CHAPTER VIII.

PAYMENT AFTER PERFORMANCE--DISCOVERY OF MADGE ROBERTSON--MARIO AND THE SHERIFF--GENEROSITY OF THE GREAT TENOR--DÉBUT OF CHRISTINE NILSSON--DESTRUCTION OF HER MAJESTY'S THEATRE--A GREAT PHILANTHROPIST.

AT the close of the London season of 1866 we went to Ireland for the usual autumn operatic tour, stopping _en route_ at Liverpool to give a morning concert. The rush was so great that all the metal cheques for the half-crown seats were exhausted and we had to use penny pieces. Numbers of the public found out, therefore, a ready way of getting in without payment. As soon as I observed this, and as there were still many hundreds unable to obtain admission, I conducted them across to another door which led into the orchestra. There being no money-taker, I let some four hundred of them crowd in, impressing upon them that they would have to pay half-a-crown apiece as they came out; and I must add that every one paid up punctually.

We left Liverpool after the concert for Dublin, where we fulfilled a very profitable engagement.

After leaving Dublin we went, early in October, to Leeds, and afterwards to Hull, at which latter place I recollect well that a full rehearsal of _Les Huguenots_ was necessary in consequence of a new "Queen" having joined the company. Both Mario and Titiens complained of the incident and wondered how they were to finish the rehearsal in time to dine by a quarter past three, it being a general rule with artists not to eat later than that hour when they have to sing the same evening. We began the rehearsal early; and it was not until after two that it was concluded. The dinner being nearly ready at the hotel, I went in a carriage to fetch Mario and Titiens back from the theatre without loss of time. At a quarter past three I found them both seated in the stalls, witnessing a morning performance, at which a Miss Madge Robertson was playing in a piece called _A Wolf in Sheep's Clothing_. So rivetted to the spot were Titiens and Mario--both exclaiming "Do not disturb us, let us wait a little longer"--that it was nearly five o'clock before I got them home, when it was, of course, too late to dine. Not that they regretted this. They both told me that I ought to write to every London manager telling them what a charming actress they had discovered. I need hardly say that the Miss Robertson of those days is now Mrs. Kendal, more perfect in her art than ever.

I again started my concert tour in the early part of January, 1867, with Titiens, Trebelli, and others; and was as usual pre-eminently successful all along the line. Mario joined us about the 7th March in Scotland.

About this time he experienced considerable worry through being served with various writs for bills of exchange, for which he had received no consideration whatever, and which had been accumulating for many years. In more prosperous times preceding the period in question he had frequently assisted young artists, painters, sculptors, and Italians generally, who had come to this country with recommendations to him, and who had nearly all proved most ungrateful. It was computed that over £40,000 had been distributed by the great tenor on various occasions amongst his compatriots and others seeking aid.

I recollect meeting at Fulham one Sunday at dinner a young sculptor who had arrived with a letter of recommendation to Mario, and who on presenting himself exclaimed that he had not come to borrow money, hearing how much victimized Mario had been by others. All he wanted was to bring a piece of sculpture from Rome to London, for which he already had a purchaser in view; and if Mario would but accept a bill at two months, which he then had with him, he would within a month have sold his work and the money could be put to Mario's credit, so that the bill would be punctually met. In fact, every possible device was resorted to by persons well acquainted with his generous nature--which brings me to the case in point.

We had gone through a most arduous tour, and Mario had been singing four times a week throughout the whole time, and with most brilliant voice. As he had sung four nights running during the week I am speaking of, and was to be replaced the following evening (Saturday) by Signor Tasca in the _Huguenots_, he devoted his last day to the packing of his luggage, intending to leave by an early train for York, whence, after a night's rest, he would go on to London, presenting himself on the Monday for rehearsal at the Royal Italian Opera, Covent Garden, where the season was to commence on Tuesday.

In the hall at the Edinburgh Hotel, where Mario had put up, a Sheriff's officer was waiting for him with a writ or an attachment for £100; and I thought to help him out of the dilemma by the following device, knowing how delicate and sensitive he was. I called to bid him good-bye, taking with me a closed envelope containing a £100 note. I by degrees gave him to understand that I had been looking about the city for some little souvenir, but without success, and as his taste was so superior to mine, if he would select one in memory of the pleasant time we had spent together, I should feel obliged. I at the same time handed him the envelope. I was on the point of leaving the room when a note was brought to me, requesting me to come to the theatre at once, as Tasca, the new tenor, had been taken ill at the rehearsal, and was obliged to go home. Mario, noticing signs of displeasure across my brow, insisted upon knowing the reason; and after some pressure I informed him that the new tenor, who was to replace him, had fallen sick, and that I must be off to see how the matter could be remedied.

My dear friend patted me on the shoulder, and said he knew of a way. The opera to be performed being _Les Huguenots_, for the benefit of Mdlle. Titiens, he would try, he said, to satisfy the public in the part of "Raoul," and thus help me out of my difficulty. I readily acceded, and asked him to name any terms he liked; but he assured me that he should consider himself amply repaid if I would be present at Covent Garden on the following Tuesday, when he was to appear as the "Duke" in _Un Ballo in Maschera_, as that would encourage him. I thanked him, and was again leaving when he called me back to express his displeasure at my having offered him the hundred-pound note in the envelope, requesting me at once to take it back. This I, of course, declined to do, until at last he said--

"If no one is to have it, it had better go into the fire; but sing I do not unless you allow me to return it to you at once."

All argument was useless. Then reluctantly I left him.

The following Monday night I started for London, where I attended the opening of the Royal Italian Opera the next evening, and had the pleasure of applauding Mario, and complimenting him in his dressing-room, after the second act. He could not express sufficiently his delight at my being present.

The London season of 1867 was remarkable for the first performance in England of Verdi's _Forza del Destino_.

Prior to the commencement of this season my attention had been drawn to a young Swedish singer, named Christine Nilsson, who had appeared at the Théâtre Lyrique of Paris, and was attracting a certain amount of attention. I went over and heard her in the _Magic Flute_, and was delighted with the purity of her voice. She was also singing _La Traviata_ and _Martha_. I at once concluded an engagement with her.

Before disclosing the fact to Arditi, or any other member of my Company, I invited Mdlle. Titiens and Mdme. Trebelli, with Signor and Mdme. Arditi, over to Paris for a fortnight's holiday prior to the commencement of our laborious London season. Amongst the places of amusement we visited was the Théâtre Lyrique, where the Swedish singer was that night filling the _rôle_ of "Martha." I must say I was not impressed myself, whilst the remainder of the party thought nothing whatever of her. I, therefore, refrained from even hinting that I had already engaged her. As the time approached, the lady insisted on making her _début_ as "Martha." I plainly foresaw that it would be the greatest possible mistake to acquiesce in her desire; and, after a lengthy discussion, Verdi's _Traviata_ was decided upon. I at once instructed a Bond Street dressmaker to make her four of the most elegant toilettes possible, discarding _in toto_ the costume of the 16th century so far as "Violetta" was concerned.

At all times it is a difficult thing for a manager to employ with advantage assistants placed among the audience to support either a new singer or a new piece; for grave mistakes are sure to be made, thus defeating the object for which the supporters were intended. I have often known singers send in friends to applaud; but they invariably begin their uproar on the appearance of the singer, even before he or she has uttered a sound.

On one occasion I recollect at Her Majesty's Theatre a singer appearing in _Il Trovatore_, and about a dozen bouquets falling at her feet from the top boxes before she had sung a note.

I saw that great judgment was necessary, while convinced in my own mind that I possessed a jewel of the first water. I, therefore, gave the very simplest instructions as to the amount of encouragement necessary for my fair Swede in order to ensure the rapture of London; knowing that when once serious attention had been drawn to her she could do the rest herself on her own merits. Being very fond of rowing in my spare time on the River Thames, I made an arrangement with the head-boatman at Essex Stairs, near where I resided, to supply me with some twenty-five horny-handed watermen, who were merely told that they should receive one shilling apiece provided they did _not_ applaud Mdlle. Nilsson--the lady who would appear on the stage at the beginning of the opera, wearing a pink dress. They were moreover informed that when the first act was over and the curtain down, they would be paid a shilling apiece for each time they could get it up again; and I believe they succeeded some five or six times in their repeated attempts. That was all that was ever done for Mdlle. Nilsson; her extraordinary talent did the rest. At all events, it gave her a fair start, and her _début_ was the talk of London.

Mdlle. Nilsson's performances were continued throughout the season with increasing success, she appearing successively as "Martha," "Donna Elvira," and the "Queen of Night" in the _Magic Flute_. She repeated the _Traviata_ again and again, bringing the season to a most brilliant termination.

After a short holiday I recommenced my regular autumn tour in Dublin, repeating the usual Liverpool morning concert with the usual success.

After visiting Liverpool and Manchester, I returned to London and opened my season on the 28th October.

In consequence of my having engaged a female harpist I received a round Robin from the orchestra, threatening to leave at the end of the week unless I at once replaced her by a male performer. I insisted on receiving the week's notice to which I was entitled, and, seeing evidence of a conspiracy, took out a summons against every member of my orchestra. On the day fixed for the hearing the musicians excused themselves, through their solicitor, from appearing, their case not being ready. Afterwards I myself was unable through indisposition to appear on the day to which the case had been adjourned. At this there was much groaning among the defendants, and threats were uttered. The Trade Unions were very active just then throughout the country, and the players had been promised unlimited support towards maintaining their menaced strike. At last the case was heard; but on the very day before the one fixed by the Magistrate for giving his decision an occurrence took place which rendered all further proceedings in the matter unnecessary.

Towards the end of November an insurance agent called upon me urging the necessity of effecting an insurance on my properties, scenery and dresses, which had been accumulating since the beginning of my tenancy. I replied that in consequence of the high rate of premium it was better to let things take their chance. Besides, there was no probability, under my management, of the theatre ever being destroyed by fire. Eventually we came to terms as to the rate to be charged.

About this time a proposition was made to let the theatre to Professor Risley for his Japanese performances, to run from Christmas to February. A large sum of money was to be paid to me, and it was verbally agreed that my treasurer should be retained by the new-comers to superintend the front of the house and the monetary arrangements.

On the 7th December, during a rehearsal of _Fidelio_, my insurance agent called to complete the insurance. I showed him the inventories of the different departments, and 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 my giving him £10 on account and keeping the matter open until the following Monday, when he would call again. Just as he was leaving the room my treasurer came in, stating that he had just heard that the Japanese people did not intend to avail themselves of his services after he had given them all the information respecting the working of his department.

I asked whom they _had_ engaged. He mentioned the name of Mr. Hingston, at which I started, and said--

"If Hingston is engaged, good-bye to the theatre. It will make the fifteenth that will have been burnt under his management."

On hearing this, the insurance agent stepped across the room and again suggested that I should hand him the £10 to keep me right till Monday.

I jokingly said: "There is no fear;" and he took his departure.

I remained working in my office at Pall Mall until about six o'clock that evening. As I was engaged to dine at Mdlle. Titiens's in St. John's Wood, I had but a few moments to put my head into the box-office, which was just closing, and ask Mr. Nugent for some opera tickets for the following night. I did not, according to my custom, go through his office on to the stage (which I might have done while he was getting out the tickets), fearing I should be too late for the dinner.

About half-past eleven o'clock that evening our party was alarmed by a violent ringing of the bell. Then my servant rushed in with his clothes very much torn, uttered some inarticulate sounds, and fell on a chair, pointing upwards. On looking out of the window we saw that the sky was bright red, although we were four miles from the fire. Mdlle. Titiens and Signor Bevignani exclaimed with one voice: "It's the theatre!"

I hastened down at once, accompanied by Bevignani, only to find impassable barriers of soldiers and populace, and it was not without great difficulty I could approach the building. On my pointing out to the firemen certain doors which they ought to break open in order to recover wardrobes, music, &c., I was told to "mind my own business." They then went to quite another part and began chopping and breaking, whereas had they allowed themselves to be guided by me they might have saved a considerable portion of my property. It was not until three hours afterwards that the fire reached that part of the theatre which I had pointed out as containing things which might have been saved.

Lord Colville was very kind, and with his assistance I reached one portion of the building, to which he accompanied me, enjoining me to save engagements or any important documents in my private rooms at Pall Mall. But I was so bewildered that all I could do was to seize a dress coat and an opera hat, with which I came downstairs, leaving all my papers and documents on the table. I remained until two or three in the morning. Then, my presence being useless, I went home to change my clothes, which were freezing on me, and next hurried to Jarrett, my acting manager.

Jarrett was in bed. But he had already heard of the calamity, and expressed great regret. I desired him at once to go over to Chatterton, the then lessee of Drury Lane, who resided in the neighbourhood of Clapham, and endeavour to secure his theatre from March till the end of July before he could hear of my disaster.

"Go as quickly as possible," I said, "and if the newspaper is lying about be careful he does not see it."

On arriving at Chatterton's the first thing Jarrett saw, lying on the hall table, was the _Times_ newspaper. He threw his top coat over it, and waited quietly downstairs until Chatterton, who was dressing, could receive him. Then, like the able diplomatist he was, without appearing at all anxious, he concluded a short agreement whereby I was to have the use of Drury Lane for the following spring and summer seasons, with a right to renew the occupation for future years. By half-past nine o'clock Mr. Jarrett was able to hand me the agreement, and it was not until half-past ten that Mr. Gye drove up to Mr. Chatterton's to inform him of the disaster Mapleson had met with, and at the same time to offer him £200 per week provided he did not let Drury Lane for Italian Opera.

The day after the fire I received letters of sympathy from all parts of the country; likewise telegrams of condolence, including one from Her Majesty the Queen, which greatly affected me. In fact, my nerves were so unstrung that I was hardly master of myself. In the course of the next day His Royal Highness the Prince of Wales came to see me. I showed him over the ruins of what the day before had been the Opera-house. After his departure I was so unnerved that I took to my bed in the adjoining hotel, and remained there some two weeks.

The Monday after the fire the insurance agent, with whom I had neglected to do business, called upon me to assure me of his deep sympathy, since if I had paid him the £10 on account of the proposed insurance he would now have had to give me a cheque for £30,000. I told him that I was exceedingly glad I had not paid him the £10, as I certainly should have been suspected of having myself caused the fire, and should never afterwards have been able to set myself right with the public.

Prior to my recovery, amongst the numerous callers was one particularly sympathetic gentleman, who came in a carriage and pair, and said he would see that the theatre was rebuilt, asking, as it were, my permission for this. I was deeply touched by his kindness. Some short time afterwards he wrote saying that he thought it better, for my sake, that Covent Garden should be closed, and that he had seen Mr. Gye and made terms for its purchase. On a later occasion he called upon me, and stated that the site of Her Majesty's Theatre, which had then been cleared by Lord Dudley, being such a desirable one, he was in treaty with the Bank of England to lease it to them at a considerable ground rent, they erecting the building. By this means, he explained, the £80,000 then lying in consols for the purpose of re-erecting the theatre could be handed over to me. But he ultimately consented that I should give him half.

Notwithstanding all my troubles, within three weeks after the fire I was already on the road with a strong concert company for the usual spring tour; all my spare time being utilized in the creation of a new wardrobe, music library, etc. Whilst at Manchester Mdlle. Titiens aided me kindly in the purchase of various goods, stuffs, cottons, needles, etc., etc.; all the prime donne of the Company volunteering their services as dressmakers in order to have everything ready for my Opera season, which was to commence early the following month in Glasgow.

Being under the belief that this fire had cancelled the contract I had already made at the Theatre Royal, Glasgow, I got entangled, in my mistake and hurry, into an engagement at another theatre, the Prince of Wales's; and as the time approached for my coming to Scotland both managers threatened me with an attachment if I did not fulfil my engagement. In fact, I found myself announced at both houses, with war to the knife threatened by the two rival managers. At one time they proposed to combine against me and leave me, with my expensive Company, outside in the cold. But about ten days before the date fixed I paid a visit to each, when, out of consideration for me personally, they both agreed to have me alternately at their theatres. This caused great excitement in the city, and as the adherents of each manager mustered in force the receipts at both houses were very great, so that eventually each manager had taken more money in the half number of representations than he would have received had I given him the full number.

Prior to the opening of my London season of 1868 I received another visit from my philanthropic friend, Mr. Wagstaff. He told me that he had purchased Mr. Gye's interest, showing me the agreement, and he considered that it would be more desirable that Covent Garden for the future should be run by a Company, of which I should be the manager, receiving some £20,000 cash as a consideration for my goodwill and for any property I might have in music or other effects, with a salary of £3,000 a year as long as I chose to retain my post, and a fair share in the profits.

I became quite uncomfortable at having so much wealth suddenly thrust upon me, and wished I were back in my old position of trouble and anxiety. In due course all the necessary documents were signed, Mr. Gye at the same time writing a letter to a high personage, in which he stated that his long-sought desire to quit the cares of management had at length been satisfied, and strongly urged that all patronage should now be transferred to me, as the shattered state of his health would preclude him for the future from taking part in operatic affairs. On entering upon my duties I began to reorganize the establishment by, in the first place, relieving myself of some sixty old choristers who had been engaged from time immemorial, and introducing in their stead my fresh, full-voiced young Italians whom I had imported the previous year.

One evening a card was brought to me from a young gentleman, the son of an old musical friend of mine, requesting an interview. He told me that he had been promised the secretaryship of the Grand Opera (meaning Her Majesty's and Covent Garden, united under the new arrangement) for seven years at a salary of £800 a year, provided he lent £200 for a month to my philanthropic friend, who had organized the whole thing. It appeared to me like a dream. I could not understand it; but still, as nothing astonishes me in this world, I took it as a matter of course, and later in the day went over to Wandsworth to call on Mr. Gye, in order to see how matters stood.

On my entering, Mr. Gye said how pleased he was to leave operatic management for ever, and that he wondered how he had found the nerve to continue it so long. Before I could say a word to him, he desired me to be seated and handed me a cigar, when he began to inform me of his plans for the future. He told me he had secured by private treaty a vast estate in Scotland of some 20,000 acres, with the right of shooting and fishing. He was arranging, moreover, to purchase a large estate in Oxfordshire. Various guns had been ordered, with fishing rods and other appurtenances. Steps, too, had been taken for the sale of the house in which he was then living.

I made two or three attempts to get a word in, but without success; and at last I had scarcely the courage to hint that the projected arrangements might, possibly, not be carried out.

I explained, however, that on the following Monday a small payment of £10,000 would be due to me; also that a further deposit on Drury Lane would become payable, and that I should make that deposit, as it was probable, nay, very possible, that I should be called upon to resume my position at Drury Lane, instead of Covent Garden. I at the same time recommended Mr. Gye at all events to be prepared to open Covent Garden, as it wanted but some three or four weeks to the beginning of the season. This he replied he could not do, as the deposit he was to receive would not be payable before some three or four weeks. He still, moreover, doubted all I had been telling him.

On the Monday following I attended at the Egyptian Bank, which had been specially hired for the occasion, and on entering with my order for the payment of £10,000, found one small boy seated on a very high stool, drawing figures on a sheet of blotting paper. On my demanding £10,000 the boy turned deadly pale and was at first inclined to run. I explained to him that it was not his fault if the money was not forthcoming, but I requested him, in the presence of a witness I had brought with me, to present seven letters which I already had in my pocket, each one containing notice to the Directors that, they having failed to pay me my money at the appointed time, my contract as general manager was at an end. I at once informed Gye of what had occurred, recommending him again to get his Company together and re-engage Costa and the orchestra, as my own prospectus was to come out the middle of that week.

From what I afterwards learned, the £200 my musical friend's son was to have advanced prevented some thousands of circulars from being posted for want of stamps, and the printer from delivering the remainder of the circulars he had prepared for want of a deposit. I must add that Mr. Gye repeatedly thanked me for my straightforward conduct in preventing him from being practically ruined.

Considerable changes were necessary in adapting the Theatre Royal, Drury Lane, for Italian Opera. I was obliged to have sundry discussions with the Committee before I could be allowed to alter the floor of the pit and boxes, and to take about twenty feet off the stage, its removal enabling me to add some two or three rows of stalls. I had, moreover, to decorate, clean, and carpet the house from top to bottom, the outlay for which, irrespective of the rent, cost me from £3,000 to £4,000. A further difficulty presented itself, as there were some six or seven hundred renters who were at that time allowed free admission to any part of the theatre, and it was only by temporizing with their representatives that I ultimately made an equitable arrangement satisfactory to all parties.

The season opened in due course, and a magnificent Company I was enabled to introduce: Mdlle. Titiens in the zenith of her powers; Christine Nilsson, who had made such a prodigious success the previous season at Her Majesty's; also Miss Clara Louise Kellogg, Mongini, Fraschini, Santley, etc. The performances were really of the first order, and Mozart's masterpieces were given with such strong combined casts as to attract the whole of London. In fact, the success was such as to paralyze the efforts of the rival manager.