, Christine Nilsson, Santley, Foli, Faure, and Arditi. Mr. Jarrett, who in after years became known as the agent of Mdme. Nilsson, and especially of Mdlle. Sarah Bernhardt, held at that time a post with vague duties attached to it at the Royal Italian Opera, as previously at Her Majesty's Theatre, which during the combina- tion season of 1869 was being rebuilt. Jarrett also acted as agent to Mongini, lima de Murska, Trebelli, and Bettini Mdme. Trebelli's husband. Many years before he had been in partnership with Mr. George Wood, representing the firm of Cramer and Co., the well-known music publishers, for the direc- tion of an Opera Company, and had been left by his associate in the lurch, Mr. Jarrett being called upon to meet single-handed liabilities which would have been far too much even for the partners combined. Nor was Jarrett particularly well disposed to- wards the manager of the Royal Italian Opera, in whose orchestra he had once played the horn, and who in one of those orchestral strikes so common in the history of Opera-houses had taken a leading part as against the manager. Mr. Gye had there- upon dismissed him ; and he now objected to have in his employment an agent receiving percentage on the salaries of his singers. VOL. i. K 130 THE MAPLESON MEMOIRS. If, then, in the opposition he proposed to organize against the Royal Italian Opera Jarrett injured Mr. Gye, he would not be sorry ; while if as a result of a failure at Drury Lane he injured Mr. Wood, he would be very glad. Naturally, however, he worked chiefly with a view to his own success. Whether Wood mistrusted Jarrett, or whether after entering into partnership with him he mis- trusted the success of the project, can never bo decided ; but it is certain that after securing Drury Lane Theatre for an operatic campaign, Mr. Wood repented of what he had done, and, unknown to Jarrett, entered into negotiations with Mr. Gye. The advantages of an operatic monopoly were too obvious for Mr. Gye not to be anxious once more to secure it. This he was prepared to do, even at a considerable sacrifice ; only it was I, his associate, not he himself, who was to make it. He proposed to me that Mr. George Wood should be taken into partnership, and that the profits for the season should be thus divided : Half to Gye, one quarter to Mapleson, one quarter to Wood. Mr. Gye was ready at that time to take in any number of partners who seemed in a position to threaten his justly- cherished monopoly, provided always that their share in the profits came to them out of my half, not out of his. For me the smallest fraction was deemed sufficient; he himself, however, could accept nothing less than a clear moiety. After some amusing negotiations between Mr. JARRETT AS " EDGARDO." 131 Gye and myself, it was arranged that Mr. Wood should be taken into the concern on a basis of equal shares. Each, that is to say, was to receive one-third of the profits. The seceding artists, whose services we could not wish to lose apart from the effect they might have in creating against us a formidable opposition had all signed with Mr. Wood ; and by the new arrangement these vocalists (Christine Nilsson, Mongini, lima de Murska, Trebelli, Faure, Santley, etc., with Arditi) were all to form part of the Royal Italian Opera Company. Our profits would still be large, though both Gye and myself would have to cede a portion of our gains to the new-comer. Mr. Gye, Mr. Wood, and myself were all seated round a table in Mr. Gye's private room at Covent Garden Theatre, on the point of signing the contract which was to bind us together for the season of 1870, when suddenly a gentle tap at the door was heard, and, like " Edgardo " in the contract scene of Lucia, Jarrett appeared. He had, as he after- wards informed me, entirely lost sight of Mr. Wood, who was supposed to be out of town, gone abroad, anywhere except in London ; whence, however, he had not stirred. Jarrett had not traced his slippery partner to the Royal Italian Opera. He assured me that having no indications whatever to act upon he had come there guided simply by instinct. He was a man whose instinct seldom misled him. While Mr. Gye and myself were a little surprised 132 THE MAPLESON MEMOIRS. at the sudden apparition, Mr. Wood was lost in confusion. Jarrett meanwhile was absolutely calm. Standing at the door, he took a pinch of snuff, and for a few moments remained silent. Then, addressing his partner, he simply said : " Mr. "Wood, can I have a minute's conversation with you out- side?" Mr. "Wood rose, and left the room, but returned in less than a minute, when Gye whispered to me : " It is all right; he is sure to sign.'' But when he was asked to put his name to the document which only awaited his signature to constitute a perfect contract between him, Gye, and myself, he hesitated, spoke of the necessity in which he found himself of first consulting his friends, and finally did not sign. The conversation which had taken place outside the room, as it was afterwards repeated to me by Jarrett, was short and simple. " The singers you have engaged," said Jarrett, " are under contract to sing at Drury Lane, and nowhere else. If, then, you join Mapleson and Gye they will not come to you at Covent Garden, and you will have to pay their salaries whether you open at Drury Lane or not." "Wood could only reply that he would not sign with Mapleson and Gye. There was no money made that season at the Royal Italian Opera ; whilst Mr. Wood's season at Drury Lane was simply disastrous. The moneyed partner soon proposed to shut up ; but Jarrett, to WOOD HAS MUSIC SHOPS. 138 whom Mr. Wood was bound, would not hear of this. " I have no more money," said Wood. " But you have a number of pianofortes," replied Jarrett. " You have music shops here and in Scot- land whose contents and goodwill can be sold." " You wish to ruin me ? " asked Wood. " You did not mind ruining me in 1854," answered Jarrett, " when we carried on Opera to- gether and you left me to bear the burden of your losses." It is bad enough for a manager to lose money, hoping night after night that by some new and successful stroke, or some change of taste on the part of the capricious public, the tide of luck may at last turn in his favour. But Mr. Wood had no such sanguine delusions to maintain him in his adversity ; his losses were irretrievable. They increased as the season went on without any chance of being even arrested ; and in the end anyone but a man of Mr. Wood's indomitable energy and courage would have been ruined beyond hope of recovery. During the Wood season at Drury Lane many interesting performances were given, including Wagner's Flying Dutchman, with lima de Murskaas the heroine and Santley as the hero ; Mignon, with Mdme. Christine Nilsson ; also Weber's Abu Hassan, each for the first time in England. But the enter- prise could not stand against the superior attrac- tions of the Royal Italian Opera, while the Royal 134 THE MAPLESON MEMOIRS. Italian Opera, on its side, suffered in its receipts from the counter attraction presented by Drury Lane. Towards the end of the season, war having been declared between France and Germany, Mdme. Pauline Lucca became anxious about her husband, who was an officer in a Prussian cavalry regiment, and now under campaigning orders. She was anxious, therefore, to see him before his departure with the army moving towards the French frontier. Some weeks afterwards, at the battle of Mars la Tour, a portion of the Prussian cavalry was sacri- ficed in order to hold in check the French, who were seeking to leave Metz in order to march towards Paris. Mdme. Lucca's husband, Baron von Rhaden, was dangerously wounded in the charge ; and the Baroness received special per- mission to visit him in the field hospital, where he was lying, outside Metz. Another officer of the same regiment, also wounded, came in for a good share of her attentions ; and afterwards, being at that time in the United States, she applied in the New York Courts for a divorce from Baron von Rhaden in order to marry Baron von Wallhofen, the officer, who as just mentioned had, like Von Rhaden, been severely wounded at Mars la Tour. The New York Tribunal granted the divorce on Mdme. Lucca's simple affidavit ; and before her husband (No. 1) had had time to reply by a counter affidavit from Berlin the second marriage PAULIJVE LUCCA HAS HUSBANDS. 135 had been celebrated. Such being the case the decree of divorce, so hastily pronounced, could iiot well be interfered with. So, at least, said the judges to whom the matter was referred; and Mdme. Pauline Lucca remained as she is now, Baroness von Wallhofen. CHAPTER X. GYI'S FRATERNAL EMBRACE LAW-SUITS INTERMINABLE DISSOLUTION OP PARTNERSHIP RETURN TO DRURY LANE ARRIVAL OF ALBANI UE"BUT ov CAMPANINI THE ANNUAL ONSLAUGHTS OF Mu. GYE. I SOON found that Mr. Gye, on the principle of embracing pour mieux etrangler, had taken me into partnership in order to stifle me at his ease. In the early part of June, 1869, Mr. Gye suggested to me that it would be very desirable to renew my lease of Her Majesty's Theatre in order to get rid of a provision in the existing one, under which the Earl of Dudley had the power to determine it in the month of February in any year. Gye expressed his intention of seeing the Earl of Dudley on the subject, and at this interview it was agreed that the Earl should grant a new lease for seven, fourteen, or twenty-one years, Mr. Gye requesting that it should be granted either to himself alone or to Gye and Mapleson conjointly. The Earl decided the latter to be more desirable, requesting that the LAW-SUITS INTERMINABLE. 137 new lease should be signed on or before the 1st September. In due course we were informed that the lease was ready for signature. As the duration of my partnership with Mr. Gye was only for three years (one of which had already nearly expired), I naturally desired to know what my position would be at the expira- tion of the partnership if we. were joint managers of Her Majesty's Theatre for twenty-one years ; as it appeared to me that it would leave him in com- mand of a monopoly at the Royal Italian Opera, whilst I on my side, unable to perform Opera at Her Majesty's Theatre, would be called upon to pay half the rent of the building, which meantime would remain closed. I, therefore, took the precaution, when the day arrived for approving the draft lease, to append the following words : " I arn willing to execute the enclosed lease in conjunction with Mr. Gye upon the understanding as between him and me that our acceptance of the lease is not to affect in any way our relative rights under the articles of partnership. We shall respectively have the same rights under the proposed new lease as we now have or are subject to in respect of the subsisting lease under the articles of partnership, and on determination of our partnership this lease shall be exclusively vested in me for the residue of the term, I indemnifying Mr. Gye and his estate against any future liability for rent and covenants, or obtaining his release from the same." 138 TUB UAPLESON MEMOIRS. This gave great umbrage to Mr. Gye, who there- upon refused to affix his signature to the lease. In the meantime, the 1st of September (the date stipulated by the Earl for signature) having passed, Mr. Gye contended that by attaching a condition to my signing of the lease I had not accepted the lease at all. Besides, therefore, refusing to sign the joint lease, he insisted upon having a lease of Her Majesty's Theatre for himself alone. A deal of correspondence and trouble took place about this time, which I will not weary the reader with, and hundreds of letters passed between us and our solicitors. It was threatened, in short, that the lease would be granted by the Earl of Dudley to Mr. Gye alone, to my exclu- sion. I was, therefore, compelled in my own defence to file a bill in Chancery, making Mr. Gye and the Earl of Dudley defendants, to restrain them from carrying out their plan. I ultimately, however, terminated our joint rela- tions with more haste than I perhaps should have shown in consequence of the abject despondency, together with absolute physical prostration, into which Mr. Gye had been thrown through the turn lately taken by operatic affairs. As he lay exhausted on the sofa there seemed, indeed, but little chance of his ever rising again to take part in the active business of life. He could scarcely speak. He was pale, agitated, and such was his feverish condition that it was necessary from time to time to apply wet bandages to his forehead. In his state of exhaus- DISSOLUTION OF PARTNERSHIP. 189 tion, combined with a certain nervous irritability, it seemed cruel to delay the signature he so much desired ; and the effect of my putting pen to paper was, indeed, to cause him instantaneous relief. Never before did I see such a change. His despondency left him. He rose from the sofa, walked about with an elastic step, a cheerful air, and had he been any- thing of a vocalist would, I feel sure, have sung. By the terms now agreed to between Mr. Gye and myself I was freed from all outstanding claims upon the theatre, and received a payment in money. I at the same time agreed to withdraw the Chancery proceedings against Dudley and Gye. Immediately afterwards I set about forming a Company for my provincial operatic tour of 1870; also renting Covent Garden from Mr. Gye for the autumn, as I found it impossible to obtain Her Majesty's, being informed by Lord Dudley's solici- tors that it had been let to Mr. Gye. The ensuing spring I returned to my old quarters at Drury Lane, my first act being to secure the services of Sir Michael Costa, who forthwith began form- ing his orchestra, whilst I went to the Continent in quest of vocal talent. I will not trouble the reader about my provincial opera tour, which, as usual, was very successful indeed; nor with my spring concert tour of 1871, with Titiens, Trebelli, Santley, Foli, and other eminent artists. I opened my London season of 1871 under brilliant auspices, the Prince of Wales having taken a box 140 THE MAPLESON MEMOIRS. as well as all the leading supporters from the old house. About this time I secured the services of Mdlle. Marimon, who drew enormous receipts, but unfortunately fell sick after the third night. It was only on rare intervals that she appeared again during the season. I, however, got safely through ; producing several standard works, under the able direction of Sir Michael Costa, in addition to a revival of Robert the Devil, also Semiramide, with Titiens and Trebelli, who in this work always drew crowded houses. I also produced Anna Boleua. The season finished up satisfactorily, and I was glad to get a fortnight's well-earned rest prior to my autumn tour of opera, which was pre-eminently successful. I returned to London to take up my autumn season afterwards at the Royal Italian Opera, Covent Gar- den, which terminated early in December, after which I gave a few concluding operatic performances at Brighton. Early the following year I again started on my spring concert tour; during which I gave 48 concerts in 48 cities in 48 days, followed by a spring opera season at Edinburgh. I have omitted to state that prior to the opening of my successful Drury Lane season of 1871, the Earl of Dudley became the plaintiff and Mr. Gye the defendant with regard to Her Majesty's Theatre. Finding I was at Drury Lane, and in open opposi- tion to the Royal Italian Opera, Mr. Gye did not seem to think it desirable that he should execute ORIGIN OF 200 A NIGHT. 141 the lease; whereupon Lord Dudley took proceedings against Gye for 7,500, as arrears of rent for Her Majesty's Theatre. About this time Jarrett, in reply to my constant applications, informed me that Mdlle. Nilsson was about to be married, and, in fact, that her future husband had already arrived in America, but that he, Jarrett, had succeeded in inducing her to give four performances the next ceason prior to the marriage, which was to be postponed until the following year. He explained in his letter that as her performances were to be limited to four I was riot to complain of the only terms he could get the lady to assent to ; namely, 200 for each repre- sentation. He explained that 800 would be the total sum; "and what," he asked, "is that where thousands are concerned, in addition to the prestige it will give to your house, as well as the influence on the subscription list ? " I thereupon authorized him to close the matter for the season of 1872. About this time my attention was drawn by my friend Ziraelli, the manager of the theatre at Malta, to a most charming young soprano, who he assured me was destined to take a very high rank; and about the same time I received a letter from a regular subscriber to the house, a distinguished officer, pointing out the excellence of this young lady. I at once opened negotiations which ulti- mately led to favourable results. Colonel McCray, I may add, had written, to me from Florence on the 142 THE MAPLESON MEMOIRS. same subject. The name of the young singer was Emma Albani; and having, aa I thought, secured her services positively promised in a letter written to me by the lady I found myself deprived of them by Mr. Gye; who I find, now that I look back on the past, paid me an attention of this kind sometimes greater, sometimes less regularly every year. On her arrival Mdlle. Albani was to sign the contract ; and as soon as she got to London she, with perfect good faith, drove to what she be- lieved to be my theatre. She had told the cab- man -to take her to the manager's office at the Italian Opera. She was conveyed to the Royal Italian Opera, and, sending in her card to Mr. Gye, who had doubtless heard of her, was at once received. On Mdlle. Albani's saying that she had come to sign the contract which I had offered her, Mr. Gye, knowing that I never made engagements but with artists of merit, gave her at once the agreement she desired. To do Mr. Gye justice I must here mention that after the contract had been signed he, in the frankest manner, avowed to Mdlle. Albani that he was not Mr. Mapleson, for whom she had hitherto mistaken him. He explained to her that there was a manager named Mapleson who rented an establishment some- where round the corner where operas and other things were from time to time played ; but the opera, the permanent institution known as such, was the one he had the honour of directing. If, he ARRIVAL OF ALBANI. 143 concluded, Mdlle. Albani was sorry to have dealt with him she might still consider herself free, and he would at once tear up the contract. Mdlle. Albani, however, was so impressed by the emphatic manner in which Mr. Gye dwelt on the superiority of his theatre to mine that she declared herself satisfied, and kept to the contract she had signed. Colonel McCray called on me soon afterwards to beg that out of considera- tion for the lady I would give up the letter in which she declared herself ready to sign with me. I assured him that I had no intention of making any legal use of it, but that I should like to keep it as a souvenir of the charming vocalist who had at one time shown herself willing to be intro- duced to the London public under my auspices. Why, it may be asked, as a simple matter of busi- ness indeed, as an act of justice to myself did 1 not take proceedings for an enforcement of the agreement which Mdlle. Albani had virtually con- tracted? I, of course, considered the advisability of doing so, and one reason for which I took no steps in the matter was that Titiens, Nilsson, Murska, and Marimon were members of my Company, and that even if Mdlle. Albani had come to me I should have found it difficult to furnish her with appro- priate parts. The young lady duly appeared at Covent Garden about the beginning of April in La Sonnambula, and at once achieved a remarkable success, which 144 THE MAPLESON MEMOIRS. caused mo very much to regret the loss of her. She afterwards appeared as "Elsa" in Lohengrin in an Italian version, which had been made for me by Signor Marches!, husband of the well-known teacher of operatic singing, and himself an accomplished musician. I had ordered from Signor Marchesi as long before as 1864 an Italian verson of Tannhduser t which I duly announced in my prospectus for that year, but which I was dissuaded by some critical friends, who did not believe in "Wagner, from present- ing to the public. I had been advised, and there was certainly reason in the advice, that if I had quite decided to run such a risk as would be necessarily in- curred through the production of an opera by Wagner (whose Tannhduser had three years previously been hissed and hooted from the stage of the Paris Opera-house) I should at least begin with his most interesting and most attractive work, the poetical Lohengrin. Accordingly, reserving Tannhduser for a future occasion, I determined to begin my Wagnerian operations with the beautiful legend of Elsa and the Knight of the Swan ; and I commis- sioned Signor Marchesi to execute such a version of Lohengrin as he had previously given me of Tannhduser a version, that is to say, in which, without any departure from the meaning of the words or from the forms of the original versifica- tion, the musical accents should be uniformly observed. GYPS AX N UAL ONSLAUGHTS. 146 But in England the laws relating to dramatic property seem to have been made for the advan- tage only of pirates and smugglers. I had printed the Italian translation of Lohengrin which Signer Marchesi had executed for me, and for which I had paid him the sum of 150. But I had not secured rights of representation in the work by going through the necessary farce of a mock performance before a sham public ; and anyone, therefore, was at liberty to perform a translation which in any country but England would have been regarded as my property. How Signer Marchesi's translation of Lohengrin got into Mr. Gye's hands I do not know. But the version prepared for me at my cost was the one which Mr. Gye produced, and which somehow found its way to all the Italian theatres. It has amused me in glancing through the history of my operatic seasons since 1861 to see how per- sistently Mr. Gye endeavoured by some stroke let us say of policy to bring my career as operatic manager to an abrupt end. In 1861, when at Adelina Patti's own suggestion I was engaging a Company and taking a theatre with a view to her first appearance in England, he entangled her in an engagement by means of a fifty-pound loan. In 1862, just when I was on the point of opening Her Majesty's Theatre, the late Mr. Augustus Harris, Mr. Gye's stage manager and adviser on VOL. I. L 146 TEE MAPLESON MEMOIRS. many points, approached Mdlle. Titiens with an offer of a blank engagement. In 1863 Mr. Gye's insidious but unsuccessful advances towards Mdlle. Titiens were repeated. In 1864 Mr. Gye having, as he pretended, bought exclusive rights in Faust over my head, tried by means of an injunction, impossible under the cir- cumstances (since the right of representing Faust at my own theatre had been duly purchased by me from the Paris publishers), to prevent me from per- forming the most successful opera I had yet secured. In 1865 Mr. Gye did not renew his annual attack until my season was almost at an end. But on the last night, or nearly so, just when I had been promising good things for the ensuing season, he attempted to spring a mine upon me in my own house. I was sitting calmly in my box watching a particularly good performance of Famt, with Titiens, Trebelli, Gardoni, Junca, and Santley in the principal parts, when the old Duke of Leinster came in and said " Look here, Mapleson ; what is the meaning of this?" He handed me a printed announcement which I found had been placed in every seat in my theatre, and which I here reproduce with all possible pre- cision, not excepting the typographical peculiarities by which the name of the " Righb Hon. the Earl of Dudley " is made to appear in large capitals, and that of Mr. Gye in larger capitals still. Here is the EXPLOSION AT HER MAJESTY'S THEATRE. 147 astonishing document which if, on reflection, it filled me with mirth, did also, I freely admit, cause me for a few moments considerable surprise : Mr. GYE has the honour to announce that he has transferred the proprietorship of THE ROYAL ITALIAN OPERA, COVEXT GARDEN, to a Public Company. Mr. GYE will occupy the position of General Manager. The Company has now made arrangements for purchasing of THE RIGHT HON. THE EARL OF DUDLEY his Lordship's interest in HER MAJESTY'S THEATRE, HAYMARKET. The Prospectus of the Company will be issued in a few days. ROYAL ITALIAN OPERA, CO VENT GARDEN, JULY 29TH, 1865. On inquiry I found that, an emissary from Covent Garden had bribed one of my box keepers, who, for the small sum of one sovereign, had betrayed his trust, and deluged my theatre with daring and men- dacious announcements from the opposition house. In 1866 Mr. Gye tried to carry out the arrange- ment with which he had audaciously threatened me in my own theatre just as the season of 1865 was terminating. I happened to hold a twenty-one years' lease of Her Majesty's Theatre; and to purchase Lord Dudley's interest in the establishment was a very different thing from purchasing mine. But what at once put a stop to Mr. Gye's action in the matter was an injunction obtained by Colonel Brown- low Knox to restrain Mr. Gye from dealing with the Royal Italian Opera as his property until the seem- ingly interminable case of Knox v. Gye had been decided. 1 ',> THE MAPLESON MEMOIRS. In 1867 Mr. Gye may have been nurturing I know- not what deadly scheme against my theatre. But this year a fatal accident came to his aid, and he was spared the trouble of executing any hostile design. It was in 1867 that Her Majesty's Theatre was destroyed by fire. In 1868 came the proposition for partnership. Mr. Gye wished to grapple with me at closer quarters. In 1869 Mr. Gye was intriguing with Lord Dudley to get Her Majesty's Theatre into his hands. In 1870 Mr. Gye made his droll proposal to the effect that I should go equal shares with him in paying the rent of Her Majesty's Theatre, I binding myself not to open it. In 1872 Mr. Gye engaged Mdlle. Albani, already under contract to me, and helped himself to my version of Lohengrin. In 1873 he offered an engagement to one of my two leading stars, Mdlle. Nilsson ; and I had myself to write explaining to him very clearly that she was engaged to me. For two whole years Mr. Gye remained quiet as towards me. But in 1876, when I was on the point of completing the capital necessary for carrying out my grand National Opera project on the Thames Embankment, he wrote a letter which somehow found its way into the Times, denouncing the whole affair, and proving by an extraordinary mani- pulation of figures that my rent would be something like 40,000 a year. INNOCENCE OF A TENOR. 149 In 1877 Mr. Gye, knowing that I had engaged Gayarre", and well assured that I should not have done so had not Gayarre been a good artist, offered him double what I was to pay him. Gayarrd, with all the innocence of a tenor, explained -to me that the temptation presented to him was irresistible. I brought an action against him all the same, and ob- tained in the Italian Courts a judgment for 8,000, which I have not yet been able to enforce by reason of his having no property in Italy. CHAPTER XI. ADELIKA'S SUCCESSOR A PRIMA DONNA'S MARRIAGE NEGOTIATIONS POUNDS v. GUINEAS NILRBON AND THE SHAH PRODUCTION OP "LOHENGRIN" SALVINI'S PERFORMANCES AND PROFITS MARGUERITE CHAPUY IRONY OF AN EARL. HAVING relied upon Mdme. Nilsson's services for my Drury Lane season of 1871, I felt in a position of great difficulty. I thereupon set about inquiring for a capable prima donna to supply her place. About two days afterwards I received a letter from w America informing me of a most extraordinary singer, the writer further setting forth that his father had, some twenty years previously, recom- mended me Adelina Patti, and that he could equally endorse all that was now said of this coming star. Without one moment's hesitation I accepted, feeling sure the " tip " must be a good one, and in due course the lady arrived. She was of short stature and remarkably stout, which I considered at once a drawback ; but so unbounded was my confidence in the recommendation that I persuaded myself these ADELINES SUCCESSOR. 151 defects would be of no consequence whatever in the general result. At the conclusion of the first rehearsal Sir Michael Costa came down in 'a most mysterious way, asking me if I was sure as to the prima donna's talents. I told him he need be under no apprehension what- ever on the subject. At length the general rehearsal arrived, and a message came from Sir Michael, begging me to ask the little lady to sing out, as up to the present time nobody had heard her voice at any of the rehearsals. I came on to the stage, but as our new Dica was conducting herself with great import- ance, and moreover seemed to be busy with the pre- paration of her music, I told Sir Michael that he need labour under no misapprehension, as she was guaranteed to take the town by storm. Evening came, and a more dismal fiasco I do not recollect. Such unbounded faith had I placed in my American friend's recommendation, together with the laudatory notices which had appeared in the numerous journals he had sent, that I confess I was on this occasion taken in. This is the only instance in the course of my lengthened career in which an artist introduced by me has not been forthwith accepted by the public, and I admit that the result in this particular case was entirely due to my own neglect in not hearing her beforehand. It was rather hard lines on the " Faust " of the 152 TEE MAPLESON MEMOIRS. evening, M. Capoul, who made his first appearance in England on this occasion ; likewise on Moriami, the favourite baritone, and Rives, a young French artist, who sustained the r6le of '* Mephistopheles " with great credit. The following evening I produced Robert le Dialle, in which Signor Nicolini made his first appearance in England, enacting the role of "Roberto" to per- fection. Belval, the first bass of the Paris opera, was the " Bertramo," Mdme. lima de Murska the " Isabella," and Titiens the " Alice." In the excel- lence of this performance my " Margherita " of the previous evening was soon forgotten, and I booked her an early passage back to America, where, strange to say, she still retained a first-class position, and did so for many years afterwards. As matters were still unsettled between Lord Dudley and his would-be tenant, Gye, I again secured Drury Lane for my season of 1872. Prior to concluding Mdlle. Nilsson's engagement, as she was still unmarried, her Paris agent, who advised her, called upon me, stating that in the event of my requiring her services I had better notify to him that the marriage must be postponed until the close of my proposed opera season. To this I con- sented, and I attended at a meeting where I met the future husband and the agent when it was ex- plained to the former that Mdlle. Nilsson was ready and willing to perform her agreement to marry him, but that in that case she would lose her London GUINEAS VERSUS POUNDS. 153 engagement, and would be very angry ; whereupon it was agreed the marriage should be further post- poned. Papers were drawn up, and the proper stamps affixed, whereby Mdlle. Nilsson was to return to me for my season of 1S72. On the 28th May she made her reappearance, after an absence of two years, renewing her success as " La Traviata," followed by Faust, Trova- tore, etc. During this season I produced Cherubini's Water- carrier, in which Titiens sang ; also Lucia di Lam- mermour, with Nilsson for the first time as the heroine, which drew enormous houses ; followed by the Marriage of Figaro, in which Titiens and Kellogg appeared, Nilsson acting the "saucy page" to per- fection. A most successful season was the result, and in lieu of appearing only four times Mdlle. Nilsson sang never less than twice a week until the close. The terms I was paying her caused a deal of trouble between Patti and Grye; for la Diva had heard of Nilsson's enormous salary. Gye had ultimately to give in ; but 200 a night would not satisfy Mdme. Patti, although previously she had been contented with 80 ; and it was ultimately arranged that she should have more than Nilssou. Gye managed this by paying her 200 guineas nightly^ whilst Nilsson had only 200 pounds. Some two or three weeks after the opening of the season I heard of a desirable tenor in Italy, named Campanini, and at once endeavoured to add him to 154 THE MAPLESON MEMOIRS. my already strong Company. My agent reached Rome before Mr. Gye, and secured the prize. I thereupon set to work to create all the excitement I possibly could, knowing that unless this were done no curiosity would be felt by the public as to his first appearance. I said so much of him that general expectation was fully aroused. In the meantime I was anxiously awaiting his arrival. One even- ing, about nine o'clock, the hall-keeper brought me word that there was someone " from Campini, or some such name." I immediately brightened up, and said, " Send the messenger in," who accordingly entered. He had a coloured flannel shirt on, no shirt collar, a beard of two or three days' growth, and a little pot-hat. He, in fact, looked rather a rough customer. In reply to my interrogation he in- formed me that Campanini had arrived, and 1 was in London. I replied, "Are you sure? " Thereupon he burst out laughing, and said that he was Campa- nini. I felt as if I should go through the floor. However, the night arrived for his first performance, which took place on May 4th, when he appeared as " Gennaro " in Lucrezia Borgia, with Titiens and Trebelli, and with Agnesi as the "Duke." The house was crowded from floor to ceiling, and I 'must say the tenor fulfilled every anticipation, and, in fact, surpassed my expectations. The salary I paid him was not a large one, and I had engaged him for five years. After ten or twelve days an agent arrived from America who CHRISTINE NILSSON'S MARRIAGE. 155 had heard of his success, and offered him 1,000 a month, which was five times what I was to pay him. I need hardly say that this offer, coupled with his great success, completely turned his head, and he became partially unmanageable. Marie Roze, I may add, made her first appearance in England during this season. At its close Mdlle. Christine Nilsson was married to M. Rouzaud at Westminster Abbey, surrounded by a numerous circle of friends, the ceremony being performed by Dean Stanley. The wedding party were afterwards entertained -by the Cavendish Bentincks at their splendid mansion in Grafton Street, where a sumptuous dtjeuner was served. After two or three weeks' holiday at Aix-les- Bains, I started my autumn tour, as usual, at Dublin, for which I engaged Titiens, Marimon, de Murska, Trebelli, Scalchi, Agnesi, Campanini, Fancelli, Foli, etc. This season of fourteen weeks, which carried us up to Christmas, was an unbroken series of triumphs, the receipts being simply enormous ; whilst on the spare days when certain of my singers were not required I filled in sometimes as much as 1,000 a week from concerts, without the regular service of the tour being disturbed. "We visited Dublin, Cork, Belfast, Glasgow, Edinburgh, Manchester, Liver- poolj Birmingham, Bristol, and Brighton. This was followed by the usual spring concert tour of 1873, when, we did, as usual, our 60 or 70 156 THE MAPLESON MEMOIRS. towns, concluding with a spring opera tour in the north. For my season of 1873, which again took place at Drury Lane Her Majesty's Theatre, although built, being still without furniture or scenery I re- engaged Mdme. Nilsson, paying her 200 per night, in addition to my regular company, which, of course, included Titiens ; also lima de Murska, Marie Roze, Trebelli, etc., etc. I, moreover, introduced Mdlle. Valleria, Mdlle. Macvitz, an excellent contralto ; Aramburo, a tenor possessing a marvellous voice, who has since achieved European fame ; Signor Del Puente, the eminent baritone, and many others. I likewise engaged Mdme. Ristori, who appeared in several of her favourite characters alternately with the operatic performances. Her success was striking, notably in the parts of " Medea," " Mary Stuart," " Elizabeth," and " Marie Antoinette." In the latter impersonation she moved the audience to tears nightly by her pathetic acting. During this season, early in the month of July, it was intimated to me that His Majesty the Shah of Persia would honour the theatre with his presence. I thereupon set about organizing a performance that would give satisfaction both to my principal artists and to the Lord Chamber- lain, who had charge of the arrangements, and decided that the performance should consist of the third act of La Favorita, Mdlle. Titiens VISIT OF THE SHAH. 157 enacting the role of " Leonora," the first act of La Traviata, and, after a short ballet, the first act of Mignon, Mdme. Nilsson taking the title role in the two latter operas. Mdlle. Titiens, who rarely created difficulties, took rather an exception to commencing the evening, and said that it would be better to divide the two appear- ances of Nilsson by placing the act of La Favorita between them; Mdme. Nilsson, on the other hand, objected to this arrangement. Two days before the performance Mdme. Nilsson suddenly expressed her willingness to commence the evening with the act of La Traviata, she having ascertained from the Lord Chamberlain, or some other high personage (as I afterwards discovered), that His Majesty the Shah could only he present from half-past eight until half-past nine, being due at the grand ball given by the Goldsmiths in the City at about ten o'clock. Mdme. Nilsson had ordered, at considerable expense, one of the most sumptuous dresses I have ever seen, from Worth, in Paris, in order to portray " Yioletta " in the most appropriate style. On the evening of the performance His Royal High- ness the Prince of "Wales arrived punctually at half- past eight to assist in receiving the Shah, who did not put in an appearance ; and it was ten minutes to nine when Sir Michael Costa led off the opera. I shall never forget the look the fair Swede cast upon the empty royal box, and it was not until half-past 158 THE MAPLESON MEMOIRS. nine, when the act of La Favorita had commenced, that His Majesty arrived. He was particularly pleased with the ballet I had introduced in the Favorita. The Prince of Wales, with his usual consideration and foresight, suggested to me that it might smooth over the difficulty in which he saw clearly I should be placed on the morrow in con- nection with Mdme. Nilsson, if she were presented to the Shah prior to his departure. I thereupon crossed the stage and went to Mdrae. Nilsson's room, informing her of this. She at once objected, having already removed her magnificent Traviata toilette and attired herself for the character of " Mignon," which consists of a torn old dress almost in rags, with hair hanging dishevelled down the back, and naked feet. After explaining that it was a command with which she must comply, I persuaded her to put a bold face on the matter and follow me. I accompanied her to the ante-room of the royal box, and before I could notify her arrival to His Royal Highness, to the astonishment of all she had walked straight to the farther end of the room, where His Majesty was then busily employed eating peaches out of the palms of his hands. The look of astonishment on every Eastern face was worthy of the now well-known picture on the Nabob pickles. "Without a moment's delay Mdme. Nilsson made straight for His Majesty, saying " Vous fites un tres mauvais Shah," gesticulating VISIT TO THE SHAH. 159 with her right hand. " Tout a 1'heure j'e*tais riclie, avec des costumes superbes, expres pour votre Majest^ ; a present je me trouve tr6s pauvre et sans souliers," at the same time raising her right foot within half an inch of His Majesty's nose ; who, with his spectacles, was looking to see what she was pointing to. He was so struck with the originality of the fair prima donna that he at once notified his attendants that he would not go to the Goldsmiths' Ball for the present, but would remain to see this extraordinary woman. His Majesty did not consequently reach the Goldsmiths' Hall until past midnight. The Lord Mayor, the Prime Warden, the authorities, and guards of honour had all been waiting since half- past nine. On the close of my London season of 1873 I had considerable difficulty in obtaining a renewal of Mdme. Nilsson's contract for the ensuing year; in fact, she declined altogether to discuss the matter with me. I was fully aware that she was very jealous of the firm position which Mdlle. Titiens enjoyed in the good opinion of the British public. This had manifested itself on the occasion of Titiens's benefit, when Nozze di Figaro had been selected for the closing night of the season. Much correspondence took place, in the course of which it was asserted that M. Rouzaud would not allow his wife to put on " Cherubino's " trunks, he having decided that her legs should never again be seen by 100 THE MAPLE SON MEM OIKS. the public. I, therefore, had to substitute Mdme. Trebelli, who, as an experienced contralto, could make no objection on such points. Mdme. Nilsson's agent, Mr. Jarrett, succeeded at last in inducing her to sign a contract, and he then explained to me that Mr. Gye had been repeatedly making offers to her during the previous week, which, in spite of his notorious friendship for Mr. Gye, he had the greatest difficulty in making her refuse. Ultimately an engagement had been prepared, and Jarrett asked me to sign it at the station just as Mdme. Nilsson was about to start for Paris. Before doing so I requested permission at all events to glance it over, when Mdme. Nilsson replied " The train is going. Either sign or leave it alone. I can make no possible alteration." I mechanically appended my signature ; the train started. On perusing the engagement I discovered that she had reserved for herself the exclusive right of playing " Norraa," " Lucrezia," " Fidelio," " Donna Anna," " Semiramide," and "Valentine" in Les Huguenots. But having omitted the words " during the season," and inasmuch as her engagement for 1874 did not commence until the 29th day of May, I had a clear period of eleven weeks during which another priraa donna could play the parts Mdrae. Nilsson claimed without overstepping her stringent condition. TOO AMBITIOUS. 161 I, moreover, felt placed in great difficulty with regard to Mdlle. Titiens, who was then at the Worcester Festival, and to whom it was, of course, necessary to mention the matter. I decided to go to Worcester at once and unbosom myself. The great prima donna, on hearing what I had to tell her, smiled and said " By all means let her play the parts she wants ; and, if the public prefers her rendering of them to mine, by all means let her keep them. But during the first eleven weeks they are open to other singers, and I will repeat them one by one so that the public may have a fair opportunity of judging between us." The great artist was, therefore, on her mettle during the early performances of 1874, prior to Nilsson's arrival. The season opened with Semiramide, followed immediately by Fidelio, Norma, Huguenots, Lucrezia, etc., which were played one after the other until the arrival of Nilsson, who sang first in Faust, and immediately afterwards in Balfe's Talismano, after which I called on her to appear as " Lucrezia." The next morning I had a visit from her agent requesting me not to press the matter, as she was not quite prepared. I thereupon said "Semiramide" would do as well ; to this he offered some objec- tion ; but at length, on my urging " Fidelio," he explained to me that if I insisted upon her playing any of those characters which she had expressly VOL. I. M 162 THE MAPLESON MEMOIRS. stipulated for I should mortally offend her. I could not even induce her to appear as " Donna Anna." Not one of those parts which she had re- served for her exclusive use was she able to under- take. We, therefore, had to fall back on Faust, alternated with La Traviata. Finally a compromise was made whereby Mdme. Nilsson undertook the role of " Donna Elvira " in Don Giovanni, Mdlle. Titiens retaining her great impersonation of " Donna Anna," in which she was acknowledged throughout the world of music to be unrivalled. This happy combination having been brought about, the season concluded with my benefit, when Don Giovanni was given to some 1,200 receipts. During the autumn of 1873 I made ray usual operatic tour, commencing in Dublin about the middle of September, where we remained three weeks, afterwards visiting Belfast, Glasgow, Edin- burgh, Newcastle, Liverpool, Manchester, Birming- ham, Bristol, Bath, and Brighton, where we con- cluded on the 20th December. Early in January, 1874, I again gave my usual forty-eight concerts in the various cities, opening the Edinburgh opera season about the middle of February. We afterwards visited other places, which brought us on to the London season, when I again occupied Drury Lane Theatre. During this year I produced Auber's Grown Diamonds, and afterwards Balfe's Talismano, in PRODUCTION OF IL TAHSMANO. 163 which Mdlle. Nilsson undertook the principal role, Marie Roze appearing as the " Queen." Balfe's opera was very successful, and this, coupled with the alternate appearances of Titiens and Nilsson in other characters, followed by the revival of the Magic Flute, in which the whole Company took part, brought the season to a successful conclusion. In the autumn of 1874 I opened, as usual, at Dublin, with a very powerful company, and con- tinued out in the provinces until the latter part of December. I then went on the Continent in search of talent for the ensuing year, and returned in time to be present at my first concert, which took place in Liverpool early in January, 1875. We afterwards went through Ireland and the English provinces, commencing in the beginning of March the regular Italian Opera season in the northern capital, followed by Glasgow, Liverpool, &c. lima de Murska was punctual with a punctuality which put one out quite as much as utter inability to keep an appointment would have done. She was sure to turn up on the very evening, and at the very hour when she was wanted for a representa- tion. But she had a horror of rehearsals, and never thought it worth while, when she was travelling from some distant place on the Continent, to announce that she had started, or to give any idea as to when she might really be expected. Her geographical knowledge, too, was often at fault, and some of the routes " short cuts " she called 164 THE MAPLESON MEMOIRS. them by which she reached London from Vienna, were of the most extraordinary kind. She had taken a dislike to the Railway Station at Cologne, where she declared that a German officer had once spoken to her without being introduced ; and on one occasion, partly to avoid the station of which she preserved so painful a recollection, partly in order to get to London by a new and expeditious route, she travelled from Vienna to St. Petersburg, and from St. Petersburg took boat to Hull, where she arrived just in time to join my Opera Company at the representations that I was then giving in Edinburgh. We had not heard of her for weeks, and she came into the dressing-room to find Madame Van Zandt already attired for the part Mdlle. de Murska was to have played, that of " Lucia." She argued, with some truth, that she was in time for the performance, and declared, moreover, that in entrusting the part of " Lucia " to another singer she could see a desire on my part to get rid of her. The prima donna has generally a parrot, a pet dog, or an ape, which she loves to distraction, and carries with her wherever she goes. lima de Murska, however, travelled with an entire menagerie. Her immense Newfoundland, Pluto, dined with her every day. A cover was laid for him as for her, and he had learned to eat a fowl from a plate without dropping any of the meat or bones on the floor or even on the table cloth. ILMA DE MURSKA'S GEOGRAPHY. 165 Pluto was a good-natured dog, or he would have made short work of the monkey, the two parrots, and the Angora cat, who were his constant asso- ciates. The intelligent animal hated travelling: in o o the dog-truck, and he would resort to any sort of device in order to join his mistress in her first-class carriage, where he would, in spite of his immense bulk, squeeze himself beneath the seat. Once I remember he sprang through the closed window, cutting himself severely about the nose in his daring leap. The other animals were simple nuisances. But I must do the monkey the justice to say that he did his best to kill the cat, and a bare place on Minette's back showed how badly she had once been clawed by her mischievous tormentor. The most expensive of Mdlle. de Murska's pets were probably the parrots. They flew about the room, perching everywhere and pecking at every- thing. Once at the Queen's Hotel, Birmingham, they tore with their beaks the kid off a valuable set of chairs, for which the hotel-keeper charged 30. The hotel bill of this reckless prima donna was alwa}-s of the most alarming kind. She had the most extraordinary whims, and when Signer Sinico, Mdme. Sinico's first husband, in order to show the effect of parsley upon parrots, gave to one of Mdme. de Murska's birds enough parsley to kill it, nothing would satisfy the disconsolate lady but to have a post-mortem examination of the bird's remains. 166 TEE MAPLESON MEMOIRS. This was at Glasgow, and the post-mortem was made by two very grave, and I have no doubt very learned, Scotch practitioners. Finding in the parrot's maw some green matter for which they could not satisfactorily account, they came, after lon<* delibera- tion, to the conclusion that the bird had been eating the green wall-paper of the sitting room, and that the arsenic contained in the colouring matter had caused its death. The cost of this opinion was three guineas, which Mdlle. de Murska paid without a murmur. I again returned to Drury Lane for my London season of 1875. After lengthy negotiations with a great Italian tragedian, engagements were signed, and he duly arrived in London, and appeared the second night of my season in the character of " Otello." I need scarcely say that this tragedian was Salvini, who at once struck the public by his magnificent delineation of Shakespeare's hero. I was now compelled to open my theatre seven times every week (four for opera, three for tragedy), from the early part of March until the latter end of July. I produced various works, notably Wagner's Lohen- grin, in which Mdlle. Titiens, who very kindly under- took the role of " Ortruda," really excelled herself. This, with Mdlle. Christine Nilsson as " Elsa," Cam- panini as the " Knight of the Swan," and Galassi as " Telramund," with an increased orchestra under Sir Michael Costa* s able direction, caused rne to increase the prices of admission ; and even then it was ioipos- PRODUCTION OF LOHENGRIN'. 167 sible to get a seat during the remainder of the season. About this time the usual annual proposals were made for Mdlle. Titiens'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, retain- ing 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 II 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 ler. 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 168 THE MAPLESON MEMOIRS. 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 mean- while 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 them- MARGUERITE CHAPUY. 169 selves. 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, o * 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 sta^e she o o 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 170 THE MAPLE SON MEMOIRS. 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 : " Angoule"me, 8 Decembre, 1876. " CHEB MONSIEUR MAPLESON, " Je vous remercie de votre bonne lettre et je m'empresse d' y r^pondre pour vous assurer que je m'engage aussi formellement que vous pouvez le de"sirer & ce que Tengageraent que nous avion s 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 rentre"a sur la scene. Vous avez e*t6 trop bon et trop aimable pour moi, pour que j'h6site un instant & vous faire cette promesse. Du reste, il me serait bien agreable, si je reprenais le theatre, de reparaitre sur la sce"ne de Londres, car je n'ai pas oublie* combien le public Anglais a e*t<$ bienveillant pour moi. " En attendant votre re*ponse veuillez agre*er cher Monsieur Mapleson Tassurance de mes sentiments " MAEGUEEITE " Rue St. Gelais, 34. "Mon mari, ma grande-m6re, 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 DRAWING POWERS OF PRIME DOXNE. 171 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 illustrious Barbaja, who, when he was asked his private opinion as to this or that member of his Com- pany, 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 satisfac- tion 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 172 THE MAPLESON MEMOIRS. Mdlle. Chapuy, the nightly proportion of the sub- scription 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 Faiist y 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 Joumfas (otherwise The Water Carrier) I was com- plimented 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 " lago," Nilsson the " Desde- mona." 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 IRONY OF AN EARL. 178 made another great success. I listened to their flattering words. But the treasury contained only 167 3s., for which reason Otello was nob 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 tho adjoining hotel in Charles Street might at that time have been purchased for comparatively small sums. The Earl, however, as lie 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 re- placing 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 174 THE MAPLESON MEMOIRS. 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 constitute 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 acknowledg- ments, and it was not until a little later that some good-natured friends took the trouble to expl ain to him what the Earl had really said. CHAPTER THE NATIONAL OPERA-HOUSE FOUNDATION DIFFICULTIES PRIMEVAL EEMAINS TITIENS 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 select- ing plans for the construction of my new National Opera-house, which I then considered a most desir- able investment, inasmuch as Her Majesty's Theatre, which had been hastily built, was ill-adapted for the requirements of Italian Opera, whilst Co vent Garden was heavily encumbered with liabilities. Indeed, more than one negotiation had already taken place with the Duke of Bedford with a view to its pur- chase 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 con- sidered desirable that the foundations should be proceeded with pending the final settlement of the drawings, taking out the quantities, etc., and de- ciding 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 176 THE MAPLESON MEMOIRS. 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 con- trivances 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 mass of rubbish, being the accumulation 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 FOUNDATION DIFFICULTIES. 177 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 commence- ment 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 assembled around the spot. Punctually at 1.30 Mdlle. Titiens arrived, under the escort of Lord Alfred Paget, Mr. Fowler, the Architect, and myself. The party passed 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. Titiens, as she leaned on the arm of Mr. Fowler, was presented with an elaborately- engraved silver trowel by Mr. Webster, the Con- tractor. 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 MclNe. Titiens 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 VOL. I. N 173 THE MAPLESON MEMOIRS. laid by Mr. Fowler, Lord Alfred Paget, and myself. Hearty cheers were then given for Mdlle. Titiens 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. Titiens gave four farewell concerts in Ireland ; and it was with great -dijficulty after the last one, at Cork, that she escajed from the concert room at all, so numerous were the encores,. The skamer 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. Titiena was re- placed on the provincial tour by Madame Christine Nilsson ; and the business again was highly success- ful. 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 II.R.H. the Duke of Edinburgh. The following was the programme of the cere- monial, which was duly carried out : CEREMONY OF LAYING THE FIRST STONE OF THE GRAND NATIONAL OPERA-HOUSE, VICTORIA EMBANKMENT. Holdert of Cards of Invitation will not be admitted after 1.15. "The bands of the Coldstream Guards and Honour- able Artillery Company will be in attendance, and a Guard of Honour will line the entrance. LAYING THE FIRST STONE. 171) "His Royal Highness the Duke of Edinburgh and suite will arrive at the entrance on the Victoria Embankment at half-past one o'clock. " His Royal Highness will be received by Mr. "W. H. Smith, M.P., Sir James Hogg, Chairman of the Metropolitan Board of Works, Mr. F. H. Fowler, the Architect, and Mr. J. H. Mapleson, the Director of the National Opera. " On arrival at the platform an address will be read to the Duke of Edinburgh in the name of the founders of the Grand National Opera-house. " His Royal Highness the Duke of Edinburgh will then proceed to lay the first stone. " The trowel will be handed to His Royal Highness by Mr. Mapleson, the Director; the plumb-rule and level by Mr. F. H. Fowler, the Architect ; and the mallet by Mr. W. Webster, the Builder. " On the completion of the ceremony His Royal Highness will make a brief reply to the address. " The Duke of Edinburgh will then be conducted to his carriage at the entrance by which His Royal Highness arrived, and will drive to the St. Stephen's Club. " 16th December, 1875." The following address was then read by Sir James McGarel Hogg : " YOUR ROYAL HIGHNESS, " On behalf of the founders of the Grand National Opera-house, I have the honour to present to your Royal Highness the following address in 180 THE MAPLESON MEMOIRS. which the objects of the undertaking are set forth : " The establishment of a National Opera-house in London has long been contemplated, the obstacle to which, however, was the impossibility of finding a suitable site, and it was not until that vast under- taking was carried out by the Metropolitan Board of Works, which has resulted in reclaiming from the Thames large tracts of land, and in throwing open the great thoroughfare of the Victoria Embankment, that a site sufficient to meet the requirements of a National Opera-house could be obtained ; and it is this building that your Royal Highness is graciously pleased to inaugurate to-day. " The National Opera-house is to be devoted firstly to the representation of Italian Opera, which will be confined as heretofore to the spring and summer months ; and, secondly, to the production of the works of English composers, represented by English performers, both vocal and instrumental. " It is intended, as far as possible, to connect the Grand National Opera-house with the Royal Academy of Music, the National Training School for Music, and other kindred institutions in the United Kingdom, by affording to duly qualified students a field for the exercise of their profession in all its branches. " The privilege, which it is the intention of the Director to grant to the most promising of these students, of being allowed to hear the works of the THE ADDRESS. 181 greatest masters performed by. the most celebrated artists, will, in itself, form an invaluable accesso y to their general training. " Instead of being compelled to seek abroid further instruction when their prescribed course at the various establishments is finished, they will thus be able to obtain this at home, and more quickly and efficiently profit by example. " In Paris, when sufficiently advanced, the students can make a short step from the Conser- vatoire to the Grand Opera ; so it is hoped that. English students will use the legitimate means new offered and afforded for the first time in this country of perfecting their general training, whether as singers, instrumentalists, or composers, according to their just claims. " In conclusion I beg leave to invite your Royal Highness to proceed with the ceremony of laying the first stone of the new Grand National Opera- house. '* Grand National Opera house, "Victoria Embankment, " 16th December, 1875." In designing this, I intended it to be the leading Opera-house of the world ; every provision had been made. The building was entirely isolated ; and a station had been built beneath the house in connec- tion with the District Railway, so that the audience on leaving had merely to descend the stairs and enter the train. In the sub-basement dressing-rooms, 182 THE MAPLESON MEMOIRS. containing lockers, were provided for suburban visitors who might wish to attend the opera. A sub- terranean passage, moreover, led into the Houses of Parliament ; and I had made arrangements by which silent members, after listening to beautiful music instead of dull debates, might return to the House on hearing the division-bell. The Parliamen- tary support thus secured would aloue have given an ample source of revenue. Having plenty of surplus land, I had arranged with the Lyric Club to lease one corner, whilst the Royal Academy of Music had agreed to take another. The buildings, moreover, were to include a new concert room, together with a large gallery for pictures not accepted by the Hanging Committee of the Royal Academy, to be called the " Rejected Gallery." There were recreation rooms, too, for the principal artists, including billiard tables, etc., besides two very large Turkish baths, which, it was hoped, would be of service to the manager in cases of sore throat and sudden indisposition generally. The throat doctors appointed to the establishment were Dr. Morell Mackenzie and Mr. Lennox Brown. Sir John Humphreys had arranged for the pur- chase of a small steamer to act as tug to a large house- boat which would, from time to time, take the mem- bers of the Company down the river for rehearsals or recreation. The steamer was being built by the Thorneycofts. The house-boat was of unusually OUR OPERATIC ADMIRALS. 183 dimensions, and contaiued a magnificent * o concert-room. The nautical arrangements had been confided to Admiral Sir George Middleton, a member of my acting committee ; or, in his absence, to Lord Alfred Paget. When about 103,000 had been laid out on the building another 10,000 was wanted for the roofing; after which a sum of 50,000, as already arranged, could have been obtained on mortgage. For want of 10,000, however, the building had to remain roofless. For backing or laying against a horse, for starting a new sporting club or a new music-hall, the money could have been found in a few hours. But for such an enterprise as the National Opera-house it was impossible to obtain it; and, after a time, in the interest of my stockholders (fofr there was a ground rent to pay of 3,000;, I consented to a sale. The purchasers were Messrs. Quilter, Morris, and Tod-Heatly, to whom the building was made over, as it stood, for 29,000. Later on it was resold for 500; and the new buyers had to pay no less than 3,000 in order to get the walls pulled dowa and broken up into build- ing materials. The site of what, with a little public spirit use- fully applied, would have been the finest theatre in the world, is now to serve for a new police-station. With such solid foundations, the cells, if nofc com- fortable, will at least be dry. CHAPTER Xin. FIRST VISIT TO AMERICA MAKING MONET out OF SHAKE- SPEARE CHATTER-TON'S SECRET AGENTS BIDDING FOB HER MAJESTY'S THEATRE ILLNESS OP TITIENS GERSTEB'S SUCCESS PRODUCTION OF " CARMEN." AT the close of the year 1875 I was invited to spend the evening with some friends to see the old year out and the new year in. Amongst the visitors at the house I met an American gentleman who had seen many of my performances ; and he assured me that if I would but go to America I should do a very fine business, but that prior to making arrange- ments I either ought to send over a trusted agent or go myself. So fully did he impress me by his con- versation, that, although I had never contemplated such a thing, I went home late that night, or rather early the next morning, put a lot of traps together, and started the same afternoon for America, reach- ing Queenstown early on the morning of the 2nd January in time to catch the steamer. I shall never forget my first voyage. I knew no FIRST VISIT TO AMERICA. 185 one on board : we were six or seven passengers in all. Few care to leave for a long voyage on New Year's Day. The vessel was not only small, although a Cunarder, but very unsteady. She was known amongst nautical men as the " Jumping Java." Our passage occupied 14 days, and we had to weather several very severe gales. One day we only made 16 knots. However, I arrived on the other side in due course, and was forcibly struck with the grand country I had entered. As I could remain there only nine or ten days I hastened to visit Chicago, Philadelphia, Boston, Cincinnati, and other places, in addition to New York. I, however, " prospected " by carefully noting all I saw; and afterwards returned to England to join my touring concert party during the latter part of the month. It was then in the provinces. 1 felt myself fully master of what I intended the following year to undertake; namely, a tour of Her Majesty's Opera Company in America, which later on in these memoirs I shall have occasion to describe. I also organized another tour in the English pro- vinces, with Salvini, who appeared afterwards in all the principal provincial towns with immense success. In the middle of October, 1875, I had the honour of being invited by the Duke of Edinburgh to East- well Park. Thinking the invitation was only for the day, I took nothing with me but a small bag containing an evening suit and a single shirt. When I arrived at Ashford station I was met by two six- 18t> THE MAPLESON MEMOIRS. foot men in scarlet liveries, who had arrived with a fourgon, drawn by two splendid horses, into which they proposed to put my luggage. I noticed their efforts to restrain a smile when I handed to them my little hand-bag. Another magnificent equipage had been sent for me personally. I was received with the greatest possible kind- ness ; and it will interest many of ray readers to know that just before dinner the Duchess took me to a buffet on which was laid out caviare, smoked salmon, salt herring (cut into small pieces), dried mushrooms, pickled cucumbers, and the various appetizing delicacies which, with spirits or liqueurs, form the preliminary repast known to the Russians as zakuslca. I had the honour of taking the Duchess in to dinner, where we formed a party of four : the Duke, the Duchess, the equerry in attendance, and myself. After dinner we adjourned to the music-room, where I noticed piles upon piles of music-books. I soon saw that the Duchess was an excellent musician. Tl.e Duke, too, received evidence of this; for in difficult passages he was pulled up and corrected again and again. Smoking being permitted and even enjoined, I lighted a cigar and smoked in silence on the sofa, listening with interest to the musical performances, which were in the form of duets for violin and piano, or violin solos with pianoforte accompaniment. The next moruiug we were up early, and I was MY VISIT TO EAST WELL PARK. 187 taken over the estate. The Duchess pointed out to me her own particular fish-pond, in which she sometimes angles with a view to the table. Then I went out shooting with the Duke; a rather trying business, for I had neither shooting- clothes nor, far worse, shooting-boots. Of course it began to rain, and I was soon wet through to the skin, my ordinary walking boots being soaked in such a manner that when I got back to the house, by which time the leather had partially dried and contracted, I had considerable difficulty in getting them off. The Duke was kind enough to lend me an overcoat. At luncheon the Duchess asked for the key of the wine cellar, at which the Duke expressed surprise and curiosity. He was reproached for his inquisi- tiveness, but was not at the time enlightened as to the object for which the keys were wanted. It appeared later on at dinner that the Duchess had been visiting a curate at some eight miles distance, who was ill, and had been recommended port wine. This, out of his meagre income, he would be unable, she said, to afford. " "With eighty pounds a year and five children, how," she asked, " can he drink port wine and eat new-laid eggs ? " which the doctor had also recommended. She had herself, therefore, driven over in the afternoon through the pouring rain to take them to him. After lunch we had more shooting, the weather 188 THE MAPLESON MEMOIRS. being now a trifle better. We got home in good time for dinner, and in the evening played at billiards. The Duke is an infinitely better player than I am ; but by a series of flukes I got ahead of him, and at last found myself within two points of the game, and with the balls so left that it was most difficult for me to avoid making a final cannon. I saw, however, from the expression of the Duchess's countenance, that she had set her heart upon her husband's defeating me; and I must now confess that if I succeeded in not making that cannon, so diffi- cult to miss, I did so simply out of regard for Her Royal Highness's feelings. The Duchesa during the game acted as marker. It was the Duchess's birthday, and in the course of the evening a courier from Russia, who had been anxiously expected all day, arrived with innumerable presents of jewellery. To these offerings the Duchess paid little or no attention. All she cared for was a letter she was awaiting from her father, and, on receiving it, she was soon absorbed in the perusal of its contents. A few months afterwards, when the Duchess was present at a performance of Fidelio given at Her Majesty's Opera, I had a new proof of Her Royal Highuess's musical knowledge and of her delicate ear. She arrived before the beginning of the over- ture, and brought with her two huge orchestral scores. The Duchess sat on the floor of the box reading one of them, and turning of course very SECRET AGENTS. 189 rapidly over the leaves during the stretto of the " Leonora " overture. Suddenly she noticed an un- certain note from the second horn, and exclaimed, as if to set the musician right, " B flat ! " After the act I asked Sir Michael Costa whether some- thing did not go wrong with one of the horns. " Yes," he said, " but only a person with a very fine ear could have perceived it." I repeated to Her Royal Highness Costa's remark precisely as he had made it. I opened my season again at Drury Lane early in 1876 ; but the lessee, Mr. Chattel-ton, who had been secretly treating with Salvini, did not think it right that in the great national theatre under his control I should be making so much money out of Shakes- peare. The only contract I could now get from him had practically the effect of excluding Salvini, and this was really the beginning of Chatterton's ruin. Although I was to pay him the same amount of rental he insisted on retaining the Wednesday and Friday evenings and Saturday mornings for himself. I had therefore to rent another theatre wherein to place Salvini. Mr. Chatterton brought over another Italian tragedian, Signer Rossi, and put him to perform at Drury Lane in opposition to Salvini, whom I had to present at the Queen's Theatre in Long Acre. Tho consequence was that both of us dropped money, and Mr. Chatterton's losses during that time were, I believe, considerable. To rny Opera Company I had added M. Faure, 190 THE MAPLESON MEMOIRS. while retaining- all the favourites of the previous year, including Titiens, Trebelli, Nilsson, &c. ; Sir Michael Costa remaining as conductor. At the close of 1870 I again visited the provinces, beginning my usual Italian Opera season at Dublin, with Mdlle. Titiens, who had returned fresh from her American triumphs, supported by Marie Roze, Valleria, lima de Murska, Emma Abbot, Trebelli, etc., etc. The tour was indeed a most prosperous one, and it terminated towards the latter part of the December of that year. Early in 1877, when I applied for the renewal of ray lease of the Theatre Royal, Drury Lane, Mr. Chatterton showed much ill-will, which I attributed to his jealousy at my previous success with Salvini, and to my having declined to allow him to engage the Italian tragedian on his own account. He insisted that I should have the theatre but three days a week, and then only from ten in the morning till twelve at night. Not only was I precluded from using the theatre on the other days, but I was to finish my performance always by midnight and then hand him the key. As my rehearsals invariably have to take place on the " off days," when there is no opera, I should have been pre- vented by this arrangement from rehearsing at all. In fact, I found nothing but impossible clauses and conditions in the contract now offered. At this time Mr. Chatterton was very anxious to find out whether or not the Earl of Dudley was / PURCHASE HER MAJESTY'S THEATRE. 191 prepared to let me Her Majesty's Theatre ; and to nscertain this the good offices of some highly at- tractive young ladies performing in the pantomime were employed. Lord Dudley gave Mr. Chatterton to understand that though he was willing to sell the theatre, of which he saw no probability, he would not under any circumstances let it to Mapleson or any other man. Hence Chatterton continued to insist on his stringent conditions, although I had been his tenant for some eight or nine years, paying a very large amount of rent in addition to cleaning and carpeting his theatre every year, which was very much required after the pantomime. On learning, in a direct manner, Lord Dudley's decision, I saw that it was hopeless to approach him in the character of a tenant. A purchaser I did not wish to be, as my new Opera-house, it was anticipated, would be ready for opening the follow- ing spring. All I, for the present, desired was a theatre where I could, unmolested, continue my season. I therefore made offers to Lord Dudley with a view to purchase, at the same time explaining to him my inability to pay the whole of the amount he then demanded, namely, 30,000. All I could do was to give him a deposit of 6,000 on account, and a further 6,000 in the following November, leaving 18,000 still due, with a clause, in case of any default being made in regard to the second instal- ment, by which the first was to be forfeited. To this his lordship assented. I had been ready to pay 192 THE MAPLESON MBM01M8. him 7,000 as rent for a single year, but this he would have refused. By paying an instalment of 6,000 I saved 1 ,000, and equally obtained the use of the theatre. In due course the matter was com- pleted. During the month of Febmary I entered into possession. There was not a single seat in the house, not a particle of paper on the walls ; neither a bit of carpet, nor a chair, nor a table anywhere. I there- fore had to go and see Blundell Maple, the well-known upholsterer, who, out of regard for me and the adver- tisement I promised him, consented to give me a few things I required for the sum of 0,000. It involved the furnishing of the whole of the dressing-rooms, the auditorium, and corridors. About four miles of carpeting were required, there being so many staircases and passages, all of which were luxuriously covered. New amber satin cur- tains, the traditional colour of the house, had to be manufactured specially. Stall chairs, appointments, fittings, and looking-glasses were also, of course, required. A room had to be built through solid masonry for the Prince of Wales, as a retiring- room. In fact, it was a very heavy affair ; and on my inviting a few friends and members of the Press to a dinner I gave at my club some two days before the opening, they confessed to having believed that the theatre could not be opened for two months. Maple, in order to show what he could do in a short space of time, had purposely left all ILLNESS OF TITJ ENS. 193 to the last day, when he sent in some 200 work- men and upholsterers, together with about 300 girls and carpet-sewers, so that the effect was really like the magic of Aladdin's Palace. The theatre, I need scarcely say, was finished in time, and gave great satisfaction. The new theatre opened on 28th April, Titiens appearing as * Norma ; " and a grand performance it was. Sir Michael Costa directed the orchestra, which went a merveille. The day following it became evident that the great prima donna was suffering from a complaint which caused her the most serious inconvenience. The next evening Mdlle. Salla appeared with some success in II Trovatore. On the succeeding Satur- day, Mdine. Christine Nilsson made her rentree in La Traviata; but immediately afterwards she too fell ill. It seemed as if the new theatre was to bring nothing but bad luck, as it since has done to all connected with it. Mdlle. Titiens, however, had to make an effort, and she appeared again the next night as " Norma,'' and the Saturday afterwards in the Trovatore. Meantime Mdme. Nilsson recovered :md reappeared on the following Thursday. Mdlle. Titiens was sufficiently well to appear at St. James's Hall, for Mr. Austin's benefit, at which she sang superbly, Mr. Austin, after the performance, assuring me that he had never before heard such magnificent singing. Mdlle. Titiens now informed me that she felt considerably better, and would appear VOL. I. u 194 THE MAPLESON MEMOIRS. on the following Saturday, 19th May, as " Lucrezia Borgia," which she in fact did. But, as the evening progressed she felt she could hardly get through the opera. Her voice was in its fullest per- fection; but her bodily ailments caused her acute agony, and it was not until some time after the conclusion of the opera that she was able to leave the theatre. The best advice was sought for, and it was decided by the lady herself that the operation, which ultimately caused her death, should be performed. At the end of three weeks, having recovered from the effects of the operation, as she thought, she expressed a wish to return to her duties at the theatre. But, alas ! that wish was never to be fulfilled, and I had to go through the season with a loss, as it were, of my right hand. She lived on in hopes of being able to recover, and she was even announced to appear at the usual period in the following September. But as time drew on it was clear that she was not long for this world. I last saw her on the 29th day of September. Early on the morning of the follow- ing Wednesday, October 3rd, she passed away. I continued the London season of 1877 as best I could without the invaluable services of Mdlle. Titiens, although from time to time we had formed hopes of her reappearing. I again brought Mdme. Nilsson to the front, but found it incumbent on me to discover a new planet, as Mdme. Nilsson, GERSTER'S HONEYMOON POSTPONED. 195 finding she was alone in the field, became some- what exacting. At last I found one ; but, un- fortunately, she was just on the point of being married, and nothing could induce herfuture husband to defer the ceremony. However, by dint of perse- verance I succeeded in persuading him, for a con- sideration, to postpone the honeymoon ; and in addi- tion to this I was to pay a very large extra sum per night, while his wife's appearances were strictly limited to two each week. About this time a great deal of intrigue was going on in order to prevent the success of the new star. I, however, discovered the authors of it, and worked accordingly. Thus I induced several members of the Press to attend after they had been positively assured that she was not worth listening to. JStldme. Gerster's success was really instan- taneous, and before her three or four nights were over I had succeeded in again postponing the honey- moon still for a consideration. Her success went on increasing until the very close of the season, by Vhich time her receipts fairly balanced those of Mdme. Nilsson. The charges for postponing the honeymoon were put down under a separate heading lest they should by any mistake be regarded as a portion of the prima donna's salary and be used as a precedent in connection with future engagements. At last, when several large payments had been made, the season came to a close, and the young couple, after several 196 THE MAPLESON MEMOIRS. months' marriage, were at liberty to begin their honeymoon. After a journey through Italy and Germany in search of talent I returned to England, when I found the great prima donna's case was hopeless. Although it had been fully anticipated that she would make her reappearance in Dublin, she being in fact announced to sing there, it was, unhappily, decreed other- wise; and on the third night of our opening I had to substitute Mdlle. Salla in // Trovfitore, in which Titiens had been originally announced. I received early that day (October 3, 1887) a telegram stating that she was no more. The Irish publicon hearing the sad news at once left the theatre. It cast a gloom over the entire city, as it did through- out the musical world generally. A grand and gifted artist, an estimable woman, had disappeared never to be replaced. After visiting several of the principal towns I re- turned to London and reopened Her Majesty's Theatre, reviving various operas of repute, and pro- ducing for the first time in this country Ruy Bias, which met with considerable success. My season terminated on the 22nd of December. At Christmas time I reopened the theatre with an admirable ballet, composed expressly by Mdme. Katti Lanner, in which none but the children of my National Training School for Dancing took part. I afterwards performed a series of English operas, which were successful, Sir Julius PRODUCTION OF "CARMEN." 197 Benedict conducting 1 . Concurrently with this I con- tinued my regular spring concert tour, which did not terminate until the middle of March. The London season of 1878 opened inauspiciously, the loss of the great prima donna causing a cloud to hang over the theatre. However, Mdme. Nilssou duly arrived, likewise Mdme. Gerster, and each sang so as to enhance her reputation. Prior to the commencement of the season I had heard Bizet's Carmen in Paris, which I con- templated giving; and my decision was at once taken on hearing from Miss Minnie Hauk of the success she was then making in that opera at Brussels. I therefore resolved upon engaging her to appear as "Carmen." In distributing the parts I well recol- lect the difficulties I had to encounter. On sending Campanini the role of " Don Jose" " (in which he afterwards became so celebrated), he returned it to me stating he would do anything to oblige, but could not think of undertaking a part in an opera of that description where he had no romance and no love duet except with the seconda donna. Shortly after- wards Del Puente, the baritone, entered, informing me that the part of " Escainillo," which I had sent him, must have been intended for one of the chorus, and that he begged to decline it. In vain did Sir Michael Costa order the rehearsals. There was always some trouble with the singers on account of the small parts I had given them. Mdlle. 198 THE MAPLE SON MEMOIRS. Valleria suggested that I should entrust the part of " Michaela " either to Bauermeister or to one of the chorus ; as on no account would she undertake it. This went on for some time, and I saw but little prospect of launching my projected opera. At length, by force of persuasion, coupled with threats, I induced the various singers, whether they accepted their parts or not, to attend a general rehearsal, when they all began to take a great fancy to the roles I had given them ; and in due course the opera was announced for the first representation, which took place on the 22nd June. The receipts for the first two or three per- formances were most miserable. It was, in fact, a repetition of what I had experienced on the produc- tion of Faust in 18G3, and I frankly confess that I was forced to resort to the same sort of expedients for securing an enthusiastic reception and thus getting the music into the heads of the British public, know- ing that after a few nights the opera would be sure to please. In this I was not mistaken, and I closed my season with flying colours. CHAPTER XIV. FIRST AMERICAN CAMPAIGN DIFFICULTIES OF EMBARKATION CONCERT ON BOARD DANGEROUS ILLNESS OF GERSTER OPERA ON WHEELS " THE DRESSING-ROOM Row " A LEARNED THROAT DOCTOR GERSTER SINGS BEFORE HER JUDGE THE PIANOFORTE WAR OUR HURRIED DEPARTURE. AT the end of the season I went abroad to com- plete my Company for the first American tour, which was to begin about the middle of October. I started my Opera Company from London on the 31st August on its way to America, number- ing some 140 persons, including Gerster, Minnie Hauk, Trebelli, Valleria, Campanini, Frapolli, Galassi, Del Puente, Foli, etc., with Arditi as conductor. This also comprised a magnificent chorus of some 60 selected voices, together with the whole of the corps de ballet and principal dancers ; and I had decided to give some three or four weeks' performances in Ireland prior to sailing, in order to get things in working order, as well 20C THE MAPLESON MEMOIRS. as to recruit the exchequer for my costly enter- prise. Although immense success attended the appearance of my new singers in the Irish capital, they were not sufficiently known to draw the great houses more famous artists would have done. Etelka Gerster almost drove the gods crazy with her magnificent singing; but as she was totally unknown, never having been in Ireland before, the receipts were not commensurate with her artistic success. Minnie Hauk, again, had never appeared in that country ; nor had the opera of Carmen been heard, its very name seeming to be unknown. However, the artistic success was beyond measure, and the representations, moreover, served as a kind of general rehearsal for my coming performances in America. On reaching Cork I found the receipts were again below what they ought to have been, and I began to realize that in lieu of increasing my exchequer prior to starting for America I ran the chance of totally exhausting it. I therefore telegraphed to my representative in New York for 2,000, in order that I might straighten up my position, and pay the balance of our passage money, the boat being then off Queens- town. I was really anxious on this occasion, and it was not until late in the day that my cable arrived, notifying to me that the money was at my credit in the Bank of Cork. With some difficulty, it being after banking hours, I obtained admittance, when A GENEROUS SUBSCRIPTION. 201 Jo I the money was all payable in Irish notes. These the singers pronounced to be useless for their purpose in America. They absolutely refused to embark, and it was not until towards evening that I was enabled with great difficulty to fa'nd gold at the various hotels and shops in exchange for my Irish notes. At length we departed from Queenstown ; though it was late in the evening before I succeeded in getting the last squad on board. Some of the Italian choristers had been assured by Irish humorists that the streets of New York were infested by crocodiles and wild Indians ; and these they were most unwilling to encounter. We had a splendid passage across. The day before our arrival in New York it was suggested to give a grand concert in aid of the sufferers by the yellow fever then raging in New Orleans. I recollect on the occasion of the concert the collection made amongst the passengers amounted to some 3 or 4. One Western gentleman asked me particularly, in the presence of the purser, if the money would really be devoted to the relief of the sufferers. He, more- over, demanded that Captain Brooks, the officer in command, should guarantee that the money would reach them. The collection was made by those two charming young pianists, Mdlles. Louise and Jeanne Douste, and by the equally charming young dancer, Mdlle. Marie Muller; and at the conclusion of the con- cert, in which he had encored every one of the pieces, 202 THE AIAPLESON MEMOIliS. the careful amateur from the "West gave the sum of sixpence. Gerster, Minnie Hauk, Campanini, and the others were irate, at the result of their united labours ; and as they thought it might injure them on their arrival in New York, were the public to know of it, they privately subscribed 20 apiece all round to make the return look a little decent. On our arrival in New York we were met by thousands of people, accompanied by military bands, etc., and although I had left, as it were, a winter behind me, we landed in the midst of a glorious Indian summer. I set about making my preparations for the open- ing of my season, which was to commence on the 16th October, and to prepare the way for the debut of Madame Etelka Gerster, who since our arrival had scarcely been her usual self. This I attributed to the sea voyage. Two days before the opening I gave a dinner, to which I invited several influential friends including members of the New York Press. As I was just about responding to the toast of the evening, wishing health to Madame Gerster and success to the Opera, the waiter beckoned me to the door, whispering that a gentleman wanted to speak to me for one moment. I went out, when Dr. Jacobi, the New York physician, called me into an adjoining room, where the eminent specialist, Dr. Lincoln, was waiting. They had just visited Madame Gerster, and regretted to inform me that a very bad attack of typhoid fever had developed DANGEROUS ILLNESS OF GEBSTER. 203 itself, and that consequently there would be no probability of her appearing the following Wednes- day, while it was even doubtful in their minds if she would survive. She was in a very bad state. This was indeed a great blow to me ; but I returned to the room, continued my speech, and then went on with my dinner as if nothing had happened. Making it a point never to think of business when I am not in my office, I decided to turn matters over the following morning, which was the day preceding the opening of the house. Being so far away, it would be impossible to replace Mdme. Gerster. I thereupon persuaded Miss Minnie Hauk to undertake her part in La Traviata, which she did with success. Del Puente, our principal baritone, refused, however, to sing the part of the father, in consequence, I presume, of this change. This was a most fortunate thing for the other baritone, Galassi, who replaced Del Puente. It virtually made his fortune. He possessed the ringing quality of voice the Americans are so fond of. He literally brought down the house that evening. I cannot recall a greater success at any time, and henceforth Galassi became one, as it were, of the idols of the American public. I opened my theatre in London the following night with a very powerful Company, Mdme. Pappenheim making her debut as " Fidelio " ; for I was now working concurrently the London and 204 THE MAPLESON MEMOIRS. the New York Operas. This I did for the whole of that season, closing Her Majesty's Theatre on the 21st December, though the American " Academy'* was kept open beyond. Costumes, properties, and even singers, were moved to and fro across the ocean in accordance with my New York and London requirements. Franceso, who was ballet-master on both sides of the Atlantic, made again and again the voyage from New York to Liverpool, and from Liverpool to New York. On one occasion the telegraph played me false. I had wired to my acting-manager at Her Majesty's Theatre, with whom I was in daily tele- graphic communication, desiring him to send me over at once a " 2nd tenor." The message was inaccurately deciphered, and out came " 2 tenors ; " one of whom was kneeling on the quay at New York returning thanks for his safe arrival, when I requested him to re-embark at once, as otherwise he would not be back at Her Majesty's Theatre by Monday week in time to sing the part of " Arturo " in the Lucia, for which he was already announced. I afterwards produced Carmen at the Academy of Music, which met with very great success, as like- wise did Faust, Don Giovanni, etc. It was not till the 8th November that Mdrae. Gerster was declared out of danger, and I was in constant attendance upon her until the 18th November, when she appeared as "Amina" in La Sonnambula. Her success was really electric, the public going quite wild about her. OPERA ON WHEELS. 205 I afterwards produced all the great operas I had been giving in London, including the Magic Flute, Talismano, Robert le Viable, etc., etc., my season con- tinuing without intermission some six months, during which time I visited Boston, where public breakfasts and other entertainments were given to my singers. A special train was fitted up expressly for my large Company, and all the carriages elegantly decorated. I had also placed at my disposal by the Railroad Company a carriage containing writing-room, draw- ing-room, bedrooms, and kitchen stocked with wines and provisions, under the direction of a chef. Whilst at Boston I had the honour of making the acquaintance of Longfellow, who, being anxious to hear Mdme. Gerster, occupied my box one evening, the attention of the audience being very much divided between its occupant and Mdme. Gerster, who on that occasion was singing ** Elvira" in o o I Puritani. He likewise attended the final morning performance, which took place on the last Saturday of our engagement, when Gerster's receipts for "Lucia" reached no less than 1,400. We left that evening for Chicago, a distanca of some 1,100 miles, arriving in that city just in time to comme.ice the opera the following Monday, when Gerster appeared and created an excitement only equalled by that of Jenny Lind. I recollect, by-the-bye, an amusing incident that occurred the second night, on the occasion of the performance of Le Nozze di Figaro. 203 THE MAPLESON MRM01KS. On the right and left-hand sides of the proscenium were two dressing-rooms alike in every respect. Madame Gerster, however, selected the one on the right-hand side, which at once gave the room the appellation of the prima donna's room. On the following evening Le Nozze di Figaro was to be performed, in which Marie Roze was to take the part of " Susanna," and Minnie Hauk that of " Cherubino." In order to secure the prima donna's room Minnie Hauk went to the theatre with her maid as early as three o'clock in the afternoon and placed her dresses in it, also her theatrical trunk. At four o'clock Marie Roze's maid, thinking to be the first in the field, arrived for the purpose of placing Marie Roze's dresses and theatre trunks in the coveted apartment. Finding the Toom already occupied, she mentioned it to Marie's husband, who with a couple of stage men speedily removed the trunks and dresses, put them in the room opposite, and replaced them by Marie's. He then went back to his hotel, desiring Marie to be at the theatre as early as six o'clock. At about 5.30 Minnie Hauk's agent passed by to see if all was in order and found Marie Roze's theatrical box and costumes where Minnie Hauk's were supposed to be. He consequently ordered the removal of Marie Roze's dresses and trunk, replaced those of Minnie II auk, and affixed to the door a padlock which he had brought with him. THE DRESSING-BOOM BOW. 207 Punctually at six o'clock Marie Roze arrived, and found the door locked. By the aid of a locksmith the door was again opened, and Minnie Hauk's things again removed to the opposite room, whilst Marie Roze proceeded to dress herself in the " prima donna's room." At 6.30 Minnie Hauk, wishing to steal a march on her rival, came to dress, and found the room occu- pied. She immediately returned to Palmer House, where she resided, declaring she would not sing that evening. All persuasion was useless. I therefore had to commence the opera minus "Cherubino;" and it was not until the middle of the second act, after considerable persuasion by my lawyers, that Minnie Hauk appeared on the stage. This incident was taken up th'roughout the whole of America, an<;l correspondence about it extended over several weeks. Pictures were published, also diagrams, setting forth fully the position of the trunks and the dressing-rooms. The affair is known to this day as " The great dressing-room disturbance." During all this visit to Chicago there was one unbroken line of intending buyers waiting to secure tickets at the box office ; and frequently I had to pay as much as twenty dollars for wood consumed during the night to keep the purchasers warm. About the middle of the second week I produced Bellini's Puritani, with Gerster as " Elvira,'' Cam- 203 THE MAPLESON MEMOIRS. panini as " Arturo,'* Galassi as " Riccardo," and Foli as "Giorgio." On this occasion the house was so crowded that the outer walls began to crack, and in the managerial room, in which I was working, T could put my hand through one of the corners where the two walls met. T communicated with Carter Harrison, who was then Mayor. He at once pro- ceeded to the theatre, and, without creating any alarm, and under the pretext that the house was too full, caused upwards of a thousand people to leave the building. So pleased were they with the performance that they all refused to have their money returned. We .terminated one of the most successful Chicago o seasons on record, and the Company started the following morning for St. Louis. As I was suffer- ing from a sharp attack of gout I had to be left behind, and but for the kindness of Lord Algernon Lennox (who had acted as my aide-de-camp at one of our Easter sham-fights) and Colonel Vivian I do not know what I should have done. Both these gentlemen remained in the hotel with me, inter- rupting their journey to do me this act of kindness, for which I felt very grateful. On the Company's arriving at St. Louis, Mdme. Gerster declared her inability to sing the opera of Lucia that evening. My son Henry, who had charge of the Company until I could rejoin it, ex- plained to madame that it would be necessary to have a medical certificate to place before the public. Mdme. Gerster replied she was too honourable aii A LEARNED THROAT DOCTOR. 209 artist to require such a thing, and that when she said she was ill, she was ill. My son, however, brought in a doctor, who insisted upon seeing her tongue. She merely, in derision, said, " There 1 " rapidly putting it out as she left the room. The doctor immediately put on his spectacles, and proceeded to write his certificate, saying that there was a little irritation in the epiglottis, that the uvula was con- tracted, together with the muscles of the throat, and that the tonsils were inflamed. On Mdme. Gerster's husband showing the certificate to his wife she got so angry that she insisted upon singing just to show what an " ass " the doctor was. Of course, this answered my purpose very well, and my large receipts were saved. On leaving the hotel at the end of that week the eminent physician presented Mdme. Gerster with a bill of $60 for medical attendance. This, of course, she resisted; and she gave bonds for her appear- ance when called upon, in order to save her trunks from seizure, which the M.D. had threatened. Whilst T am on this subject, I may as well inform the reader that two years afterwards when we visited St. Louis the matter was brought before the Court. Feeling sure that this attempt at extortion would not be allowed, and that the Court proceedings would be of very short duration, I attended at nine o'clock, the hour set down for trial, leaving word that I should be home at about half-past ten to breakfast. It was not until eleven that I was called up to the VOL, I. P 210 THE MAPLESON MEMOIRS. witness-stand. On my mentioning to my counsel that I felt very faint, as I had not yet eaten any- thing, he repeated it to the judge, who at once adjourned the Court in order that I might have my breakfast. He enjoined me not to lose too much time in " mastication," and ordered the reassembly of the Court at half-past eleven. On my return ray evidence was duly given; but when the defendant, jEtelka Gerster, was summoned, the call-boy from the theatre appeared, stating to the judge that as she tad to sing " Lucia " that night, and was not very tt'el], it would jeopardize the whole performance if she left the hotel. His honour, thereupon, considerately ordered the Court to adjourn to Mdme. Gerster's rooms at the Lindell House, where the trial could be resumed. On our arrival there counsel and others amused themselves by looking at various pictures until the prima donna appeared, accompanied by her two clogs, her birds, tc., when the judge entered into conversation with her on musical matters. Later on his honour solicited Mdme. Gerster to kindly sing him a song, especially the " Last Rose of Summer," which he was very partial to, being from the Emerald Isle. At the close of the per- formance he thought it was useless troubling Mdme. Gerster to go further into the case, which was at once decided in her favour. Talking of law, I may mention another lawsuit in which I was concerned. ENTER SHERIFFS. 211 Whilst in Boston in January, 1879, Mdme. Parocli, wlio lived in an hotel close by the theatre, had need of medical attendance, and the theatrical doctor, who had the entree to the house, was naturally selected to see what the matter was. He prescribed a gargle for Mdme. Parodi; and Mdlle. Lido, who had been attending on the patient, having shown the doctor her tongue as he went out, he merely said " You want a little Friedrichshall," and left the room. Nothing more was heard of the matter until January, 1880, when, as I was seated at the break- fast table in the hotel with my wife and family, two Deputy-Sheriffs forced their way unannounced into the room to arrest me for the sum of 30 dollars, which the doctor claimed as his fee. This was the first intimation I had had of any kind, and it was afterwards shown in evidence that the doctor had debited Parodi and Lido in his day-book separately with the amount which he also charged to them collectively. Finding that both ladies had left the city he thought it better to charge the attendance to me. Rather than be arrested, I of course paid the money, but under protest. The next day I commenced proceedings against the doctor, as well as the Sheriff, for the return of my money, which I contended had been handed over under duress, and was not a voluntary payment on my part. The doctor's counsel contended on the other Lund first, that I had derived benefit from 212 THE MAPLE SON MEMOIRS. the treatment he had given these ladies ; secondly, that I was liable. In due course the matter went to trial, and was heard by Judge Parmenter in the Municipal Civil Court at Boston. , It was proved that the doctor was the regular physician to the Boston Theatre, and that in consideration of free entrance he attended without fee members of the Company who played there. The Judge, after commenting on the testimony, decided the matter in my favour. I was, however, baulked of both money and costs ; for the same afternoon the doctor went home and died. On my return to New York for the spring opera season I produced Dinorah, in which iMdme. Gerster again achieved a triumph. The business went on in- creasing. About this time a meeting of the stock- holders of the Academy of Music was convened, and I ultimately signed a new lease for three more years, commencing October 20th following. During my first sojourn in America I gave 164 performances of opera, likewise 47 concerts. Concurrently with this I gave 135 operatic per- formances and 48 concerts in England. The season in New York extended from October 16th to December 28th, 1878, also from February 29th to April 5th, 1879. At Boston the season lasted from December 30th, 1878, to January llth, 1879; at Chicago from January 13th to 25th; at St. Louis from January 27th to February 1st ; at Cincinnati from February 3rd to 8th ; at Piula- DISASTROUS FLOODS. 213 delphia 10th to 18th, at Baltimore and Washington 19th to 25th. During this period Lucia was per- formed twenty times, Sonnambula nineteen times, Carmen twenty-six times, Faust sixteen times, Tro- vatore nine times, Flauto Magico eight times, Part- lani eight times, Nozze di Figaro seven times, Rigoletto five times, Don Giovanni five times, Traviata four times, Lohengrin ten times, Barbfere twice, Ruy Bias twice, Dinorah twice, Talisinano ten times, Robert le Diable twice, Huguenots six times, Freiscliufz three times ; making altogether twenty-four morning performances and one hundred and forty evening performances. About this time the disastrous floods took place at Szegedin, in Hungary. This being Mdme. Gerster's birth-place I proposed a grand benefit concert for the sufferers, in which my prima donna at once joined. By our united efforts we raised about 800, which was remitted by cable to the place of disaster within five days of its occurrence, much (I need scarcely add) to the relief of many of the sufferers. My benefit, which was fixed for the last night of the season, took place on Fridaj^, April 4th. At quite an early hour crowds collected right down Fourteenth Street and Irving Place, and within a very short time every square inch of available room in the house was occupied. The enthusiasm of the auditors was immeasurable, and they began 10 show it as soon as the performance opened. The repre- sentation consisted of the third act of the Talisman, with Mdme. Gerster as "Edith Plantaganet," and 214 THE MAPLESON MEMOIRS. Campanini as " Sir Kenneth ; " followed by the fourth act of Favorita t in which Mdme. Marie Roze undertook the rdle of " Leonora ; " and concluding with an act of La Traiiata, with Mdme. Gerster as " Violetta." Mdme. Gerster's performance was listened to with the deepest attention, and rewarded at the end with enthusiastic? cheers. Mdme. Gerster afterwards came out three times, but her courtesies were of no avail in quieting the multitude. It was necessary, at the demand of the public, to raise the curtain and repeat the entire act. Then nothing would satisfy the audience but my appearance on the stage ; when I thanked the ladies and gentlemen present for their support, notifying, moreover, that, encouraged by my success, I should return to them the next autumn. This little speech was vehemently applauded, especially the references I made to the singers and to the conductor, who, I promised, would come back with me. During our etay in New York we were supplied with pianos both for the artists individually as well as for use at the theatre by Messrs. Steinway and Sons ; and before we left the following flattering but just letter of compliment and of thanks was addressed to the firm : " Academy of Music, New York, " December 28, 1878. "GENTLEMEN, " Having used your pianos in public and private during the present Opera season we desire to express our unqualified admiration of their THE PIANOFORTE WAR. 215 sonority, evenness, richness, and astonishing dura- tion of tone, most beautifully blending with and supporting the voice. These matchless qualities, together with the precision of action, in our opinion, render the Stein way pianos, above all others, the most desirable instruments for the public generally. "(Signed) ETELKA. GERSTEB, MARIB ROZE, MINNIE HACK, C. SINICO, CASI- PAN1NI, FttAPOLLI, GALASSI, FoLI, DEL PCENTE, Am m." Messrs. Steinway now offered and undertook to supply each leading member of the Company with pianos in whatever town we might visit throughout the United States. On our arrival in Philadelphia I was surprised to find that every artist in the Company had had a magnificent Steiuway placed in his or her bedroom; this in addition to the pianos required at the theatre. But while the Company were dining, a rival piano- forte maker, who had shown himself keenly desirous of the honour of supplying us with instruments, invaded the different bedrooms and placed the Stein- way pianos outside the doors, substituting for them pianos made by his own firm that of Weber and Co. The Webers, however, were ultimately put outside and the Steinways replaced. Shortly afterwards a pitched battle took place in the corridors between the men employed by the 216 THE MAPLESON MEMOIRS. rival firms, when the Weber men, being a more sturdy lot, entirely defeated the Steinway men and ejected them bodily from the hotel. The weapons used on this occasion were piano legs, unscrewed from the bodies of the instruments. Not only did physical force triumph, but the superior strength exhibited by the Weber side was afterwards supplemented by cunning. That very night Weber gave a grand supper to the whole of my Company, and I was at once astonished and amused the next day to find that a new certificate had been signed by them all stating that Weber's pianos were the bost they had ever known. A paper to that effect had been passed round after sundry bottles of " Extra Dry,*' and signatures appended as a matter of course. Such was the impartiality of my singers that they afterwards signed on behalf of yet a third pianoforte maker, named Haines. In accordance with numerous solicitations, I agreed to give a Farewell matinee the next day. But the steamer had to sail for Europe at two o'clock in the afternoon ; and this rendered it necessary that my morning performance should commence at half-past eleven, the box-office opening at eight. In the course of a couple of hours every seat was sold. Towards the close of the performance, Arditi, the conductor, got very anxious, and kept looking up at ray box. It was now half-past one, Madame Gerster's rondo finale in La Sonnambula had absolutely to be OUR HURRIED DEPARTURE, 217 repeated, or there would have been a riot ; and we were some three miles distant from the steamer which was to convey us all to Europe. At length, to my relief, the curtain fell ; but the noise increased, and I had again to show myself, while Arditi and the principal singers and chorus took their departure, Signer Foli, with his long strides, arriving first. I afterwards hastened down in a carriage I had expressly retained. As the chorus had scarcely time to change their dresses, many of them rushed down as best they could in their theatrical attire, followed by a good portion of the audience, who were anxious to get a last glimpse of us all. Arriving on board the Tnman steamer City of Chester, I found it crowded with personal friends, many of whom had been there at least an hour. Hearty embraces were exchanged by the men as well as the women, and numerous bottles of champagne were emptied to fill the parting cups. The cabins of the steamer were literally piled up with flowers. Trunks and boxes containing the wardrobe of the morning performance were lugged on board. " All ashore 1 " shouted the captain. Prior to my arrival, the bell had rung for the seventh and positively last time. The steamer's officers now urged all but passengers to get on shore, and hinted at the probability of some of them being inadvertently carried over to Europe. The 218 THE MAPLESON MEMOIRS. women hurried back to escape that dreadful fate. Ole Bull, whom I had invited to go to Europe with me, darted across the gang-plank carry- ing his fiddle in a box. The whistle then blew, and the bell rang for the eighth and now absolutely last time. At length the steamer took her departure. A band of music on the wharf had been playing lively airs, to which my chorus responded by singing the grand prayer from / Lornbardi. To my dismay, I discovered that the priraa donna had been left behind ; also the property-master, the ladies' costumier, one of the ballet, and five of the chorus. The latter had nothing with them but the theatrical costumes they carried on their bodies. They had previously sent all their worldly belongings on board the ship, and we now saw them gesticulating wildly on the quay as we passed down the bay. They were treated very kindly after our departure ; ordinary day clothes were provided for them, and they were sent over by the next steamer. On entering my cabin I found a silver e*pergne, a diamond collar-stud, any quantity of literature, several boxes of cigars, bottles of brandy, etc., which had been left anonymously; also an immense basket of fruit. There were, moreover, two large set-pieces of flowers in the form of horse- shoes that had been sent me from Boston, likewise a basket of GOOD-BYE. 219 rose-buds, lilies, and violets, and an embroidered table-cover. A few minutes later, a tug carrying a large American flag at the side of an English one steamed up to the pier and took on board a number of ladies and gentlemen who, accompanied by an orchestra, followed the steamer down the bay, giving the Company a farewell ovation of cheering as the vessel passed the Narrows and crot out to sea. XV. RECEPTION o A TENOR BEI.OCCA AND LADY SPENCER MARIMON'S SUPERSTITIONS HER LOVESICK MAID Aw ENCOURAGING TELEGRAM MARIMON is TIIE CATHEDRAL DISAPPEARANCE OP A TENOR. FOR ray London season of 1879, in addition to Gerster, who was already a prime favourite, Marie van Zandt, Clara Louise Kellogg, Minnie Hauk, Ambrd, Marie Roze, Caroline Salla, Helene Cros- raond, Trobelli, Nilsson, etc., I engaged Fancelli, Brignoli, Frapolli, and Campanini. I moreover concluded an engagement with Signor Masini, the renowned tenor, who shortly afterwards arrived in London. I was informed the following morning by his agent that he felt very much hurt that I myself, Sir Michael Costa, and some of the leading artists of the theatre had not met him at the station ; the agent kindly adding that " If I would come round to his hotel with Costa he might put the thing straight/* I told him we were too busy to do anything of RECEPTION OF A TENOR. 221 the kind, but that I should expect Signer Masini to call on me, when I would present him to Sir Michael Costa. We were within two days of his announced ap- pearance, and I had not yet seen him. That after- noon the agent, who was very anxious to keep things plecisant, rushed in to tell me that Masini was passing along the colonnade outside the theatre smoking a cigar, and that if I went out quiokly with Costa we might meet him, and so put an end to all difficulties. I told him I was too busy, and that he had better bring Masini into my office. The signor at length appeared, and in very few words asked me in what opera he was to make his debut. I told him he had already been announced to appear as "Faust," in accordance with his engagement; to which he replied that he should like to know who the other singers were to be. I told him that Christine Nilsson would be " Margherita," Trebelli " Siebel," and Faure " Mephistopheles," and that I trusted this distribution of parts would suit him. He was good enough to say that he would have no objection to sing with the artists I had named. He then left. A few minutes afterwards Sir Michael Costa entered the room, and I told him what had happened. He ordered a rehearsal for the following morning at twelve o'clock for all the artists. Nilsson, Faure, and Trebelli were punctually at the theatre, but not Masini ; and just as the rehearsal was being dis- 222 THE MAPLESON MEMOIRS. missed in consequence of the tenor's non-attend- ance his agent appeared with the suggestion that a rehearsal was not necessary. If Sir Michael Costa would step round to the hotel Masini, said the envoy, would show him the tempi he wished tc be observed in his performance of the part of "Faust." Sir Michael Costa left the room, and never afterwards made the least reference to this audacious proposition. On going round to Masini's hotel the next morn- ing to see how he was getting on for he was to perform that evening I was informed that the previous night he had taken flight, and that he was now on his way back to Italy. I afterwards heard that an influential friend of Masini's at the Italian Embassy had frightened him by saying that Sir Michael Costa was a man of con- siderable importance, who was not to be trifled with, and who would probably resent such liberties as Masini had attempted to take with him. Masini's flight put me to considerable incon- venience. I followed him up on the Continent, harassing him in every city where he attempted to play ; though I ultimately let him off on his paying my costs, which came to some 200. The fact of Signor Masini's asking Sir Michael Costa to come round to his hotel in order to hear the tempi at which the arrogant tenor liked his airs to be accompanied, must have taken my readers by surprise. But in Italy, I regret to say, the practice TEACHING COSTA TO BEAT TIME. 223 is only too common for singers to treat conductors as though they were not their directors, but their subordinates. A popular tenor or prima donna receives a much larger salary than an ordinary con- ductor or for that matter a first-rate one; and a favourite vocalist at the end of the season often makes a present to the maestro to reward him for not having objected to some effective note or cadenza which is out of place, but which the "artist " is in the habit of introducing with a view to some special effect. In his own country it would have been nothing extraordinary for a tenor so eminent as Signor Masini to ask the conductor to step in and learn from him. how the different tempi should be taken. On one occasion a renowned priraa donna about to make her first appearance in England took the liberty of enclosing to Sir Michael Costa with her compliments a hundred-pound note. The meaning of this was that she wished to be on good terms with the conductor in order that he might not cut her short in any little embellishments, any slackening or hastening of the time, in which she might think fit to indulge. On receiving the note Sir Michael Costa requested the manager to return it to the singer, and at the same time declared that he or the offending vocalist must leave the Company. Needless to say that it was not the conductor who left. Another remark as to Signor Masini's having ex- 224 THE MAPLESON MEMOIRS. pected that Sir Michael Costa, myself, and all the leading members of the Company would meet him at the railway station on his arrival in London. This sort of thing is not uncommon with artists of rank, and when Mdme. Patti comes to London a regular " call " is sent to the various members of the Company directing them, as a matter of duty, to be at the station at such an hour. A good many artists, on the other hand, have a strong preference for not being met at the station. They travel third-class and in costumes by no means fair to see. Costa would have been horrified at the way in which operatic enterprises are now too frequently conducted especially, I mean, in a musical point of view ; works hurriedly produced, and in some cases without a single complete rehearsal. Often, no doubt, the prirna donna (if sufficiently dis- tinguished to be allowed to give herself airs) is in fault for the insufficient rehearsals or for rehearsals being altogether dispensed with. When such singers as Mdme. Patti and Mdme. Nilsson stipulate that " the utility of rehearsing " shall be left to their judgment which means that they shall never be called to any sort of rehearsal all idea of a perfect ensemble must, in their case, be abandoned. Sir Michael would, I am sure, have protested against the acceptance of such conditions. Nothing would satisfy him but to go on rehearsing a work until everything, and especially until the ensemble pieces, were perfect. Then he would have one final re- COSTA'S DISCIPLINE. 225 hcarsal in order to assure himself that this perfec- tion was maintained ; and the opera could be played the night afterwards. Costa was born with the spirit of discipline strong within him. As a singer he would never have made his mark. In his original occupation, that of second tenor, his remarkable qualities were lost. As a conductor, on the other hand, his love of order, punctuality, regularity in everything, stood him in excellent part. At many operatic theatres the performance begins some five or ten minutes after the time announced ; at no theatre where Sir Michael Costa conducted did it ever begin a minute late. The model orchestral chief arrived with a chronometer in each of his waistcoat pockets ; and when, after consulting his timepieces, he saw that the moment for beginning had arrived, he raised his baton, and the performance began. He did not even take the trouble to see that the musicians were all in their places. He knew that, with the discipline he maintained, they must be there. Among other difficulties which an operatic manager has often to deal with is one arising from questions of precedence between the singers. Who is to have the best dressing-room at the theatre ? Who the best suite of apartments at the hotel? Naturally the prima donna. But suppose there is more than one prima donna in the Com- pany, or that the contralto claims to be an artist of greater eminence than the principal soprano ? VOL. I. Q 226 THE MAPLESON MEMOIRS. I remember once arriving at Dublin with a Com- pany which included among its members Mdlle. Salla, who played leading soprano parts, and Mdlle. Anna de Belocca, a Russian lady, who played and sang with distinction the most important parts written for the contralto voice. Mdlle. Belocca and Mdlle. Salla entered at the same time the best suite of apartments in the hotel ; upon which each of them exclaimed : " These rooms will do for me." "For you?" said Mdlle. Salla. "The prima donna has, surely, the right of choice, and I have said that I wish to have them." "Priraa donna!" exclaimed Belocca, with a laugh. " There are but two prime donne : moi et Patti." " You will not have these rooms all the same," continued the soprano. " We will see about that," returned the contralto. I was in despair, for it was now a matter of personal dignity. Neither lady would give way to the other. Leaving them for a time together I went downstairs to the hotel-keeper, Mr. Maple, and said to him " Have you not another suite of rooms as good, or nearly so, as the one for which these ladies are disputing ? '' " I have a very good suite of rooms on the second floor," said Maple ; " quite as good, I think, as those on the first floor." These rooms had already been pointed out to Mdlle. de Belocca through the MOl ET PATTI. 227 window. But nothing, she said, would induce her to go upstairs, were it only a step. " Come with me, then," I said to Maple. " Mind you don't contradict me; and to begin with, it must be understood that these rooms on the second floor have been specially retained by Lady Spencer " Lord Spencer was at that time Viceroy of Ireland " and cannot on any account, or under any circumstances, be assigned even for a brief time to anyone else." Maple seized my idea, and followed me upstairs. " What is the meaning of this ? " I said to him, when we were together, in the presence of the two excited vocalists. " Are these the only rooms you have to offer us ? They will do for one of these ladies ; but whichever accepts them the other must be provided with a set of apartments at least as good." " I simply have not got them," replied Maple. " There is a charming set of apartments on the floor above, but they are specially retained for the Countess Spencer, and it would be more than my business is worth to let anyone else take possession of them." At these words Belocca opened her beautiful eyes, and seemed to be struck with an idea'. " At least we could see them ? " I suggested. "You could see them," returned Maple, "but that is all." " Let us go and have a look at them," I said. '228 THE MAPLESON MEMOIRS. Maple and myself walked upstairs. Belocca silently followed us. We pretended not to see her, but as soon as the door of the apartments reserved for the Countess Spencer was thrown open the passionate young Muscovite rushed into them, shut the door, and locked it, declaring that Lady Spencer must be provided for elsewhere. On the conclusion of my London season of 1879 I immediately started for the Continent in search of talent for my next New York and London seasons, which both commenced on the 18th October. On the issue of my New York prospectus, every box, together with three-fourths of the parquet, likewise the first two rows of balcony, were sold out for the season ; so good an impression had my per- formances left the previous spring. I must here mention a circumstance which greatly inconvenienced me. On the day of sailing from Liverpool I received notice that Mdme. Gerster was in a delicate condition, which was confirmed after- wards by a cable which reached me on my arrival in New York. I replied, entreating the lady to x oome over, if only for a couple of months, when she could afterwards return. All my proposals failed, though it was not until I received five doctors' certificates from Italy sealed by the Prefetto and vise*d by the Consuls that t gave up begging her to appear. I was really at my wits* ends, for there was no possibility of replacing the favourite artist. I, MUSICAL PROTECTIVE UNION. 229 however, engaged Mdlle. Valleria, also Mdlle. Ambre*, a Moorish prima donna of some ability and pos- sessing great personal charms. Despite all I could do, the Press and the public became excited about the absence of Gerster; and either she or Lucca or Nilsson, or someone of equal calibre, was urgently wanted. It was too late for either of these distinguished ladies to entertain my proposals. I, therefore, addressed Mdlle. Marimon, who was then in Paris. About this time the members of my orchestra, who all belonged to the Musical Union, struck for a ten per cent, increase of pay in consequence of the success I had met with the previous year. I flatly refused to comply with their demand, whereupon the main body of the players informed me that they would not enter the orchestra on my opening night, unless their terms were conceded. I explained that the previous year I had paid them no less than 50,000 dollars, being more than double the price of my London orchestra, but it was all to no avail. How- ever, I induced them to play at my opening per- formance, leaving the matter to be decided at a conference to be held in the course of a few days. To return to Mdlle. Marimon; time being of importance, all our correspondence had to be carried on by cable, .1 having to pay the answers. As at the time I speak of the price was some fifty cents or two shillings a word, and as the correspondence went on for over a fortnight, I found at last that I had spent 230 THE MAPLESON MEMOIJIS. over ir>0 in cables alone. The lady insisting that the money should be deposited beforehand at Roths- child's, in Paris, this, too, had to be transmitted by cable. At length a day was fixed for her departure, and I awaited with impatience her arrival. Some four days later I received a cable from my agent, Jarrett, who had gone over at my request to Paris, informing me that Marimon had not started and that a new element of trouble had arisen. Mdlle. Marimon having lost her mother some time before in the foundering of the Pacific steam- ship was nervous about going to sea, and would not start unless accompanied by her maid. The maid, however, objected to go with her mistress to America on a visit which might last some months. She was attached at the time to an actor at the Gymnase, and preferred remaining in Paris. She knew her mistress to be very superstitious, and, in order to avoid starting, resolved to play on her weak point. Pretending, therefore, to be ignorant of Marimon's intentions, she imparted to that lady the secret of a terrible dream with which she had been visited three nights in succession, to the effect that she and her mistress had embarked in a big ship for a long voyage, and that upon the third day at sea the vessel had collided with another and both had gone to the bottom. This fable had the desired effect. "With blanched cheeks the frightened Marimon, who was still in Paris, informed AN ENCOURAGING TELEGRAM. 281 Jarrett that it was impossible for her to go, and that she wished to have her engagement cancelled. To this I refused to accede, the engagement being com- plete and the money having been paid. Volumes of cable messages were now again com- menced. Here is a copy of one of rny replies : " Tranquil sea. Charming public. Elegant city. Luxurious living. For Heaven's sake corne, and duplicate youc Drury Lane triumphs. MAPLESON." At length tact and diplomacy overcame her terrors, and she started in the City of Richmond the following day. I was expecting her with the greatest anxiety, for several days had now passed beyond the ordinary time, when on the morning of November 24th I read in the morning papers the following telegram from Halifax: " The steamer Circassia of the Anchor Line, with the American mail, came into port this morning, having picked up the disabled ship the City of Richmond , encountering heavy weather, with a broken shaft, off Sable Island, 180 miles from Halifax, the second officer having been washed over- board and lost. Amongst the saloon passengers were Mdlle. Marimon and her maid." I thereupon despatched messengers to Halifax, and in due course Mdlle. Marimon reached New York. On her arrival she immediately insisted on going to the Catholic Cathedral, in Fiftieth Street, to offer 232 THE MAPLESON MEMOIRS. np thanks and a candle for her narrow escape. Despite all my entreaty to cease praying', in con- sequence of the extreme cold in the vast Cathedral it was now near the close of November madame remained prostrate for another half-hour, during which titne my rehearsal was waiting. I had hoped to get her to attend by inviting her to have a look at the interior of the theatre where she was to per- form. The result, meanwhile, of her devotions was that she caught a violent cold and was obliged to lie in bed for a week afterwards. I was next much troubled by a renewed outbreak in the orchestra, the occasion being the first per- formance of Linda dt Chamouni, when to my astonish- ment 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 con- quered 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 DISAPPEARANCE OF A TEKOB. 233 (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 ho 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 per- formance, 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 Decem- ber, that she made her debut in La Sonnambu/a, when she was supported by Campanini as '* Elvino," Del Puente as " Conte Rodolfo," and Mdine. 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. 234 THE MAPLESOV AI EM 01 US. 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 Flaulo Magico, which terminated the New York season. We afterwards left for Boston, where on the open- ing 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 Phila- delphia, 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. Marimou, 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 SHADOW SONGS. 235 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. Ho made it a condition, however, that in case of success I should re-engage him for the approaching London season. To this I readily con- sented, 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 per- formed 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, Signer Campanini, who was then present in one of the boxes, had kindly con- sented, together with Miss Gary, to give the con- cluding acts of II Trovatore. This at once restored the depressed spirits of the audience. Miss Gary surprised everyone by the dramatic force of her " Azucena." Galassi was equally effec- tive in the role of the " Count di Luna." But Gam- panini, in Di qiiella pira, met with more than a 236 TEE MAPLESON MEMOIRS. 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. Marirnon, 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 bust under the circumstances. CHAPTER XVI. OIB MICHAEL AND HIS CHEQUE Six MINUTES' BANK- RUPTCY SUCCESS OP " LOHENGRIN " PRODUCTION OP "MEFISTOFELE" RETURN TO NEW YORK "LOHEN- GRIN" UNDER DIFFICULTIES ELSA'S TAILS CIN- CINNATI OPERA FESTIVAL. I BEGAN ray 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 Sonnambu/a, Carmen, Ais C rule, with a fine performance of Rossini's Stabat Mater, Valleria, Gary, Campanini, Galassi, and Novara singing the music very effectively. The houses were invariably crowded to the roof. About this time, I settled a grand opera festival for Cincinnati the ensuing spring, in conjunction with the College of Music, and for that purpose organized a chorus of some 400 extra voices, and an orchestra of some 1 50 musicians ; after which I left for Chicago to confer with Colonel George Nichols as to the arrangements. We afterwards visited Boston, where our per- formances met with the greatest possible success, each week's receipts averaging no less than 35,000 dollars, the reappearance of Mdme. Etelka Gerster creating immense excitement. At the matinee given on January 1st, at which she ap- peared, upwards of 100 ladies' odd india-rubber overshoes were picked up on the family circle stair- 248 THE MAPLE SON MEMOIRS. case lost in the rush after the opening of the doors, there being a heavy snowstorm raging at the time. The receipts were over 1,200 notwithstanding. AidLCHI GENERAL INDISPOSITION ENNOBLES PATTI RAVELLI CONSULTS HIS DOG THE COMPANY VACCINATED PATTI EATEN BY MICE ARRIVAL OF ALBANI CINCINNATI OPERA FESTIVAL o '83 FREEDOM OF THE CITY. I x'h a band of music, accompanied by hearty cbeers until we were out of sight. ->? vor . University of California SOUTHERN REGIONAL LIBRARY FACILITY Return this material to the library from which it was borrowed. w MUSIC 429 LIBRARY v. 1 I-.'a pie so The Maple son MUSIC* LIBRARY A 000159893 siv .LIFOK:- AU