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CHAPTERS OF OPERA
Being
Historical and Critical Observations
And Records Concerning the Lyric
Drama in New York from Its
Earliest Days Down to
The Present Time
by
HENRY EDWARD KREHBIEL
Musical Editor of "The New York Tribune";
Author of "How To Listen To Music,"
"Studies In The Wagnerian Drama,"
"Music And Manners In The Classical Period,"
"The Philharmonic Society Of New York," etc., etc.
To MARIE—WIFE
and
DAUGHTER HELEN
Who have shared with the Author many of the
Experiences described in this book.
"Joy shared is Joy doubled."
—GOETHE.
PREFACE
The making of this book was prompted by the fact that with the season 1907-08 the Metropolitan Opera House in New York completed an existence of twenty-five years. Through all this period at public representations I have occupied stall D-15 on the ground floor as reviewer of musical affairs for The New York Tribune newspaper. I have, therefore, been a witness of the vicissitudes through which the institution has passed in a quarter-century, and a chronicler of all significant musical things which were done within its walls. I have seen the failure of the artistic policy to promote which the magnificent theater was built; the revolution accomplished by the stockholders under the leadership of Leopold Damrosch; the progress of a German régime, which did much to develop tastes and create ideals which, till its coming, were little-known quantities in American art and life; the overthrow of that régime in obedience to the command of fashion; the subsequent dawn and development of the liberal and comprehensive policy which marked the climax of the career of Maurice Grau as an operatic director, I have witnessed since then, many of the fruits of wise endeavor and astute management frittered away by managerial incapacity and greed, and fad and fashion come to rule again, where for a brief, but eventful period, serious artistic interest and endeavor had been dominant.
The institution will enter upon a new régime with the season 1908-09. The time, therefore, seemed fitting for a review of the twenty-five years that are past. The incidents of this period are fixed; they may be variously viewed, but they cannot be changed. They belong to history, and to a presentation of that history I have devoted most of the pages which follow. I have been actuated in my work by deep seriousness of purpose, and have tried to avoid everything which could not make for intellectual profit, or, at least, amiable and illuminative entertainment.
The chapters which precede the more or less detailed history of the Metropolitan Opera House (I-VII) were written for the sake of the light which they shed on existing institutions and conditions, and to illustrate the development of existing taste, appreciation, and interest touching the lyrical drama. To the same end much consideration has been paid to significant doings outside the Metropolitan Opera House since it has been the chief domicile of grand opera in New York. Especial attention has been given for obvious reasons to the two seasons of opera at Mr. Hammerstein's Manhattan Opera House.
H. E. KREHBIEL.
Blue Hill, Maine, the Summer of 1908.
AUTHOR'S NOTE TO THIRD EDITION
For the purposes of a new and popular edition of this book, the publishers asked the author to continue his historical narrative, his record of performances, and his critical survey of the operas produced at the two chief operatic institutions of New York, from the beginning of the season 1908-1909 down to the close of the season 1910-1911. This invitation the author felt compelled to decline for several reasons, one of which (quite sufficient in itself), was that he had already undertaken a work of great magnitude which would occupy all his working hours during the period between the close of the last season and the publication of this edition.
Thereupon the publishers, who seemed to place a high valuation on the historical element in the book, suggested that the record of performances at least be brought up to date even if the criticism of new operas and the discussion of the other incidents of the season—such as the dissensions between the directors of the Metropolitan Opera House, the rivalry between them and the director of the Manhattan, the quarrels with artists, the successes achieved by some operas and the failure suffered by others—be postponed for the present at least for want of time on the part of the author to carry on the work on the scale of the original edition.
It was finally agreed that the author should supply the record for the period intervening between the appearance of the first edition of "Chapters of Opera" and the present publication by revised excerpts from the annual summaries of the activities of the seasons in question published by him in the New York Tribune, of which newspaper he has had the honor of being the musical critic for thirty years past. For the privilege of using this material the author is deeply beholden to the Tribune Association and the editor, Hart Lyman, Esq. The record may be found in the Appendices after the last chapter.
H. E. KREHBIEL.
Blue Hill, Maine, Summer of 1911.
CONTENTS
CHAPTER I
INTRODUCTION OF OPERA IN NEW YORK
The Introduction of Italian Opera in New York
English Ballad Operas and Adaptations from French and Italian Works
Hallam's Comedians and "The Beggar's Opera"
The John Street Theater and Its Early Successors
Italian Opera's First Home
Manuel Garcia
The New Park Theater and Some of Its Rivals
Malibran and English Opera
The Bowery Theater, Richmond Hill, Niblo's and Castle Gardens
CHAPTER II
EARLY THEATERS, MANAGERS, AND SINGERS
Of the Building of Opera Houses
A Study of Influences
The First Italian Opera House in New York
Early Impresarios and Singers
Da Ponte, Montressor, Rivafinoli
Signorina Pedrotti and Fornasari
Why Do Men Become Opera-Managers?
Addison and Italian Opera
The Vernacular Triumphant
CHAPTER III
THE FIRST ITALIAN COMPANY
Manuel del Popolo Vicente Garcia
"Il Barbiere di Siviglia"
Signorina Maria Garcia's Unfortunate Marriage
Lorenzo da Ponte
His Hebraic Origin and Checkered Career
"Don Giovanni"
An Appeal in Behalf of Italian Opera
CHAPTER IV
HOUSES BUILT FOR OPERA
More Opera Houses
Palmo's and the Astor Place
Signora Borghese and the Distressful Vocal Wabble
Antognini and Cinti-Damoreau
An Orchestral Strike
Advent of the Patti Family
Don Francesco Marty y Torrens and His Havanese Company
Opera Gowns Fifty Years Ago
Edward and William Henry Fry
Horace Greeley and His Musical Critic
James H. Hackett and William Niblo
Tragic Consequences of Canine Interference
Goethe and a Poodle
A Dog-Show and the Astor Place Opera House
CHAPTER V
MARETZEK, HIS RIVALS AND SINGERS
Max Maretzek
His Managerial Career
Some Anecdotes
"Crotchets and Quavers"
His Rivals and Some of His Singers
Bernard Ullmann
Marty Again
Bottesini and Arditi
Steffanone
Bosio
Tedesco
Salvi
Bettini
Badiali
Marini
CHAPTER VI
THE NEW YORK ACADEMY OF MUSIC
Operatic Warfare Half a Century Ago
The Academy of Music and Its Misfortunes
A Critic's Opera and His Ideals
A Roster of American Singers
Grisi and Mario
Annie Louise Cary
Ole Bull as Manager
Piccolomini and Réclame
Adelina Patti's Début and an Anniversary Dinner Twenty-five
Years Later
A Kiss for Maretzek
CHAPTER VII
MAPLESON AND OTHER IMPRESARIOS
Colonel James H. Mapleson
A Diplomatic Manager
His Persuasiveness
How He Borrowed Money from an Irate Creditor
Maurice Strakosch
Musical Managers
Pollini
Sofia Scalchi and Annie Louise Cary Again
Campanini and His Beautiful Attack
Brignoli
His Appetite and Superstition
CHAPTER VIII
THE METROPOLITAN OPERA HOUSE
The Academy's Successful Rival
Why It Was Built
The Demands of Fashion
Description of the Theater
War between the Metropolitan and the Academy of Music
Mapleson and Abbey
The Rival Forces
Patti and Nilsson
Gerster and Sembrich
A Costly Victory
CHAPTER IX
FIRST SEASON AT THE METROPOLITAN
The First Season at the Metropolitan Opera House
Mr. Abbey's Singers
Gounod's "Faust" and Christine Nilsson
Marcella Sembrich and Her Versatility
Sofia Scalchi
Signor Kaschmann
Signor Stagno
Ambroise Thomas's "Mignon"
Madame Fursch-Madi
Ponchielli's "La Gioconda"
CHAPTER X
OPERATIC REVOLUTIONS
The Season 1883-1884 at the Academy of Music
Lillian Nordica's American Début
German Opera Introduced at the Metropolitan Opera House
Parlous State of Italian Opera in London and on the Continent
Dr. Leopold Damrosch and His Enterprise
The German Singers
Amalia Materna
Marianne Brandt
Marie Schroeder-Hanfstängl
Anton Schott, the Military Tenor
Von Bülow's Characterization: "A Tenor is a Disease"
CHAPTER XI
GERMAN OPERA AT THE METROPOLITAN
First German Season
Death Struggles of Italian Opera at the Academy
Adelina Patti and Her Art
Features of the German Performances
"Tannhäuser"
Marianne Brandt in Beethoven's Opera
"Der Freischütz"
"Masaniello"
Materna in "Die Walküre"
Death of Dr. Damrosch
CHAPTER XII
END OF ITALIAN OPERA AT THE ACADEMY
The Season 1885-1886
End of the Mapleson Régime at the Academy of Music
Alma Fohström
The American Opera Company
German Opera in the Bowery
A Tenor Who Wanted to be Manager of the Metropolitan Opera House
The Coming of Anton Seidl
His Early Career
Lilli Lehmann
A Broken Contract
Unselfish Devotion to Artistic Ideals
Max Alvary
Emil Fischer
CHAPTER XIII
WAGNER HOLDS THE METROPOLITAN
Second and Third German Seasons
The Period 1885-1888
More about Lilli Lehmann
Goldmark's "Queen of Sheba"
First Performance of Wagner's "Meistersinger"
Patti in Concert and Opera
A Flash in the Pan at the Academy of Music
The Transformed American Opera Company
Production of Rubinstein's "Nero"
An Imperial Operatic Figure
First American Performance of "Tristan und Isolde"
Albert Niemann and His Characteristics
His Impersonation of Siegmund
Anecdotes
A Triumph for "Fidelio"
CHAPTER XIV
WAGNERIAN HIGH TIDE
Wagnerian High Tide at the Metropolitan Opera House
1887-1890
Italian Low Water Elsewhere
Rising of the Opposition
Wagner's "Siegfried"
Its Unconventionality
"Götterdämmerung"
"Der Trompeter von Säkkingen"
"Euryanthe"
"Ferdinand Cortez"
"Der Barbier von Bagdad"
Italo Campanini and Verdi's "Otello"
Patti and Italian Opera at the Metropolitan Opera House
CHAPTER XV
END OF THE GERMAN PERIOD
End of the German Period
1890-1891
Some Extraordinary Novelties
Franchetti's "Asrael"
"Der Vasall von Szigeth"
A Royal Composer, His Opera and His Distribution of Decorations
"Diana von Solange"
Financial Salvation through Wagner
Italian Opera Redivivus
Ill-mannered Box-holders
Wagnerian Statistics
CHAPTER XVI
ITALIAN OPERA AGAIN AT THE METROPOLITAN
The Season 1891-1892
Losses of the Stockholders of the Metropolitan Opera House Company
Return to Italian Opera
Mr. Abbey's Expectations
Sickness of Lilli Lehmann
The De Reszke Brothers and Lassalle
Emma Eames
Début of Marie Van Zandt
"Cavalleria Rusticana"
Fire Damages the Opera House
Reorganization of the Owning Company
CHAPTER XVII
THE ADVENT OF MELBA AND CALVÉ
An Interregnum
Changes in the Management
Rise and Fall of Abbey, Schoeffel, and Grau
Death of Henry E. Abbey
His Career
Season 1893-1894
Nellie Melba
Emma Calvé
Bourbonism of the Parisians
Massenet's "Werther"
1894-1895
A Breakdown on the Stage
"Elaine"
Sybil Sanderson and "Manon"
Shakespearian Operas
Verdi's "Falstaff"
CHAPTER XVIII
UPRISING IN FAVOR OF GERMAN OPERA
The Public Clamor for German Opera
Oscar Hammerstein and His First Manhattan Opera House
Rivalry between Anton Seidl and Walter Damrosch
The Latter's Career as Manager
Wagner Triumphant
German Opera Restored at the Metropolitan
"The Scarlet Letter"
"Mataswintha"
"Hänsel und Gretel" in English
Jean de Reszke and His Influence
Mapleson for the Last Time
"Andrea Chenier"
Madame Melba's Disastrous Essay with Wagner
"Le Cid"
Metropolitan Performances 1893-1897
CHAPTER XIX
BEGINNING OF THE GRAU PERIOD
Beginning of the Grau Period
Death of Maurice Grau
His Managerial Career
An Interregnum at the Metropolitan Opera House Filled by
Damrosch and Ellis
Death of Anton Seidl
His Funeral
Characteristic Traits
"La Bohème"
1898-1899
"Ero e Leandro" and Its Composer
CHAPTER XX
NEW SINGERS AND OPERAS
Closing Years of Mr. Grau's Régime
Traits in the Manager's Character
Débuts of Alvarez, Scotti, Louise Homer, Lucienne Bréval and
Other Singers
Ternina and "Tosca"
Reyer's "Salammbô"
Gala Performance for a Prussian Prince
"Messaline"
Paderewski's "Manru"
"Der Wald"
Performances in the Grau Period
CHAPTER XXI
HEINRICH CONRIED AND "PARSIFAL"
Beginning of the Administration of Heinrich Conried
Season 1903-1904
Mascagni's American Fiasco
"Iris" and "Zanetto"
Woful Consequences of Depreciating American Conditions
Mr. Conried's Theatrical Career
His Inheritance from Mr. Grau
Signor Caruso
The Company Recruited
The "Parsifal" Craze
CHAPTER XXII
END OF CONRIED'S ADMINISTRATION
Conried's Administration Concluded
1905-1908
Visits from Humperdinck and Puccini
The California Earthquake
Madame Sembrich's Generosity to the Suffering Musicians
"Madama Butterfly"
"Manon Lescaut"
"Fedora"
Production and Prohibition of "Salome"
A Criticism of the Work
"Adriana Lecouvreur"
A Table of Performances
CHAPTER XXIII
HAMMERSTEIN AND HIS OPERA HOUSE
Oscar Hammerstein Builds a Second Manhattan Opera House
How the Manager Put His Doubters to Shame
His Earlier Experiences as Impresario
Cleofonte Campanini
A Zealous Artistic Director and Ambitious Singers
A Surprising Record but No Novelties in the First Season
Melba and Calvé as Stars
The Desertion of Bonci
Quarrels about Puccini's "Bohéme"
List of Performances
CHAPTER XXIV
A BRILLIANT SEASON AT THE MANHATTAN
Hammerstein's Second Season
Amazing Promises but More Amazing Achievements
Mary Garden and Maurice Renaud
Massenet's "Thaïs," Charpentier's "Louise"
Giordano's "Siberia" and Debussy's "Pelléas et Mélisande" Performed for
the First Time in America
Revival of Offenbach's "Les Contes d'Hoffmann," "Crispino e la Comare"
of the Ricci Brothers, and Giordano's "Andrea Chenier"
The Tetrazzini Craze
Repertory of the Season
CHAPTER I
INTRODUCTION OF OPERA IN NEW YORK
Considering the present state of Italian opera in New York City (I am writing in the year of our Lord 1908), it seems more than a little strange that its entire history should come within the memories of persons still living. It was only two years ago that an ancient factotum at the Metropolitan Opera House died who, for a score of years before he began service at that establishment, had been in various posts at the Academy of Music. Of Mr. Arment a kindly necrologist said that he had seen the Crowd gather in front of the Park Theater in 1825, when the new form of entertainment effected an entrance in the New World. I knew the little old gentleman for a quarter of a century or more, but though he was familiar with my interest in matters historical touching the opera in New York, he never volunteered information of things further back than the consulship of Mapleson at the Academy. Moreover, I was unable to reconcile the story of his recollection of the episode of 1825 with the circumstances of his early life. Yet the tale may have been true, or the opera company that had attracted his boyish attention been one that came within the first decade after Italian opera had its introduction.
Concerning another's recollections, I have not the slightest doubt. Within the last year Mrs. Julia Ward Howe, entertaining some of her relatives and friends with an account of social doings in New York in her childhood, recalled the fact that she had been taken as a tiny miss to hear some of the performances of the Garcia Troupe, and, if I mistake not, had had Lorenzo da Ponte, the librettist of Mozart's "Nozze di Figaro" and "Don Giovanni" pointed out to her by her brother. This brother was Samuel Ward, who enjoyed the friendship of the old poet, and published recollections of him not long after his death, in The New York Mirror. For a score of years I have enjoyed the gentle companionship at the opera of two sisters whose mother was an Italian pupil of Da Ponte's, and when, a few years ago, Professor Marchesan, of the University of Treviso, Italy, appealed to me for material to be used in the biography of Da Ponte, which he was writing, I was able, through my gracious and gentle operatic neighbors, to provide him with a number of occasional poems written, in the manner of a century ago, to their mother, in whom Da Ponte had awakened a love for the Italian language and literature. This, together with some of my own labors in uncovering the American history of Mozart's collaborator, has made me feel sometimes as if I, too, had dwelt for a brief space in that Arcadia of which I purpose to gossip in this chapter, and a few others which are to follow it.
There may be other memories going back as far as Mrs. Howe's, but I very much doubt if there is another as lively as hers on any question connected with social life in New York fourscore years ago. Italian opera was quite as aristocratic when it made its American bow as it is now, and decidedly more exclusive. It is natural that memories of it should linger in Mrs. Howe's mind for the reason that the family to which she belonged moved in the circles to which the new form of entertainment made appeal. A memory of the incident which must have been even livelier than that of Mrs. Howe's, however, perished in 1906, when Manuel Garcia died in London, in his one hundred and first year, for he could say of the first American season of Italian opera what Æneas said of the siege of Troy, "All of which I saw, and some of which I was." Manuel Garcia was a son of the Manuel del Popolo Vicente Garcia, who brought the institution to our shores; he was a brother of our first prima donna, she who then was only the Signorina Garcia, but within a lustrum afterward was the great Malibran; and he sang in the first performance, on November 29, 1825, and probably in all the performances given between that date and August of the next year, when the elder Garcia departed, leaving the Signorina, as Mme. Malibran, aged but eighteen, to develop her powers in local theaters and as a chorister in Grace Church. Of this and other related things presently.
In the sometimes faulty and incomplete records of the American stage to which writers on musical history have hitherto been forced to repair, 1750 is set down as the natal year for English ballad opera in America. It is thought that it was in that year that "The Beggar's Opera" found its way to New York, after having, in all probability, been given by the same company of comedians in Philadelphia in the middle of the year preceding. But it is as little likely that these were the first performances of ballad operas on this side of the Atlantic as that the people of New York were oblivious of the nature of operatic music of the Italian type until Garcia's troupe came with Rossini's "Barber of Seville," in 1825. There are traces of ballad operas in America in the early decades of the eighteenth century, and there can exist no doubt at all that French and Italian operas were given in some form, perhaps, as a rule, in the adapted form which prevailed in the London theaters until far into the nineteenth century, before the year 1800, in the towns and cities of the Eastern seaboard, which were in most active communication with Great Britain, I quote from an article on the history of opera in the United States, written by me for the second edition of "Grove's Dictionary of Music and Musicians":
Among French works Rousseau's "Pygmalion" and "Devin du Village," Dalayrac's "Nina" and "L'Amant Statue," Monsigny's "Déserteur," Grétry's "Zémire et Azor," "Fausse Magie" and "Richard Coeur de Lion" and others, were known in Charleston, Baltimore, Philadelphia, and New York in the last decade of the eighteenth century. There were traces, too, of Pergolese's "Serva padrona," and it seems more than likely that an "opera in three acts," the text adapted by Colman, entitled "The Spanish Barber; or, The Futile Precaution," played in Baltimore, Philadelphia, and New York, in 1794, was Paisiello's "Barbiere di Siviglia." From 1820 to about 1845 more than a score of the Italian, French, and German operas, which made up the staple of foreign repertories, were frequently performed by English singers. The earliest of these singers were members of the dramatic companies who introduced theatrical plays in the colonies. They went from London to Philadelphia, New York, Williamsburg (Va.), and Charleston (S. C.), but eventually established their strongest and most enduring foothold in New York.
Accepting the 1750 date as the earliest of unmistakable records for a performance of "The Beggar's Opera" in New York, the original home of opera here was the Nassau Street Theater—the first of two known by that name. It was a two-storied house, with high gables. Six wax lights were in front of the stage, and from the ceiling dangled a "barrel hoop," pierced by half a dozen nails on which were spiked as many candles. It is not necessary to take the descriptions of these early playhouses as baldly literal, nor as indicative of something like barbarism. The "barrel hoop" chandelier of the old theater in Nassau street was doubtless only a primitive form of the chandeliers which kept their vogue for nearly a century after the first comedians sang and acted at the Nassau Street Theater. Illuminating gas did not reach New York till 1823, and "a thousand candles" was put forth as an attractive feature at a concert in the American metropolis as late as 1845. "The Beggar's Opera" was only twenty years old when the comedians sent to the colonies by William Hallam, under the management of his brother, Lewis, produced it, yet the historic Covent Garden Theater, in which it first saw the stage lights (candles they were, too), would scarcely stand comparison with the most modest of the metropolitan theaters nowadays. Its audience-room was only fifty-four or fifty-five feet deep; there were no footlights, the stage being illuminated by four hoops of candles, over which a crown hung from the borders. The orchestra held only fifteen or twenty musicians, though it was in this house that Handel produced his operas and oratorios; the boxes "were flat in front and had twisted double branches for candles fastened to the plaster. There were pedestals on each side of the boards, with elaborately-painted figures of Tragedy and Comedy thereon." Hallam's actors went first to Williamsburg, Va., but were persuaded to change their home to New York in the summer of 1753, among other things by the promise that they would find a "very fine 'Playhouse Building'" here. Nevertheless, when Lewis Hallam came he found the fine playhouse unsatisfactory, and may be said to have inaugurated the habit or custom, or whatever it may be called, followed by so many managers since, of beginning his enterprise by erecting a new theater. The old one in Nassau Street was torn down, and a new one built on its site. It was promised that it should be "very fine, large, and commodious," and it was built between June and September, 1753; how fine, large, and commodious it was may, therefore, be imagined. A year later, the German Calvinists, wanting a place of worship, bought the theater, and New York was without a playhouse until a new one on Cruger's Wharf was built by David Douglass, who had married Lewis Hallam's widow, Hallam having died in Jamaica, in 1755. This was abandoned in turn, and Mr. Douglass built a second theater, this time in Chapel Street. It cost $1,625, and can scarcely have been either very roomy or very ornate. Such as it was, however, it was the home of the drama in all its forms, save possibly the ballad opera, until about 1765, and was the center around which a storm raged which culminated in a riot that wrecked it.
The successor of this unhappy institution was the John Street Theater, which was opened toward the close of the year 1767. There seems to have been a period of about fifteen years during which the musical drama was absent from the amusement lists, but this house echoed, like its earliest predecessors, to the strains of the ballad opera which "made Gay rich and Rich gay." "The Beggar's Opera" was preceded, however, by "Love in a Village," for which Dr. Arne wrote and compiled the music; and Bickerstaff's "Maid of the Mill" was also in the repertory. In 1774 it was officially recommended that all places of amusement be closed. Then followed the troublous times of the Revolution, and it was not until twelve years afterward—that is, till 1786—that English Opera resumed its sway. "Love in a Village" was revived, and it was followed by "Inkle and Yarico," an arrangement of Shakespeare's "Tempest," with Purcell's music, "No Song, No Supper," "Macbeth," with Locke's music, McNally's comic opera "Robin Hood," and other works of the same character; in fact, it may safely be said that few, if any, English operas, either with original music or music adapted from the ballad tunes of England, were heard in London without being speedily brought to New York and performed here. In the John Street Theater, too, they were listened to by George Washington, and the leader of the orchestra, a German named Pfeil, whose name was variously spelled Fyle, File, Files, and so on, produced that "President's March," the tune of which was destined to become associated with "Hail Columbia," to the words of which it was adapted by Joseph Hopkinson, of Philadelphia. On January 29, 1798, a new playhouse was opened. This was the Park Theater. A musical piece entitled "The Purse, or American Tar," was on the program of the opening performance, and for more than a score of years the Park Theater played an important rôle in local operatic history. For a long term English operas of both types held the stage, along with the drama in all its forms, but in 1819 an English adaptation of Rossini's "Barber of Seville"—the opera which opened the Italian régime six years later—was heard on its stage, and two years after that Henry Rowley Bishop's arrangement of Mozart's "Marriage of Figaro." At the close of the season of 1820 the Park Theater was destroyed by fire, to the great loss of its owners, one of whom was John Jacob Astor. On its site was erected the new Park Theater, which was the original home of Italian opera, performed in its original tongue, and in the Italian manner, though only a small minority of the performers were Italians by birth.
Garcia was a Spaniard, born in Seville. Richard Grant White, writing in The Century Magazine for March, 1882, calls him a "Spanish Hebrew," on what authority I am unable to guess. Not only was Manuel Garcia, the elder, a chorister in the Cathedral of Seville at the age of six, but it seems as likely as not that he came of a family of Spanish church musicians who had made their mark for more than fifty years before the father of Malibran was born. But it is a habit with some writers to find Hebrew blood in nearly all persons of genius.
The new Park Theater was looked upon as a magnificent playhouse in its day, and it is a pity that Mr. White, writing about it when it was a quarter of a century old, should have helped to spread the erroneous notion that it was quite unworthy of so elegant a form of entertainment as Garcia brought into it. It remained a fashionable house through all its career or at least for a long time after it gave refuge to the Italian muse, though it may not have been able to hold one of its candles to the first house built especially to house that muse eight years later. The barrel hoop of the first New York theater gave way to "three chandeliers and patent oil lamps, the chandeliers having thirty-five lights each." Mr. White's description of this house after it had seen about a quarter of a century's service is certainly uninviting. Its boxes were like pens for beasts. "Across them were stretched benches consisting of a mere board covered with faded red moreen, a narrower board, shoulder high, being stretched behind to serve for a back. But one seat on each of the three or four benches was without even this luxury, in order that the seat itself might be raised upon its hinges for people to pass in. These sybaritic inclosures were kept under lock and key by a fee-expecting creature, who was always half drunk, except when he was wholly drunk. The pit, which has in our modern theater become the parterre (or, as it is often strangely called, the parquet), the most desirable part of the house, was in the Park Theater hardly superior to that in which the Jacquerie of old stood upon the bare ground (par terre), and thus gave the place its French name. The floor was dirty and broken into holes; the seats were bare, backless benches. Women were never seen in the pit, and, although the excellence of the position (the best in the house) and the cheapness of admission (half a dollar) took gentlemen there, few went there who could afford to study comfort and luxury in their amusements. The place was pervaded with evil smells; and, not uncommonly, in the midst of a performance, rats ran out of the holes in the floor and across into the orchestra. This delectable place was approached by a long, underground passage, with bare, whitewashed walls, dimly lighted, except at a sort of booth, at which vile fluids and viler solids were sold. As to the house itself, it was the dingy abode of dreariness. The gallery was occupied by howling roughs, who might have taken lessons in behavior from the negroes who occupied a part of this tier, which was railed off for their particular use."
This was the first home of Italian opera, strictly speaking. It had long housed opera in the vernacular, and remained to serve as the fortress of the English forces when the first battles were fought between the champions of the foreign exotic and the entertainment which had been so long established as to call itself native. Its career came to an end in 1848, when, like its predecessor and successor, it went up in flames and smoke.
Presently I shall tell about the houses which have been built in New York especially for operatic uses, but before then some attention ought to be given to several other old theaters which had connection with opera in one or another of its phases. One of these was the New York Theater, afterward called the Bowery, and known by that name till a comparatively recent date. The walls of this theater echoed first to the voice of Malibran, when put forth in the vernacular of the country of which fate seemed, for a time, to have decreed that she should remain a resident. This was immediately after the first season of Italian opera at the Park Theater. The New York Theater was then new, having been built in 1826. Malibran had begun the study of English in London before coming to New York with her father; and she continued her studies with a new energy and a new purpose after the departure of her father to Mexico had left her apparently stranded in New York with a bankrupt and good-for-nothing husband to support. She made her first essay in English opera with "The Devil's Bridge," and followed it up with "Love in a Village." English operas, whether of the ballad order or with original music, were constructed in principle on the lines of the German Singspiel and French opéra comique, all the dialogue being spoken; and Malibran's experience at the theater and Grace Church, coupled with her great social popularity, must have made a pretty good Englishwoman of her. "It is rather startling," says Mr. White, in the article already alluded to, "to think of the greatest prima donna, not only of her day, but of modern times—the most fascinating woman upon the stage in the first half of the nineteenth century—as singing the soprano parts of psalm tunes and chants in a small town then less known to the people of London and Paris and Vienna than Jeddo is now. Grace Church may well be pardoned for pride in a musical service upon the early years of which fell such a crown of glory, and which has since then been guided by taste not always unworthy of such a beginning." Malibran's performances at the New York Theater were successful and a source of profit, both to the manager and M. Malibran, to whom, it is said, a portion of the receipts were sent every night.
Three other theaters which were identified with opera more or less came into the field later, and by their names, at least, testified to the continued popularity which a famous English institution had won a century before, and which endured until that name could be applied to the places that bore it only on the "lucus a non lucendo" principle. These were the theaters of Richmond Hill, Niblo's, and Castle Garden. The Ranelagh Gardens, which John Jones opened in New York, in June, 1765, and the Vauxhall Gardens, opened by Mr. Samuel Francis, in June, 1769, were planned more or less after their English prototypes. Out-of-doors concerts were their chief musical features, fireworks their spectacular, while the serving of refreshments was relied on as the principal source of profit. Richmond Hill had in its palmy days been the villa home of Aaron Burr, and its fortunes followed the descending scale like those of its once illustrious master. Its site was the neighborhood of what is now the intersection of Varick and Charlton streets. After passing out of Burr's hands, but before his death, the park had become Richmond Hill Gardens, and the mansion the Richmond Hill Theater, both of somewhat shady reputation, which was temporarily rehabilitated by the response which the fashionable elements of the city's population made to an appeal made by a season of Italian opera, given in 1832. The relics of Niblo's Garden have disappeared as completely as those of Richmond Hill, but its site is still fresh in the memory of those whose theatrical experiences go back a quarter of a century. They must be old, however, who can recall enough verdure in the vicinity of Broadway and Prince Street to justify the name maintained by the theater to which for many years entrance was gained through a corridor of the Metropolitan Hotel. Three-quarters of a century ago Niblo's Garden was a reality. William Niblo, who built it and managed it with consummate cleverness, had been a successful coffee-house keeper downtown. Its theater opened refreshingly on one side into the garden (as the Terrace Garden Theater, at Third Avenue and Fifty-eighth Street does to-day), where one could eat a dish of ice cream or sip a sherry cobbler in luxurious shade, if such were his prompting, while play or pantomime went merrily on within. Writing of it in 1855 Max Maretzek, who, as manager of the Astor Place Opera House, had suffered from the rivalry of Niblo and his theater, said:
The Metropolitan Hotel, Niblo's Theater, stores and other buildings occupy the locality. Of the former garden nothing remains save the ice cream and drinking saloons attached to the theater. These take up literally as much room in the building as its stage does, and prove that its proprietor has not altogether overlooked the earlier vocation which laid the foundation of his fortune. The name by which he calls it has never changed. It was Niblo's Garden when loving couples ate their creams or drank their cobblers under the shadow of the trees. It is Niblo's Garden now, when it is turned into a simple theater and hedged in with houses. Nay, in the very bills which are circulated in the interior of the building during the performances you may find, or might shortly since have found, such an announcement as the following, appearing in large letters:
"Between the second and third acts"—or, possibly, it may run thus when opera is not in the ascendant—"after the conclusion of the first piece an intermission of twenty minutes takes place, for a promenade in the garden."
You will, I feel certain, admit that this is a marvelously delicate way of intimating to a gentleman who may feel "dry" (it is the right word, is it not?) that he will find the time to slake his thirst.
When he returns and his lady inquires where he has been he may reply, if he wills it:
"Promenading in the garden."
It is not plain from Mr. White's account whether or not his memory reached back to the veritable garden of Mr. Niblo, but his recollections of the theater were not jaundiced like those of Mr. Maretzek, but altogether amiable. Speaking of the performances of the Shireff, Seguin, and Wilson company of English opera singers, who came to New York in 1838, he says:
Miss Shireff afterward appeared at Niblo's Garden, which was on the corner of Broadway and Prince Street, where the Metropolitan Hotel now stands. Here she performed in Auber's "Masked Ball" and other light operas (all, of course, in English), singing in a theater that was open on one side to the air; for Niblo's was a great place of summer entertainment. It was a great New York "institution" in its day—perhaps the greatest and most beneficent one of its sort that New York has ever known. It may be safely said that most of the elder generation of New Yorkers now living [this was written in 1881] have had at Niblo's Garden the greatest pleasure they have ever enjoyed in public. There were careless fun and easy jollity; there whole families would go at a moment's warning to hear this or that singer, but most of all, year after year, to see the Ravels—a family of pantomimists and dancers upon earth and air, who have given innocent, thoughtless, side-shaking, brain-clearing pleasure to more Americans than ever relaxed their sad, silent faces for any other performers. The price of admission here was fifty cents, no seats reserved; "first come, first served."
Last of all there was Castle Garden. Children of to-day can remember when it was still the immigrants' depot, which it had been for half a century. Tradition says that it was built to protect New York City from foreign invasion, not to harbor it; but as a fortress it must have suffered disarmament quite early in the nineteenth century. It is now an aquarium, and as such has returned to its secondary use, which was that of a place of entertainment. In 1830 and about that day it was a restaurant, but for the sale only of ice cream, lemonade, and cakes. You paid a shilling to go in—this to restrict the patronage to people of the right sort—and your ticket was redeemable on the inside in the innocent fluids and harmless solids aforementioned. A wooden bridge, flanked by floating bathhouses, connected the castle with the garden—i.e., Battery Park. North and east, in lower Broadway and Greenwich Street, were fashionable residences, whose occupants enjoyed the promenade under the trees, which was the proper enjoyment of the day, as much as their more numerous, but less fortunate fellow citizens. There balloons went up by day, and rockets and bombs by night, and there, too, the brave militia went on parade. To Mr. White we owe the preservation of a poetical description written by Frederick Cozzens in an imitation of Spenser's "Sir Clod His Undoinge":
With placket lined, with joyous heart he hies
To where the Battery's Alleys, cool and greene,
Amid disparted Rivers daintie lies
With Fortresse brown and spacious Bridge betweene
Two Baths, which there like panniers huge are seen:
In shadie paths fair Dames and Maides there be
With stalking Lovers basking in their eene,
And solitary ones who scan the sea,
Or list to vesper chimes of slumberous Trinity.
The operas performed in the first season of Italian opera in America by the Garcia troupe in the Park Theater 1825-1826, were "Il Barbiere di Siviglia," "Tancredi," "Il Turco in Italia," "La Cenerentola," and "Semiramide" by Rossini; "Don Giovanni" by Mozart; "L'Amante astuto" and "La Figlia del Aria" by Garcia.
CHAPTER II
EARLY THEATERS, MANAGERS, AND SINGERS
The first opera house built in New York City opened its doors on November 18, 1833, and was the home of Italian Opera for two seasons; the second, built eleven years later, endured in the service for which it was designed four years; the third, which marked as big an advance on its immediate predecessor in comfort and elegance as the first had marked on the ramshackle Park Theater described by Richard Grant White, was the Astor Place Opera House, built in 1847, and the nominal home of the precious exotic five years.
The Astor Place Opera House in its external appearance is familiar enough to the memory of even young New Yorkers, though, unlike its successor, the Academy of Music, at Fourteenth Street and Irving Place, it did not long permit its tarnished glories to form the surroundings of the spoken drama after the opera's departure. The Academy of Music weathered the operatic tempests of almost an entire generation, counting from its opening night, in 1854, to the last night on which Colonel J. H. Mapleson was its lessee, in 1886, and omitting the expiring gasps which the Italian entertainment made under Signor Angelo, in October, 1886, under Italo Campanini, in April, 1888, and the final short spasm under the doughty Colonel in 1896. The first Italian Opera House (that was its name) became the National Theater; the second, which was known as Palmo's Opera House, when turned over to the spoken drama, became Burton's Theater; the Astor Place Opera House became the Mercantile Library. The Academy of Music is still known by that name, though it is given over chiefly to melodrama, and the educational purpose which existed in the minds of its creators was only a passing dream. The Metropolitan Opera House has housed twenty-three regular seasons of opera, though it has been in existence for twenty-five seasons. Once the sequence of subscription seasons was interrupted by the damage done to the theater by fire; once by the policy of its lessees, Abbey & Grau, who thought that the public appetite for opera might be whetted by enforced abstention. The Manhattan Opera House is too young to enter into this study of opera houses, their genesis, growth, and decay, and the houses which Mr. Oscar Hammerstein built before it in Harlem and in West Thirty-Fourth Street, near Sixth Avenue, lived too brief a time in operatic service to deserve more than mention.
I am at a loss for data from which to evolve a rule, as I should like to do, governing the length of an opera house's existence in its original estate as the home of grand opera.
The conditions which produce the need are too variable and also too vague to be brought under the operation of any kind of law. At present the growth of wealth, the increase in population, and with that increase the rapid multiplication of persons desirous and able to enjoy the privileges of social display would seem to be determining factors, with the mounting costliness of the luxury as a deterrent. The last illustration of the operation of the creative impulse based on the growth of wealth and social ambition is found in the building of the Metropolitan Opera House, Mr. Hammerstein's enterprise being purely individual and speculative. The movement which produced the Metropolitan Opera House marked the decay of the old Knickerbocker régime, and its amalgamation with the newer order of society of a quarter of a century ago. This social decay, if so it can be called without offense, began—if Abram C. Dayton ("Last Days of Knickerbocker Life in New York") is correct—about 1840, and culminated with the Vanderbilt ball, in 1882, to which nearly all the leaders of the old Knickerbocker aristocracy accepted invitations. "During the third quarter of the nineteenth century," said The Sun's reviewer of Mr. Dayton's book, "sagacious and far-sighted Knickerbockers began to realize that as a caste they no longer possessed sufficient money to sustain social ascendency, and that it behooved them to effect an intimate alliance with the nouveaux riches." To this may be added that when there were but two decades of the century left it was made plain that the Academy of Music could by no possibility accommodate the two classes of society, old and new, which had for a number of years been steadily approaching each other.
There was an insufficiency of desirable boxes, and holders of seats of fashion were unwilling to surrender them to the newcomers. So the Metropolitan Opera House was built in 1883, and the vigor of the social opposition, coupled with popular appreciation of the new spirit, which came in with the German régime, gave the deathblow to the Academy, whose loss to fashion was long deplored by the admirers of its fine acoustic qualities and its effective architectural arrangements for the purposes of display.
The period is not so remote that we cannot trace the influences of fashion and society in the rise of the first Italian Opera House, if not in its fall. The Park Theater was still a fashionable playhouse when Garcia gave his season of Italian opera in it in 1825-26, but within a decade thereafter the conditions so graphically described by Mr. White, combined with new ambitions, which seem to have been inspired to a large extent by Lorenzo Da Ponte, prompted a wish for a new theater: one specially adapted to opera. The new entertainment was recognized as a luxury, and it was no more than fitting that it be luxuriously and elegantly housed. It will be necessary to account for the potent influence of Da Ponte, who was only a superannuated poet and teacher of Italian language and literature, and this I hope to do presently; for the time being it is sufficient to say that it was he who persuaded the rich and cultured citizens of New York to build the Italian Opera House, which stood at the intersection of Church and Leonard streets. The coming of Garcia had filled Da Ponte, then already seventy-six years old, with dreams of a recrudescence of such activities as had been his in connection with Italian Opera in Vienna and London. He made haste to identify himself in an advisory capacity with the enterprise, persuaded Garcia to include "Don Giovanni" in his list of operas, although this necessitated the engagement of a singer not a member of the company, and had already brought his niece, who was a singer, from Italy, and the Italian composer Filippo Trajetta, from Philadelphia, when his dream of a permanent opera, for which he should write librettos, his friend compose music, and his niece sing, was dispelled by Garcia's departure for Mexico, and his subsequent return to Europe. For the next five years Da Ponte seems to have kept the waters of the operatic pool stirred, for there is general recognition in the records of the fact that to him was due the conception of the second experiment, although its execution was left to another, who was neither an American nor an Italian, but a Frenchman named Montressor. Like Garcia, he was his own tenor, which fact must have eased him of some of the vexations of management, though it added to its labors. We are told that Montressor succeeded in making himself personally popular. He had an agreeable voice, a tolerable style, and was favorably compared with Garcia, though this goes for little, inasmuch as Garcia was past his prime when he came here. Among his singers were Signorina Pedrotti, who created a great stir (though, I fancy, this was largely because of her beauty and the fact that the public, remembering the Signorina Garcia, wanted somebody to worship) and a basso named Fornasari.
Signorina Pedrotti effected her entrance on October 17, in a new opera, Mercadante's "Elisa e Claudio," which made the hit of the season, largely because of the infatuation of the public for the new singer. Mr. White gives us a description of her (from hearsay and the records) in his article published in The Century Magazine, of March, 1882:
Not much has been said of her, for she had sung only in Lisbon and in Bologna, and had little reputation. But she took musical New York off its feet again. She had a fine mezzo-soprano voice, of sympathetic quality; and although she was far from being a perfectly finished vocalist, she had an impressive dramatic style and a presence and a manner that enabled her to take possession of the stage. She was a handsome woman—tall, nobly formed, with brilliant eyes and a face full of expression. She carried the town by storm.
Like Malibran, and many another singer since, Fornasari made a fine reputation here, and was afterward "discovered" in Europe, where he rose to fame. He seems to have been of the tribe of lady-killers, of whom every opera company has boasted at least one ever since opera became a fashion—which is only another way of saying ever since it was invented. But Fornasari had a noble voice, besides his mere physical attractions. Mr. White, who saw him long years afterward, when he chanced to be passing through New York on his way to Europe, describes him: He was very tall; his head looked like that of a youthful Jove; dark hair in flaky curls, an open, blazing eye; a nose just heroically curved; lips strong, yet beautifully bowed; sweet and persuasive (one would think that White got his description from some woman—what man ever before or since was praised by a man for having a Cupid's bow mouth?), and withal a large and easy grace of manner.
Montressor's season opened on October 6, 1832, at the Richmond Hill Theater, which became respectable for the nonce, and collapsed after thirty-five representations. The receipts for the season were $25,603—let us say about half as much as a week's receipts at the Metropolitan Opera House to-day. The operas given were Rossini's "Cenerentola," "L'Italiana in Algeri"; Bellini's "Il Pirata," and Mercadante's "Elisa e Claudio," the last winning the largest measure of popularity. The chief good accomplished was the bringing to New York from Europe of several excellent orchestral players, who, after the failure of the enterprise, settled here, to the good of instrumental music and the next undertaking.
Why men embark in operatic management, or, rather, why they continue in it after they have failed, has always been an enigma. Once, pointing my argument with excerpts from the story of all the managers in London, from Handel's day down to the present, I tried to prove that the desire to manage an opera company was a form of disease, finding admirable support for my contention in the confession and conduct of that English manager who got himself into Fleet Prison, and thence philosophically urged not only that it served him right (since no man insane enough to want to be an operatic impresario ought to be allowed at large), but also that a jail was the only proper headquarters for a manager, since there, at least, he was secure from the importunities of singers and dancers. Lorenzo Da Ponte was, obviously, of the stuff of which impresarios are made. Montressor's failure, for which he was in a degree responsible (and which he discussed in two pamphlets which I found twenty years ago in the library of the New York Historical Society), persuaded him that the city's greatest need was an Italian opera house. His powers of persuasion must have been great, for he succeeded in bringing a body of citizens together who set the example which has been followed several times since, and built the Italian Opera House at Church and Leonard streets, on very much the same social and economic lines as prevail at the Metropolitan Opera House to-day. European models and European taste prevailed in the structure and its adornments. It was the first theater in the United States which boasted a tier composed exclusively of boxes. This was the second balcony. The parterre was entered from the first balcony, a circumstance which redeemed it from its old plebeian association as "the pit," in which it would have been indecorous for ladies to sit. The seats in the parterre were mahogany chairs upholstered in blue damask. The seats in the first balcony were mahogany sofas similarly upholstered. The box fronts had a white ground, with emblematic medallions, and octagonal panels of crimson, blue, and gold. Blue silk curtains were caught up with gilt cord and tassels. There was a chandelier of great splendor, which threw its light into a dome enriched with pictures of the Muses, painted, like all the rest of the interior, as well as the scenery, by artists specially brought over for the purpose from Europe. The floors were carpeted. The price of the boxes was $6,000 each, and subscribers might own them for a single performance (evidently by arrangement with the owners) or the season. Apropos of this, Mr. White tells a characteristic story:
It was told of a man who had suddenly risen to what was then great wealth, that, having taken a lady to the opera, he was met by the disappointing assurance that there were no seats to be had.
"What, nowhere?"
"Nowhere, sir; every seat in the house is taken, except, indeed, one of the private boxes that was not subscribed for."
"I'll have that."
"Impossible, sir. The boxes can only be occupied by subscribers and owners."
"What is the price of your box?"
"Six thousand dollars, sir."
"I'll take it."
And drawing out his pocketbook he filled up a check for six thousand dollars and escorted his lady to her seat to the surprise and, indeed, to the consternation of the elegant circle, which saw itself completed in this unexpected manner.
The new house, which, with the ground, had cost $150,000, was opened on November 18, 1833, under the joint management of the Chevalier Rivafinoli and Da Ponte, with Rossini's "La Gazza ladra," but two months before that date there was a drawing for boxes, concerning which and some of the details of the opening performance an extract from the diary of Mr. Philip Hone, once mayor of the city, presents a much livelier picture than I could draw:
(From the diary of Philip Hone, Esq.)
September 15, 1833. The drawing for boxes at the Italian Opera House took place this morning. My associates, Mr. Schermerhorn and General Jones, are out of town, and I attended and drew No. 8, with which I am well satisfied. The other boxes will be occupied by the following gentlemen: Gerard H. Coster, G. C. Howland, Rufus Prime, Mr. Panon, Robert Ray, J. F. Moulton, James J. Jones, D. Lynch, E. Townsend, John C. Cruger, O. Mauran, Charles H. Hall, J. G. Pierson and S. B. Ruggles.
November 18, 1833. The long expected opening of the opera house took place this evening with the opera "La Gazza ladra"; all new performers except Signor Marozzi, who belonged to the old company. The prima donna soprano is Signorina Fanti. The opera, they say, went off well for a first performance; but to me it was tiresome, and the audience was not excited to any degree of applause. The performance occupied four hours—much too long, according to my notion, to listen to a language which one does not understand; but the house is superb, and the decorations of the proprietors' boxes (which occupy the whole of the second tier) are in a style of magnificence which even the extravagance of Europe has not yet equaled. I have one-third of box No. 8; Peter Schermerhorn one-third; James J. Jones one-sixth; William Moore one-sixth. Our box is fitted up with great taste with light blue hangings, gilded panels and cornice, armchairs, and a sofa. Some of the others have rich silk ornaments, some are painted in fresco, and each proprietor seems to have tried to outdo the rest in comfort and magnificence. The scenery is beautiful. The dome and the fronts of the boxes are painted in the most superb classical designs, and the sofa seats are exceedingly commodious. Will this splendid and refined amusement be supported in New York? I am doubtful.
The outcome justified Mr. Hone in his doubts. The season was advertised, to last forty nights. When they were at an end a supplementary season of twenty-eight nights was added, which extended the time to July 21, 1834. Besides "La Gazza ladra," the operas given were "Il Barbiere di Siviglia," "La Donna del Lago," "Il Turco in Italia," "Cenerentola," and "Matilda di Shabran"—all by Rossini; Pacini's "Gli Arabi nelli Gallie," Cimarosa's "II Matrimonio segreto," and "La Casa do Pendere," by the conductor, one Salvioni. The season had been socially and artistically brilliant, but the financial showing at the end was one of disaster. The prices of admission were from $2 down to fifty cents, and when the house was completely sold out the receipts were not more than $1,400. The managers took their patrons into their confidence, Rivafinoli publishing the fact that the receipts for the entire season—including fifteen nights in Philadelphia, for that city's dependence on New York for Italian opera began thus early—were but $51,780.89, which were exceeded by the expenses $29,275.09. For the next season the house was leased by the owners to Signor Sacchi, who had been the treasurer of Rivafinoli and Da Ponte, and Signor Porto, one of the singers. These managers had an experience similar to that which Maretzek declaimed against twenty years later when troubles gathered about the new Academy of Music. Notwithstanding that there had been a startling deficit, though the audiences had been as large as could be accommodated, these underlings of Rivafinoli and Da Ponte, who were at least men of experience in operatic management, took the house, giving the stockholders the free use of their boxes and 116 free admissions every night besides. The second season started brilliantly, but just as financial disaster was preparing to engulf it the performances were abruptly brought to an end by the prima donna, Signora, or Signorina, Fanti, who took French leave—an incident which remains unique in New York's operatic annals, at least in its consequences, I think.
It is evident to a close student of the times that the reasons given were not the only ones to contribute to the downfall of the enterprise. Italian opera had found a vigorous rival in English, or rather in opera in the vernacular, for the old ballad operas were disappearing and German, French, and Italian opera sung in the vernacular, not by actresses who had tolerable voices, but by trained vocalists, was taking its place. The people of New York were not quite so sophisticated as they are to-day, and possibly were dowered with a larger degree of sincerity. Many of them were willing to admit the incongruity of behavior at which Addison made merry when he predicted that the time would come when the descendants of the English people of his day would be curious to know "why their forefathers used to sit together like an audience of foreigners in their own country and to hear whole plays acted before them in a tongue which they did not understand." We know that Addison was a poor prophet, for the people of Great Britain and America are still sitting in the same attitude as their ancestors so far as opera is concerned; but it is plain that arguments like his did reach the consciences of even the stockholders of the Italian Opera House, or at least the one of them who has taken posterity into his confidence. The season under Sacchi and Porto had scarcely begun when Mr. Hone wrote in his diary:
I went to the opera, where I saw the second act of "La Straniera," by Bellini. The house is as pretty as ever, and the same faces were seen in the boxes as formerly; but it is not a popular entertainment, and will not be in our day, I fear. The opera did not please me. There was too much reiteration, and I shall never discipline my taste to like common colloquial expressions of life: "How do you do, madame?" or "Pretty well, I thank you, sir," the better for being given with orchestral accompaniment.
I shrewdly suspect that Mr. Hone had been reading his Spectator. There were three years of opera in London, in Addison's day, when the English and Italian languages were mixed in the operas as German and Italian were in Hamburg when Handel started out on his career. "The king or hero of the play generally spoke in Italian and his slaves answered him in English; the lover frequently made his court and gained the heart of his princess in a language which she did not understand." At length, says Addison, the audience got tired of understanding half the opera, "and to ease themselves entirely of the fatigue of thinking, so ordered it that the whole opera was performed in an unknown tongue." Now listen to our diarist:
The Italian language is among us very little understood, and the genius of it certainly never entered into with spirit. To entertain an audience without reducing it to the necessity of thinking is doubtless a first-rate merit, and it is easier to produce music without sense than with it; but the real charm of the opera is this—it is an exclusive and extravagant recreation, and, above all, it is the fashion.
Italian music's sweet because 'tis dear,
Their vanity is tickled, not their ear;
Their taste would lessen if the prices fell,
And Shakespeare's wretched stuff do quite as well.
The recitative is an affront to common sense, and if there be any spectacle more than another opposed to the genius of the English character and unsuited to its taste it is the ballet of the opera house. Its eternal dumbshow, with its fantastic appeals to sense and to sense only, may be Italian perfection, but here it is in English a tame absurdity. What but fashion could tempt reasonable creatures to sit and applaud—what was really perpetrated—Deshayes dancing "The Death of Nelson"?
After the season of Sacchi and Porto Italian opera went into exile for ten years. Da Ponte pleaded for "the most splendid ornament" of the city in vain. English opera conquered, aided, no doubt, by the fact that the section of the city in which the Italian Opera House was situated was fatally unfashionable, and after standing vacant for a year the house was leased to James W. Wallack, father of John Lester Wallack, who turned it into a home for the spoken drama. In another year it went up in flames.
CHAPTER III
THE FIRST ITALIAN COMPANY
The beginnings of Italian opera in America are intimately associated with two men who form an interesting link connecting the music of the Old World with that of the New. These men were Manuel del Popolo Vicente Garcia and Lorenzo Da Ponte. The opera performed in the Park Theater on November 29, 1825, when the precious exotic first unfolded its petals in the United States, was Rossini's "Il Barbiere di Siviglia." In this opera Garcia, then in his prime, had created, as the French say, the rôle of Almaviva in Rome a little less than ten years before. The performance was one of the most monumental fiascos in Rossini's career, and the story goes that Garcia, hoping to redeem it, introduced a Spanish song to which he himself supplied a guitar accompaniment. The fiasco of the first performance was largely, if not wholly, due to the jealous ill will of the friends of Paisiello, who had written music for an opera on the same story, which was much admired all over Europe, and which in an adapted form had reached America, as had Rossini's, before Garcia came with the original version. But Rossini's music was too fascinating to be kept under a bushel, and in it Garcia won some of his finest triumphs in London and Paris. In the first New York season it was performed twenty-three times. Garcia was also a composer, and had made his mark in this field before he became famous as a singer, having produced at least seventeen Spanish operas, nineteen Italian, and Seven French, most, if not all of them, before he came to America.
Exactly what it was that persuaded Garcia to embark on the career of impresario in a new land does not appear in the story of his enterprise. There are intimations that he had long had the New York project in mind; also it used to be thought that Da Ponte had inspired him with the idea; the more general story is that Dominick Lynch, a New York importer of French wines, was at the bottom of the enterprise, but whether on his own account or as a sort of agent for the manager of the Park Theater, I have not been able to learn. Garcia's singing days were coming to an end, though his popularity was not yet on the wane if there is evidence in the circumstances that from 1823 to 1825 his salary in London had increased from 260 pounds to 1,250 pounds. But it was as a teacher and composer that he now commanded the greater respect. He had founded a school of singing of which it may truthfully be said that it was continued without loss of glory until the end of the nineteenth century by his son Manuel, who died in 1906, a few months after he had celebrated the hundredth anniversary of his birth. But, though we may not know all the reasons which prevailed with him to seek fortune as a manager after he had himself passed the half-century mark, it is easy to fancy that the fact that he had half the artists necessary for the undertaking in his own family had much to do with it. His daughter, Maria Felicita, had studied singing with him from childhood and at sixteen years of age had sung with him in Italy. His wife was an opera singer and his son Manuel had made a beginning in the career which he speedily abandoned in favor of that which gave him far greater fame than the stage promised. The future Malibran was singing in the chorus in London only a year before she disclosed her peerless talents in New York. In June, 1825, Pasta, who was Mr. Ebers's prima donna at the King's Theater, took ill. Garcia was a member of the company and came forward with an offer of his daughter as substitute. The offer was accepted, the girl effected her début as Rosina in "The Barber," and made so complete a hit that she was engaged for the remaining six weeks of the season at a salary of 500 pounds. This is the story as told by Fétis, which does not differ essentially from that told by Ebers in his account of his seven years of tenancy of the King's Theater, or by Lord Mount-Edgecumbe in his "Musical Reminiscences," except that these make no direct reference to Pasta's illness as the cause which gave Maria her opportunity. Lord Mount-Edgecumbe's account says that Ebers found it necessary, about the time of the arrival of Pasta, "to engage a young singer, the daughter of the tenor Garcia, who had sung here for several seasons. She was as yet a mere girl, and had never appeared on any public stage; but from the first moment of her appearance she showed evident talents for it, both as singer and actress. Her extreme youth, her prettiness, her pleasing voice and sprightly, easy action as Rosina in 'Il Barbiere di Siviglia,' in which part she made her début, gained her general favor; but she was too highly extolled and injudiciously put forward as a prima donna when she was only a promising débutante, who in time, by study and practice, would, in all probability, under the tuition of her father, a good musician, but (to my ears at least) a most disagreeable singer, rise to eminence in her profession."
I am not more than half persuaded that this view of the future Malibran's talents and prospects did not tally with that of her father, though her tremendous success in New York ought to have persuaded him that a future of the most dazzling description lay before his daughter. There is something of a puzzle in the fact that in the midst of her first triumph the girl should have married M. Malibran, who was only apparently wealthy, and was surely forty-three years her senior, and of a nature which was bound to develop lack of sympathy and congeniality between the pair. The popular version of the story of her marriage is that she was forced into it by her father, and it is more than intimated that he was induced to act as he did by the promise of 100,000 francs made by Malibran as a compensation for the loss of his daughter's services. Did Garcia oppose his daughter's marriage, and did she wilfully have her own way in a matter in which she was scarcely a proper judge? Or was the marriage repugnant to her, and was she sacrificed to her father's selfishness? I cannot tell, but it has been hinted that there was danger of her marrying a member of the orchestra in London before she came to New York, and it is as like as not that the affair Malibran was of her wishing. Who can know the ways of a maid fourscore years after? The marriage was as unfortunate as could be. In a few months Malibran was a bankrupt, his youthful wife's father was gone to distant Mexico, there to make money, only to be robbed of it at Vera Cruz on his home journey to England, and Maria Felicita, instead of living in affluence as the wife of a wealthy New York merchant, was supporting an unworthy husband, as well as herself, by singing in English at the theater in the Bowery and in Grace Church on Sundays. The legal claims bound the ill-assorted pair for ten years, but did not gall the artist after she returned to Europe in 1827, little more than a year later. In Paris the marriage was annulled in 1836, and the singer, now the greatest prima donna on the stage, married Charles de Bériot, the violinist, with whom she had been living happily for six years, and by whom she had a son, born in February, 1833. The world's Book of Opera must supply the other chapters which tell of the great Malibran, her marvelous triumphs and her early death; but it is a matter of pride for every American to reflect that this adorable artist began her career with the admiring applause of our people.
Manuel Garcia, the son, the senior of his sister by three years, survived her the whole span of life allotted to man by the Psalmist. Malibran died in 1836; Garcia in 1906. He achieved nothing on the stage, which he abandoned in 1829. Thereafter his history belongs to that of pedagogy. Till 1848 his field of operations was Paris; afterward, till his death, London. Jenny Lind was one of his pupils; Mme. Marchesi another.
The story that Da Ponte had anything to do with inspiring Garcia's New York enterprise is practically disposed of by the fact that Da Ponte, though intimately associated with the opera in London during his sojourn in that city, had already been a resident of New York three years when Garcia made his début as a singer and never returned thither. Personally Garcia was a stranger to him and he to Garcia when the latter came to New York in the fall of 1825. This gives color of verity to a familiar story of their meeting. As might easily be imagined, the man who had written the librettos of "Le Nozze di Figaro," "Don Giovanni," and "Cosi Fan Tutte" for Mozart, was not long in visiting Garcia after his arrival here. He introduced himself as the author of "Don Giovanni," and Garcia, clipping the old man in his arm, danced around the room like a child in glee, singing "Fin ch'han dal vino" the while. After that the inclusion of Mozart's masterpiece in Garcia's repertory was a matter of course, with only this embarrassment that there was no singer in the company capable of singing the music of Don Ottavio. This was overcome by Da Ponte going to his pupils for money enough to pay an extra singer for the part. Many a tenor, before and since, who has been cast for that divinely musical milksop has looked longingly at the rôle of Don Giovanni which Mozart gave to a barytone, and some have appropriated it. Garcia was one of these (he had been a tenor de forza in his day), and it fell to him to introduce the character in New York. Outside of himself, his daughter, and the basso Angrisani, the company was a poor affair, the orchestra not much better than that employed at the ordinary theater then (and now, for that matter), and the chorus composed of mechanics drilled to sing words they did not understand. It is scarcely to be wondered at, therefore, that at one of the performances of Mozart's opera, of which there were ten, singers and players got at sixes and sevens in the superb finale of the first act, whereupon Garcia, losing his temper, rushed to the footlights sword in hand, stopped the orchestra, and commanded a new beginning.
It has already been told how that Da Ponte was active in the promotion of the first Italian opera enterprise, that he inspired Montressor's experiment at the Richmond Hill Theater and was the moving spirit in the ambitious, beautiful but unhappy Italian Opera House undertaking. To do all these things it was necessary that he should be a man of influence among the cultured and wealthy classes of the community. As a matter of fact he was this, and that in spite of the fact that his career had been checkered in Europe and was not wholly free from financial scandal, at least in New York. The fact is that the poet's artistic temperament was paired with an insatiable commercial instinct. This instinct, at least, may be set down as a racial inheritance. Until seven or eight years ago nobody seems to have taken the trouble to look into the family antecedents of him whom the world will always know as Lorenzo Da Ponte. That was not his name originally. Of this fact something only a little better than a suspicion had been in the minds of those who knew him and wrote about him during his lifetime and shortly after his death. Michael Kelly, the Irish tenor, who knew him in Vienna, speaks of him as "my friend, the abbé," and tells of his dandyish style of dressing, his character as a "consummate coxcomb," his strong lisp and broad Venetian dialect; if he knew that he was a converted Jew, he never mentioned the fact. Later writers hinted at the fact that he had been born a Jew, but had been educated by the Bishop of Ceneda and had adopted his name. When I investigated his American history, a matter of twenty years ago, my statement in The Tribune newspaper that he was the son of a Hebrew leather dealer provoked an almost intemperate denial by a German musical historian, who quoted from his memoirs a story of his religious observances to confound me. My statement, however, was based, not only on an old rumor, but also on the evidence of a pamphlet published in Lisbon in the course of what seems to have been a peculiarly acrimonious controversy between Da Ponte and a theatrical person unnamed, but probably one Francesco. In this pamphlet, which is not only indecorous but indecent, he is referred to as "the celebrated Lorenzo Daponte, who after having been Jew, Christian, priest, and poet in Italy and Germany found himself to be a layman, husband, and ass in London." It remained for Professor Marchesan, his successor in the chair of rhetoric in the University of Treviso, to give the world the facts concerning his origin and early family history. From Marchesan's book ("Della Vita e delle Opere di Lorenzo da Ponte") published in Treviso in 1900 we learn that the poet's father was in truth a Hebrew leather dealer, and also that the father's name was Jeremiah Conegliano, his mother's Rachel Pincherle, and his own Emanuele Conegliano. He was fourteen years old when not he alone, but the whole family, embraced Christianity. They were baptized in the cathedral of Ceneda on August 20, 1763, and the bishop gave the lad, whose talents he seems to have observed, his own name. The rest of his story up to his departure for America may be outlined in the words of the sketch in Grove's "Dictionary of Music and Musicians" (second edition, Vol. III, p. 789).
After five years of study in the seminary at Ceneda (probably with the priesthood as an object) he went to Venice, where he indulged in amorous escapades which compelled his departure from that city. He went to Treviso and taught rhetoric in the university, incidentally took part in political movements, lampooned an opponent in a sonnet, and was ordered out of the republic. In Dresden, whither he turned his steps, he found no occupation for his talents, and journeyed on to Vienna. There, helped by Salieri, he received from Joseph II the appointment of poet to the imperial theater and Latin secretary. Good fortune brought him in contact with Mozart, who asked him to make an opera book of Beaumarchais's "Mariage de Figaro." The great success of Mozart's opera on this theme led to further co-operation, and it was on Da Ponte's suggestion that "Don Giovanni" was undertaken, the promptings coming largely from the favor enjoyed at the time by Gazzaniga's opera on the same subject, from which Da Ponte made generous drafts—as a comparison of the libretti will show. Having incurred the ill will of Leopold, Da Ponte was compelled to leave Vienna on the death of Joseph II. He went to Trieste, where Leopold was sojourning, in the hope of effecting a reconciliation, but failed; but there he met and married an Englishwoman who was thenceforth fated to share his checkered fortunes. He obtained a letter recommending him to the interest of Marie Antoinette, but while journeying toward Paris learned of the imprisonment of the Queen, and went to London instead. A year was spent in the British metropolis in idleness, and some time in Holland in a futile effort to establish an Italian theater there. Again he turned his face toward London, and this time secured employment as poet to the Italian opera and assistant to the manager, Taylor. He took a part of Domenico Corri's shop to sell Italian books, but soon ended in difficulties, and to escape his creditors fled to America, arriving in New York on June 4, 1805.
Da Ponte lives in the respect and admiration of Dante scholars as the first of American teachers and commentators on "The Divine Comedy." He gave himself the title, and in this case adhered to the truth, which cannot be said of all of his statements about himself. For instance, in a letter to the public to be set forth presently, he calls himself "poet of the Emperor Joseph II." He was in the habit of thus designating himself and it was small wonder that his biographers almost unanimously interpreted these words to mean that he was poet laureate, or Caesarian poet. After the mischief, small enough, except perhaps in an ethical sense, had been done, he tried to correct it in a foot note on one of the pages of his "Memorie," in which he says that he was not "Poeta Cesario," but "poet to the Imperial theaters." In his capacity as a teacher his record seems to have been above reproach; and it was in this capacity that he first presented himself favorably to New Yorkers. Within two years after his arrival he gave a pamphlet to the public entitled "Compendium of the Life of Lorenzo Da Ponte, written by Himself, to which is added the first Literary Conversatione held at his home in New York on the 10th day of March, 1807, consisting of several Italian compositions in verse and prose translated into English by his scholars." That this little brochure was designed as an advertisement is obvious enough; it was issued on his fifty-eighth birthday and its contents, besides the sketch of his life, which, so it began, he had promised to give his pupils, were specimens of their literary handicraft. In the biographical recital are echoes of the contentions in which he had been engaged in London a few years before. Although only two years had elapsed since his arrival in America, what may be called the first of his commercial periods was already over. He had sent his wife to New York ahead of him with some of the money which his English creditors were looking for. With this he promptly embarked in business, trafficking in tobacco, liquors, drugs, etc.—goods which promised large profits. In three months fear of yellow fever drove him to Elizabethtown, N. J., where he remained a year, by which time he was ruined. He came back to New York and began to teach the Italian language and literature, and the little "Compendium" recorded his first successes. He taught till 1811, by which time he had laid aside $4,000, with which he again went into business, this time as a distiller in Sunbury, Pa. After several years of commercial life he returned again to New York and resumed the profession which brought him into contact with people of refinement and social standing, who seem to have remained his friends, despite his complaints and importunities, till his death in 1838. Among those who were sincerely attached to him were Clement Clark Moore, Hebrew lexicographer, trustee of Columbia College, and (best of all) author of "'Twas the Night before Christmas." Through Moore he secured the privilege of calling himself Professor of Italian Literature at Columbia, though without salary, managed to sell the college a large number of Italian books, and was engaged to make a catalogue of the college library. Another friend was Henry James Anderson, who became Professor of Mathematics and Astronomy in the college in 1825, the year in which Garcia came to New York with his operatic enterprise. Professor Anderson married his daughter and became the father of Edward Henry and Elbert Ellery Anderson. Other friends were Giulian C. Verplanck, Dr. Macneven, Maroncelli, the Italian patriot, (whose wife was one of the members of the opera company which Da Ponte organized with Rivafinoli), Samuel Ward, Dr. John W. Francis, the Cottenet family, and H. T. Tuckerman, who wrote a sketch of him after his death in Putnam's Magazine. At the time of his operatic venture, 1833-34, he lived at No. 342 Broadway, and kept a bookstore at No. 336, which may then have been an adjoining house. The site is near the present Catherine Lane. Before then he had lived in dozens of different houses, moving, apparently, nearly every year. He died at No. 91 Spring Street, on August 17, 1838, and was buried in the Roman Catholic Cemetery in Eleventh Street, between First Avenue and Avenue A. When the centenary of the first performance of "Don Giovanni" was celebrated in many European cities, in 1887, I conceived the idea of sending a choir of trombones to the grave of the poet who had written the text to pay a musical tribute to his memory, and thus made the discovery that the place of his burial was as completely lost as the last resting place of the mortal remains of Mozart. Weeks of research were necessary to determine the fact that it was the old cemetery that had received his body, and that the location of the grave was no longer to be determined by the records. It was never marked.
Da Ponte's ambition to see Italian opera permanently established in New York seems to have received a crushing blow with the failure of the pretentious Italian Opera House enterprise. His dream I have referred to; he was again to be a "poet to the opera," to write works for season after season which his countryman Trajetta was to set to music. His niece was to be a prima donna. He did write one libretto; it was for an opera entitled, "L'Ape Musicale," for the musical setting of which he despoiled Rossini. His niece, Giulia Da Ponte, did sing, but her talents were not of the kind to win distinction. He persuaded Montressor to give his season, and, rushing into print, as was his custom—the period of the pamphleteer was to his liking—he discussed the failure of that undertaking in two booklets. After the successive failures of himself with Rivafinoli and his underlings, who attempted to succeed where he had come to grief, he appended a letter to his old supporters (who had plainly fallen away from him) to a pamphlet devoted to setting forth the miseries of his existence after the great things which, in his opinion, he had done for the people of New York. The letter has never seen the light of day from the time when it was printed in 1835 till now; but it deserves preservation. I found it twenty years ago in the library of the Historical Society of New York in a bound volume of miscellaneous pamphlets. It is as follows:
TO THOSE AMERICANS who love the fine arts I address myself. Hitherto I have vainly spoken and written. Never was more really verified the Latin proverb: Abyssus abyssum invocat.
Let the verses that I now present you rouse you from your lethargy; yet should they not, I will not cease to cry aloud. I cannot now remain in silence while my fellow countrymen are sacrificed, the citizens of two noble cities deceived, and an enterprise for which I have so long and ardently labored, so calculated to shed luster on the nation, and so honorable in its commencement, ruined by those who have no means, nor knowledge, nor experience. Answer at least these questions: Did you not request from me an Italian company? It will be readily understood with whom I speak. Why did you ask this of me? I was offered a handsome premium if I would introduce a troupe of select Italian artists in America. Did not I, and I alone procure them? Were they not excellent? Have I been compensated for my labor, reimbursed my actual expenses, or even honored by those most benefited by my losses and labors?
Had not I a right to expect thus much, or at least justice? And if you thought me competent to do what I have done, why should you not be guided by my counsels? Did I not tell you and reiterate in my writing and verbally that Rivafinoli was not to be trusted? That he was a daring, but imprudently daring, adventurer, whose failures in London, and in Mecico and Carolina were the sure forerunners of his failure in New York? And when deceived by him, whom did you take in place of him? PORTO! SACCHI! With what means? What talents? What judgment? What experience? What chances of a happy issue? Would you know why they wished it? I will tell you, with Juvenal—'Greculus esuriens si in coelum jusseris ibit.' But ignorant pretenders mostly have more influence than modest truth. You, gentlemen of the committee, gave the theater to them because, not having anything to lose, they could yield to everything, even to the promising of what they knew themselves unable to perform.
One of them it is said still has some hopes from you. Before another disgrace occurs I beg you to look at the effects. Nemo dat quod non habet. I brought a company from Italy by the mere force of my word. And why was this? Because they knew me for an honorable man, who would not promise what he could not perform, who had been eleven years the poet of the Emperor Joseph 2d, who for another equal space of time had been the poet to the theater in London, who had written thirty-six operas for Salieri, for Martini, for Storace and Mozzart (sic).
That these dramas still survive, you yourself have seen and thought its author not worthy of your esteem. For God's sake let the past become a beacon light to save you from the perils of the future. Do not destroy the most splendid ornament of your city. Rocco is obliged to visit Italy. Lease to him the theater, he will have for his advisers the talented and estimable Bagioli and myself. For me I wish for nothing, but it pains me to see spoiled by ignorance and imposture, and vanity that which cost me so much, or to speak more correctly, which cost me everything, and you so much, and it will cost you more in fame as well as in money.
What will they say, the Trollops and the Halls and Hamiltons who nodum in scripto quoerunt with the microscope of national aversion? Rocco and he only can redeem the fortunes of your disorganized, betrayed, dishonored establishment by giving you a new and meritorious company. Listen then to him and assist him—you will lose nothing by it; I pledge you the word of an old man whose lips have never uttered an untruth. Your servant and fellow citizen, Lorenzo Da Ponte
The theater was not leased to Rocco. It never echoed to opera after the second season.
CHAPTER IV
HOUSES BUILT FOR OPERA
"His wit was not so sharp as his chin, and so his career was not so long as his nose," says Richard Grant White of the impresario who, ten years after the failure of the Italian Opera House, made the third effort to establish Italian opera in New York of which there is a record. The man with a sharp chin and long nose was Ferdinand Palmo. He was the owner of a popular restaurant which went by the rather tropical name "Café des Milles Colonnes," and was situated in Broadway, just above Duane Street. Palmo knew how to cook and how to cater, and his restaurant made him fairly rich. What he did not know about managing an opera house he was made conscious of soon after the ambition to be an impresario took hold of him. His was an individual enterprise, like Mr. Hammerstein's, with no clogs or entangling alliances in the shape of stockholders, or managing directors, or amusement committees. He seems to have been strongly impressed with the idea that after the public had been total abstainers for ten years they would love opera for its own sake, and that it would not be necessary to give hostages to fortune in the shape of a beautiful house, with a large portion set apart for the exclusive use of wealth and fashion. Except in name, says Mr. White, there were no boxes. Palmo did not even build a new theater. He found one that could be modeled to his purposes in Stoppani's Arcade Baths, in Chambers Street, between Broadway and Center Street. The site is now occupied by the building of the American News Company. The acoustics of the new opera house are said to have been good, but the inconvenience of the location and unenviable character of the neighborhood are indicated quite as much as Signor Palmo's enterprising and considerate nature by his announcement that after the performances a large car would be run uptown as far as Forty-Second Street for the accommodation of his patrons; and also that the patrons aforesaid should have police protection. The house seated about eight hundred persons, the seats being hard benches, with slats across the back shoulder high. Opera lovers given to luxury were permitted to upholster their benches. The orchestra numbered "thirty-two professors," but their devotion to the art which they professed was not so great as to make them willing to starve for its sake or to refuse to resort to the methods of the more modern workingmen's unions to compel payment for their services, as we shall see presently. The first performance under Signor Palmo took place on February 3, 1844, the opera being the same one with which Mr. Hammerstein began his latest venture sixty-two years later—"I Puritani." The prima donna soprano was Borghese, who was attractive in appearance, though not beautiful; who dressed well, sang with passionate intensity, and won a popularity that found vent in praise which may have been extravagant. One critic, "balancing her beauties against her defects," pronounced her the best operatic singer that the writer had yet heard on this side of the Atlantic. This remark leads Mr. White to surmise that the critic had not been five years in America, for, says he, Signora Borghese was not worthy to tie the shoes of Malibran, Pedrotti, Fanti, Garadori, or Mrs. Wood, the last two of whom had sung in English opera. Her chief defect seems to have been the tremolo—that vice toward which the American critics of to-day are more intolerant than those of any other people, as they are toward the sister vice of a faulty intonation. Mr. White talks sensibly on the subject in his estimate of Borghese.
She had a fine voice, although not a great one; her vocalization, regarded from a merely musical point of view, was of the corresponding grade, but as stage vocalization it had great power and deserved higher commendation. Her musical declamation was always effective and musico-rhetorically in good taste. She had a fine person, an expressive face, and much grace of manner. One might be content never to hear a better prima donna if one were secured against never hearing a worse. In her was first remarked here, among vocalists of distinction, that trembling of the voice when it is pressed in a crescendo, which has since become so common as greatly to mar our enjoyment of vocal music. This great fault, unknown before the appearance of Verdi, is attributed by some musical critics to the influence of his vociferous and strident style. It may be so; but that which follows is not always a consequence of that after which it comes. Certain it is, however, that from this time forward very few of the principal singers who have been heard in New York—only the very greatest and those whose style was formed before Verdi domineered the Italian lyric stage—were without this tremble. Grisi, Mario, Sontag, Jenny Lind, Alboni, and Salvi were entirely without it; their voices came from the chest pure, free and firm.
I can scarcely believe that the distressful vocal wabble either came in with Verdi's music or was greatly promoted by it. In the lofty quality of style Mme. Sembrich is the most perfect exemplar whom it is the privilege of New Yorkers to hear to-day; and she is the best singer we have of Verdi's music. Did anyone ever hear a tone come out of her throat that was not pure, free, and firm? Frequently the tremolo is an affectation like the excessive vibrato of a sentimental fiddler; sometimes it is the product of weakness due to abuse of the vocal organ. In all cases it is the sign of bad taste or vicious training, or both, and is an abomination. On the opera stage to-day Italian prima donnas are most afflicted with it. In turn Verdi, Meyerbeer, and Wagner have been accused of having caused it, but anyone who has listened intelligently to the opera singers of the last forty years will testify with me that the truly great singers of their music have been as free from the vicious habit as have been those whose artistic horizons have been confined by the music of Bellini, Rossini, and Donizetti.
The tenor of the Palmo company was Antognini, who effected his entrance on the American stage five weeks after the opening of the season. In the opinion of Mr. White, he was the greatest tenor ever heard here, not excepting Mario and Salvi, and Mr. White's opinion is so judiciously expressed that one is fain to give it credence. Whether or not it can be extended over the period which he has covered, which is that reaching from the last days of the Academy of Music, when Campanini was still in his vocal prime but had not developed the dramatic powers which he put into play with the decay of his voice, I shall not undertake to say; taste in tenor voices has changed within the last generation in favor of the robust quality so magnificently exemplified in Signor Caruso. To judge from Mr. White's description Antognini, as a singer merely, was a Bonci of a manlier mould. His fame seems to have died with those who heard him, and perhaps this is a good reason for reprinting what Mr. White said about him in full:
He (Antognini) was an artist of the first class, both by natural gifts and by culture. His voice, although not of notable compass, was an absolute tenor of a delicious quality and great power. His vocalization was unexceptionably pure, and his style was manly and noble. As a dramatic singer I never heard his equal except Ronconi; as an actor, I never saw his equal, except Ronconi, Rachel, and Salvini. He had in perfection that power which Hamlet speaks of in his soliloquy, after he dismisses the players, when the speech about Pyrrhus is ended:
Is it not monstrous that this player here,
But in a fiction, in a dream of passion
Could force his soul so to his own conceit
That from her working all his visage wann'd;
Tears in his eyes, distraction in's aspect,
A broken voice, and his whole function suiting
With forms to his conceit!
I have seen the blood fade not only from Antognini's cheeks, but from his very lips, as he strode slowly forward to interrupt the nuptials in "Lucia di Lammermoor," and then flame back again as he broke into defiance of his foes. The inflections of his voice in passages of tenderness were ravishing, and his utterance of anger and despair was terrible. Nor was any tenor that has been heard here, not even Mario in his prime, his superior in that great test of fine vocalization, a sustained cantabile passage. He was one of those blond Italians who are found on the northern border of the peninsula. Being all this he nevertheless soon disappeared, and was forgotten except by a few of the most exacting and cultivated among his hearers; the reason of which was that his voice could not be depended upon for two nights together—not, indeed, for one alone. On Monday he would thrill the house; on Wednesday he would go about the stage depressed, almost silent, huskily making mouths at his fellow actors and the audience. His voice would even desert him in the middle of an evening, thus producing an impression that he was trifling with his audience. No judgment could have been more unjust, for he was a conscientious artist, but the effect of this defect, as Polonius might say, was therefore no less disastrous, and he soon gave place to artists less admirable but more to be relied upon.
In this season there appeared a prima donna of the French school in the person of Laura Cinthe Montalant, known in the annals of opera as Cinti-Damoreau, who had come to America to sing in concerts with Artôt, the violinist. In the eyes of Fétis she was one of the greatest singers the world had known. Damoreau was the name of her husband, an unsuccessful French actor. When she came to America she had made her career in Paris and London, a great triumph coming to her in the French capital, where Rossini composed the principal female rôles in "Le Siège de Corinth" and "Moïse," and Auber those in "Domino Noir," "L'Ambassadrice," and "Zanetta."
[Repertory of the first season at Palmo's Opera House: "I Puritani"
(Bellini), "Belisario" (Donizetti), "Beatrice di Tenda" (Bellini), "Il
Barbiere di Siviglia" (Rossini), "La Sonnambula" (Bellini), "L'Elisir
d'Amore" (Donizetti), "L'Italiana in Algeri" (Rossini). Repertory of
the second season, 1844-1845: "Lucia di Lammermoor" (Donizetti), "II
Pirata" (Bellini), "Chiara de Rosemberg" (Luigi Ricci), "Lucrezia
Borgia" (Donizetti), "Belisario" (Donizetti), "La Cenerentola"
(Rossini), "Semiramide" (Rossini).]
It is not surprising that ill fortune became the companion of Palmo at the outset of his enterprise and dragged him down to the lowest depths before the end of his second season (according to the calendar).
The first season ran its course and a second one began in November, 1844. Amidst the usual vicissitudes it continued until January 25, 1845. On this momentous date Borghese was before the footlights and about to open her mouth in song when suddenly the orchestra ceased playing. Not a soft complaining note from the flute, not a whimper from the fiddles. Borghese raved and Palmo came upon the stage to learn the cause of the direful silence. A colloquy with the musicians, if not exactly in these words, was to this effect:
"What's the meaning of this? Is it a strike? Why?"
"No pay."
"I'll pay you to-morrow."
"To-night's the time"—the musicians packing up their instruments.
Palmo rushed to the box office to get the night's receipts. Alas! they were already in the hands of the deputy sheriff. Another opera manager had gone down into the vortex which had swallowed up Ebers, and Taylor, and Delafield, and others of their tribe in London, and Montressor and Rivafinoli in New York. Palmo, it is said, had literally to return to his pots and kettles; after serving as cook and barkeeper in the hotels of others the once enterprising manager of the Café of a Thousand Columns became a dependent upon the charity of his friends. There was another season of opera at Palmo's, among the managers of which were Sanquirico, a buffo singer, Salvatore Patti, and an Italian named Pogliagno. In the company were Catarina Barili and her two children, Clotilde and Antonio. Patti was a tenor singer. He was the husband of the prima donna, Catarina Barili, who was looked upon as a fine representative of the old school of singing, and from the pair sprang Carlotta and Adelina, who gave a luster to the name of Patti which the father would never have given it by his exertions as singer and manager. Both were born before their parents came to New York; Carlotta in Florence, in 1840, and Adelina in Madrid, in 1843. The childhood and youth of both were spent in New York, and here both received their musical training. Their artistic history belongs to the world, and since I am, with difficulty, trying just now to talk more about opera houses and those who built them to their own ruin, than about those who sang in them, I will not pursue it. The summer of 1847 saw Palmo's little opera house deserted. In 1848 it became Burton's Theater, where, as Mr. White observes, that most humorous of comedians made for himself in a few years a handsome fortune.
Who shall deny that Signor Palmo, though his fortunes went down in disaster, made a valuable contribution to that movement—which must still be looked upon as in an experimental stage—which has for its aim the permanent establishment of opera in the United States? Experimental in its nature the movement must remain until the vernacular becomes the language of the performances and native talent provides both works and interpreters. The day is still far distant, but it will come. The opera of Germany was still Italian more than a century and a half after the invention of the art form, though in the meanwhile the country had produced a Bach and a Handel. The Palmo venture (at the bottom of which there seems to have been a desire to popularize or democratize a form of entertainment which has ever been the possession of wealth and fashion) revived the social sentiment upon which Da Ponte had built his hopes. In the opinion of the upper classes's it was not Italian opera that had succumbed, but only the building which housed it. This certainly presented an aspect of incongruity. Fine talent came from England for the English companies, whose career continued without interruption, and the moment which saw the downfall of Palmo's enterprise saw also the influx of a company of Italian artists under the management of Don Francesco Marty y Torrens, of Havana, who deserves to be kept in the minds of opera lovers which go back to the days of the Academy of Music, if for no other reason than that he brought Signor Arditi to New York—the hawk-billed conductor whose shining pate used to glisten like a stage lamp from the conductor's seat in the fine old house at Fourteenth Street and Irving Place.
And so, in order that Italian opera might not perish from the earth, but live on, surrounded by the architectural splendor appropriate to it, one hundred and fifty men of social prominence got together and guaranteed to support it for five years, and Messrs. Foster, Morgan, and Colles built the Astor Place Opera House. Instead of the eight hundred seatings of Palmo's institution, this held 1,800. The theater had "a fine open front and an excellent ventilation." That it was an elegant playhouse and admirably adapted to the purpose for which it had been designed there are many people still alive in New York to testify. Mr. White says enthusiastically that it was "one of the most attractive theaters ever erected." Even Max Maretzek, who began his American career there, first as conductor, afterward as impresario, while throwing ridicule upon its management (his own administration excepted, of course) and its artistic forces, praises the architectural arrangement of the house. "Most agreeably surprised was I," he writes in his "Crotchets and Quavers," published in 1855, "on entering this small but comfortably arranged bonbonnière. It contained somewhere about 1,100 excellent seats in parquet (the Parisian parterre), dress circle and first tier, with some seven hundred in the gallery. Its principal feature was that everybody could see, and, what is of infinitely greater consequence, could be seen. Never, perhaps, was any theater built that afforded a better opportunity for a display of dress. Believe me" (he is indulging in the literary fiction of a letter to a journalistic friend in Paris), "that were the Funambules built as ably for this grand desideratum, despite the locality and the grade of performance at this theater, my conviction is that it would be the principal and most fashionable one in Paris." Maretzek is, of course, here aiming chiefly to cast discredit upon one of the vanities and affectations of society—the love of display; but if Mr. White is to be believed, the patrons of the Astor Place Opera House, on its opening (which means the fashionable element of New York society) were temperate and tasteful in the matter of dress. Speaking of the first performance at the new house, he says: "Rarely has there been an assembly, at any time or in any country, so elegant, with such a generally suffused air of good breeding; and yet it could not be called splendid in any one of its circles. At the Astor Place Opera House that form of opera toilet for ladies which is now peculiar to New York and a few other American cities came into vogue—a demi-toilet of marked elegance and richness, and yet without that display either of apparel and trimmings or of the wearer's personal charms which is implied by full evening dress in fashionable parlance. This toilet is very pleasing in itself, and it is happily adapted to the social conditions of a country in which any public exhibition of superior wealth in places set apart for common enjoyment of refined pleasure is not in good taste." Mr. White wrote in 1881; would he have been able to be so complimentary to the opera audiences of 1908? What relation does the present extravagance of dress, the vulgar ostentation which Mr. White would have us believe was foreign to the taste of New York's cultured society in 1847, bear toward the support which opera has received since the Metropolitan Opera House was opened? The factors which are to determine the question seem to be marshaling themselves since Mr. Hammerstein opened the Manhattan Opera House, but they are not yet fairly opposed to each other. There are features in which the new opera house recalls memories of the old Academy which met its downfall when the amalgamation between the old Knickerbockers and the newer New Yorkers was effected; but there are also other features which make a repetition of that occurrence under present circumstances very improbable, and the chiefest of these is that inculcated by the failure of the Palmo enterprise; opera must have an elegant environment if it is to succeed. But it had this in the Astor Place Opera House; why, then, did it live its little span only?
The question is easily answered—the Astor Place Opera House was killed by competition; not the competition of English opera with Italian, which had been in existence for twenty-five years, but of Italian opera with Italian opera. The first lessees of the new institution were Messrs. Sanquirico and Patti, who had first tried their luck in Palmo's Opera House. They endured a season. [At the Astor Place Opera House in its first season Sanquirico and Patti produced Verdi's "Ernani," Bellini's "Beatrice di Tenda," Donizetti's "Lucrezia Borgia," Mencadante's "Il Giuramento," and Verdi's "Nabucco." Mr. Fry's season in 1848 when Mr. Maretzek was the conductor, brought forward Donizetti's "Linda di Chamouni," "Lucrezia Borgia," "L'Elisir d'Amore," "Roberto Devereux," and "Lucia di Lammermoor" and Verdi's "Ernani.">[ Then the first American manager appeared on the field—I mean the first American manager whose thoughts were directed to opera exclusively as distinguished from the managers of theaters who took hold of opera at intervals, as they did any other sort of entertainment which offered employment for their houses. The manager in question was Mr. E. R. Fry, who came from the counting house to a position of which he can have known nothing more than what he could acquire from attendance upon opera, of which he was fond, and association with his brother, W. H. Fry, who was a journalist by profession (long the musical critic of The Tribune) and an amateur composer of more than respectable attainments. Mr. Maretzek, in his "Crotchets and Quavers"—a book generally marked by characteristic good humor, but not free from malevolence—tries to make it appear that Mr. Edward Fry went into operatic management for the express purpose of performing his brother's operas; but while the animus of the statement is enough to cause it to be looked upon with suspicion, the fact that none of William Henry Fry's operas was performed at the Astor Place Opera House during the incumbency of Edward Fry is a complete refutation. "Leonora," the only grand opera by a professional critic ever performed in New York, so far as I know, was brought forward at the Academy of Music a good nine years later. Apropos of this admirable and respected predecessor of mine, a good story was disclosed by Charles A. Dana some fifteen or twenty years ago in his reminiscences of Horace Greeley. Mr. Dana published a large number of letters sent to him at various times while he was managing editor of The Tribune and Mr. Greeley editor-in-chief. It was in the days just before the War of the Rebellion. A political question of large importance had arisen in Congress, and Mr. Greeley was so concerned in it that he went to Washington to look after it in person and act as a special correspondent of his own newspaper. Thence one day he sent two letters to The Tribune on the subject, but in the issue of the day in which he expected them to appear in The Tribune he sought in vain for his communication. Thereupon he indited an epistle to Mr. Dana in these wingèd words:
Friend Dana: What would it cost to burn the Opera House? If the price is reasonable have it done and send me the bill. . . . I wrote my two letters under the presumption (there being no paper on Wednesday) that the solid work of exposing their (Pierce and Gushing) perversion of history had of course been done by Hildreth. I should have dwelt with it even more gravely but for that. And now I see (the Saturday paper only got through last night) that you crowded out what little I did say to make room for Fry's eleven columns of arguments as to the feasibility of sustaining the opera in N. Y. if they would only play his compositions. I don't believe three hundred people who take the Tribune care one chew of Tobacco for the matter.
The "eleven columns" was an amiable exaggeration quite in consonance with the remainder of the letter; but I can testify from a consultation of the files of the newspaper which I have served as one of Mr. Fry's successors for more than a quarter of a century that on the date in question The Tribune's critic did occupy three and a half columns with a discussion of the Lagrange season just ended at the Academy of Music and a most strenuous plea for the permanent substitution of English for Italian opera! Also, that most of what Mr. Fry said would sound just as apposite to-day as it did then, and be backed by just as much reason. But a taste for the elegant exotic and reason do not seem to go hand in hand, and managers are still strangely averse to placing themselves for guidance into the hands of The Tribune's critics. How different might not musical history in New York have shaped itself had William Henry Fry, George William Curtis, John R. G. Hassard, and H. E. K. had their way during the last sixty years! The thought is quite overpowering.
The opposition which the Astor Place Opera House met was indeed formidable. It came from the company organized by Don Francesco Marty y Torrens for performances in Havana. This enterprising gentleman did not come to New York to make money, but mischief—as Messrs. Sanquirico, Patti, Fry, and Maretzek must have thought—and incidentally to keep his singers employed during the hot and unhealthy season in Havana. His aiders and abettors were James H. Hackett and William Niblo. The former, in his day an actor, was particularly famous for his impersonation of Falstaff. His interest in opera may have been excited more or less by the fact that his wife had been Catherine Leesugg, an English opera singer, who had sung the part of Rosina in an English version of Rossini's "Barber of Seville" as early as 1819. At Niblo's history I have already taken a glance. In the present chapter he is chiefly interesting, according to a story which has long had currency, as the manager who succeeded in putting an end to the Astor Place Opera House by a trick which took the bloom of caste off that aristocratic institution. I shall let Maretzek tell the story presently, pausing now to interject an anecdote which fell under my notice some years ago while I was turning over the records of the Grand Ducal Theater at Weimar. This always comes to my mind when the downfall of the Astor Place Opera House is mentioned, and also when, as has frequently been the case within the last sixteen years, I met a grandson of one of the principal actors in the incident in the streets of New York.
In April, 1817, there came to Weimar from Vienna a gifted dog, who assisted his master in the presentation of a play of the melodramatic order, entitled "The Dog of Aubri de Mont-Didier." The director of the Grand Ducal Theater at the time was one Wolfgang von Goethe. To him the dog's manager applied for the privilege of producing his edifying piece. Goethe refused permission, and there was danger that the patrons of the playhouse which had echoed to the first sounds of the plays of Schiller and Goethe were to be deprived of the inestimable privilege of seeing a dog dash out of the door of a tavern in which a murder had been committed, pull a bell rope to alarm the village, carry a lantern into the forest, discover the murderer just at the psychological moment, pursue him from rock to rock, capture him at the last, and thus bring about the triumph of justice. But the dog's manager was not thus to be put down. He went with a petition to Fräulein Jagemann (whose portrait in the character of Sappho my readers may still find hanging on a wall of the library at Weimar), and solicited her intervention with the Grand Duke, whose reign Schiller and Goethe made glorious. Fräulein Jagemann was a prima donna and the Grand Duke's mistress. ("The companion of my leisure moments," he called her with quite a pretty euphemism.) In the former capacity she had given Goethe, the director, a great deal of trouble, and in the latter her influence had caused him many an annoyance. It was the dog that broke the camel's back of his patience. Fräulein Jagemann saw an opportunity to get in a blow against her artistic tyrant, and she wheedled Charles Augustus into commanding the production of "The Dog of Aubri de Mont-Didier." The play was given twice, on April 12 and 14, 1817, with uproarious success, of course, and on April 17th Goethe resigned the artistic direction of the Weimar Court Theater. As for Fräulein Jagemann, she eventually got a title and estates as Frau von Heygendorf.
And now for the story of "The Dogs of Donetti: or, the Downfall of the Astor Place Opera House," by Max Maretzek; it must be prefaced by the statement that after Edward Fry had made a lamentable failure of his opera season at which he had the services of Maretzek as conductor, Maretzek became lessee of the house and thus remained for the years 1849 and 1850.
Bled to the last drop in my veins (I, of course, allude to my purse and my pocket), the doors of the Astor Place Opera House were closed upon the public. It was my determination to woo the fickle goddess Fortune elsewhere. Possibly her blinded eyes might not recognize her old adorer, and she might even yet bestow upon me a few of her faithless smiles.
Again, however, after my departure, was the opera house leased. But to whom do you imagine it was now abandoned by the exemplary wisdom of its proprietors?
To the identical William Niblo who had fostered and encouraged the opposition—the same William Niblo who had a theater (or let me give it his name, and call it—a garden) within the length of some three stone-throws from their own house. It must be granted they did not foresee that which was about to happen. But this will scarcely palliate the folly of taking the head of a rival establishment for their tenant.
This gentleman engaged the troupe of dogs and monkeys, then in this country, under the charge of a certain Signor Donetti.
Their dramatic performances were offered to the refined and intelligent proprietors and patrons of this classic and exclusive place of amusement. Naturally they protested. It was in vain. Then they sued out an injunction against this exhibition on the ground that in Niblo's lease of the premises only respectable performances were permitted to be given in the opera house. On the "hearing to show cause" for this injunction Mr. Niblo called up Donetti or some of his friends, who testified that his aforesaid dogs and monkeys had, in their younger days, appeared before princes and princesses and kings and queens. Moreover, witnesses were called who declared under oath that the previously mentioned dogs and monkeys behaved behind the scenes more quietly and respectably than many Italian singers. This fact I feel that I am not called on to dispute. . . . As might be supposed the injunction was dissolved.
As a matter of course, the house lost all its prestige in the eyes of the community. Shortly afterward its contents were sold, and the shell of the opera was turned into a library. Its deathblow had been given it as a place for theatrical amusement by the astute Mr. William Niblo.
Furthermore, Mr. Maretzek would have us believe that some year or two later, the Academy of Music having been projected meanwhile, he met Niblo and asked him what he thought of the prospects of the new enterprise.
"Why," answered the manager, in his nasal voice, "I suppose I shall have again to engage Donetti's dogs and monkeys."
CHAPTER V
MARETZEK, HIS RIVALS AND SINGERS
Of the operatic managers of fifty years ago Max Maretzek was the only one with whom I was personally acquainted, and it was not until near the close of his career that he swam into the circle of my activities or I into his. He died on September 17, 1897. His last years were spent in a home on Staten Island, and the public heard nothing about him after the memorable concert given for his benefit at the Metropolitan Opera House on February 12, 1889, the occasion being set down as the fiftieth anniversary of the beginning of his career as a conductor in America. All the notable conductors then living in New York took part in the concert—Theodore Thomas, Anton Seidl, Frank van der Stucken, Walter Damrosch, and Adolf Neuendorff. Maretzek was seventy-six years of age at the time of his death, and he had grown old, if not gracefully, at least good-naturedly. He did not quarrel with his fate, but even when he spoke of its buffetings it was in a tone of pleasant banter and with a twinkle in his eyes. His manner of accepting what the world brought him was illustrated at a meeting which I had with him in the season of 1883-84—the first of the Metropolitan Opera House. It was on a Saturday afternoon that I found him standing in front of the new establishment after the first act of the opera was over. Not having seen him in the house, I asked him if he was attending the performance. He said he was, but that, the house being sold out, he had no seat. Thereupon I offered him mine, saying that it might be a pleasure to occupy it since several of his professional acquaintances were seated in the neighborhood who would be glad to greet him. "Annie Louise Cary is right back of me," I said, "and Clara Louise Kellogg near by." But he did not care to accept my offer, and I fancied I saw a rather more serious and contemplative look come over his grizzled face. Naturally, I asked him what he thought of the new house and the new enterprise, adding that I regretted that he was not the manager. He began with apparent solemnity:
"Well, when I heard the house was to be built, I did think—I did think that some of the stockholders would remember what I had done for opera. Some of the old-timers, who used to go to the Academy of Music and Astor Place Opera House when I was manager there, I thought, would recollect what companies I gave them—Parodi, and Steffanone, and Marini, and Lorini, and Bettini, and Bertucca"—(how often I had heard him chant the list, counting off the singers on his chubby fingers!)—"and Truffi, and Benedetti, and Salvi. I thought somebody might remember this and the old man, and come to me and say, 'Max, you did a good deal for us once, let us do something for you now.' I didn't expect them to come and offer me the house, but I thought they might say this and add, 'Come, we'll make you head usher,' or, 'You may have the bar.' But nobody came, and I'm out of it completely."
Maretzek's managerial career continued at least until 1874; after that he conducted operas for others and did something toward the last in the way of teaching. It was seldom that one could get into a conversation with him but he could grow reminiscent, and, reverting to the olden time, begin tolling off the members of the companies which he had led to artistic victories and who had helped plunge him into financial defeat—"Parodi, and Steffanone, and Marini, and Bettini, and Lorini, and Bertucca," and so on. Poor Bertucca! Few of those who in later years saw Mme. Maretzek, portly and sedate, enter the orchestra at the Academy of Music and Metropolitan Opera House, and tune her harp while the audience was gathering in the gilded horseshoes above, recalled that she had been the sprightly and bewitching Bertucca of thirty years before.
I cannot recall that Maretzek ever grew bitter in discoursing on what once was and what might have been. He could be satirical and cutting, but his words were generally accompanied with a smile. His dominant mood and something of his style of expression are illustrated in his book, "Crotchets and Quavers, or Revelations of an Opera Manager in America," which he published in 1855, most obviously with the help of some literary hack who, I imagine, got the thoughts from Maretzek, but supplied the literary dress for them. A good many old scores are paid off in the book, and a good many grudges fed fat; but there are not many instances of bad humor. There is a sugar coating even to his malice. Shortly before I left Cincinnati, the College of Music of that city, having suffered a serious loss of prestige because of the resignation of Theodore Thomas, made a pretentious announcement of an operatic department, a practical school for opera, which was to be conducted by Maretzek. I think it was in the fall of 1880. At any rate, it was on the very eve of my departure from Cincinnati for New York. Maretzek came to the city somewhat late in the evening, and though I called upon him at the Burnet House as soon as I heard of his coming, he was already in bed when my card reached him. Nevertheless, I was asked up to his room. A tea tray still stood upon the table by the side of the bed when I entered. He held out his hand cordially and apologized for receiving me in bed. I told him that my newspaper, The Gazette, wanted to know, for the information of its readers, what he purposed doing at the college. The squabble between Mr. Thomas and the college authorities had kept the town in a ferment for months, all of which Maretzek seemed to know. It was no concern of his, but he could not help having artistic sympathies or predispositions, and these were obviously on the side of the musician Thomas, who had split with the business management of the college because of charlatanry in its methods. There was a merry twinkle in Maretzek's eyes as in reply to my question he answered: "I don't know what I am going to do, or what I'm here for. They made me an offer, and I came. I'm told that I am to run an opera school." Again he held out his hand at parting, and his last words were:
"Don't give me away!"
Not many months had passed before he, too, had followed Theodore Thomas back to New York, I met him in the lobby of the Academy of Music between the acts of the opera. It was in the consulship of Mapleson. "Hello!" I greeted him. "Back to New York so soon? What's the matter in Cincinnati?"
The quizzical smile with which he had greeted me grew wider as he replied sententiously:
"I'm not a hog. I know when I've got enough!"
Maretzek was a Hebrew, born in Brünn, Moravia, and educated in Vienna, where first he studied medicine, but, according to his own story, becoming disgusted with the sights of the dissecting room, he changed his purposes and devoted himself to music. He wrote an opera entitled "Hamlet" when he was twenty-two years old, and a year later, in 1844, found himself in London, employed under Balfe at Her Majesty's Theater. Thence he was brought to New York to conduct the opera for Mr. E. P. Fry, as has already been mentioned, in 1848. After one season as conductor he started in on his career as manager, which lasted twenty-five years, the first five of which are amusingly described in his book "Crotchets and Quavers." More than twenty years later he attempted to continue the story in a musical journal, and gathering the disconnected chapters together, issued them in an unattractive form under the title "Flats and Sharps." The first book is, to some extent, a contribution to musical history, though its strong personal equation and its effort to be entertaining mar its value and influence. The impression to which I have given utterance, that he was helped in its preparations by some penny-a-liner, is based upon the difference between its pages and the personal letters which I received from Maretzek in his later years, especially a brief autobiographical sketch which he prepared for me. To judge by the evidence of book and sketch, the latter in his own handwriting and delivered in person, one was forced to the conclusion either that he knew more about the English language six years after his first coming to New York than he did twenty years later or that he had hired somebody fluent but malignant of pen to put his thoughts into shape. It had long been the fashion for theatrical managers and opera impresarios to give the history of their administrations to the world, and Maretzek was but following it, though why he should have done so before he had finally and definitely retired from the field it is not easy to see.
It was an unwise, even a dangerous, thing to do, for it involved the necessity of criticizing the acts of professional people and music patrons with whom a manager was more or less likely to come into contact if he expected to continue his enterprises. The style adopted in the book was the epistolary, the chapters being in the form of letters to European friends: Hector Berlioz (with whom Maretzek had been brought into connection in London), Fiorentino (an Italian, who had been musical critic of the Corsaire, of Paris), Luigi Lablache (the famous basso), Professor Joseph Fischof (of Vienna), Michael W. Balfe (of London, composer of "The Bohemian Girl" and other English operas), Frederick Gye (manager of the Royal Italian Opera, Covent Garden, London), and Carl Eckert (conductor of the Court Opera, Vienna). A final chapter is addressed to the public and is devoted to a recital of the troubles through which the Academy of Music passed in the earliest stages of its career. Eckert had been in America as conductor of the company headed by Henrietta Sontag, and the chapter over which his name is written tells of the career of that artist in the United States and her death in Mexico. Incidentally, also, Maretzek pays off a score owing to Bernard Ullmann, a manager with whom Maretzek was much in conflict and against whom he tried to turn the public by calling the attention of Americans to the sneers in which the delectable gentleman had indulged at their expense while he was trying to win the good graces of the Havanese. Nevertheless, within four years he was Ullmann's partner, for together they opened the season of 1859 at the Academy of Music. The quarrels of opera managers are very like those of lawyers inside the courtroom.
But when Maretzek was holding up the heinousness of Ullmann in the chapter entitled "Los Americanos y su gusto por la Musica," Ullmann was only an agent for Maurice Strakosch, who had entered the managerial field. It was different with Don Francesco Marty y Torrens, the impresario who invaded Maretzek's territory from Havana; and he remained Maretzek's pet aversion to the end of the chapter. In his memoirs Arditi, who came to New York as conductor of one of Marty's companies, says that Don Francesco was among impresarios the most generous of men, Maretzek the cleverest (though he sets down Maurice Grau as the "cleverest of entrepreneurs"), and Colonel Mapleson the most astute. It is not unlikely that Arditi's amiable opinion of the Cuban was influenced not a little by the circumstance that Marty, not caring to make money in New York, treated his artists with unusual liberality. That, naturally, would not tend to increase the admiration of a rival manager for him. He may have been the most generous of men in the eyes of Arditi, but in those of Maretzek he was worse than Barbaja, the Neapolitan manager, who owned the gambling monopoly in the kingdom of Naples, and who, after animating his acquaintances with music and singing, and diverting their eyes with the silk fleshings and short muslin jupons of his dancers, fleeced them at his gambling houses and became richer than the King of Naples himself. Maretzek intimates that in his youth Don Francesco had been the mate of a pirate vessel which preyed on the commerce of the Gulf of Mexico and adjacent waters; that he betrayed his captain to death, and was rewarded with a monopoly of the fish trade in Cuba; that he became possessed mysteriously of enough money to fit out a feet of fishing boats to supply the market which he controlled; that from that source alone his annual income rose to about $160,000; that then he embarked in the slave trade, bringing negroes from Africa and Indians from Yucatan, which he bribed the Spanish officials to permit him to land; was knighted by the Spanish Crown out of gratitude for pecuniary help extended in a crisis; and built an opera house in Havana in order to acquire a social position among the proud people who, despite his badge of nobility, refused to "swallow the fish and digest the negro," as Maretzek puts it. This was the manager who, in the summer of 1850, brought to New York what Maretzek characterizes as "the greatest troupe which had been ever heard in America," and which, "in point of the integral talent, number, and excellence of the artists composing it," had "seldom been excelled in any part of the Old World."
"This party consisted of three prime donne. These were the Signore Steffanone, Bosio, and Tedesco. Its only contralto was the Signora Vietti. There were three tenors—Salvi, Bettini, and Lorini. Badiali and Corradi Setti were the two barytones, while the two bassi were Marini and Coletti. At the head of this extraordinary company was the great contrabassist Bottesini, assisted by Arditi. It would be useless, my old friend, to attempt to indicate to you the excellence of this company. You have long since known their names, or been aware of their standing as artists in the world of music. The greater portion of them enjoy a wide and well-deserved European reputation, and their reunion anywhere would form an almost incomparable operatic troupe."
Some of these names are those of singers whom, in his later days, I have said Maretzek was in the habit of chanting while telling them off on his fingers. His was not the credit of having brought them to the country, but he did, a year after they had made their first appearance in the Havana company, succeed in enticing them away from their generous manager and enlisting them under his banner at the Astor Place Opera House. All but Tedesco.
Of these singers Maretzek has more or less to say in his book, but the point of view is that of the manager perpetually harassed by the jealousies, importunities, and recalcitrancy of his singers. Steffanone was a conscientious artist, but had an infirmity of body and mind which was exceedingly troublesome to her manager; Bosio was talented and industrious, but had a husband whose devotion to her interests was an affliction to her manager; Tedesco was husbandless, but had a father who was so concerned about her honorarium that he came to the opera house on payday with a small pair of scales in his pocket, with which he verified every coin that came out of the exchequer of the unfortunate manager, "subjecting each separate piece of gold to a peculiarly Jewish examination touching their Christian perfection;" Salvi was a mountain of conceit, who believed himself to be the Louis Quatorze of the lyric drama, and compelled his manager to imagine him exclaiming "L'opéra c'est moi!" Toward his manager Salvi was a despot, who rewarded favors bestowed upon himself by compelling the manager to engage persons who had served the tenor. Maretzek cites a ukase touching a singer named Sidonia:
Caro Max: Fa di tutto per iscriturare la Sidonia, altrimenti io non canto ne "Don Giovanni," ne "Norma," ne altri.
A 250 $ il mese, e che la scrittura porti 350 $. Amen, cosi sia.
Il tuo, Salvi.
19. 4. 53.
(In English: "Dear Max: Do everything to engage the Sidonia, otherwise I shall not sing in 'Don Giovanni,' 'Norma' or other operas. At $250 per month, but let the writing bear $350. Amen, and so be it.")
"At $250 per month, but let the scrittura bear $350." I wonder how many of my readers think of this cheap device of singers and managers when they read about the honoraria received by opera singers to-day!
Bettini drank to excess and spent whole nights in the gambling room, rendering him unfit for duty ever and anon; Badiali was singularly conscientious as an artist, and became a favorite with the public, but not with his colleagues, because of his extraordinary meanness and avarice and a jealous disposition; Marini was the greatest living Italian basso, save Lablache, but his voice was occasionally unreliable, and he frequently ill-humored, capricious, splenetic, and peevish.
In private life Angiolina Bosio was Mme. Panayotis di Xindavelonis, the wife of a Greek gentleman, whom she had married in 1851. She was in her prime when she came to New York, though she had not reached the meridian of her reputation. Her features were irregular, and she was not comely. Richard Grant White claims credit for having given her the punning sobriquet "Beaux Yeux," by which she was widely known on account of her luminous and expressive eyes. "Her voice," says White:
was a pure, silvery soprano, remarkable alike for its penetrating quality and for its charm so fine and delicate that it seemed almost intellectual. But she was not a remarkably dramatic singer, even in light comedy parts, which best suited her; and her style was not at all declamatory. She sang; and in her vocalization she showed the results of intelligent study in the old Italian school. Her phrasing was incomparably fine, and the delicacy of her articulation has been surpassed by no modern prima donna, not even by Alboni. Thus much of her as a vocal artist; but her charm was greatly personal. Although her acting was always appropriate and in good taste, and at times—as, for example, in the saucy widow of "Don Pasquale"—very captivating, she never seemed to throw herself wholly into her part. She was always Angiolina Bosio, and appeared on the stage like a lady performing admirably in private theatricals. Her bearing was a delight to her audience, and seemed to be a performance, whereas it was only herself. She sang the music of all the great operatic composers to the admiration of the public and the critics of the most exacting disposition; but she was greatest in Rossini's operas, and in Bellini's and Donizetti's. Yet her exquisitely charming and finished performance of Zerlina should not be passed over unmentioned.
Tedesco, who came to New York with the first Havana company in April, 1847, presented herself to the always susceptible mind of Mr. White as a great, handsome, ox-eyed creature, the picture of lazy loveliness until she was excited by music; then she poured out floods, or rather gusts, of rich, clear sound. "She was not a great artist, but her voice was so copious and so musical that she could not be heard without pleasure, although it was not of the highest kind." Bettini left nothing here that remained in the memory of New Yorkers except the half of a name which he gave to his wife, the contralto Trebelli-Bettini, who was a member of Mr. Abbey's company on the opening of the Metropolitan Opera House in 1883. Salvi came over with the Havana company in the spring of 1848, and was one of the fish which Maretzek took from Marty's weirs. If we are to believe the testimony of contemporaneous critics he was the greatest tenor of his time, with the exception of Mario. That was the opinion of White, who wrote of him as follows in The Century Magazine for May, 1882:
Although Salvi was past his youth when he first sang in New York, his voice was yet in perfect preservation. It lacked nothing that is to be expected in a tenor voice of the first class; and it had that mingling of manliness and tenderness, of human sympathy and seraphic loftiness which, for lack of any other or better word, we call divine. As a vocalist he was not in the first rank, but he stood foremost in the second. His presence was manly and dignified, and he was a good actor. But it was as a vocalist, pure and simple, that he captivated and moved his audiences. He was heard in America at brief intervals during a few years, and his influence upon the taste of the general music-loving public was very considerable and wholly good. Singing at Niblo's or Castle Garden and other like places at which the price of admission was never more than $1, and was generally 50 cents, he gave to multitudes who would otherwise have had no such opportunity that education in art which is to be had only from the performances of a great artist. In purity of style he was unexceptionable. He lacked only a little higher finish, a little more brilliancy of voice and impressiveness of manner to take a position among tenors of the very first rank. Of these, however, there are never two in the world at the same time, scarcely two in the same generation; and so Salvi prepared the public for the coming Mario. His forte was the cantabile and his finest effects were those in mezza voce, expressive of intense suppressed feeling. More than once when he sang "Spirto gentil," as he rose to the crescendo of the second phrase, and then let his cry pass suddenly away in a dying fall, I have heard a whole house draw suspended breath, as if in pain, so nearly alike in their outward manifestation and fine, keen pleasure.
Such were some of the singers whose names are associated in the musical annals of New York with that of Max Maretzek.
CHAPTER VI
THE NEW YORK ACADEMY OF MUSIC
Fifty-one years ago the center of operatic activity had shifted to the Academy of Music, at Fourteenth Street and Irving Place, and there it remained until the Metropolitan Opera House was built. From the opening of the Academy in 1854 to the opening of the Metropolitan in 1883 the former had no rival as an establishment, though the rivalry between managers and singers was the liveliest that New York has ever seen during the first decade of the time. For twenty years Burton's Theater revived its early traditions, and housed an opera troupe at intervals, and Niblo's Theater and Castle Garden were open to every manager who wished to experiment with the costly enterprise. English companies came and went, and a new competitive element, which soon became more dangerous than that which several times crushed the Italian exotic, entered in the shape of German opera, which, though it first sought a modest home in the lesser theaters of the Bowery and lower Broadway, soon achieved recognition at the fashionable Academy. The eagerness of the rivalry in the Italian field alone is indicated by the fact that the Academy had five different managers in the first three seasons of its history, and that thereafter, until the coming of James H. Mapleson in 1878, it was almost a rule that there should be a change of management every season. Maretzek was alternately manager and competitor over and over again, and the bitterest rivals of one season would be found associated with each other the next. Already in the first season the stockholders had to step in and assume some of the risks of management to save the enterprise from shipwreck, and, despite the attractiveness of the house, the excellence of the performances, the presence of such phenomenal artists as Mme. Grisi and Signor Mario, and generous public patronage, the first season cost the different managers between $50,000 and $60,000—three times as much as Maretzek had lost in the previous six years, if that gentleman's word is to be taken. The figures look modest now, but twenty years later their duplication at the Metropolitan Opera House sufficed to effect a revolution in methods, and eventually tastes, which had a profound influence upon musical life in New York.
The Academy of Music had its birth in the expiring throes of the Astor Place Opera House. The spirit of which it was the material expression seems to have been admirable. To this the name of the establishment bears witness. It was not alone the official title of the French institution, popularly spoken of as the Grand Opéra, which was in the minds of the promoters of the New York enterprise—the new opera house was to be a veritable academy of music, an educational institution. Not only was fashionable society to have a place in which to display and disport itself, but popular taste and popular knowledge were to be cultivated. To this end the auditorium was to be three times as commodious as that of the Astor Place Opera House, and the low prices which had been prevalent only at Niblo's, Burton's, and Castle Garden were to be the rule at the new establishment. In the charter granted by the State, dated April 10, 1852, the purposes of the Academy were set down as the cultivation of taste by entertainments accessible at moderate charges, by furnishing facilities for instruction and by rewards. These purposes were overlooked at the beginning, but before the first season had come to its end Ole Bull, for a few weeks a manager, proclaimed his intention to pursue them by promising to open a conservatory in the fall of 1855, and at once (January, 1855) offering a prize of $1,000 for the "best original grand opera by an American composer, and upon a strictly American subject." The competition ended with Ole Bull's announcement, for his active season endured only two weeks.
It is doubtful if the competition would have produced anything more than a curiosity had it been carried to a conclusion. On the spur of the moment I can think of only two American musicians whose capacity was adequate to such a task—Mr. W. H. Fry, who was then musical critic and an editorial writer for The Tribune, and Mr. George F. Bristow, both of whom had composed operas found worthy of performance. Mr. Fry's "Leonora" was performed at the Academy on March 29, 1858, with Mme. Lagrange in the principal rôle, but the score was already a dozen years old, and it is not likely that the composer's state of health would have permitted him to undertake the writing of a new opera even if he had been so disposed. Mr. Bristow's "Rip Van Winkle," which had a production in New York in the year of Ole Bull's announcement, may, for all that I know to the contrary, have been written for the prize. The scheme of uniting a training school for singers with an opera house was not heard of again, so far as I can recall, until Mr. Conried became director of the Metropolitan Opera House. It has much to commend it, and might be made a power for artistic good with an operatic establishment on a really public-spirited, artistic, and unselfish basis; as it is, its influence is apt to be pernicious morally, as well as artistically. How seriously Mr. Fry took the proposed educational feature of the institution is indicated by an article on the new opera house, which he published in The Tribune, in the course of which he said:
The expense of maintaining an opera house so nurtured at home will be at most not more than one-fourth what it would be if the artists were brought from Europe. American vocalists would be content with some few thousand dollars a year, and, if they were sought for and educated, boarded and lodged gratuitously the meanwhile, their services could be procured for several years in payment of the expenses of apprenticeship. In that way alone can the exorbitant demands of foreign artists be diminished; and the folly and extravagance of paying them from one to ten thousand dollars a night, as has been done in this city, will be forever avoided. In connection with this it may be mentioned that there are some Americans now studying for the operatic stage in Italy, and one lady of Boston has appeared in Naples with success. It may yet come to pass that art, in all its ramifications, may be as much esteemed as politics, commerce or the military profession. The dignity of American artists lies in their hands.
Mr. Fry's hopes, so far as the Academy of Music is concerned, were never realized, and after half a century his words are echoing wherever writers indulge in discussion of ways and means for promoting American music. Yet, without schools connected with opera houses American singers have made their mark, not only at home, but in the lyric theaters of Italy, France, Germany, and England. Names like Clara Louise Kellogg, Annie Louise Cary, Minnie Hauk, Alwina Valleria, Emma Nevada, Lillian Nordica, Adelaide Phillips, Emma Albani, and Josephine Yorke are connected more or less intimately with the history of the Academy of Music, but they do not exhaust the list. To them must be added those of Charles Adams, Suzanne Adams, David Bispham, Robert Blass, William Candidus, Emma Eames, Signor Foli, Geraldine Farrar, Julia Gaylord, Helen Hastreiter, Eliza Hensler (the daughter of a Boston tailor who became the morganatic wife of Dom Fernando of Portugal), Louise Homer, Emma Juch, Pauline l'Allemande, Marie Litta, Isabella McCullough, Frederick C. Packard, Jules Perkins, Signor Perugini, Mathilde Phillips, Susan Strong, Minnie Tracey, Jennie Van Zandt, Emma Abbott, Bessie Abott, Julia Wheatley, Virginia Whiting (Signora Lorini), Edyth Walker, Marion Weed, Zélie de Lussan, Clarence Whitehill, Allen Hinckley, Joseph F. Sheehan, and half a dozen or more singers now attracting attention in London and Germany.
Max Maretzek was the first lessee of the Academy of Music, but the company that opened it on October 2, 1854, was that engaged by J. H. Hackett to support Grisi and Mario, which had appeared at Castle Garden two months before. Maretzek sublet to Hackett, who thought that the brilliancy of his stars, and the new house, justified him in advancing the price of seats to $2. He had a rude awakening, for the audience on the first night was neither large nor brilliant. It numbered not more than 1,500, and on the second night the prices came down to the popular scale, with $1.50 as the standard. By the middle of December, though the stockholders had been obliged to come to the rescue of Hackett, the collapse of the opening enterprise was announced, and Hackett took Grisi and Mario to Boston for a brief season, and then came back for three or four performances at the Metropolitan Theater.
The last performance took place on February 20, 1855. Though many excellent singers had been heard in New York between the coming of Malibran and that of Grisi and Mario, the three months of their sojourn in America have ever since remained memorable. For a generation afterward all tenors were measured by Mario's standard. Grisi created a less enduring impression, because the audiences that heard her were within the space of a few years permitted also to hear such singers as Jenny Lind, Henrietta Sontag, and Marietta Alboni, three names that are still resplendent in operatic annals. There does not seem to be any reason for questioning the belief that Mario was the greatest tenor singer that ever gladdened the ears of American music lovers. Richard Grant White, who was then writing the musical reviews for The Courier and Enquirer newspaper, had chosen Benedetti as his ideal of a dramatic singer, and he found Mario lacking in passion, while confessing that he had the sweetest tenor voice in all the world. He retired from the stage in 1867, but came to America in 1872, under Strakosch, and sang in concert with Carlotta Patti, Annie Louise Gary, Teresa Carreño, and Sauret. He had always been a somewhat unreliable singer, frequently disappointing his audiences by not singing at all, or singing listlessly until he reached the air in which he could produce a sensational effect, and when he returned to America he had only a superb presence and bearing, and a magnificent reputation with which to arouse interest. He was sixty-two years old, and had accepted an engagement for the reason that frequently brings worn-out artists to the scenes of their earlier triumphs; he needed money. Eight years later his financial condition so distressed his old friends and admirers in London that they got up a benefit concert for him. He was living in Rome when he died in 1883.
Such satisfaction as can come to one from seeing a renowned artist was mine in 1872; but I can scarcely say that I heard Mario. With Annie Louise Gary he sang first in a graceful little duet, "Per valli, per boschi," by Blangini ("Dear old Mario had to warm up in a duet before he would trust himself in solo," said the admired contralto, many years afterward), and later attempted Beethoven's "Adelaide." Romances were Mario's specialty, and Beethoven's divine song ought to have been an ideal selection for him, but it was quite beyond his powers and I do not now know whether to be glad or sorry that I heard him attempt it. It is always unfortunate when great singers who have gone into decay are tempted again to sing. To the generation who knew them in their prime they bring a double measure of disappointment—grief for the passing away of the art which once gave pleasure, and regret that the younger generation should carry down to posterity a false impression of the singer's voice and style. Who shall measure the heartburnings left by Madame Patti's last visit to America when she sold herself to a trumpery balladist, and, affecting the appearance and manner which had been hers a quarter of a century before, tried to make a new generation believe that it was listening to the vocalist whom veterans maintained was the last one entitled to be called "la Diva." How much lovelier and more fragrant the memory of Annie Louise Cary, whose American career began during the Strakosch régime at the Academy of Music, and ended with her marriage to Charles Mon son Raymond, when she was still in the very plenitude of her powers. Many a time within the first few years after her retirement have I seen her surrounded by young women and old, as she was leaving the Academy of Music or the Metropolitan Opera House, and heard their pleading voices: "Oh, Miss Cary! aren't you ever going to sing for us again?" and "Please, Miss Cary, won't you let me kiss you?"
Ole Bull's management of the Academy of Music was but a fleeting incident, memorable only for the protestations with which it was begun and for its brevity. For the famous Norwegian violinist it was a Utopian dream with a speedy and rude awakening. After he had retired the Lagrange troupe came from downtown and completed the season with the help of the stockholders, and Maretzek, the erstwhile impresario and lessee, became the conductor. For four years, 1855, 1856, 1857, and 1858, the Academy saw Maretzek, Strakosch, and Ullmann alternately installed as impresarios, and then for a year there was no opera at the house, the three men at the head of as many different companies seeking their fortunes outside of the metropolis. With Ullmann Thalberg was associated for a space, the great pianist having come to America to make money under the management of Ullmann, and probably having been persuaded to risk some of his gains by his manager. It was but a brief interlude, however. Ullmann, whose activities in America extended over a quarter of century, lived to manage some of the artists who are still before the public. The beginning of his career, like that of Maretzek, fell in the period when Barnumism was at its zenith, and Ullmann was utterly unconscionable in the methods to which he resorted for the purpose of exploiting his artists. It was under his operatic consulship that the winsome Piccolomini came to New York—an artist of insignificant caliber, lovely to look upon and fascinating as an actress in soubrette parts. "A Columbine," said Chorley about her when she effected her début in London, "born to 'make eyes' over an apron with pockets, to trick the Pantaloon of the piece, to outrun the Harlequin, and to enjoy her own saucy confidence on the occasion of her success—with those before the footlights and the orchestra." But this was not all. "Never did any young lady, whose private claims to modest respect were so great as hers are known to be," said the same critic, "with such self-denial fling off their protection in her resolution to lay hold of the public at all risks. Her performances at times approached offense against maidenly reticence and delicacy. When she played Zerlina, in 'Don Giovanni,' such virtue as there was between the two seemed absolutely on the side of the libertine hero—so much invitation was thrown into the peasant girl's rusticity." Here was a capital subject for the methods dear to the heart of Ullmann. In London the Piccolomini had been proclaimed to be of a noble Roman family, the niece of a cardinal, who had quarreled with her relations because of her theatrical propensities. There may have been some truth in the statements, but Ullmann adorned her history still more, and proclaimed from every New York housetop that the lady was a lineal descendant of Charlemagne, and the great-grand-daughter of Schiller's tragic hero Max Piccolomini.
It was under the co-consulship of Maretzek and Ullmann that Adelina Patti made her operatic début at the Academy of Music. The date was November 24, 1859, the opera "Lucia di Lammermoor." Twenty-five years later Patti was again the prima donna of the Academy, though Mapleson was now the manager. It was the second year of the rivalry between the Academy and the Metropolitan Opera House, and Colonel Mapleson conceived the idea of profiting by the anniversary. At first it was planned that "Lucia" should be given, with Brignoli as Edgardo, the part he had sung in the opera at Patti's début, but two months before the time the tenor died. Instead, "Martha" was performed, in a manner wholly commonplace in all respects except as to the titular rôle, in which Mme. Patti appeared, as a matter of course. There was only a little perfunctory applause, but Colonel Mapleson had resolved that the scene should be enacted, of which we have often read, in which the devotees of the prima donna unhitch the horses from her carriage, and themselves drag it, with wild rejoicings, through the streets. To make sure of such a spontaneous ovation in staid New York was a question which Mapleson solved by hiring fifty or more Italians (choristers, probably) from the familiar haunts in Third Avenue, and providing them with torches, to follow the carriage, which was prosaically dragged along to its destination at the Windsor Hotel. As a demonstration it was the most pitiful affair that I have ever witnessed. In fact, it seemed to me such a humiliation of the great artist that on the next opera night I suggested to my colleague of The Times newspaper that something adequate and appropriate to so interesting an anniversary be arranged. He agreed and within a fortnight or so a banquet was given in Mme. Patti's honor at the Hotel Brunswick, under the auspices of a committee consisting of a number of well-known gentlemen, including Judge Daly, William Steinway, and Nahum Stetson. The committee of arrangements, having visited Mme. Patti and gained her consent, went to work right merrily, but before the invitations were issued an obstacle was met which threatened shipwreck to the amiable enterprise; the wives of several gentlemen who had been invited privately refused pointblank to break bread with the prima donna on account of the scandal caused by her separation from the Marquis de Caux and marriage to Nicolini, the tenor. Somewhat perplexed, the two critics visited her a second time, and put the matter to her as delicately as possible. Would she, under the circumstances, be the guest of a number of gentlemen, representative of the legal, artistic, and literary professions? Again she accepted, and without a moment's hesitation. So, instead of the gathering that had been planned, there was a stag party of about seventy gentlemen in the ballroom of the Brunswick, handsomely decorated and discreetly lighted with wax candles.
The preliminary reception was held in one of the rooms adjoining the banquet hall, and there a scene was enacted which brought into relief a trait of character which was extremely useful to the Colonel in the difficult task of managing his wilful and capricious prima donna. Mme. Patti received her hosts seated upon a divan. She looked radiant, and was wholly at ease after having taken a peep into the hall to see that the light would not be prejudicial to her complexion. One after another of the seventy gentlemen advanced to her, took the hand which she extended with a gracious smile, muttered the pretty compliment which he had rehearsed, and fell back to make room for the next comer. The room was pretty nearly full, when the Colonel appeared in the glory of that flawless, speckless dress suit, with the inevitable rose in the lapel of his coat. Not a glance did he give to right or left, but with the grace of a practised courtier, he sailed across the room, sank on his knees before the diva, and raised her hand to his lips. Such a smile as rewarded him! A score of breasts bulged out with envy and a score of brains framed the thought: "Confound it! Why didn't I think of doing that?"
The dinner passed off without a hitch, Mme. Patti managing by a hundred pretty coquetries to convince nearly every one of her three-score and ten hosts that he had received at least one smile that was more gracious than that bestowed upon his fellows. Speeches were made by Judge Daly, William Steinway, Dr. Leopold Damrosch, William Winter and others, but, as Colonel Mapleson had carried off the palm by his courtliness at the reception, Max Maretzek made himself the most envied of men at the dinner. Quite informally he was asked to say something after the set programme had been disposed of. Where the other speakers had brought forward their elegantly turned oratorical tributes the grizzled old manager told stories about the child life and early career of the guest. Amongst other things he illustrated how early the divine Adelina had fallen into the ways of a prima donna by refusing to sing at a concert in Tripler Hall unless he, who was managing the concert, would first go out and buy her a pound of candy. He agreed to get the sweetmeats provided she would give him a kiss in return. In possession of her box she kept both of the provisions of her contract. When the toastmaster declared the meeting adjourned Patti bore straight down on her old manager and said:
"Max, if I gave you a kiss for a box of candy then, I'll give you one for nothing now!"
And she did.
CHAPTER VII
MAPLESON AND OTHER IMPRESARIOS
Memories are crowding upon me, and I find there is much still to be said about the Academy of Music, and the operatic folk whom it housed between 1854 and 1886. Just now the incidents which have been narrated about the banquet given in honor of the twenty-fifth anniversary of Adelina Patti's début recall other characteristic anecdotes of Colonel Mapleson, who managed the Academy of Music from 1878 to the end of the disastrous season of 1885-'86. When Mapleson and Abbey were drawing up their forces for the battle royal between the Academy of Music and the Metropolitan Opera House in 1883, one of the New York newspapers reported Mme. Patti as saying: "Colonel Mapleson comes here when he wants me to sing, and he calls me 'My dear child,' and he goes down on both knees and kisses my hands, and he has, you know, quite a supplicating face, and it is not easy to be firm with a man of such suavity of manners." I have often thought of this in connection with the outcome of the disastrous rivalry between the two houses and their managers. When Colonel Mapleson let himself down so gracefully upon his knee and pressed the prima donna's hand to his lips, the act was not all unselfish adoration. It used to be said that there was no manager alive who had succeeded in becoming debtor to Adelina Patti. It was golden grain alone that persuaded this bird to sing. The story is old of how her personal agent once hovered between her dressing room and the manager's office, carrying the message one way: "Madame Patti will not put on her slippers until she is paid," returning the other way with a thousand dollars; coming again to the manager with: "Madame has one slipper on, but will not put on the other till she has her fee"—and so on. Doubtless apocryphal and yet only a bit fanciful and exaggerated. Yet it was known in the inner operatic circles in 1885 that Colonel Mapleson had succeeded in getting himself pretty deeply into her debt. How he did it the anecdotes of the reception and Mme. Patti's interview serve to indicate. In sooth, the persuasive powers of the doughty colonel were distinctly remarkable, and it was not only the prima donna who lived in an atmosphere of adulation who fell a victim to them. I have a story to illustrate which came to me straight from the lips of the confiding creditor. He was a theatrical costumer, moreover, and one of the tribe of whom it is said that only to a Connecticut Yankee will they lower the flag in a horse trade.
My friend was a theatrical costumer with a shop conveniently situated in Union Square. When the clouds began to lower upon the Academy around the corner he became curious to know whether or not he was likely to get a balance of some $1,500 owing him for costumes furnished to the establishment. He sent his bill many times, and, being on amicable terms with Colonel Mapleson, called on him at intervals to talk over the situation. When he left the impresario's office he always carried away profuse promises of speedy payment, but nothing more. Finally, he put the bill into the hands of his lawyer, who at once took steps to attach the property of the foreign debtor, and, to bring about pressure in a manner that seemed likely to be effective, he instructed the deputy sheriff, who was to serve the legal papers, to present himself at the office of Colonel Mapleson an hour or so before the beginning of the opera. The arrangements perfected, he informed his client of what had been done. But there remained a kindly spot in the costumer's soul, and of his own volition he called on the manager in the afternoon of the day set apart for the coup in order to give him one more opportunity to save himself from the impending catastrophe.
"I found the Colonel in his office," said he, in relating the incident, "cutting the corners off of tickets and sending them out to fill his house for the next performance. While he clipped he talked away at me in his cheerfullest and blandest style, told me how sorry he was that he could not pay me out of hand, and deplored the action which I had taken, but with such absence of all resentment that I began to feel ashamed of myself for having threatened to shut him up. After half an hour I agreed to send a messenger post-haste to my lawyer and call off the sheriff. This done he borrowed $75 cash from me, and I went away happy. I tell you I know lots of managers, but there's only one Colonel Mapleson in this world."
Whether or not my friend ever collected his bill I do not know; but this I do know, that when the colonel ended the campaign of 1884-'85 Mme. Patti's name was on his list of creditors for a considerable sum—$5,000 or $6,000, I believe. The next time I met him he was sauntering about in what passes for a foyer in Covent Garden Theater, London. The rose in his buttonhole was not more radiant than he.
"What are you up to now, Colonel?" I asked him.
"In what respect?"
"In a business way, of course."
"Well," with a twinkling smile, "just now I am persuading Adelina to sing at my benefit."
"Will she do it?"
"I think she will" And she did.
Mapleson was one of the last of the race of managers who had practical training in the art in which he dealt commercially. He was a graduate of the Royal Academy of Music in the violin class, and had played in the orchestra at the opera. He had also studied singing, and in his youth tried his luck as an operatic tenor. In this he was like Maurice Strakosch, who played the pianoforte prodigiously as a child, studied singing three years with no less an artist than the great Pasta, and after singing for a space at Agram turned his attention again to the pianoforte. He came to New York in 1848, and his first engagement was with Maretzek, at the Astor Place Opera House. Afterward he was a member of a traveling concert company, in which he was associated with Amalia Patti, whom he married, and it was thus that he became the teacher, and, eventually, the manager of his sister-in-law, Adelina Patti. When Ronconi first appeared in America at Burton's Theater (which had been Palmo's Opera House), in the spring of 1858, Strakosch was the conductor. The last of the old opera managers whom I recall at this moment who were practical musicians as well, was Dr. Leopold Damrosch, who directed the destinies of the Metropolitan Opera House after one year of warfare with the Academy of Music had put Henry E. Abbey hors du combat for a while. Abbey came out of the ranks of theatrical managers, like Heinrich Conried, his only practical experience in music being as a cornet player in a brass band in Akron, Ohio, whence he came.
Strakosch's associates, however, were not musical practitioners. Ullmann may have had some knowledge of music, but he was all showman. Thalberg, the pianist, was Ullmann's partner when Strakosch and Ullmann joined their forces in January, 1857, to manage the Academy of Music, but the new coalition was the sign of Thalberg's withdrawal from the managerial field.
Like Maretzek, in his Cincinnati experience, the virtuoso knew when he had enough. Strakosch's later associates were his brothers, Ferdinand and Max. The former was the European agent for the firm, and the latter what might be termed the acting house man in the United States, especially during the later years of the Strakosch régime.
In Europe Maurice Strakosch was also associated with Pollini, who afterward became a large factor in the field of German opera, as manager of the opera in Hamburg. Pollini had been Strakosch's office boy. His real name was Pohl, and he hailed from Cologne; but he, too, was a musician. Strakosch died in Paris in October, 1887. One night in July, 1886, I met him in the theater at Altona, whither I had gone to hear a performance of "Der Trompeter von Säkkingen," then the rage throughout Germany. He asked me to drive back to his hotel in Hamburg with him, for his physician had told him that day that he might drink a glass of beer, the first in six months, and he wanted a friend to share the pleasure with him. I brought him the latest news from the opera houses of New York, and, also, the intelligence that Pollini had just engaged Mme. Sembrich for a season at some 5,000 francs a night.
"We quit partnership," said he, "back in the 70's because Pollini thought that money was no longer to be made in Italian opera, and wanted to take up German opera exclusively. I didn't agree with him, and went on with Nilsson and the rest. He got rich and I got poor, and now he's going back into the Italian field. He'll rue it."
Call the roll of some of the best of the singers whose American careers are chiefly bound up with the history of the Academy of Music: Grisi, Mario, Vestvali (a much admired contralto), Badiali, Amodio (barytone), Steffanone, Brignoli, Lagrange, Mirate, D'Angri, Piccolomini, Adelina Patti, Kellogg, Nilsson, Campanini, Lucca, Cary, Parepa, Albani, Hauk, Gerster, Nevada. There are others whom fond recollection will call back, some belonging indubitably to the first rank, like Maurel, some who will live on because they gladdened the hearts of the young people of a generation ago, who were more impressionable than critical. Some men of middle age (as they think) now will not want to forget Mlle. Ambre or Mlle. Marimon, and will continue to forgive the homely features of Mme. Scalchi for the sake of her perfect physical poise and movement as the page in "Les Huguenots," as others forgave the many registers of her voice because of her joyous volubility of utterance. Doubtless, too, there are matrons of to-day who will remember the singing of Ravelli with as much pleasure as I recall it, and the shapely legs of the young tenor that walked off with the heart (we also had a story of a diamond ring) of a young singer from California, who afterward made a name for herself in Paris, with more enthusiasm than I could possibly feel.
Some of these singers became intimately associated with New York life in a social way. Annie Louise Cary, after her marriage to Charles Monson Raymond, lived for years in a cheery apartment at No. 20 Fifth Avenue, sang occasionally with the choir in the West Presbyterian Church, in Forty-second Street, and shed sunshine over a circle of friends who loved her as enthusiastically as a woman as they had admired her as an artist. Now her home is in Norwalk, Conn. Her first operatic engagement was at Copenhagen, and she spent two seasons in the opera houses of the Scandinavian peninsula, and one at Brussels before the Strakosch brothers brought her to the United States, in 1870. The first season she sang in concert with Nilsson, the second (1871-72) in opera, the third with Carlotta Patti and Mario in concert; and thereafter till her retirement in 1882 in both concert and opera, winning and holding an almost unparalleled popularity. In the Strakosch company of 1873-74 she was one of a galaxy of artists that the opera-goers of that period, who are still living, will never cease to think of without a swelling of the heart—Nilsson, Cary, Campanini, Capoul, Maurel, Del Puente, and others.
Campanini remained the tenor of tenors for New Yorkers for a decade longer. Abbey took him away from Mapleson for the first season of the Metropolitan Opera House, and, after the introduction of German opera there, his local career was practically at an end. He died in 1896 in Italy, whither he had returned on retirement. His dramatic style improved as his voice decayed. When he first came he was chiefly a lyrical singer; his Elvino was delicious beyond description. In his last years he had taken on robust stature, and his passionate utterances in "Carmen" and "Aïda" will live till the end in the memory of those who heard them. He was proud of his skill as a singer pure and simple, though he was more or less of a "naturalist," as the Germans call a singer who owes more to nature than to artistic training. How greatly he admired the perfection of his "attack" is illustrated in an incident which twice grieved the soul of Theodore Thomas and some other sticklers for the verities in classical music.
At the Cincinnati Music Festival, in May, 1880, Mr. Thomas brought forward Beethoven's Mass in D, the great "Missa Solemnis." In the first movement, "Kyrie," of this work Beethoven has created an effect of surpassing beauty in the successive introduction of the solo voices. At the outset there is a crashing chord from all the forces, including the full organ. The thundering sound ceases abruptly, leaving the solo tenor voice sustaining a tone seemingly in midair. Another loud crash projects the solo contralto voice, and so on. The effect is transporting; but the obvious intention of the composer and the loveliness of his device weighed nothing in Campanini's mind against the fact that it interfered with popular appreciation of the "attack," of which he was proud. So he calmly waited until the colossal D major chord was silenced, then intoned his D softly, and made a beautiful crescendo upon it. After a rehearsal I ventured to call his attention to the beautiful effectiveness of Beethoven's device, but he answered: "It is music for the head, not for the heart. If I sing it so the audience will not hear my beautiful attack."
And at the concert he perverted the text to gratify his vanity. I reminded Mr. Thomas of the incident two years later, when he gave the mass at the festival held in the Seventh Regiment Armory in New York. Campanini was to sing in it again. Mr. Thomas said he would set him right, but at the performance we were again cheated of Beethoven's effect in order that the tenor might make his. When Campanini died Philip Hale set down his estimate of him in these words:
No tenor who has blazed here above the opera horizon has fully equaled in brilliancy Campanini at his zenith. De Reszke, in point of personal refinement, is a greater artist, but his voice is inferior, and his dramatic action lacks the elementary force shown by Campanini when aroused. De Lucia is a greater actor of melodramatic parts, but his voice is too shrill. Tamagno in "Otello" is beyond comparison, but that is his one opera. . . . Of all tenors who have visited us since 1873 the greatest, viewed from all points, was Campanini.
The popular idol before Campanini was Brignoli, who held his own from the first days of the Academy until within less than a decade of its collapse. For some years before the Mapleson era, however, he had dropped out of the Italian operatic ranks and sung in English companies, and in concerts. It was in such organizations that I first heard him some twelve or fifteen years after he had become the popular "silver-voiced tenor" of New York. He came to New York in 1855, and his career was American, though it was in Paris that Strakosch heard him and turned his face toward America. He lived in New York, singing and occasionally managing companies in which he sang, till October, 1884, when he died. He was twice married, the first time to Kate Duckworth, an English contralto, known on the platform as Mlle. Morensi, and, after her death, to Isabella McCullough, an American soprano. Richard Grant White's mind was still obsessed by memories of Salvi, Benedetti, and Mario when Brignoli was basking in the sunshine of popular favor, and his estimate of the tenor in The Century Magazine for June, 1882, is scarcely flattering either to the singer or the public that liked him. It was Mr. White's observation that Brignoli came into the swim at the time that the young woman of New York became the arbiter of art and elegance. Says Mr. White:
Her admiration of Brignoli was not greatly to the credit of her taste. He had one of those tenor voices that seem like the bleating of a sheep made musical. His method was perfectly good; but be sang in a very commonplace style, and was as awkward as the man that a child makes by sticking two skewers into a long potato; and he walked the stage, hitching forward first one side and then the other, much as the child would make his creature walk. But he was a very "nice" young man, was always ready to sing, and faute de mieux it became the fashion with the very young to like him. But there never was a tenor of any note in New York whose singing was so utterly without character or significance and who was so deficient in histrionic ability. His high and long continued favor is one of those puzzling popular freaks not uncommon in dramatic annals.
Let us hope, in a spirit of Christian charity and something more selfish, that Brignoli never read these severely critical words. His vanity was that of a child, and they would have grieved him inordinately. There was truly something of the bleat in his voice, and his walk on the stage, whether in concert or opera, was provocative of the risibles, but even his mannerisms were fascinating. Shall we, because a critic did not like him, be ashamed for having thrilled a little when we heard his "Coot boy, sweetheart, c-o-o-o-t boy!" thirty years ago? I trust not. And if he were here again, and his manager were to come with the old request, "Do me a favor, won't you, and if you chance to meet dear old Brig say something pretty to him and help me keep him in a good humor against the concert to-night—admire his teeth and compliment him on his youthful appearance"—we should do it for old sake's sake, and with a heart full of gratitude. No one could know Brignoli and remain in ignorance of his frailties and foibles. He probably ate as no tenor ate before or since—ravenously as a Prussian dragoon after a fast. No contracts did he sign on a Friday or on a thirteenth day, and he lived in perpetual dread of the evil eye. Part of his traveling outfit was a pair of horns, which he relied upon to shield him in case the possessor of the jettatura should get into his room and he not have his fingers properly posed. I had been four years in the turmoil of New York's musical life when Brignoli died; I cannot recall an unkind word that was ever spoken of him.
CHAPTER VIII
THE METROPOLITAN OPERA HOUSE
Not the chronicler of musical doings but the historian of society should discuss the genesis of the Metropolitan Opera House, which came twenty-five years ago to displace the Academy of Music as the home of grand opera in New York. In the second of these "Chapters of Opera" I cited the Metropolitan Opera House as the last illustration of the creative impulse which springs from the growth of wealth and social ambition, and stated that it marked the decay of the old Knickerbocker régime, and its amalgamation with the newer order of society. Before this latter occurrence, however, it had become plain that the Academy of Music could not accommodate all the representatives of the two elements in fashionable society, who, for one reason or another, wished to own or occupy the boxes which were the visible sign of wealth and social position. There was no manifest dissatisfaction, either, with the Academy of Music or with the performances under the direction of Colonel Mapleson, though these were conventional enough and the dress of the operas looked particularly shabby in contrast with the new scenery and costumes at the new theater when once the rivalry had begun. The house being satisfactory, popular taste contented with the representations, and there being no evidences of insufficient room in any part of the audience room except the private boxes, it seems obvious to the merest observer from without that social and not artistic impulses led to the enterprise which produced the new establishment.
The Metropolitan Opera House was built in the summer of 1883. The corporation which built it was called the Metropolitan Opera House Company (Limited), and its leading spirits were James A. Roosevelt, the first president of the board of directors; George Henry Warren, Luther Kountze, George Griswold Haven, who remained the active head of the amusement committee from the beginning till he died last spring; William K. Vanderbilt, William H. Tillinghast, Adrian Iselin, Robert Goelet, Joseph W. Drexel, Edward Cooper, Henry G. Marquand, George N. Curtis, and Levi P. Morton. The building is bounded by Broadway, Seventh Avenue, Thirty-ninth and Fortieth Streets. About one-quarter of the space is devoted to the audience room, another quarter to the stage and accessories, and the rest to administrative offices, apartments, etc. Its cost, including the real estate, was $1,732,978.71, and so actively was the work of construction pushed that the portion of the building devoted to the opera was completed when the first performance took place on October 22, 1883. J. Cleaveland Cady, the architect, had had no previous experience in building theaters, to which fact must be ascribed a few impracticable features of the house, most of which have since been eradicated, but he had made a careful study of the plans of the most celebrated opera houses of Europe, and the patrons of the house still have cause to be grateful to him for the care with which he looked after their safety and comfort. Since then the appearance of the interior has been changed very considerably. The two tiers of boxes were where they are now, but their fronts were perpendicular, and there was no bulging curve at the proscenium. Besides the two tiers of boxes, as they exist at present, there were twelve baignoirs, six on a side at the stage ends of the parquet circle, so-called. These were found to be unprofitable, and were abolished when the house was remodeled about ten years after the opening. The decoration of the interior was intrusted to E. P. Tredwill, an architect of Boston, who followed Mr. Cady's wishes in avoiding all garish display and tawdry effect. The deepest color in the audience room was the dark, rich red of the carpet on the floor. The silk linings of the boxes and the curtains between them and the small salons in the rear were of fabrics specially made for the purpose. They had an old gold ground and large, raised figures of conventional design in a darker shade, with dark red threads. The tier fronts, ceiling, and proscenium were of a light color, the aim having been to obtain a prevailing tint of ivory. Amid the filigree designs of the pilasters, which carried the work above the curtain opening, were pictures of singing and playing cherubs, and back of the bold consoles, which projected from the side walls, were figures called "The Chorus" and "The Ballet," painted by Francis Maynard, while above the middle of the opening, in a segmentary arch, was an allegory, with Apollo as the central figure, by Francis Lathrop. Statues of the Muses filled niches on both sides of the consoles. Over the ceiling, amidst the entwinings of ornamental figures, on a buff ground, were spread a large number of medallions of oxidized metal, which, in the illumination from the lights, shone with a copper luster. The house was lighted by gas, though preparations had been made for the installation of electrical appliances when that form of illumination should be found justified by economy. As originally built, the orchestra was sunk sufficiently below the level of the floor to conceal the performers from all but the occupants of the upper tiers. In the hope of attaining improved acoustic effects the floor of the orchestra was laid upon an egg-shaped sound-chamber of masonry. The innovation did not meet with the approval of Signor Vianesi, the first musical director at the opera house, and, after an experimental rehearsal, the floor was raised so that the old conditions obtained when the performances began. So the orchestra remained, the players spoiling the picture on the stage, until "Lohengrin" came to a performance. Then Signor Vianesi was prevailed upon to try the arrangement from which Mr. Cady had expected fine artistic results. The effect was good, and the device was adhered to for a space, and in more or less modified form ever since, though there has been continual experimentation with the disposition of the instrumentalists.
Operatic performances began at the new house on October 22, 1883, and after sixty-one representations, at which nineteen operas were produced, the first season came to an end. I shall tell the story of the season in greater detail in the next chapter, contenting myself for the present with an account of the results of the merry war which ensued between the rival establishments. Colonel Mapleson was intrenched in the Academy of Music, which opened its doors for its regular season on the same evening. The advantage lay with Mr. Henry E. Abbey, who had a new house, the fruit of an old longing, and the realization of long cherished social aspirations. With the Academy of Music there rested the charm of ancient tradition, more potent then than it has ever been since, and the strength of conservatism. There were stars of rare refulgence in both constellations, which met the Biblical description in differing one from another in their glory. With Colonel Mapleson was Mme. Adelina Patti, who, in so far as she was an exponent of the art of beautiful vocalization, was without a peer the whole world over. She served then to keep alive the old traditions of Italian song as Mme. Sembrich does now. At her side stood Mme. Etelka Gerster, with a voice youthful, fresh, limpid, and wondrously flexible, and a style that was ripening in a manner that promised soon to compass all the requirements of the Italian stage from the sentimental characters in which she won her first successes to the deeper tragic parts which had begun to make appeal to her ambition. With Mr. Abbey was Mme. Christine Nilsson. Mme. Patti, though she had grown to womanhood and effected her entrance on the operatic as well as concert stage in New York, was not so familiar a figure as Mme. Nilsson. Patti had begun her operatic career at the Academy of Music in 1859, and had gone to Europe, where she remained without revisiting her old home until the fall or winter of 1881, when she came on a concert trip. The trip was more or less a failure, the public not yet being prepared to pay ten dollars for a reserved seat to hear anybody sing. After singing at a concert for the benefit of the sufferers from forest fires in Michigan, she announced a reduction of prices to two dollars for general admission, and five dollars for reserved seats. Under these conditions business improved somewhat, but in February, 1882, she found it necessary to organize an opera company in order to awaken interest fairly commensurate with her great merit and fame. It was a sorry company, and the performances, only a few, took place in the Germania Theater, on Broadway, at Thirteenth Street, formerly Wallack's; but they were received with much enthusiasm. So far as London was concerned, she was under engagement at the time to Mr. Gye, Colonel Mapleson's rival at Covent Garden. Mr. Abbey claimed that he had an option on any American engagement for opera, but she appeared next season at the Academy, and the doughty English manager held her as his trump card in the battle royal which ensued on the opening of the Metropolitan.
In the twenty years of Mme. Patti's absence from New York, Mme. Nilsson, who had come to the metropolis in the heyday of her European fame in 1870, had won her way deep into the hearts of the people. In 1883 she was no longer in her prime, neither her voice nor her art having stood the wear of time as well as those of Mme. Patti, who was six months her senior in age, and five years in stage experience, but she was more than a formidable rival in the admiration of the public. She was no less happy in the companionship of Mme. Sembrich as a junior partner than Patti was with Mme. Gerster. Both of the younger singers were fresh from their first great European successes. Three years later Mme. Gerster went back to Mme. Marchesi, her teacher, with her voice irreparably damaged. "The penalty of motherhood," said her friends; "the result of worry over the failure to hold her place in the face of opposition," said more impartial observers. Mme. Sembrich went back to Europe to continue her triumphs after disaster had overtaken her first American manager, and in a decade returned, to remain an ornament of the Metropolitan ever since.
In Mr. Abbey's ranks were also Mme. Fursch-Madi, Mme. Scalchi, Mme. Trebelli, Mme. Lablache (who gave way to her daughter till a quarrel over her between the impresarios was determined), and Mme. Valleria, who had come to the Academy some time before from London, though she was a Baltimorean by birth—a sterling artist who is remembered by all connoisseurs with gratitude and admiration. Chief among Colonel Mapleson's masculine forces was Signor Galassi, a somewhat rude but otherwise excellent barytone. At the head of the tenors was Signor Nicolini, the husband of Mme. Patti, who sang only when she did, but not always. The circumstance that Mme. Patti insisted upon his engagement, also, whenever she signed a contract gave rise to a malicious story to the effect that she had two prices, one of, let us say merely for illustration, 6,000 francs for herself alone, one of 4,000 francs for herself and Nicolini. The rest of the male contingent was composed mostly of small fry—Vicini, Perugini, and Falletti, tenors, Cherubini and Lombardini, basses, and Caracciolo, buffo. Mr. Abbey had carried off three admired men singers from the Academy—Campanini, Del Puente, and Novara—and brought an excellent barytone, Kaschmann, from Europe, and a redoubtable tenor, Stagno.
There was little to interest a public supposedly weary of the barrel-organ list in the promises made in the rival announcements. Colonel Mapleson held forth the prospect of Patti in Gounod's "Roméo et Juliette," and "Mireille" (in Italian, of course), as well as in Rossini's "La Gazza ladra," a forgotten opera then and again forgotten now; other old works which were to be revived for her and Mme. Gerster were "Crispino e la Comare," and "L'Elisir d'Amore." Mme. Pappenheim's presence as the dramatic soprano of the company (a less necessary personage in the companies of that day than now) led to the promise of "Norma" and "Oberon." Only the Italian work was given. Mr. Abbey's book of good intentions embraced twenty-four operas, all of them familiar except "La Gioconda," which had been the novelty of the preceding London season.
The outcome of the battle between the opera houses was defeat for both. The Academy of Music survived for two more campaigns, out of which the new house came triumphant, while the old went down forever. It was different with the men. Mr. Abbey retired after one season, forswearing opera, as he said, for all time; Colonel Mapleson, though defeated, was a smaller loser, and he was not only brave enough to prepare for a second encounter, but also adroit enough to persuade Mme. Patti to place herself under his guidance again. Mr. Abbey's losses have been a matter of speculation ever since. It was known at the time that he had lost all the profits of three or four other managerial enterprises, and some years ago I feared that I might be exaggerating when I set down the deficit of the Metropolitan Opera House in its first season at $300,000. As I write now, however, I have before me a letter from Mr. John B. Schoeffel, who was associated with Mr. Abbey as partner, in which he says that the losses of the season were "nearly $600,000."
[The operas performed at the Academy of Music in the season 1883-1884 were: "La Sonnambula," "Rigoletto," "Norma," "Faust," "Linda di Chamouni," "La Gazza ladra," "Marta," "La Traviata," "Aïda," "L'Elisir d'Amore," "Crispino e la Comare," and "Les Huguenots" (in Italian).]
CHAPTER IX
FIRST SEASON AT THE METROPOLITAN
Twenty-five years ago there was no opera in the current repertory comparable in popularity with "Faust." If I am told that neither is there to-day I shall neither gainsay my informant nor permit the fact to give me heartburnings in spite of my attitude toward the modern lyric drama. To that popularity Mme. Nilsson contributed a factor of tremendous puissance. No singer who is still a living memory was so intimately associated in the local mind with Gounod's masterpiece as she, whose good fortune it had been to recreate the character of Marguerite, when, on March 3, 1869, the opera in a remodeled form was transferred from the Théâtre Lyrique to the Grand Opéra in Paris. Coming to New York soon afterward, it was she who set the standard by which, for a long time, all subsequent representatives of the character were judged. With her, Mme. Scalchi (who never had more than one rival in the part of Siebel so far as New Yorkers are concerned, viz., Annie Louise Cary), and Signor Campanini (the most popular Faust who has ever sung in New York) in the company, it was no wonder that the opera was chosen for performance on the opening night at the Metropolitan Opera House on October 22, 1883. The opera was sung in Italian, no manager's fancy having yet attained such a conception, as that all operas ought to be sung in the language in which they were composed—and might be; for this reason the names in the cast, though given in their familiar French forms may be transliterated into Italian if so they will better please the reader. The cast then was as follows: Marguerite, Mme. Nilsson; Siebel, Mme. Scalchi; Martha, Mlle. Lablache (whose mother had been expected to appear in the part, but was prevented by judicial injunction); Faust, Signor Campanini; Valentine, Signor Del Puente; Mephistopheles, Signor Novara.
The performance did not differ materially from many which had taken place in the Academy of Music when the same artists took part. All the principal artists, indeed, had been heard in the opera many times when their powers were greater. Mme. Nilsson had been thirteen years before the American public, and though in this period her art had grown in dignity and nobility, her voice had lost the fresh bloom of its youth, and her figure had begun to take on matronly contours. Still, she was a great favorite, and hers was an extraordinary triumph, the outburst of popular approbation coming, as was to have been expected, in the garden scene of the opera. Referring to my review of the performance which appeared in The Tribune of the next day, I note that till that moment there had been little enthusiasm. After she had sung the scintillant waltz, however, "the last film of ice that had held the public in decorous check was melted," and an avalanche of plaudits overwhelmed the fair singer. Bouquets rained from the boxes, and baskets of flowers were piled over the footlights till it seemed as if there was to be no end. In the midst of the floral gifts there was also handed up a magnificent velvet casket inclosing a wreath of gold bay leaves and berries, ingeniously contrived to be extended into a girdle to be worn in the classic style, and two gold brooch medallions, bearing the profiles of Tragedy and Comedy, with which the girdle was to be fastened. The donor was not mentioned, but an inscription told that the gift was in "commemoration of the opening of the Metropolitan Opera House." Signor Campanini had spent the year before the opening in retirement, hoping to repair the ravages made in his voice by the previous seasons at the Academy of Music, and, I regret to say, possibly his careless mode of life. His faults had been conspicuous for several seasons, and the hoped-for amendment did not discover itself. "Occasionally the old-time sweetness, and again occasionally the old-time manly ring was apparent in his notes, but they were always weighted down by the evidences of labor, and the brilliancy of the upper tones with which he used to fire an audience into uncontrollable enthusiasm was gone."
The regular subscription nights at the Metropolitan in the first season, and for all the seasons that followed down to that of 1907-08, were Mondays, Wednesdays, and Fridays, with afternoon performances on Saturdays. On the second night of the season, October 24, 1883, Mr. Abbey brought forward two of his new singers. The opera was "Lucia di Lammermoor," the first performance of which in the new house was made memorable by the introduction of Mme. Marcella Sembrich. She had been engaged by Mr. Abbey on the strength of the success achieved by her in the London season of 1883. She was almost at the beginning of her career, being little known outside of Athens, where she made her début, Dresden, where she had sung in German, and London. She had dazzled the British metropolis by her vocalization, especially in "Lucia," and it was for this reason that it was selected for her introduction to New York. Before the season came to an end she sang in "I Puritani," "Don Giovanni," "La Traviata," and "Hamlet." All the good qualities which have since then been extolled hundreds of times by the critics of the New York newspapers were noticeable in her first representation. I turn back to the files of The Tribune to see what I wrote while under the spell of her witching art, and find the following:
Mme. Sembrich is a lovely singer,—lovely of person, of address, of voice; and her artistic acquirements, in the limited field in which Donizetti's opera called them into activity, at least, are of the highest rank. Her style is exquisite, and plainly the outgrowth of a thoroughly musical nature. It unites some of the highest elements of art. Such reposefulness of manner, such smoothness and facility in execution, such perfect balance of tone and refinement of expression can be found only in one richly endowed with deep musical feeling and ripe artistic intelligence. She carries her voice wondrously well throughout a wide register, and from her lowest note to her highest there is the same quality of tone. It is a voice of fine texture, too; it has a velvety softness, yet is brilliant; and though not magnetic in the same degree as the voices of other singers still before the public, it has a fine, sympathetic vein. It wakens echoes of Mme. Patti's organ, but has warmer life-blood in it.
Of the musicianly qualities of this charming singer, recognized on this first acquaintance, we were to have a demonstration before her departure which was in the highest degree surprising. Sympathy for Mr. Abbey in his great losses, and admiration for the self-sacrificing manner in which he adhered to all his obligations to them as well as to the public, led the directors of the Metropolitan Opera Company to offer him a benefit concert. At this entertainment, which was successful beyond anything that local records had to show up to that time, the profits amounting to $16,000, Mme. Sembrich sang an aria; then came upon the stage and played a violin obbligato to Mme. Nilsson's performance of the familiar Bach-Gounod "Ave Maria"; again she appeared and this time played a Chopin Mazourka on the pianoforte. In every instance she was the complete artist, and the public, who had been charmed by her witcheries as Mozart's Zerlina and melted by the pathos of her singing in the last act of "La Traviata," were at a loss to say if she had shown herself a greater artist in song or in instrumental music, as a pianist or violinist. It was not until many years after she had returned to Europe to continue her operatic triumphs in St. Petersburg, Madrid, Vienna, Paris, and Berlin that I learned the story of her life, and with it the secret of her musical versatility; how she had started life as a player of the pianoforte and violin with her father at dances in the houses of the wealthy folk in her native town in Poland, gone to the conservatory in Lemberg to study the pianoforte, been taken to the Conservatory at Vienna by Professor Stengel (then her teacher, now her husband), because there was nothing left in his system of instruction from which she could profit, and there been advised to study singing instead of the pianoforte with Liszt, as her proud teacher had fondly hoped. It was Professor Epstein who gave the world one of the greatest singers of our generation, but in doing so he robbed it of a pianist of doubtless equal caliber. So far as I know, the story of Mme. Sembrich is without a parallel.
Signor Kaschmann was the barytone of the "Lucia" performance. He had a handsome face and figure, a good bearing, and disclosed familiarity with the stage, and considerable talent as an actor, but he was afflicted with that distressful vocal defect which singers of his school often call vibrato in order to affect to find a virtue in it. There is, indeed, artistic merit in a true vibrato which lends vitality to a voice, but when it degenerates into a tremolo, or wabble, it is a vice of the most unpardonable kind.
Another of the newcomers made his bow to the Metropolitan public on the third night of the season, October 26th, when "Il Trovatore" was brought forward. This was the tenor Signor Stagno, a stockily built, heavy, self-conscious man, of good stage features and bad stage manners. When his voice was first heard from behind the scenes, it sounded throaty, a squeezed-out, constrained tone, but later, when Manrico's display pieces came it rang out full and vibrant as a trumpet. It developed at once that he was a singer of the sideshow kind, with whom the be-all and end-all of his part and art lay in the high tones. So little of a musician was he that, being enthusiastically recalled after the "Di quella pira," he was unable to keep the key of C major in his head in spite of his stentorian proclamation of its tonic a few seconds before, and could not begin the repetition till the concert-master had plucked the first note of the air on his violin. A short time before I heard Mme. Patti perform the feat of beginning the trill which accompanies the melody by the orchestra in the middle of the dance song in "Dinorah" without a suggestive tone or chord after a hubbub and gladsome tumult that seemed, to have lasted several minutes. A new bass, Signor Mirabella, appeared in "I Puritani" on October 29th—a musical singer with a voice of large volume and ample range, and a self-possessed, easy, and effective stage presence.
On her second appearance Mme. Nilsson was seen in a part with which she was more intimately associated in the popular mind than any other singer in New York or London. The opera was "Mignon," the date October 31st. Ambroise Thomas's opera had its first American performance at the Academy of Music under the management of Maurice Strakosch, on November 22, 1871. With Mme. Nilsson, on that occasion as on this, was associated M. Capoul, the most ardent and fascinating lover known to opera in America, who not long before had risen from the ranks of French opéra bouffe. Mme. Trebelli, who had created the part of Frederick in London, where, as in New York, Mme. Nilsson was the original Mignon, and for whom the composer had written the rondo-gavotte, "In veder l'amata stanza" (taking its melody from the entr'acte music preceding the second act), was also a member of Mr. Abbey's company, but Mme. Scalchi, who could wear man's attire and walk in tights more gracefully than any woman who ever appeared on the American operatic stage within my memory, was too popular in the part to be set aside for the sake of a newcomer, and Mme. Trebelli had to wait until October 27th before getting a hearing in opera. Meanwhile she sang industriously in concerts. The changes which had taken place in Mme. Nilsson's person and voice during the dozen years between her first appearance as Mignon and the one under consideration might naturally have been expected to affect her performance of the part. Many were ready to perceive the loss of some of the charms of youthful freshness and grace, which are indissolubly connected with any conception of this most poetical of Goethe's creatures. The result fulfilled their anticipations in a measure, for Mme. Nilsson's impersonation was more remarkable for its deep feeling in the dramatic portions than for lightness and gracefulness in the lyric. This loss brought with it a compensation, however. Many protests have been felt, when not expressed, against the tendency of singers to make Mignon a mere wilful, pettish, silly young woman. The poet's ideal was sufficiently despoiled by the unconscionable French librettist without this further desecration which effectually dispelled the last glimmer of the poetical light that ought always to shine about this strange child of the South. Too much of tropical passion, too much of undefined longing, too much of tenderness the part could hardly be invested with, but it is easily made silly by over-acting in the very place where the tendency to do so is strongest. The whole opera is one that must either be represented with extreme care in avoiding extravagant expression, or all effort to approach even distantly the ideals of the poet must be abandoned and the piece be given as if Goethe had never lived, and "Wilhelm Meister" had never been written.
Perhaps the latter plan would be the better one, for it is hard to think of Goethe during the performance of the opera without taking violent offense, and it would only be a relief to have all thought of him studiously kept out of mind. Yet, we would not willingly lose the pleasure which Ambroise Thomas provided in this, his best opera. It is to his credit that he felt the embarrassments which his subject caused. At one time he thought seriously of permitting the heroine to go the way of Goethe's "Mignon," and of offering the opera to the Théâtre Lyrique instead of the Opéra Comique, for which he had undertaken to write it. He did not carry out the plan, however, but instead thought to silence the carping of the Germans by composing a second conclusion, a dénouement allemand, in which Mignon falls dead, while listening to Philine's polacca in the last scene. A tragic end to a piece treated in the comedy manner throughout was too ridiculous, however, and the Germans would have none of the dénouement allemand. They raised a hue and cry against the opera, then heard it for the sake of its music, and ended by admiring its admirable parts without changing their minds about the desecration of their great poet.
It is no wonder that the opera-book was made. Such scruples as distressed the Germans never trouble French librettists, and the characters which Carré and Barbier found in Goethe's romance are as if born for the stage. What lyric possibilities do not lie in the Harper? Was ever a more perfect musical coquette dreamed of than Philine? Have not Mignon's songs drawn forth music from nearly every composer of eminence since Beethoven? The filling-in parts were on the surface of the story, and the character of their music could not be misconceived. Wilhelm Meister himself, in his character of a strolling player, had only to sacrifice his habit of reflection to be a dashing tenor. The temptation was certainly strong; the sacrilege was committed, and the verbal skeleton constructed out of things which were dearest in German literature, was tricked out with piquant music and ear-tickling roulades by the man who was not awed even by Shakespeare. Think of "Le Songe d'une Nuit d'Été"! With such characters the play is easily acted, and the music never fails to fascinate.
"La Traviata" was the next opera, produced on November 5th, with Mme. Sembrich as Violetta, and Capoul as Alfredo, and then came "Lohengrin" on November 7th. In Wagner's opera the parts of the heroine and hero were enacted by Nilsson and Campanini, who had sung in its first Italian performance at the Academy a decade before. Excellently sung in the best manner as understood by singers of the Italian school—a manner fully justified, let it be said in passing, by Signor Marchesi's Italian text—and magnificently dressed, the opera attracted the most numerous and brilliant audience since the opening night, and remained one of the most pronounced successes of the season. It served also to introduce Mme. Fursch-Madi, a dramatic singer, who, although not attractive in appearance, was one of the finest singers in her style and most conscientious artists known to her period. She was a French woman, who was graduated from the Paris Conservatoire, married M. Madier, a chef d'orchestre in the French capital, came to America to join the French company in New Orleans in 1874, and sang for three seasons (1879-'81) at Covent Garden. She spent the last years of her life in and about New York, singing in opera and concert, always a noble example to youthful aspirants, and died in poverty after great suffering in September, 1894. "La Sonnambula" followed on November 14th, and "Rigoletto" on November 16th, without noteworthy incident, except the first American appearance of Gaudignini as the Jester, and "Robert le Diable" (in Italian), with Fursch-Madi as Alice, Valleria as Isabella, Stagno and Mirabella. This performance was enlivened by an amusing incident. It will be recalled by people familiar with the history of the opera that Scribe and Meyerbeer first designed "Robert" for the Opéra Comique, but remodeled it for the Grand. For a few moments in the incantation scene at this performance the audience seemed inclined to ignore the author's sober second thought, and accept the work as a comic instead of romantic opera. The wicked nuns, called back to life by the sorcery of Bertram, amid the ruins of the cloister, appeared to have been stinted by the undertaker in the matter of shrouds, and the procession of gray-wrapped figures in cutty sarks caused the liveliest merriment until the transformation took place, and serious interest was revived by the lovely face, form, and dancing of Mme. Cavalazzi.
"Il Barbiere," with Sembrich as a delightfully piquant Rosina, nevertheless moved with leaden feet in many of its scenes, because of the ponderous and lugubrious Stagno, who essayed a part far from his province, when he tried to sing the Count. On November 28th "Don Giovanni" was reached with the finest distribution of women's rôles, I dare say, that New York has ever seen, and one that ranked well with the famous London one of Tietjens, Nilsson, and Patti. Mme. Fursch-Madi was Donna Anna, Mme. Nilsson Donna Elvira, and Mme. Sembrich Zerlina. For delvers in musical history the performance had curious interest because it partook somewhat of an anniversary character. It fell within a day of exactly fifty-eight years after Italian opera had first been heard in America (November 29, 1825). Save Mme. Patti we have heard no Zerlina comparable with Mme. Sembrich, and Mme. Nilsson's singing of the airs, "Ah, che mi dice mai," and "Mi tradi quell' alma ingrata" lingers in my memory as an impeccable exemplification of the true classic style. The performance suffered shipwreck, however, in the famous first finale, because of the untunefulness of the orchestra, and the incapacity of the enlisted stage bands. In "Mefistofele," on December 5th, Nilsson appeared as Marguerite and Helen of Troy, and Trebelli as Marta and Pantalis. Nilsson had fixed the ideal of Helen in Europe and New York, and it is she, I believe, who started the questionable practice of having one performer impersonate both Marguerite and the classic Queen. Boito has given us so little of Goethe's Gretchen in his delightful, but sketchy, opera that it does not make much difference how the part is acted; but Helen is a character that seemed cut to the very form of Nilsson—regal in beauty and carriage, soul-moving in voice, serene in pose and gesture. She fitted perfectly into the fairest picture that a lover of ancient Greek life could conjure up, and moved through the classic act like a veritable Hellenic queen. The beauty, majesty, the puissant charm of a perfect woman of the antique type—all were hers. Campanini, who, like Nilsson, had been seen in the opera before the Metropolitan Opera House entered the lists, sang on this evening with peculiar enthusiasm; and with reason. Not only had he been instrumental in giving the opera to the people of London and New York, but, on this occasion, he was singing under the baton of his younger brother, Cleofonte, then a modest maestro di cembalo trying his 'prentice hand at conducting; now the redoubtable leader of Mr. Hammerstein's forces at the Manhattan. Four years later Cleofonte Campanini came again to New York as conductor of his brother's company organized for the production of Verdi's "Otello."