CHAPTER XVI.

SIR MICHAEL AND HIS CHEQUE--SIX MINUTES' BANKRUPTCY--SUCCESS OF "LOHENGRIN"--PRODUCTION OF "MEFISTOFELE"--RETURN TO NEW YORK--"LOHENGRIN" UNDER DIFFICULTIES--ELSA'S TAILS--CINCINNATI OPERA FESTIVAL.

I BEGAN my London season of 1880 a few days after my return from the United States, Mdme. Christine Nilsson appearing as "Margherita" in _Faust_ on the opening night, followed by _La Sonnambula_, _Carmen_, _Aida_, etc., also _Lohengrin_, for which I had specially entered into an engagement with Richter, who after some fifteen rehearsals declared the work ready for presentation. He at the same time informed me that on looking through the orchestral parts he had discovered no less than 430 mistakes which had been passed over by his predecessor, Sir Michael Costa, and which he had corrected.

About this time law proceedings were pretty hot between myself and Sir Michael Costa, and as they led to my becoming a bankrupt for about six minutes, I may as well explain to the reader how this occurred.

My engagement with Sir Michael Costa was for a season of three months in each year, for which I was to give him £1,500--£500 each month, payable in advance. My season of 1875 was fixed to open on the 24th April, and to terminate on the 24th July, which it actually did; but having at that time secured the services of the great tragedian Salvini, I thought it desirable to open the theatre about a fortnight earlier, giving opera only twice or three times a week, and utilizing the other nights for the appearances of Salvini. I mentioned my idea to Costa, who said I had better pay him his regular cheque as from the commencement of the season, and that the few extra nights could be settled for apart.

On the 10th July Sir Michael Costa asked for his usual monthly cheque in advance. I reminded him of our conversation on the subject, and pointed out to him that I had already made him the three payments as agreed. He told me that he wanted particularly to have the cheque, as he desired to show it to H.R.H.; adding with a mysterious air: "You will be pleased!" From his manner he led me to believe that he would return me the cheque after it had been shown. I, therefore, gave it to him; and, hearing no more of it for five years, thought he had destroyed it. However, prior to my announcing my season of 1880, application was made for the payment of this cheque. Sir Michael declined, in fact, to wield the _bâton_ unless the old cheque were paid. He seemed quite determined on the subject; and I, on my part, was equally determined to resist the demand. I made various propositions for an equitable adjustment, as also did several influential friends; but all to no purpose. Sir Michael Costa, like Shylock, insisted on his bond; and the law was allowed to take its course. In the end the "blue paper" was signed by Mr. Registrar Hazlitt constituting me a bankrupt, and I left the Court in a state of depression quite unusual to me.

We had scarcely got outside when a happy thought struck my solicitor, who, hurrying back with me to the Registrar, addressed him as follows:--

"Pending the appointment of a trustee, which may take some eight or nine days, your honour is, in fact, the manager of Her Majesty's Theatre, and my client thinks it only right to take your honour's orders as to the production of _Lohengrin_ on Saturday. Some new skirts, moreover, which might be of calico, but which your honour would, perhaps, prefer of silk, are wanted for the ballet in _Il Trovatore_ next Monday. But the _Lohengrin_ matter is the more pressing of the two, and we should be glad if you would meet Herr Richter, who, though unwilling to tamper with the score of so great a composer as Wagner, thinks some cuts, already on another occasion authorized by the master, might be ventured upon in the long duet between "Elsa" and "Ortrud." There is an obstinate tenor, moreover, whom your honour, by adopting a decided tone towards him, might perhaps bring to reason."

Mr. Registrar Hazlitt was amazed, and in tones of something like dismay declared that he had trouble enough where he was, and could not undertake the management of an Opera-house. He had not considered that, he continued, when he signed the paper. He rang for a messenger, caused the paper to be brought to him, and at once tore it up; thus putting an end to my six minutes of bankruptcy.

_Lohengrin_ met with very great success, and we ran it alternately with _Carmen_, _Don Giovanni_, _Faust_, and several other operas, in which Mdlle. Gerster maintained her pre-eminence. During all this time we were busily rehearsing Boito's _Mefistofele_, which I was unable to produce until the early part of July. The following was the cast:--

"Margherita" and "Helen of Troy" ... Mdme. Christine Nilsson. "Martha" and "Pantalis" ... Mdme. Trebelli. "Mefistofele" ... Signor Nannetti. "Faust" ... Signor Campanini.

The rehearsals were under the immediate personal superintendence of the composer Boito, and the scenic department under that of the celebrated scene-painter Magnani. The greatest pains were taken to give such a representation of this opera as would be worthy of the composer's high reputation.

At last the day arrived, the 6th July; but not the properties, which were expected in large cases from Italy, but could not be heard of and were nowhere to be found. I went to all the likely places in London, telegraphed to Boulogne and to Calais, but in vain. Finally, however, at half-past six in the evening, they were brought to the stage door.

The reader cannot, of course, understand the enormous difficulty which arose in unpacking these hundreds of various properties, each one done up in separate paper. At last shields, armour, spears, serpents, goblets, torches, demon's wigs, etc., etc., were all piled up on the stage. The supernumeraries and chorus were ready dressed, and were left to help themselves, the supers, who were all guardsmen, picking out the prettiest properties they could find; and it was with immense difficulty that, with Boito's aid, we could distribute the most necessary for the performance. The success of this opera is doubtless fresh in the minds of most lovers of music. I look upon it as one of the most memorable on record. It went without a hitch. Madame Nilsson as "Margherita" impressed me by her singing and acting in the prison scene as she had never done before. The opera was repeated every other night until the close of the season, the receipts continually increasing.

At the close of my London season I again went to the Continent in quest of talent, and paid a visit to Mdme. Gerster at her elegant villa near Bologna. She received me with every expression of delight, and we concluded forthwith our arrangements for her return to America, she making it a condition that the baby should accompany her. I now made great preparations to ensure a brilliant season. Great improvements were made by the Directors in the auditorium of the Academy of Music in New York, and new carpet was everywhere laid down. At my suggestion, too, a few feet were cut from the front of the stage, which improved the proscenium boxes, and gave me two extra rows of stalls or _parquet_ seats, numbering sixty in all. These were immediately let at high premiums for the whole of my season. Preparations were afterwards made for the production of Boito's _Mefistofele_, which had been such a great success during my past London season.

As I found it desirable not to leave myself entirely in the hands of one principal tenor, I concluded arrangements whereby Signor Ravelli was to form part of my Company. Ravelli made his _début_ as "Edgardo" in _Lucia di Lammermoor_ on the opening night, when Mdme. Gerster made her _rentrée_, after an absence of a year, as "Lucia." The house was crowded from floor to ceiling, Mdme. Gerster receiving more than her usual ovations.

The following night Campanini made his re-appearance as "Fernando" in _La Favorita_, Miss Annie Louise Cary undertaking her unrivalled impersonation of "Leonora."

Wishing to do all in my power to make the production of _Mefistofele_ a representation of the first class in every respect, I caused to be removed from each end of the orchestra some five-and-twenty parquet seats in order that it might be enlarged, and I engaged some twenty-five extra musicians of ability so that the _ensemble_ of my orchestra might be equal to that of London. Arditi was indefatigable with his rehearsals, of which he had several, in order to obtain every possible perfection in the execution of the music, to secure even the minutest _nuances_ in the necessary light and shade. The cast included Signor Campanini as "Faust," Annie Louise Gary as "Martha" and "Pantalis," a new-comer, Signor Novara, as "Mefistofele," whilst Alwina Valleria undertook the _rôle_ of "Margherita"--and right well did the little lady fulfil the task she had undertaken. She had moments at which she showed herself quite equal to Mdme. Nilsson, especially in the prison scene.

In the newspapers the following morning no mention whatever was made either of the increase in my orchestra or of its performance; the critics at that time being less discerning than they are now. This greatly mortified Arditi, who had been working like a slave for so long a time before the production.

We shortly afterwards produced _Mignon_, when Arditi said one rehearsal would do, as sure enough it did; and this time we met with great praise. On my returning for the following spring season I dispensed with the services of my twenty-five extra musicians; and the excellence of the orchestra was now fully commented upon.

About this time I remounted _Aida_ in grand style, with new properties, scenery, and dresses, Mdme. Gerster shortly afterwards appearing as "Elsa" in _Lohengrin_. This reminds me of an interesting occurrence.

The fatigues incident to the continued rehearsals of Lohengrin had rather unnerved Mdme. Gerster, who, however, made her appearance in the _rôle_ of "Elsa" on the night for which the opera had been originally announced. Her success, though great, was not what she desired, and the next day she complained of indisposition, though she at the same time insisted upon further rehearsals. I therefore closed the theatre at great loss, in order that her desires might be complied with.

At length the time for the second performance arrived. I had spent a fatiguing day, and had finished up with directing the difficult machinery of the scene in which the swan disappears to be replaced by the missing child, while the dove comes down from heaven to draw the boat which, as "Elsa" embraces her long-lost brother, bears "Lohengrin" away.

Feeling sure that all was in order, I went home for a short time, not having tasted anything since early morn. I sat down to my dinner, and ordered my servant to bring me a pint of champagne. I had hardly taken the knife and fork into my hand when Dr. Gardini, Mdme. Gerster's husband, put his head through the door, beckoning to me, and saying that he wanted me for one "second" only. On my getting into the vestibule he entreated me to come over a moment to the Everett House, where his wife was residing, it being then about a quarter to seven (my opera was to commence at eight). On my reaching the Everett House her maid, her brother, and her sister-in-law desired me to step a moment into her bedroom. On entering I smelt a powerful odour of chloroform, and on inquiry found that her brother, who was a medical man of some standing in New York, had been prescribing chloroform to allay a tooth-ache, or some other ailment she was suffering from; but in the nervous condition she was in it had acted rather too violently upon her general system, and there she lay speechless.

I was beside myself, and I am afraid rather rude at the moment to those in attendance. However, I insisted upon taking the matter entirely into my own hands. I commenced by opening the tops of the windows so as to let the odour out, and dispatched the sister to get me a bottle of soda-water, together with some sal-volatile, also a bottle of strong smelling salts. By raising Mdme. Gerster's head I got her to take the soda-water and sal-volatile, and at each respiration I took good care to place the smelling-bottle to her nose, but all to no effect. She was in a state of semi-unconsciousness.

I, however, insisted upon raising her (it being then a quarter past seven), and by the aid of the maid I put a large shawl over her, and carried her off in my arms to the carriage, which I had ordered to be at the door, and took her over to the Academy, where I seated her on a chair. She now swooned on to the dressing-table.

Whilst I continued to apply the smelling-bottle I gave directions to the theatrical hair-dresser to be careful to come gently in and comb out her back hair and plait in the little tails which are sometimes added by prime donne. It was about twenty minutes to eight when Arditi came into the room, accompanied by the call-boy, and both looked upon the matter as hopeless. I, however, begged the maestro to go into the orchestra, and to leave the rest to me.

I got her to stand upright; but when I suggested the idea of singing "Elsa" she sighed, and said--

"It is utterly useless. It is just eight o'clock, and the tails are not in my hair."

I thereupon informed her that during her unconscious state I had carefully had the tails combed in. This brought a faint smile to her face, and I at once saw that there was still a chance of my opera going. I led her to the entrance, when she went on accompanied by her attendant maidens. I then drew a long breath and went back to finish my dinner, knowing now that the opera would continue.

Long before the first act was completed Mdme. Gerster's energies had returned. She was in full possession of her marvellous vocal powers, and a triumphant evening was the result of my labours.

About this time I commenced autumn Sunday evening concerts, in which the whole of my singers took part, the first portion of the evening beginning, as a rule, with a fine performance of Rossini's _Stabat Mater_, Valleria, Cary, Campanini, Galassi, and Novara singing the music very effectively. The houses were invariably crowded to the roof.

About this time, I settled a grand opera festival for Cincinnati the ensuing spring, in conjunction with the College of Music, and for that purpose organized a chorus of some 400 extra voices, and an orchestra of some 150 musicians; after which I left for Chicago to confer with Colonel George Nichols as to the arrangements.

We afterwards visited Boston, where our performances met with the greatest possible success, each week's receipts averaging no less than 35,000 dollars, the reappearance of Mdme. Etelka Gerster creating immense excitement. At the _matinée_ given on January 1st, at which she appeared, upwards of 100 ladies' odd india-rubber overshoes were picked up on the family circle staircase lost in the rush after the opening of the doors, there being a heavy snowstorm raging at the time. The receipts were over £1,200 notwithstanding. _Aida, Mefistofele, Carmen, Don Giovanni_, and _Puritani_ completed the week's _répertoire_. We afterwards left for Philadelphia, followed by Baltimore, Washington, Pittsburg, Indianapolis, Chicago, and St. Louis, the Opera being a signal success all along the line. We closed up on the Saturday night at St. Louis, leaving by special train at 1 a.m., shortly after the conclusion of the night's representation, for Cincinnati. The soloists, choristers, and orchestra arrived at about three o'clock on the Sunday afternoon, rather tired; and they spent this afternoon in hunting up hotels and boarding-houses. In the evening we had a stage rehearsal of _Lohengrin_, with chorus and part of the orchestra. My own chorus was on hand, together with the Cincinnati contingent some 350 strong--all present without a single absentee. But large as the stage was there was plenty of room for all and to spare. The beautiful _Lohengrin_ choruses were finely rendered, and the volume of tone resounding through the vast building was truly grand. The rehearsal was afterwards dismissed, and everyone retired to rest.

Early the following morning the final rehearsal was called, which terminated at twelve o'clock; and that same evening the first great Opera Festival was inaugurated--undoubtedly the most daring musical enterprise ever attempted in America or any other country. The sight of the audience from the private boxes was worth a journey to see. It was one sea of faces. Everything looked auspicious for the success of the festival. The weather was pleasant, the crowds were large and enthusiastic, and the singers were _en rapport_ with the audience, whilst the chorus did its very best.

The orchestra, also, was the finest ever heard in Cincinnati, composed of 150 first-class musicians, who did their work splendidly. In fact, the _ensemble_ was complete.

The scene outside the hall was one of bewildering confusion. Myriads of elegant carriages darting round corners, pedestrians jostling against each other to arrive before the doors were closed, an immense rabble outside, who had gone to catch only a glimpse of the handsomely-dressed ladies as they went in; such was the scene, which, I must add, was illuminated by the newly-invented electric light. In spite of the most stringent police regulations the streets were blocked, and it is not surprising that there were several horrible accidents. Notwithstanding four wide exits it was an hour and a half after the performance was over before the last carriage could get off.

The toilettes of the ladies, for which Cincinnati is so famous, were most elegant. Our grand performance of _Lohengrin_ was followed by Mozart's _Magic Flute_, Mdme. Gerster singing the _rôle_ of the "Queen of Night." The third opera was Boito's _Mefistofele_, for which 8,000 reserved seats were sold. The fourth night we had _Lucia di Lammermoor_, followed by an act from _Moses in Egypt_; the extreme back of the stage representing a burning sun, and the whole 400 choristers joining together with the principals in the grand prayer, "Dal tuo stellato soglio," which terminates the opera. On the fifth night Verdi's _Aida_ was given with entirely new scenery, painted for the occasion, together with new dresses and properties.

A morning performance, _La Sonnambula_, was given next day, with Gerster. The audience, like all the previous ones, was immense. Every seat was occupied, whilst 2,000 people who had paid two dollars apiece were standing up. The toilettes of the ladies were simply magnificent, baffling all description. The audience went wild over Gerster, encores were demanded and re-demanded, people hurrahed and waved their handkerchiefs, whilst the most expensive bouquets and flowers were pelted on the prima donna, who at last was embowered in roses.

On the last evening Gounod's _Faust_ was performed. The end was as glorious as the beginning. By seven o'clock the big hall was again filled, and at half-past seven, when Arditi took up the _bâton_, the house was packed and jammed from the top-most part of the gallery.

The audiences throughout the week were most brilliant. Before separating a Committee meeting was held; and it was resolved that the festival should be renewed the following year, when Mdme. Patti and Mdme. Albani should, if possible, be added to the list of vocalists.

This was followed by a grand banquet at the club, where amongst others I had the honour of making the acquaintance of Mr. Reuben Springer, the donor of the magnificent hall in which the festival had been held.

The profits of the week reached 50,000 dollars. We afterwards visited Detroit, Syracuse, and Albany, returning to New York in the early part of March.

On the 25th March a morning performance was given of _Lucia di Lammermoor_, when the Academy was fairly packed from _parquet_ to gallery by a most fashionable audience, not so much to hear _Lucia_ as to hear Mdme. Gerster. At the rush at the opening of the doors the ticket-taker discovered a forged free pass purporting to bear my name. On his own responsibility he handed over to the police the two men who had come in with the ticket, and they were taken off to the police-station, where I was immediately sent for.

The forgery being proved they were both committed for trial, the magistrate at the same time notifying that if we took them up at once in an elevated train to Ninety-second Street the assizes would be on, and their case could be at once decided.

They were duly taken on, and the matter gone into. One of the men was committed to prison for a year, and the other one was placed under the care of the Commissioners of Charities and Corrections for two years on Randall's Island.

I got back to the Academy in time to hear the mad scene.

On returning the following year I made inquiry as to the man who had been sent to the Reformatory, and was informed that he had died only the day before. So also had the judge of the Assize Court: a remarkable coincidence.

We remained in New York until the 9th April, when we were again called to Boston to give six performances, each of which averaged $5,000. After a _matinée_ on the Saturday we returned to New York by special train, in order to give a Sunday concert, when over 4,000 dollars were taken at the doors. We then gave six more extra farewell performances in New York, sailing for Europe immediately on the conclusion of the last one, and arriving in London about six days prior to the opening of my season.

Early in the spring of 1881 I received a communication from Messrs. Ricordi, of Milan, the publishers and proprietors of Boito's _Mefistofele_, in which they solicited me to allow Signor Nannetti, the basso, who was then performing the title _rôle_ at the Scala, to delay his engagement with me for the period of a fortnight, in order that the successful run of the work might not be interrupted; in exchange for which they offered me the services of the musical director, Signor Faccio. To this I consented, and the eminent conductor was duly announced in my prospectus. But instead of keeping Nannetti two weeks in Milan they kept him five, during which time my season had opened and Mdme. Nilsson had arrived in London in order that I might take up the successful run of _Mefistofele_ which had been interrupted only by the close of the previous season. Mdme. Nilsson, however, refused to appear until Nannetti came; and it was not until the 23rd June that I could reproduce Boito's _Mefistofele_. Faccio never turned up at all.