Chapter 19

"The Sunday-night concert at the Boston Theatre last evening was made memorable by the introduction to the Boston public of Senor Joseph White, the Cuban violinist.... The musical fraternity, however, was very fully represented, the musicians knowing something of what was in store for the evening. But not even they were prepared for the wonderful and delightful playing of Senor White.... The first of his work last night was something of a disappointment. There appeared to be a deficiency of tone, owing, as it seemed, to the use of an instrument not loud enough for so large an auditorium. But it was soon evident that the selection of such an instrument was in accordance with the style and taste of the artist. Possessing the most perfect ease and freedom in his command of the resources of the violin, with a fine breadth of style, and an evidently strong and quick sensibility, yet he did not aim to produce his effects on a large scale of tone. He seemed to desire to confine his exhibition of the violin to the range where its fineness and sweetness, rather than its power, may be illustrated, and to check himself inside of the limit where a coarse, scratchy body of tone is obtained at the expense of purity and delicacy. His bow, though 'dividing the strings with fire,' seemed never to touch them. The direction or the position of its stroke, whether up or down, at the beginning or at the end of it, could never be told from any changes in the quality of the sound extracted. The tone flowed as though after the keen incisions of a knife-blade, not as if scraped out by the friction of horse-hair upon catgut. When to this delicious quality of tone was added an exhibition of the most perfect _technique_, the triumph of the virtuoso was complete. The mysterious flowing softness and smoothness of tone was carried with unflagging facility through the most rapid and difficult chord and harmonic playing; and this, with other wonderful feats of bowing, added new and bewitching charms to the _diablerie_ of violin variations. The reception of the artist was cordial at the outset; but at the close of the first performance, a 'Ballade et Polonaise' by Vieuxtemps, the enthusiasm was overwhelming. In response to the encore, Senor White played a 'Styrienne' of his own arrangement; and this was followed by two more stormy recalls, the audience refusing to be quieted until he had again gratified them, this time with the 'Carnival of Venice,' arranged by himself in an elegant transcription of the familiar commonplace variations. At the conclusion of his second number, Bach's 'Chaconne,' a famous and difficult violin solo, which was played, and _interpreted_ as well, in a most masterly manner, the applause was again equally enthusiastic, notwithstanding the character of the selection; and for an encore the scholarly artist responded with a finely intelligent and daintily clean-cut rendering of a gavotte by Bach. The tumultuous recalls that followed this would be satisfied with nothing less than another performance; and Senor White gave a rich and pleasing arrangement of his own upon a popular air from 'Sonnambula.' With these two 'double encores,' amid such excitement as is rarely witnessed at a concert, Senor White may well add Boston to the other American cities that have 'adopted' him."

And here, for the present, we will take leave of our great violinist.

It is not probable that he obtained, while in this country, a very great pecuniary success; and, from what has been heretofore stated in regard to his characteristics, this will not seem strange. White was not a _showman_. He has ever been too purely, too entirely devoted to his chosen art to admit of his using the means generally employed by the mere money-seeking musician,--means which seem so out of keeping with those finer aspirations which a contemplation and practice of the noble art of music are expected to promote, and the use of which, detracting as it does from his dignity, lessens the respect, the admiration, which people of culture would fain feel for the gifted performer.

A few months ago our artist sailed for Paris, the scene of his earliest triumphs. He has gone from our shores with his brow laden with new laurels, all honestly won; and he leaves behind an admiring multitude of musical people who will ever watch with deepest interest his future career, and fondly wish for his speedy return. Therefore we do not say to him "_Adieu!_" but "_Au revoir!_"

XVIII.

THE COLORED AMERICAN OPERA COMPANY.

"Who, as they sang, would take the prisoned soul, And lap it in Elysium."

MILTON.

"For, wheresoe'er I turn my ravished eyes, Gay gilded scenes and shining prospects rise; Poetic fields encompass me around, And still I seem to tread on classic ground."

ADDISON.

The opera, or music drama, in which, in lieu of the ordinary forms of speech, music and song are used to give elevated expression to thought, is the most extensive, and, to nearly all lovers of melody, the most charming, of musical compositions. In its construction several of the other forms of music are most pleasingly united.

In the opera, with the language of poetry, music is associated, giving increased ornamentation; and it is used also to bridge over, so to speak, the places where mere language, either common or poetical, could never pass. That is to say, there are some phases of feeling of such fineness and depth, that only the soulful tones of music can call them into exercise, or give them expression.

The requirements for operatic construction are of course very great,--so great, that none may hope to succeed in the same save those endowed, if not with genius, at least with very superior talents. They must possess both marked originality, and power for continuity of thought; in fact, must form in their capabilities a very "Ariel," a fountain-head of music, from which must constantly flow melody after melody, harmony after harmony, ever new, ever pleasing, the whole presenting an artistically-woven story of the vicissitudes of human life. In the composition of an opera, two persons are usually associated; the one creating the words of the drama (the song), and the other composing its music.

In this field of musical creation, men of great genius find a more varied, a wider scope for the employment of their powers; and but a few of the world's most eminent composers of music have failed to avail themselves of its opportunities for grand achievements, success in it being generally considered as necessary for a rounding-out of their inventive harmonic capacities; while, for the establishment of their titles to greatness, they have sought to make some grand opera the _chef-d'oeuvre_ of their life-work.

I would not imply, however, that all the great composers of opera worked simply for fame. To assert that they did, would, no doubt, be unjust, as it would be denying that they possessed the "sacred fire of genius," and that deep and pure affection for art, which, judging from the noble beauty, the grandeur, of their works, they must have possessed. It does not seem allowable, for instance, to believe that Beethoven created the charming and exalted beauties found in the opera of "Fidelio" while inspired by no higher feelings than those which fill the breast of him who labors mainly for renown. No: we think of Beethoven, and of others like him, as those, who, while they were favored with extraordinary native powers, were also imbued with a pure love for music,--a love of such strength, that it formed a part of their very natures. To such minds and hearts elevated artistic work was as natural as life itself; in truth, we might almost say, was necessary to life.

But, if great powers are required by the composer of an opera, so also is it necessary that those who are to make known its meanings fully--especially those who are to interpret its leading parts--should possess, as singers and actors, more, to say the least, than ordinary abilities; and those who, in their capability for complete, soulful sympathy with the author's aims, who form, in fine, the very embodiment of the latter's ideals, certainly deserve to stand next to him in greatness.

Generally the brightest vocal stars have shed their effulgence upon the operatic stage: here these singers have found the widest range for their extensive powers of voice and dramatic action. The part of a performer in opera (and here I refer not alone to one who acts the leading _role_) is a most exacting one; for the artist must unite in himself the qualities of both the singer and the actor. While called upon to demonstrate with proper melody of voice and expression the meaning of the music of the opera, he is also required to portray by suitable dramatic movements its corresponding meaning as found in the libretto. These remarks apply more particularly to those who constitute the _dramatis personae_ in operatic presentation. Of course we do not forget the very important aid afforded by those who are included in the pleasing chorus, nor those who by instrumental accompaniment add to the charm of--in fact, give indispensable support to--the whole performance.

It would perhaps be superfluous to here dwell, at least more than incidentally, upon the deep pleasure enjoyed by the lovers of music and of dramatic art when witnessing the performance of a good opera. At such a time their truly musical souls enjoy a delicious, a sumptuous feast of melody; while the kaleidoscopic prospect, formed by richly-costumed actors, and appropriate, beautiful scenery, fills them with delight. The harsh realities of every-day life are so much relieved by the poetic charms of the ideal, that they live amidst a scene of fairy-like enchantment. Nor does all that belongs to the bewitching occasion end with the regretted close of the performance; for

"Music, when soft voices die, Vibrates in the memory;"

And for days and days, nay, often throughout life, do the best melodies, the "gems of the opera," delightfully "haunt the memory," and awaken in the heart the most pleasing emotions. In all this, no more than a just tribute is paid to the noble genius of the composer, and the fascinating power of his faithful coadjutor, the lyric actor.

These few thoughts, which, it may be, present nothing new to the student of the various forms of musical expression, fall very short of doing justice to a subject of most delightful interest, and one which, for its proper treatment, requires far more of elaboration than can here be given. They are among such as come to me while reflecting upon an achievement, that, although not in a general way extraordinary, was nevertheless, in some important respects, exceedingly remarkable and noteworthy. I refer to a series of performances given at Washington and Philadelphia in the month of February, 1873, by an organization called "_The Colored American Opera Company_."

This troupe, formed in Washington, was composed of some of the most talented amateur musical people residing in that city. The following-named ladies and gentlemen were the principal members and performers:--

MR. JOHN ESPUTA _Musical Director._ MRS. AGNES GRAY SMALLWOOD _Soprano._ MISS LENA MILLER _Contralto._ MISS MARY A.C. COAKLEY _Contralto._ MR. HENRY F. GRANT _Tenor._ MR. RICHARD TOMPKINS _Tenor._ MR. WILLIAM T. BENJAMIN _Baritone._ MR. GEORGE JACKSON _Baritone._ MR. THOMAS H. WILLIAMS _Basso profundo._

Mr. Henry Donohoe acted as business manager.

Around these, the central figures, were grouped a large, well-balanced chorus, and a fine orchestra; nor was appropriate _mise en scene_, nor were any of the various accessories of a well-equipped opera, wanting in the presentation.

The opera chosen for these performances was Julius Eichberg's excellent "Doctor of Alcantara."

The first performances were given in Lincoln Hall, Washington, on the evenings of Feb. 3 and 4, 1873; the next at Philadelphia, in Agricultural Hall, Feb. 21, 22, and 23. Returning to Washington, the two last performances of the series were given in Ford's Theatre.

Of the highly meritorious character of these presentations of opera there exists abundant evidence, emanating from disinterested, trustworthy sources, from which I quote the following.

From "The Daily Washington Chronicle," Feb. 4, 1873:--

"THE AMERICAN OPERA-COMPANY.

"The first colored opera-troupe of any merit ever organized in this country appeared at Lincoln Hall last night in Eichberg's opera, 'The Doctor of Alcantara.'

"Lincoln Hall was literally packed. Of course the majority of the audience was colored, and included a host of the personal friends of the singers. Glancing over the house, the full opera-dresses scattered liberally through the audience reminded one not a little of the scene at a concert by Carlotti Patti or the Theodore Thomas orchestra. Quite a third of the audience was composed of white ladies and gentlemen, largely attracted, perhaps, by the novelty of the affair; and among them were many representatives of the musical circles of the city, somewhat curious to hear and compare the performance with those they have been accustomed to hear.

"The criticisms, as a whole, were favorable. It was evident that the voices of two or three of the singers will be bettered by cultivation. The choruses were effective. In dramatic ability there was little lacking, and the singers were quite as natural as many who appear in German and French opera."

From "The Daily National Republican," Washington, Feb. 5, 1873:--

"The second representation of 'The Doctor of Alcantara' at Lincoln Hall last night was an improvement upon the first. The natural nervousness of the singers was better overcome, and they made a better use of their fine voices.

"For the sake of making some just reflections and comparisons, we select the name of Miss Lena Miller, who sang the _role_ of 'Isabella.' Here is a young lady, really pretty in form and features, graceful in stage-presence, modest in manner, and imbued with true affection and spirit for art. At present she is not a great singer; but her voice is sweet and clear, and at times sympathetic. In this simple statement high but judicious praise is included; and here we might stop. But Miss Miller's presence in opera has a significance and a promise infinitely pleasing to all candid and well-judging minds concerning the race to which she belongs.

"Neither Miss Miller nor Mrs. Smallwood, nor any of the company, have had the advantage of musical training in European or American conservatories. They have to depend alone upon their natural gifts and personal acquirements. This fact is one which makes vastly in their favor, and protects them from the standard by which Adeline Patti or Louise Kellogg would be judged as artists. Under all the circumstances, they sing and perform extraordinarily well; and as for the chorus, it is superior to that of any German or Italian opera heard in this city for years.

"Mr. Benjamin's impersonation of 'Dr. Paracelsus' was really a good bit of acting, and Mr. Grant's 'Carlos' won for him deserved applause.

"The _role_ of 'Don Pomposa' by Mr. Williams, the _basso profundo_, was finely rendered. His acting was good, and his voice full of richest melody.

"The opera last evening was largely patronized by distinguished people, among them being Senator and Mrs. Sprague, Gen. Holt, and many others.

"The experiment, doubtful at first, has proved a genuine success."

From "The All-Day City Item," Philadelphia, Feb. 22, 1873:--

"'The Doctor of Alcantara' has at last attracted a number of colored amateurs of Washington; and they have lately appeared in that city, with such success that they are induced to present it in Philadelphia.

"It must be remembered that this troupe is composed entirely of amateurs, and is the first colored opera-troupe in existence. We have had the 'Colored Mario' [Thomas J. Bowers], the 'Black Swan' [Miss Greenfield], &c.; but never until now have we had a complete organization trained for _ensembles_.

"The audience attracted to Horticultural Hall last evening was therefore prepared to make all sorts of allowances for the shortcomings of the amateurs; but it was hardly necessary, as the troupe--really excellent, well trained--possesses agreeable voices, sings intelligently, and with experience will, we are confident, attract a great deal of attention, and receive high praise.

"The principal success was achieved by Mrs. A.G. Smallwood, who sang the music of 'Lucrezia' remarkably well. Her voice is full and pleasing. Miss Lena Miller, however, sang 'Isabella' very prettily; her romance, 'He still was there,' being rendered with excellent taste. Miss Mary A.C. Coakley, as 'Inez,' acted and sang with considerable spirit. Her arietta, 'When a lover is poor,' was quite neatly sung.

"Mr. W.T. Benjamin, as the 'Doctor,' acted and sang with spirit; so did Mr. T.H. Williams as 'Don Pomposo.' Mr. H.F. Grant, the tenor, has a powerful voice, which, with cultivation, will become excellent. He sang 'Love's cruel dart' judiciously, and was effective in the opening serenade with chorus, 'Wake, lady, wake.' Mr. Grant is not yet at home on the stage, but acted and sang the duet, 'I love, I love,' with 'Lucrezia,' remarkably well.

"The chorus, numbering nearly forty, was worthy of warm praise. The serenade that opens the opera was charmingly sung by the male voices; and the finale to Act 3 was so spirited and effective, that it was encored. We do not exaggerate when we say that this is one of the best choruses we have heard for some time."

From "The Philadelphia Inquirer," Feb. 22, 1873:--

"THE COLORED OPERA-COMPANY.

"This opera-company made its first appearance in this city last evening at Horticultural Hall, and was most favorably received. The performance, which was given to quite a large and intelligent audience, was Julius Eichberg's opera entitled 'The Doctor of Alcantara,' which was excellently rendered.

"Miss Lena Miller, who sang the _role_ of 'Isabella,' is young and graceful, with a pleasing voice; and her part was well given. Mrs. A.G. Smallwood was cast as 'Donna Lucrezia,' and had considerable to do. She sings well, and her acting far exceeds that of any other member of the company. 'Inez,' a maid represented by Miss Coakley, and a difficult part, was given with great accuracy. 'Carlos,' by Mr. H.F. Grant, was fairly rendered.... W.T. Benjamin as 'Dr. Paracelsus,' although a little stiff, fairly performed his part.

"The chorus, composed of probably thirty voices, male and female, was a feature; and their singing is really unsurpassed by the finest chorus in the best companies."

From "The Philadelphia Evening Star," Feb. 22, 1873:--

"COLORED AMERICAN OPERA-COMPANY.

"This company made its first appearance last evening at Horticultural Hall to an audience, which, though not large, was attentive and sympathetic. The attendance would, no doubt, have been larger, but for an unfortunate mistake.... As it was, the performance was an agreeable surprise to all who were present; not only being a decided success, but in the matter of choruses surpassing any performances of the same opera ever given in this city by any of the foreign or 'grand English' opera-troupes.[16] The cast of the colored troupe included Mrs. Smallwood, who has a beautiful ringing soprano-voice, a very easy lyric and dramatic method, and a carriage of unusual grace; Miss Lena Miller, whose voice, though less powerful, is very pleasant, and whose acting was notable for its unaffected style; Miss M.A.C. Coakley, a mezzo-soprano of very fair capacities; Mr. H.F. Grant, whose tenor-voice has good power, range, and quality; Mr. T.H. Williams, who possesses a deep bass-voice, controlled with a fair degree of culture; and Messrs. W.T. Benjamin and Smallwood, who filled their parts not unacceptably."

[Footnote 16: The same opera was performed here a few days before with the following cast: Miss Howson, Mrs. Seguin, and Miss Phillips, and Messrs. Seguin and Chatterson.]

From "The Age," Philadelphia, Feb. 22, 1873:--

"The colored opera-troupe gave their first performance in Philadelphia last night in Horticultural Hall. The selection for their _debut_ was 'The Doctor of Alcantara,' by Julius Eichberg, which has frequently been given previously by various English companies, but, we venture to say, never so perfectly in its _ensemble_ as by this company.

"There was a great deal of enthusiasm; and several numbers of the opera were vociferously re-demanded, including the _finale_ of the first act, which revealed to us a choral effect which has never been heard upon the operatic stage in our country since the palmy days of Ullman's management. The chorus was large and efficient, every member doing his and her part; and, to all appearances, there was no 'dead wood' among them. It must be understood, besides, that _all_ the music was sung; every part in harmony being taken with exactness and precision, whether as to time or intonation.

"Indeed, so admirably did the chorus sing, that we hope to hear them in a mass or an oratorio at some future time, being satisfied that they will make a most favorable impression."

From "The Philadelphia Evening Bulletin," Feb. 22, 1873:--

"A company of colored persons appeared at Horticultural Hall last night in Eichberg's opera, 'The Doctor of Alcantara.' The opera was given in a really admirable manner by singers who understand their business, and have vocal gifts of no mean description. The leading soprano, Mrs. Smallwood, has a full, round, clear, resonant voice of remarkable power; and she uses it with very great effect. She sang the music with correctness and precision, and played her part capitally.

"The tenor and bass are both excellent; but, while they display fine voices, they show a want of high training. This is also the single defect of the two subordinate female voices of the company.

"The chorus was very fine indeed; and its performance, like that of the principal singers, proceeded without a flaw or blunder from first to last."

From the Washington correspondent of "The Vineland (N.J.) Weekly," February, 1873:--

"On Tuesday evening it was the good fortune of your correspondent to attend the opera rendered by the 'Colored American Opera Company,' of which I spoke in my last.

"To say that every thing passed off well, simply, would be but faint praise. We all know that the colored race are _natural_ musicians; and that they are susceptible of a high degree of cultivation is evinced by their rendition of the opera on the occasion of which I speak.