CHAPTER V.

OPERA IN AMERICA.

(1825-1826.)

The earliest operatic performances in America were derived not from Italian but from English sources. Elson tells us in his book on American music that "The Beggar's Opera," which created such a furore in Great Britain, probably was the first entertainment of the kind given in the colonies, being performed in New York as early as December 3, 1750, and innumerable times thereafter. This was followed by a series of other ballad operas.

"From the conglomerate Ballad Opera, often the work of half a dozen composers," Elson continues, "New York passed on to a more unified art-work, and the operas of Arnold, Storace, and Dibdin were given with some frequency. During the British occupation, in revolutionary days, the English regimental bands often assisted in the orchestral parts of the operatic performances. At a later period many refugees, driven from France by the Revolution, were to be found eking out a precarious livelihood in the orchestra.

"At the beginning of the nineteenth century Charleston and Baltimore entered the operatic field, and travelling troupes came into existence, making short circuits from New York through the large cities, but avoiding Boston, which was wholly given over to Handel, Haydn, and psalms.

"In March 1825 New Yorkers heard a great opera for the first time, for 'Der Freischütz' came to America by way of England. It was adapted and arranged with the boldest of alterations and makeshifts. Extra dances were introduced to charm the audience, and the incantation scene was often given without singing, as melodrama that is, recitation with orchestral accompaniment, while the fireworks let off during the scene won public favour at once.

"But the real beginning of opera in New York, and in a certain sense in America, occurred in the autumn of this year, when the elder Garcia arrived with his well-equipped opera troupe. Well might a critic of that day speak of the Spanish tenor as 'our musical Columbus.' The whole season of opera during that memorable period was a revelation to the new world."

The company which the elder Garcia brought with him from Europe consisted of the following principal artists. His daughter Maria, who was seventeen years old, undertook all the contralto _rôles_, while his wife and Mme. Barbieri were the soprani. He himself was, naturally, _primo tenore_, being assisted by the younger Crivelli as the _secondo_. The latter artist, the son of Gaẽtano, one of the best Italian tenors, had first met the Garcia family in Naples, where he had spent some years in vocal study under Millico and Zingarelli.

During the last year of Garcia's stay in Italy Crivelli had written an opera, which was performed by the San Carlo company, of which it will be remembered the elder Garcia was a member.

The baritone for the New York season was "Garcia, jr.," as the subject of this memoir was advertised, and the cast was completed by d'Angrisani as the _basso cantante_, and Rosich as the _buffo caricato_. The chorus, which was collected and organised by Garcia only with the greatest difficulty, consisted chiefly of mechanics settled in America, who were accustomed to serve in choirs and could read music.

Of the circumstances which brought about this scheme of giving Italian opera in America we may read in the biography of the poet, Fitz-Greene Halleck. In it the author, General James Grant Wilson, tells us that Halleck was one of the two thousand New York pupils of Signor Daponte, who was for many years professor of Italian literature in Columbia College there. "To this Signor Daponte, the personal friend of Mozart, and writer of the libretto of 'Don Giovanni,' the poet told me," says the biographer, "that we were indebted for the introduction of Italian opera here, he having, with the late Dominick Lynch and Stephen Price, induced the elder Garcia to visit them with his troupe, and appear at the Park Theatre, of which Price was the manager."

When the elder Garcia arrived in New York he was at once visited by this Daponte, and it is reported that he rushed up to the Italian librettist and embraced him with the greatest warmth, singing all the while the aria "Fin ch'han dal vino," the Drinking Song from "Don Giovanni," for the words of which Daponte had been responsible.

During October and November, in addition to appearing in oratorio, the Garcia family gave a number of concerts, during which the tenor delighted to show the perfection of his method. He had a custom of striking a single chord, and then with his wife, son, and daughter, rendering a difficult operatic quartette, unaccompanied. At the end he would strike the chord again, to show that they had not deviated from the pitch to the extent of even a hair's-breadth. They certainly formed a quartette of pre-eminent ability; indeed, Chorley, one of the greatest musical authorities of his day, wrote of them, "The family of Spanish musicians are representative artists, whose power, genius, and originality have impressed a permanent trace on the record of the methods of vocal execution and ornament."

The first mention of their arrival we find in the 'Harmonicon,' which had a notice on October 25, to the effect that "The Spanish family of the Garcias, consisting of husband, wife, son, and daughter, have been engaged by Mr Price."

Some three weeks later a preliminary notice of their forthcoming venture appeared in a New York paper called 'The Albion, or British, Colonial, and Foreign Weekly Gazette.' In its issue of November 19 there was printed the following prospectus, which may be quoted in full, as it contains several points of interest:--

"Signor Garcia respectfully announces to the American public that he has lately arrived in this country with an Italian troupe (among whom are some of the first artists in Europe), and has made arrangements with the managers of the New York Theatre to have the house on Tuesdays and Saturdays, on which nights the choicest Italian operas will be performed in a style which he flatters himself will give general satisfaction.

"For the succeeding eight days the names of persons desirous to take boxes or benches for the season of three months, or for one month, will be received at the box office at the theatre, and the applicants for the longest term and greatest number of seats will be entitled to the choice of boxes. The seats in the pit will also be numbered, and may be taken for the same periods.

"The price of the box places will be two dollars; of pit, one dollar; and of gallery, twenty-five cents.

"The opera of 'Il Barbiera (_sic_) di Seviglia' is now in rehearsal, and will be given as soon as possible.

"Tickets of the permanent boxes will be transferable. Performance to commence at 8 o'clock."

In the next issue of the paper we read that

"Signor Garcia has the honour to announce to the public that the opera of 'Il Barbiere di Seviglia' will be performed on Tuesday next. The books are now open, and places may be taken at the Box Office."

The advertisement goes on to state that "the best operas of Cimarosa, Mozart, and Paisiello, with others by Rossini, will be immediately put in rehearsal."

The opening performance was given at the Park Theatre on November 29, 1825, the opera being "Il Barbiere," cast as follows:--

_Almaviva_ Garcia, Senior. _Figaro_ Garcia, Junior. _Rosina_ Maria Garcia. _Bertha_ Madame Garcia. _Bartolo_ Rosich. _Basilio_ d'Angrisani. _Fiorello_ Crivelli.

'The Albion' gave the opera company an encouraging send-off in the following naïve announcement:--

"We have been disappointed in not receiving a _scientific_ critique, which we were promised from a professor, on the Italian Opera of Tuesday night; we shall, however, have something to say later, and meanwhile can state that the experiment has proved completely successful, and the troupe may be assured of making a fortunate campaign."

It is recorded further that "an assemblage of ladies so fashionable, so numerous, so elegantly dressed, has probably never been witnessed in an American theatre."

General Grant Wilson gives us some further details of this fashionable audience, for, according to him, it included Joseph Bonaparte, the ex-King of Spain, and the two friends, Fenimore Cooper and Fitz-Greene Halleck, who sat side by side, delighted listeners. Another account refers to the representation in these terms:--

"We were last night surprised, delighted, enchanted: and such were the feelings of all who witnessed the performance. The repeated plaudits with which the theatre rung were unequivocal, unaffected bursts of laughter. The best compliment that can be paid to the merit of the company was the unbroken attention that was yielded throughout the entire performance, except that every now and then it was interrupted by judiciously bestowed marks of applause, which were simultaneously given from all parts of the house. In one respect the exhibition excelled all that we have ever witnessed in any of our theatres--the whole troupe were almost equally excellent: nor was there one whose exertions to fill the part allotted to him did not essentially contribute to the success of the piece.

"Signor Garcia indulges in a florid style of singing: with his fine voice, fine taste, admirable ear, and brilliancy of execution, we could not be otherwise than delighted.... Signorina Garcia's voice is what is denominated a fine contra-alto"--the gentleman is nothing if not correct, while we trace in the next words the unquestionable fact that he has been comparing notes with our "scientific" friend of 'The Albion.' "Her science and skill are such as to enable her to run over every tone and semitone with an ease and grace that cost apparently no effort." The sentence reads for all the world like a twentieth-century eulogy of an ardent motorist, if we substitute for tone and semitone the words woman and child.

He concludes with a vivid little sketch of Maria Garcia as she was at the age of seventeen:--

"Her person is about the middle height, slightly _embonpoint_; her eyes dark, arch, and expressive; and a playful smile is almost constantly the companion of her lips. She was the magnet who attracted all eyes and won all hearts."

This was Manuel Garcia's operatic _début_: it was not his first appearance before the public, for, as we have seen, he had already been singing previously at several concerts. It has been asserted by some that his _début_ in opera was made in Paris in the preceding year, but he himself declared this was untrue; while his sister, Pauline Viardot-Garcia, has stated most definitely that it took place in New York.

His voice was never powerful: he had sung with charm as a boy, and when his voice broke it developed into high baritone--not tenor, as has been asserted by many. The latter mistake probably originated in the fact that sometimes, as will be related later, he undertook the tenor parts when his father felt indisposed; but on these occasions he always altered the melody of the higher passages to suit his baritone voice.

In the first and subsequent performances of "Il Barbiere" his artistic singing of the air "Largo al factotum" made a considerable stir in New York, and his popularity was thereby considerably increased, but from the criticisms it is obvious that Manuel Garcia would never have been an operatic artist of the first rank, and, as we shall see, he was to find his _métier_ in another field of music.

On the last day of the year we read in 'The Albion' that "The celebrated opera of 'Tancredi' will be produced at the Park Theatre this evening."

The paragraph which followed immediately after the above announcement recalls the mixed receptions which the immortal Kean sometimes experienced when he made his earlier appearances on the American stage:--

"Mr Kean has returned from Boston. The managers of the Boston theatre declare in an address to the public that they had no reason whatever to suppose that any serious or organised opposition existed against Mr Kean until 4 o'clock of the evening of his appearance.

"That amiable lady and excellent actress, Mrs Hilson, takes a Benefit at the Park on Wednesday, on which occasion Mr Kean has offered to perform in a favourite part."

In the next issue, January 7, 1826, we find the criticism of the performance of "Tancredi." One of the company had apparently discharged the duties of scene-painter for the production, and with success.

"'Tancredi' has been performed twice to crowded houses by Senior (_sic_) Garcia and his admirable troupe. Nothing could exceed the enthusiasm with which it was received. The scenery, painted by one of the troupe, is of matchless vigour and beauty, displaying magnificent ruins, paintings, &c., so peculiar to modern Italy.

"The corps has received a most efficient auxiliary in the person of Madame Barbiere (_sic_). Signorina Garcia takes the part of Tancredi. The piece, from its own intrinsic merits and the excellent manner in which it is performed, cannot fail to have a good run."

Evidently the Italian language was not a strong point in the office of 'The Albion.' We have already seen how "Il Barbiere" figured as "Il Barbiera," and Madame Barbieri as "Barbiere," while Signor Garcia appeared as "Senior." A still stranger mistake occurred in the notice of the _première_ of "Otello" on February 11:--

"Rossini's opera of 'Otella' (_sic_) has been produced by the Italian, troupe. It was a most fortunate effort, and the piece, we trust, will have a good run. Signor Garcia astonished the audience with his masterly powers, many of whom had no conception that so much tragic effect could be given in recitative.

"After the performance Signor Garcia was addressed by Mr Kean behind the scenes, who complimented the highly-talented vocalist on the great talent he had that night displayed, and expressed in the warmest terms the gratification experienced in listening to him. Several of the troupe were present on Wednesday to see Mr Kean in the part of Othello."

In this American _première_ of Rossini's "Otello," one of the greatest successes of the season, we find the parts distributed as follows:--

_Otello_ Signor Garcia. _Iago_ Signor Garcia (junior). _Elmiro_ Signor Angrisani. _Doge_ Signor Crivelli. _Roderigo_ Madame Barbieri. _Emilia_ Signora Garcia. and _Desdemona_ Signorina Maria Garcia.

It must be many years since any operatic version of "Othello" has been performed other than that of Verdi, which was produced in Milan exactly sixty-one years after the performance of Rossini's setting just described. Indeed at the date of this American _première_, Giuseppe Verdi was but a lad entering his teens.

Another important production of the season was "Don Giovanni," given on May 23, with the elder Garcia in the title-_rôle_. His son appeared as Leporello, and, as the criticism in 'The Albion' stated four days later: "In the part of Saporello"--the office shines once more in spelling--"the younger Garcia exhibited more musical ability than he has been generally thought to possess. His duet with Don Giovanni in the banquet scene was spirited enough."

Some other portions of this critique read rather quaintly. It will be remembered how the editor of the paper was perturbed after the opening performance of the season at not receiving the "scientific critique, which we are promised from a professor." He is evidently "still harping on my daughter," for one reads with infinite regret that--"To enter into any minute examination of 'Don Giovanni's' _scientific_ merits is beyond our space and purpose"; while later we learn that "Madame Barbiere's taste is pure, and her _science_ considerable."

The critic comes to the regrettable conclusion that "Garcia Senior is not at home in the simple melodies of Mozart," the reason which he gives for this fact being set forth in a delightful bit of phraseology,--"He must have a wide field for display: he must have ample room to verge enough for unlimited curvetings and flourishes."

Maria was able to satisfy this most learned and scientific judge, and we may presume that she found sufficiency of verging-room in Mozart, for we are told, "Mdlle. Garcia's Zerlina, though not so simple and rustic as Fador's (_sic_), the great Zerlina of Europe, is much more pleasing and fascinating. It was admirably acted, which for a singer is high praise. The celebrated 'Batti, batti,' was never better sung."

"In proportion as she is excellent," the notice concludes, "must we regret that a few nights longer and she will disappear from the public gaze."

Why the good gentleman should have been so perturbed it is a little difficult to see, for the season did not terminate for four months. Perhaps the explanation is that, just as other scientific men declared that the seven days of the World's Creation really meant seven periods, each extending over hundreds of years, so this one in saying "a few nights," took each night to stand for a period of a month. After all, as has been observed in Lewis Carroll's immortal book, it is only a question of who is to be master, the man or the word.

On August 26 we are informed that "'Il Barbieri de Siviglia'"--mark the dazzling array of fresh mistakes in spelling--"was performed last night for the fortieth time without any abatement of attraction."

Finally we are told of the approaching end of the season:--

"_Sept. 16th._--The Italian operas are about to close in this city. We believe it is not finally arranged how the troupe is to be disposed of, but the Philadelphia papers express strong hopes of having this delightful entertainment"--enchanting phrase for such an occasion--"in that city." The following is Signor Garcia's card:--

"'Signor Garcia respectfully announces to the public that his engagement is limited to five representations of Italian operas, and will positively conclude on the 30th inst. On Saturday, September 16th, the benefit of Garcia, jun.'"--this was how Manuel appeared on the bills throughout the New York season--"'Tuesday the 19th, benefit of Mme. Garcia; Saturday the 23rd, benefit of Signor Garcia, Tuesday the 26th, benefit of Signorina Garcia, concluding Saturday the 30th, this being positively the last night of performance.'"

And so, on September 30, 1826, the first American season of Italian opera was brought to a close, after lasting ten months,--seventy-nine performances in all.

As to the repertoire, we have already set down the names of "Il Barbiere," "Don Giovanni," "Tancredi," and "Otello"; besides these we find Zingarelli's "Romeo e Giulietta," which in later years was to be ousted as completely from the field by Gounod's version as Rossini's "Otello" was fated to be by Verdi's. The list was completed by "Cenerentola," "Semiramide," "Turco in Italia," and two operas specially written by the elder Garcia, with a view to showing off his daughter's talents, "L'Amante Astuto," and "La Figlia dell' Aria."

As to the composition of the orchestra, we learn that it consisted of seven violins, two violas, three violoncellos, two double-basses, two flutes, two clarinets, one bassoon, two horns, two trumpets, and drums,--twenty-four performers in all. The first violin and leader was De Luce, while a M. Etienne presided at the pianoforte. That the orchestral standard was by no means as high as that of the vocalists, may be readily surmised from the following criticism of one of the earliest performances:--

"The violins might be a little too loud; but one soul seemed to inspire and a single hand to guide, the whole band being throughout the magic mazes of Rossini's most intricate flights under the direction of M. de Luce; while M. Etienne presided in an effective manner at a piano, of which every now and then he might be heard to touch the keynote by those whose attention was turned that way, and just loud enough to be heard throughout the orchestra, for whose guidance it was intended."

As has been already stated, the performance took place on Tuesday and Saturday evenings. The latter was a very great mistake, owing to the strong religious feelings of the city, which kept the inhabitants from going out on this evening for fear of interfering with preparation for the Sabbath. As we may read in a notice of the season, which was sent over by the New York correspondent to one of the English papers: "Saturdays were fixed on in imitation of London, but on the night which is your best nobody goes to the theatre, for we are very _serious_ in this city, and do not go to the late amusements on Saturday."

However, in spite of this _contretemps_, the season turned out a complete success, for the 79 performances brought in gross receipts of 56,685 dollars (ranging from 1962 dollars on the best night to 250 dollars on the worst), which made an average of some 700 dollars at each representation.

It is rather ludicrous to read some of the articles which appeared in the New York papers during the earlier months of the Italian Opera. In them advice was given to those who had written asking questions as to how to dress in a fashionable way for the opera nights, according to the European manner, and how to behave during an opera performance.

In fact, it was thought "the thing" to go to the Park Theatre season, and the whole affair created the greatest excitement among the fashionables of Manhattanville.

Finally, we read towards the end of September of the future plans of the company:--

"They have been invited to New Orleans and also to Mexico, and it is believed that they will go to the latter place when their engagement here is over."

With the 1st of October 1826 the New York opera season had become a thing of the past, and on October 2 the dramatic season of Macready, a thing of the present, for on that date the tragedian trod the boards of an American stage for the first time. One cannot perhaps bring the chapter to a more seemly close than with the announcement which the ever-fascinating 'Albion' made in speaking of the opening performance:--

"Mr Macready appeared in the character of Virginius, in the presence of an audience of the most respectable description, and comprising all the talent and critical acumen of this great city." One can only pray that the scientific acumen was not absent on that memorable and respectable occasion.