CHAPTER IV.

PARIS AND LONDON.

(1816-1825.)

In the spring of 1816 the elder Garcia left Naples, and with his family set out for Paris, which he had decided to make his home once more.

When he had last been in that city, upwards of four years previously, Napoleon had still been all-powerful; when he returned Louis XVIII. was on the throne and Bonaparte in hopeless exile at St. Helena.

After he had settled down he continued the singing lessons of his son, whose general education was looked after by private tutors,--Reicha, Basbereau, and others. As to himself, he was at once engaged as _primo tenore_ at the Théâtre Italien, then under the management of Catalani,--a woman whose story we will dwell on for a moment.

At the age of twelve she had been sent to a convent near Rome, being introduced by Cardinal Onorati. Here her voice soon became a great attraction owing to its extraordinary purity, force, and compass, which extended to G in altissimo. On leaving the convent, where sometimes the congregation had openly applauded her splendid notes in the services, she found herself compelled to perform in public, owing to the sudden poverty of her parents.

At the age of sixteen she obtained her first engagement at the Fenice Theatre in Venice, and thence she went to other opera houses in Italy, meeting everywhere with wonderful success.

In the year of Manuel's birth, Catalani signed her first agreement with the managers of the King's Theatre in the Haymarket at £2000 per annum, and remained in England for seven years. She was, however, a prima donna of the deepest dye, capricious as she was extravagant. Neither would her disposition endure the possibility of rivalry, nor would the size of her increasing demands allow the managers to engage any other singers of position. At last with the close of 1813, having unsuccessfully attempted to purchase the King's Theatre outright, she fell out with the directors and left London.

With the fall of Napoleon she went to Paris, where Louis XVIII. gave her the management of the Théâtre Italien, with a subvention of 160,000 francs. Subsequently, during the Hundred Days, she fled before the advance of the despot, fearing his wrath, and paid a tactful visit to Germany and Scandinavia. It was only after the capture of the Emperor that she dared return, and even then she did so by way of Holland, instead of coming direct, lest at the last minute he might somehow free himself and come back into power. However, all was well, Catalani returned to her position at the Théâtre Italien, and at once engaged Garcia _père_ on his arrival in Paris.

In the autumn of the year the tenor and his family paid their first visit to England, but only made a short stay. The little daughter Maria, who was now eight years old, accompanied them, and was left in England for some years, her education being carried on in a convent school at Hammersmith. It was to this fact that in after life she owed her success in this country as a singer of oratorio and English songs.

Upon the elder Garcia's return to Paris, the "Caliph of Bagdad" was revived, as well as another of his operas, "Le Prince d'Occasion." As _primo tenore_ of Catalani's troupe, he appeared as Paolino in Pergolesi's "Matrimonio Segreto," and sang in all the operas which were in vogue at that time,--a very different repertoire to that which audiences are accustomed to hear nowadays.

At last an unfortunate quarrel arose between Catalani and himself, and at the end of 1817 he went once more to England. This was only a few months after "Don Giovanni" had been given in England for the first time at the Italian Opera House, with Mesdames Fodor, Camporese, and Pasta; Signori Crivelli, Ambrogetti, and Agrisani.

His success in London was great during the ensuing season. He made his _début_ with Mme. Fodor in "The Barber of Seville," his performance of Almaviva being, according to a critic of that time, "commensurate with his transcendent talent," while he appeared in other operas with equal _éclat_. During the same season he created a further sensation by singing at the chapel of the Bavarian Embassy in Warwick Street, where several masses of his own composition were given.

In 1819 he returned to Paris and became once more a member of the company at the Théâtre Italien, Catalani having failed and resigned the reins of management during his absence in England. Here he repeated his old success in "Otello" and "Don Giovanni," and also took part, on October 26, in the first performance of "Il Barbiere" ever given in Paris, at the Salle Louvois. It was again received coldly, as had been the case on the original production in Rome three and a half years before. Once more the critics demanded the "Barbiere" of Paisiello, which was accordingly put on the stage at the Théâtre Italien, only to meet with dismal failure; and thus in the end Rossini triumphed with it in the French capital, as he had in that of Italy.

The cast of this Parisian _première_ was as follows:

_Rosina_ Mme. Ronzi de Begnis. _Figaro_ Signor Pellegrini. _Bartolo_ Signor Graziani. _Basilio_ Signor de Begnis. _Almaviva_ Signor Garcia.

In addition to appearing at the opera Garcia _père_ continued to compose prolifically. "La Mort du Tasse" and "Florestan" were produced at the Grand Opera, "Fazzoletto" at the Théâtre Italien, and "La Meunière" at the Gymnase, while three others were finished but never performed.

Moreover, he devoted a good deal of attention to teaching singing, his fame attracting a number of pupils, while at the close of the year 1819 he published a book on his 'Method of Singing.'

In the spring of the following year, in which took place the accession of George IV. to the throne of England, Manuel Garcia paid a flying visit to Spain. It was destined to be the last time he ever saw his native country. The fact is a curious one when we remember his intense love for Spain, which was so strong that, in spite of his spending the last fifty-eight years of his life in England, nothing would have induced him to become a naturalised British subject.

On his return from Madrid he commenced the study of harmony, for, as has been already stated, his father was a firm believer in the necessity of every singer being a musician in the broadest sense of the word. For this work he was placed under François Joseph Fétis, who had just succeeded Elen as professor of counterpoint and fugue at the Conservatoire. This was six years before Fétis became librarian of the institution--a position in which he was enabled to prepare his famous 'Biographie Universelle des Musiciens,' which is one of the greatest monuments to the achievements of musical genius ever reared. He was indeed a remarkable man, who displayed talent not only as teacher, but composer, historian, critic, and author of various theoretical works.

In 1821, the year of Napoleon's death, Manuel's youngest sister was born--Michelle Ferdinande Pauline,--who was in after years to become no less famous than Maria. The second and third names were given her in honour of her sponsors, Ferdinand Paër and Princess Pauline Galitzin.

In the spring of 1823 the elder Garcia was again appearing at the King's Theatre, and during the season he founded his famous school of singing in London. It was at this time, too, that he first began seriously to take Maria's musical training in hand, since she was now approaching her fifteenth birthday. His daughter soon showed the individuality of her genius, in spite of a certain fear inspired by her father's somewhat violent disposition.

He made his reappearance at the King's Theatre in May in Rossini's "Otello," given with the following cast:--

_Otello_ Signor Garcia. _Desdemona_ Mme. Camporese. _Elmiro_ Signor Porto. _Roderigo_ Signor Curioni. _Iago_ Signor Reina. _Emilia_ Signora Caradori. _Doge_ Signor Righi.

In speaking of his return to London, the 'Harmonicon' tells us: "Garcia's voice has an extensive compass and considerable power, and is round and clear. Its flexibility is remarkable."

On June 5 we find the tenor taking part in the first performance of Rossini's semi-serious opera, "Ricciardo e Zoraide," with this cast:--

_Agorante_ Signor Garcia. _Ricciardo_ Signor Curioni. _Ernesto_ Signor Reina. _Ircano_ Signor Porto. _Zoraide_ Mme. Camporese. _Zomira_ Mme. Vestris. _Fatima_ Mme. Graziani.

Four weeks later he is appearing at the _première_ of another of Rossini's works with the strange title, "Matilde di Shabran e Corradino, ossia Il Trionfa della Belta," with the principal parts distributed thus:--

_Matilde di Shabran_ Mme. Ronzi di Begnis. _Corradino_ Signor Garcia. _Isidoro_ Signor di Begnis. _Raimondo_ Signor Reina. _Edvardo_ Mme. Vestris. _Contessa d'Arca_ Signora Caradori.

From all this, it will be seen that Manuel Garcia lived in a musical world day and night. Awake or asleep, music and musicians surrounded the boy.

At the close of the London season his father returned to Paris.

An exceptional insight into the musical and artistic circles of the French capital at this time, when Manuel was a young man of eighteen, is given by the following paragraph from a paper of that day:--

"On November 15 some of the principal musical composers and theatrical performers of Paris united to give a dinner to Signor Rossini, in the great room of M. Martin, Place du Châtelet.

"Signor Rossini was seated between Mdlle. Mars and Mme. Pasta. M. Lesueur, placed exactly opposite to him, had Mme. Colbran Rossini on his right and Mdlle. Georges on his left; Mmes. Grassari, Cinti, and Denuri sat next to these. MM. Talma, Boieldieu, Garcia, and Martin were in the midst of this group of elegance and beauty. All the arts, all the talents, were represented by MM. Auber, Hérold, Cicéri Panseron, Casimir Bonjour, Mimaut, Horace Vernet, &c.

"When the dessert was served, M. Lesueur rose and gave the following toast--'To Rossini! whose ardent Genius has opened a new path and formed an epoch in the art of music.'

"Signor Rossini replied by this toast--'To the French School, and to the prosperity of the Conservatoire.'

"M. Lesueur then gave--'Gluck.'

"Signor Garcia proposed--'Gretry! the most sensible and one of the most melodious of French musicians.'

"Signor Rossini then gave--'Mozart.'

"M. Boieldieu offered his toast in the following words--'Mehul! I see Rossini and the shade of Mozart applaud this toast.'

"M. Hérold proposed--'Paisiello! Full of ingenuity and passion, he rendered popular in all parts of Europe the Italian School.'

"Finally M. Panseron (for M. Auber) gave--'Cimarosa! the precursor of Rossini.'"

With this the proceedings were brought to an official close and an unofficial commencement of others, which were doubtless continued into "the sma' wee hours."

In the January of 1824 the Garcias returned to England once more, for we find the following announcement made in one of the London musical papers--

"The Italian Opera (King's Theatre) is to open towards the end of the present month. Signor Rossini is engaged as composer and director of the music: he is to superintend the performance of his own operas, and to produce a new one. The engagements both for the opera and the ballet are upon a liberal scale. Among these are--

_Mesdames_--Ronzi di Begnis, Colbran Rossini, Pasta, Vestris, &c. _Signors_--Garcia, Curioni, Franceschi, Remorini, di Begnis, Porto, &c. _Conductor_--Signor Coccia. _Leader_--Signor Spagnoletti. _Poet_--Signor Vestris. _In the Ballet will appear_--Mme. Ronzi Vestris; Mdlle. Legras, Mdlle. Idalise Grener, Mdlle. Noblet; M. Albert, M. Charles Vestris, M. Ferdinand, &c. _Principal Ballet-master_--Mons. Aumer."

The season opened on January 24 with "Zelmira," a new opera conducted by "the universally fashionable composer of the day, Signor Gioacchiso Rossini."

How strangely reads the repertoire of the representations given at the King's Theatre during the next months! Two only are heard at Covent Garden nowadays, and those but rarely--"Don Giovanni" and "II Barbiere," which latter was given with Mme. Vestris as Rosina, di Begnis as Bartolo, Benetti as Figaro, and Garcia in his old part of the Count. One may perhaps add to the number of those still heard occasionally the "Nozze di Figaro"; but this is only given at the most attenuated intervals.

As for the rest, what can we say of Zingarelli's "Romeo e Giulietta" and Rossini's "Otello," in which Mme. Pasta makes her _rentrée_? Add to these "Ricciardo e Zoraide," "Semiramide," "Turco in Italia," "La Donna del Lago," and "Il Fanatico per la Musica" which Catalani chooses for her reappearance.

But there are other musical events worthy of attention during these months.

We read that "Master Liszt, the young German pianist, had a concert at the Argyll Rooms, when he exhibited talents that astonished all the leading professors who were present."

Further, we find Signor Rossini giving two subscription concerts at Almack's Rooms,--how strangely the names of the fashionable concert rooms of the past sound to us now!--"Tickets two guineas."

They are announced "To Begin at Nine o'clock"; while the composer has the assistance of the leading operatic artistes of the day--Catalani, Pasta, Vestris, Garcia, di Begnis, _et hoc genus omne_.

But what is of especial interest is the fact that Rossini not only conducted, but _sang_. He gave "a cavatino (_sic_) from Figaro," and a duetto with Mme. Catalani, "Se fiato in corpo avete" by Cimarosa.

The second of these subscription concerts, given on June 9, 1824, is worthy of our attention, for we find "Mdlle. Maria Garcia" making apparently her first appearance in London, taking part with her father in a duet, "Di Caprici," and adding a solo, "Nacqui al'affano," both by Rossini.

With the close of the London season the elder Garcia returned to Paris. Here his "Deux Contrats" was performed at the Opéra Comique. But the early autumn of this year is principally memorable for the fact that he allowed his daughter to make her first appearance in Paris as a professional singer,--the concert in which she took part being given at a musical club which he had just established in that city.

Two months later the entire family went to London, and here Maria's musical education was continued in the singing-class which her father had established. The elder Garcia was again engaged as first tenor at the Royal Opera, his salary having now risen from £260 (1823) to £1250. Here he continued to gain still greater fame as a teacher, while his fertility as a composer was shown by two Italian operas, "Astuzia e Prudenza" and "Un Avertimento."

On June 7, 1825, Maria had the opportunity of making her _début_ in London at the King's Theatre, as Rosina in "Il Barbiere," under the directorship of Mr Ebers.

It was owing to a fortuitous combination of circumstances--the sudden return of Mme. Pasta to Paris, Ronzi losing her voice through illness, Vestris seceding to the stage, and Caradori, an excellent _seconda donna_, being _hors de combat_--that Maria found herself engaged to fill the gap.

Manuel Garcia, by the way, in after years used sometimes to recall the effect which Pasta's singing made on him, when he heard her in his youth. He spoke of her as possessing a voice of ravishing beauty, together with perfection of fioriture and grandeur of dramatic conception, but in spite of this there was no doubt in his mind as to his preference for the singing of Maria. Indeed, he would always declare that his sister was the most natural and most precocious genius with whom he had ever come in contact.

With her _début_ at the King's Theatre Maria achieved a triumphant success, which was witnessed by her brother; and she was engaged by the management for the remaining six weeks of the season for a sum of five hundred pounds.

Once more we find that curious repertoire of operas in favour at that time which contrasts so strangely with the taste of the present day, and serves to illustrate the important changes in the form and character of music which Manuel Garcia witnessed during his life.

We may, moreover, in this year trace the first introduction of Meyerbeer's music to English audiences, for we read in the July 'Harmonicon'--

"On the 23rd of last month there was brought out 'Il Crociato in Egitto,' the new grand opera of Meyerbeer, a composer whose name was completely unknown in this country only a few weeks ago.... Mdlle. Garcia, disguised in male attire, performed the part of Felicia with great ability, both as a singer and actress."

Turning from opera to the concert world of 1825, we learn that "The only regular subscription concerts now supported in London are the Ancient and the Philharmonic," though we find Mme. Catalani during May giving a series of four concerts at the Argyll Rooms, assisted by Mrs Salmon, Mr Sapio, and Signor Remorini.

In the way of private musical entertainments, the Duke of Devonshire gave a fashionable concert in May, with Pasta, Velluti, the last male soprano who ever trod the boards in opera in this country, Puzzi, and a pianist with the mellifluous cognomen "Szymanowska"; while on June 15, a state concert was given by his Majesty King George IV. at--Carlton Palace!

Among the artists taking part in the latter we find Signor and Mdlle. Garcia, Caradori, Begrez, di Begnis, Curioni, Remorini, Velluti, and Crivelli.

At the end of the season the elder Garcia, together with his wife, son, and daughter, sang at several provincial concerts, and their names appear in the programmes of two of the Gentlemen's Concerts at Manchester on August 15 and September 9.

Four members of the family appearing together was surely a remarkable event!

In the same month Maria was one of the soloists at the second York Festival.

The committee had tried to get Catalani, but, after pecuniary terms had been arranged, the treaty failed in consequence of a stipulation on her part that several songs should be transposed into a lower key to suit her voice.

"The committee had conceded," says the 'Harmonicon,' "to the condition with regard to detached airs, but refused for those which are connected with choruses. Then they tried to get Mme. Pasta, but this was refused, as they could not give her permission to come without materially compromising the interests of the Italian Theatre Royal. Thus disappointed, they entered into negotiations with Mr Braham and other eminent performers, and finally succeeded in obtaining the following assemblage of talent:--

Mr Greatorex, _Conductor_. Dr Camidge, _Assistant-Conductor_.

_Principal Vocalists._

Miss Stephens. Mr Braham. Miss Caradori. Mr Vaughan. _Mdlle. Garcia._ Mr Sapio. Miss Travis. Mr Knyvett. Miss Wilkinson. Mr Terrail. Miss Goodall Mr Bellamy. and Mr Phillips. Miss Farrar. Signor di Begnis.

A Grand Chorus of 350 voices, and 248 Instrumentalists in the Orchestra."

A perusal of the programme brings home to us the change which has taken place in the last eighty years.

Handel naturally figured largely, while Mozart was represented by his Jupiter Symphony, Beethoven by his Symphonies in C and D and one of the Leonora overtures. Such names, however, as Pepusch, Spontini, and Salieri have long since disappeared. Again, the style of Festival programme was then of a very mixed, and, as regards some of the numbers, of a very "popular" kind. Festivals of the present day are of a much more serious character.

Mdlle. Garcia we find set down for such items as "Gratias" by Gugliemi, "Alma invitta" from "Sigismondo," "O patria" from "Il Tancredi," a terzetto from "Il Crociato in Egitto," and one of her "chevaux de bataille," "Una voce poco fa" from "Il Barbiere."

With the York Festival the visit to England was brought to a close, and at the end of the month the Garcia family embarked at Liverpool for New York, where Manuel was to take part in the first American season of Italian Opera.

Before following them there, let us seek a glimpse of some of the operatic and theatrical events between the year of Manuel Garcia's first visit to England and his trip to America.

In 1816 John Kemble was playing Coriolanus at his London season; Charles Kean was at Drury Lane; and at Covent Garden Mrs Siddons reappeared as Lady Macbeth, while Charles Mathews brought to an end his contract with that theatre.

Next year Henry Bishop's operatic drama "The Slave" was produced at Covent Garden, and a novel pantomime entitled "Robinson Crusoe," with Grimaldi as Friday. It was, moreover, on June 13 of this season that Kemble played Coriolanus for the last time, and retired. In 1818 Macready appeared in an acting version of "Rob Roy,"--a novel which Sir Walter Scott had published shortly before.

This year, moreover, saw the birth of Gounod, and the death of Mrs Billington, heroine of so many Covent Garden triumphs. In 1819 several oratorios were given under Henry Bishop, with Samuel Wesley the church musician as conductor; while on June 9, at the benefit of Mr and Mrs Charles Kemble, Sarah Siddons appeared on the stage for the last time in her life: a few months before this the beautiful Miss O'Neill retired from the boards.

Shelley passed away in 1822 (the year which followed that of the coronation of George IV.); while within a few weeks there took place an interesting benefit performance, at which "The Rivals" was acted, with the following cast:--

_Sir Anthony_ Munden. _Captain Absolute_ Charles Kemble. _Faulkland_ Young. _Acres_ Liston. _Lydia_ Mrs Edwin. _Mrs Malaprop_ Mrs Davenport.

The next year is specially noteworthy for the production, in May, of Henry Bishop and Howard Payne's opera, "The Maid of Milan," which contained the air "Home, Sweet Home"; while in the following December, a tragedy by Mrs Hemans saw the light under the title "The Vespers of Palermo."

The year is, however, perhaps most important to us from the, at that time, unparalleled constellation of stars who were appearing at Drury Lane: Macready, Kean, Young, Munden, Liston, Elliston, Terry, Harley, Knight, Miss Stephens, and Mme. Vestris.

In 1824, the year of Byron's death, Henry Bishop left Covent Garden for Drury Lane, and Carl Von Weber was engaged in his place, in honour of which event "Der Freischütz" was brought out at the English Opera House, being also produced in the autumn at Covent Garden, where it was given for no less than fifty-two performances during the season of 1824-25.

And what of the salaries which were being received by theatrical stars at the beginning of the nineteenth century?

The great Charles Mathews writes at this time of a proposed engagement, "Now to my offer, which I think stupendous and magnificent, £17 a-week." John Kemble, for acting and managing, was receiving £36; Miss O'Neill, at the most brilliant portion of her career, never had more than £25 a-week; while Mrs Jordan at her zenith had thirty guineas; and Charles Kemble, until he became his own manager, never received more than £20 a-week.

Strange reading, indeed, when we compare it with the salaries which theatrical stars were receiving during the last few years of Garcia's life.