CHAPTER XVI.

TWENTY YEARS OF MUSIC.

(1853-1873.)

At this point it may be of interest to recall the principal musical events which took place during the earlier years of Manuel Garcia's residence in London.

The year of the invention of the laryngoscope is principally of interest to musicians from the fact that Gye was able to secure for his opera company a valuable aid in that greatest basso of any time, Luigi Lablache, then sixty years of age.

The following year brought the London _première_ of "L'Etoile du Nord," and of Verdi's new opera, "Il Trovatore"; it is additionally memorable for the advent of Cerito, on whom the mantle of Taglioni and Vestris had fallen as a _première danseuse_.

1856 brought in its train a series of catastrophes to music-lovers. During the twelve months there died not only the veteran tenor, Henry Braham, in his eightieth year, but, what was a far greater loss, the immortal Robert Schumann, after two years spent in a private asylum near Bonn; moreover, a further blow was dealt by the burning down of Covent Garden for the second time, the ruins being visited next day by her Majesty, Prince Albert, and the Princess Royal.

The Opera House was rebuilt and opened once more in 1858, the year in which Lablache died. The Covent Garden season commenced on May 15 with a notable body of artists, which included Grisi, Didiée, Parepa, Victoire, Mario, Formes, Rossi, Tamberlik, and Costa; while in the early autumn the Birmingham Festival was held, with Pauline Viardot and Sims Reeves as the stars.

In the last month of '58 we find the Pyne-Harrison Company giving a season of English opera, with W. Harrison, George Honey, Weiss, and Louisa Pyne as the leading attractions, and Alfred Mellon in the conductor's seat.

The next year (1859) brings the production in Italian of Meyerbeer's new opera, "Dinorah," at Covent Garden; while in the autumn the Pyne-Harrison Company give it in an English version provided by Chorley, with Charles Santley making his operatic _début_ as Haël. This is followed at Christmas by Hallé's production at Manchester of an English version of Gluck's "Iphigénie en Tauride," in which two of Garcia's pupils take part--Catherine Hayes and Charles Santley.

In the following February Wallace's "Lurline" was produced, and later in the year Flotow's "Stradella." March 29 is an interesting date, for it gives us a sight of the theatrical names which were prominently before the public at this time. On that day a monster benefit was organised, at which the following stars took part: Webster, Phelps, T. P. Cooke, Toole, Mrs Mellon, Miss Glyn, Louisa Pyne, Charles Mathews, Catherine Hayes, W. Harrison, and Buckstone.

A few weeks later, during the Italian opera season, came the first appearance in England of Faure, as Haël, a part which Meyerbeer had specially written for him in "Dinorah."

One may perhaps be allowed to note in passing that 1859 brought with it the first appearance of Henry Irving on the London stage. In the winter season of 1860 Her Majesty's was running English opera with a fine cast, which included Lemmens-Sherrington, Mdlle. Parepa, Reeves, Santley, George Honey, J. G. Patey, and Chas. Hallé as conductor.

With 1861 we come to the English _début_ of the greatest star of the last half of the nineteenth century, for on May 14 Adelina Patti made her first appearance at Covent Garden, as Amina in "La Somnambula," amid such enthusiasm as to ensure her the premier place among the operatic artists of her day. And indeed after this memorable date the _diva_ continued to appear for no less than twenty-five consecutive seasons at Covent Garden, her name proving an infallible draw, no matter in what opera she chose to appear.

During the same season Grisi gave a series of eight farewell performances, creating an enormous _furore_; moreover, Delle Sedie came over for Mapleson's season at the Lyceum, being afterwards engaged for Covent Garden. At the latter house the autumn season opened with "Ruy Blas," followed later by "Robin Hood," with a cast including Mme. Guerrabella (Geneviève Ward), Haigh, Honey, and Santley, and this in turn gave way to the production of Balfe's new opera, "The Puritan's Daughter," which had a run of no less than fifty-seven performances.

The following February, 1862, saw the production of another of Balfe's operas, the "Lily of Killarney," the plot being that of the "Colleen Bawn," which had just had a huge success at the Adelphi Theatre.

The artists engaged for the Covent Garden season of Italian opera included such names as Patti, Tamberlik, Mario, Faure, Formes, and Gordoni; while in the autumn of the year Mapleson gave a season of opera with Tietjens, Alboni, Giuglini, and Santley.

For 1863 may be writ large the five letters FAUST. Mapleson tells the story of its production in his memoirs. Thomas Chappell had bought the English rights for £40, after seeing it at the Théâtre Lyrique. The music of an opera is worth nothing until the opera itself has become known, and Messrs Chappell opened negotiations with Mr Frederick Gye for its production during the Royal Italian Opera season.

The work had not, however, made much impression at the Lyrique, and Gye, on his return from Paris, assured his stage-manager, Augustus Harris, that there was nothing in it but the "Soldier's Chorus," and refused to have anything to do with it. Mapleson on hearing it felt convinced it would be an immense success; and Chappells were ready to pay £200 towards the cost of its production, and to give £200 more after four representations. He therefore engaged his company, and put it into rehearsal at Her Majesty's.

A few days before the date fixed for the production, he found that only £30 worth of seats had been taken. Then came a Napoleonic scheme. He announced at once four successive performances, and gave the astounding instructions at the office that for the first three out of these four not one place was to be sold beyond those already taken. The rest of the tickets he took home in a carpet-bag and distributed far and wide over a gigantic free list. At the same time he advertised in 'The Times' that, in consequence of a death in the family, two stalls for the first representation of "Faust"--the opera which was exciting so much interest that all places for the first three representations had been bought up--could be had at 25s. each.

Meanwhile demands had been made at the box-office for places, and the would-be purchasers were told that everything had gone up to the fourth night: this they repeated to their friends, and the opera began to be seriously talked of. The first performance was received with applause, the second still more warmly, and the third gained additional favour. No further device was necessary for stimulating curiosity: the paying public flocked, and it was given for ten nights in succession, after which it was constantly repeated until the termination of the season.

The following was the cast of the _première_ at Her Majesty's:--

_Marguerite_ Tietjens. _Siebel_ Trebelli. _Faust_ Giuglini. _Mephistopheles_ Gassier. _Valentine_ Santley.

Not to be outdone, Gye at once produced his own version at Covent Garden, with Carvallo as _Marguerite_, her old part in the original Paris production, Didier as _Siebel_, Faure as _Mephistopheles_, Graziani as _Valentine_, and Tamberlik as _Faust_.

The year is also noteworthy for the fact that Pauline Lucca made her _début_ as Valentine in the "Huguenots," while Mdlle. Artot, the pupil of Mme. Viardot, also made her first appearance here.

With 1864 (in which Meyerbeer passes away) we find the Italian Opera Company including Patti, Lucca, Tamberlik, Faure, Graziani, Mario, and, of course, Costa, with an interesting addition at the organ in Arthur Sullivan; while to the younger generation, at any rate, a strange realisation of those bygone days is given by the announcement of a gala performance to Garibaldi.

At Her Majesty's there is an interesting _première_, the first performance of "Faust" in English, with the following cast:--

_Marguerite_ Mme. Lemmens-Sherrington. _Siebel_ Mme. Lucia. _Mephistopheles_ M. Marchesi. _Valentine_ Mr Santley. _Faust_ Mr Sims Reeves.

The next year brings the production of Meyerbeer's "L'Africaine" at Covent Garden, and of Gounod's "Mock Doctor" by the Royal English Opera Company. At Her Majesty's, moreover, Ilma di Murska makes her first appearance as Lucia, and Giuglini is obliged to give up the season there through illness; while among the operatic stars of the year we find Wachtel, Graziani, Ronconi, and Mario.

1866 sees the _début_ at Covent Garden of Carlotta Patti, coming with a considerable reputation as a concert singer; while among the artists of the season are Naudin, and Nicolini, who afterwards married Adelina Patti. At Her Majesty's, the company includes Gordoni, Santley, Gassier, Tietjens, and Grisi, who is announced for a limited number of performances; while the Irish basso, Foley, makes a hit in "Il Seraglio" under the Italianised nomenclature, "Signor Foli."

Next year, in which the death of Sir George Smart is chronicled, Covent Garden announces--on July 11--the first production of Gounod's "Romeo et Juliette" in an Italian version, with Mario and Patti in the title-_rôles_. At the rival house Mapleson has collected a fine company in Tietjens, Sinico, Gassier, Santley, Gordoni, Mongini, and two _débutantes_, Clara Kellogg, fresh from her American triumphs, and Christine Nillson, who makes her first appearance in "Traviata."

On December 6 a terrible calamity occurred in the London musical world, with the burning down of Her Majesty's Theatre. At the beginning of the month, during a rehearsal of "Fidelio," Mapleson's insurance-agent called to complete the insurance of the house. Colonel Mapleson agreed to insure for £30,000; but as the costumier's list was not at hand, and the costumier himself was out at dinner, the agent suggested that the manager should give him £10 "on account," and thus keep the matter open till the following Monday, when he--the agent--would call again. Mapleson replied, jokingly, "There is no fear," and the agent left without the advance.

At half-past eleven the same evening Mapleson, who was dining in St John's Wood, was called by an excited servant to look out of the window, and saw the sky red in the distance. Her Majesty's Theatre was on fire! The manager hurried to the scene of the conflagration, and found the house in full blaze. Without a moment's delay he despatched Mr Jarrett, his acting-manager, to Mr F. B. Chatterton, then the lessee of Drury Lane, to endeavour to secure that theatre from March till the end of July. It was of great importance that the emissary should reach Chatterton, who lived at Clapham, before that astute manager could learn of the fire; for had he been aware of Mapleson's extremity, he would, of course, have raised his terms accordingly.

On arriving at Chatterton's house early in the morning, the first thing Jarrett saw, lying on a table in the hall, was a copy of that day's 'Times.' On this he threw his overcoat, in order to hide the paper from view, and waited for the manager of Drury Lane to descend and receive him. Without appearing at all anxious, Mr Jarrett quietly concluded an agreement by which Mapleson secured the use of Drury Lane Theatre for the following spring and summer seasons, with a right to renew the occupation for future years. This document was in Mapleson's hands by nine o'clock, and it was not till half-past ten that Chatterton learnt of the fire.

The Monday after, the insurance-agent called on Mapleson and offered him his sympathy, since, if the manager had paid down the £10 on account of the proposed insurance, he would have received a cheque for £30,000! Mapleson replied that he was exceedingly glad that he had _not_ paid the deposit, as he certainly would have been suspected of setting the theatre on fire, and would never again have been able to set himself right with the public.

In 1868 (the year of Rossini's death), the date is rendered memorable by the _début_ of Minnie Hauk and the discovery of Mme. Scalchi, who was singing at the time in a building that was little more than a circus; while Costa resigned his position as conductor, owing to a quarrel. His place was taken by Arditi and Vianesi, who shared the duties of conductor.

In 1869 Mapleson and Gye resolved to join forces, the result being a probably unexampled collection of stars. Ambroise Thomas's "Hamlet" was given for the first time in England with Christine Nillson as Ophelia, and "Don Giovanni" was performed with the following extraordinary cast, which has never been equalled in brilliancy:--

_Donna Anna_ Tietjens. _Donna Elvina_ Nillson. _Zerlina_ Patti. _Don Ottavio_ Mario. _Don Giovanni_ Faure.

But these do not by any means exhaust the list of stars who took part in the season under the joint management. To the above quintette we must add Lucca, Scalchi, Ilma di Murska, Sinico, Tamberlik, Foli, Santley, and Mongini, while Costa and Arditi alternated the conducting. The season is probably unexampled in the whole annals of opera.

The next year, 1870 (in which Balfe died), saw the production of Verdi's "Macbeth" and of Ambroise Thomas's "Mignon," with Christine Nillson and Faure in the leading _rôles_, under the Gye-Mapleson management. During this year, moreover, a brilliant benefit was given to Charles Mathews, and from the list of star performers we can obtain some further idea as to the rise and fall of the theatrical artists which Garcia witnessed as he passed through life.

Charles Mathews, of course, took part himself, and was assisted by Barry Sullivan, Lionel Brough, Mrs Mathews, Mrs Chippendale, Ben Webster, Mrs Mellon, Mme. Celeste, together with the Bancrofts.

With 1871 (the year in which Auber died) Mario bade farewell to Covent Garden audiences, before whom he had appeared for no less than twenty-three out of the twenty-four seasons the Royal Italian Opera had been in existence.

The Italian tenor was a great friend of Garcia, and the latter used to tell many anecdotes of him. One of these I will quote. When in London once, Mario and his wife, Grisi, decided upon giving a wonderful luncheon to a large party of their friends, among the number being Señor Garcia. The total cost may be imagined from the fact that they paid £80 for some dessert and other light delicacies for the table, sent specially over from Paris. After all had assembled Grisi suddenly exclaimed, "It is far too hot to eat anything here. Let us drive out to Richmond for lunch. It will be far pleasanter." No sooner said than done, and carriages sufficient to accommodate the entire party were at once ordered. A telegram was sent on in advance, so that on their arrival at Richmond another magnificent lunch was awaiting them. Mario, without a thought, left behind at his own house the two-hundred guinea luncheon to waste its sweetness on the servants' hall.

It was in this year that the terrors of the Franco-Prussian War, to which we have already alluded, drove to London large numbers of refugees, many of them celebrities connected with the leading musical and dramatic institutions of Paris. It was a golden opportunity for music-lovers. At Covent Garden there were Adelina Patti, Lucca, Scalchi, Tamberlik, Mario, Bettini, Faure, Cotogni, Tagliafico; at Her Majesty's, Christine Nillson, Tietjens, Trebelli, Marimon, Ilma di Murska, Mongini, Gardoni, Capoul, Wachtel, Agnesi, Rota, Santley, Foli, and Carl Formes. In the concert-room there were to be heard the still marvellous voices of Alboni, Carlotta Patti, and Sims Reeves; or the glorious playing of Sivori, Vieuxtemps, Wieniawski, Neruda, Joachim, Clara Schumann, and Alfredo Piatti.

Then among the French refugees were the members of the Comédie Française, and these gave a memorable series of representations at one of the London theatres, selecting for it most of the gems of their matchless repertoire, with casts that included such artists as Got, Delauny, Mounet-Sully, Worms, Febvre, the Coquelins, Sarah Bernhardt (who during this season was making her London _début_), Blanche Pierson, Bartet, Barretta, Reichemberg, and Samary.

The following year, 1872, saw the _début_ at Covent Garden of Albani. Later in the year, after the close of the opera season, a "fantastical spectacle" by Dion Boucicault and Planché was produced at the Opera House, under the title of "Babil and Bijou," in which took part Mrs Howard Paul, Lionel Brough, and Joseph Maas.

Finally, in 1873, Gye gathered round him a bevy of stars which included Patti, Lucca, and Albani; Scalchi, Sinico, and Monbelli; Nicolini, Bettini, Graziani, Cotogni, Maurel, and Faure.