CHAPTER XI.

HOUSE DIVIDED AGAINST ITSELF--REV. H. HAWEIS ON WAGNER--H.R.H. AND WOTAN--ELLE A DECHIRE MON GILET--ARDITI'S REMAINS--RETURN TO SAN FRANCISCO.

To return to my difficulties at the New York Academy of Music, I was at length compelled to rehearse where I could; one day at the Star Theatre, another at Steinway Hall; a third at Tony Pastor's--a Variety Theatre next door to the Academy.

In the midst of these difficulties I caught a severe cold and found myself one morning speechless. I was surprised that afternoon to find a bottle of unpleasant sticky-looking mixture left with the hall-keeper, accompanied by a letter strongly recommending it from an admirer, who had heard, with sorrow, that I had taken cold. Not liking the smell of it, I sent it to an apothecary's for analysis, when it was found to contain poison. Fortunately I had not tasted it.

Finding myself so heavily handicapped, I decided, pending the preparation of _Manon_, to get ready Auber's _Fra Diavolo_, which had to be rehearsed under the same difficulties. I, however, succeeded in producing it on the 20th November, and an excellent performance we gave. Fohstroem was charming as "Zerlina," and in the _roles_ of the two brigands, Del Puente and Cherubini were simply excellent. I have seen many performances of _Fra Diavolo_ in London with Tagliafice and Capponi, whom I considered admirable; but on this occasion they were fairly surpassed in the brigands' parts by Del Puente and Cherubini. The part of "Fra Diavolo" was undertaken by Ravelli, and the scenery and dresses were entirely new; the former having been painted on the roof of the theatre, either late at night or early in the morning, with the finishing touches put in on the Sundays.

The majority of my stockholders were careful to remain away, thus leaving a very bare appearance in the proscenium boxes. They, too, were siding with the enemy, or had not quite recovered from the three-dollar assessment which they had been called upon to pay for Patti the previous year. All these intrigues, however, marked in my mind the future downfall of the Academy and its stockholders, the house being now "divided against itself."

I will quote from the _Evening Post_, a paper hostile to my enterprise, a criticism on the _Fra Diavolo_ performance:--

"_Fra Diavolo_, as presented at the Academy last evening, was by far the most enjoyable performance given by Mr. Mapleson's Company for a long time. There was an element of brightness and buoyancy in the acting and singing of all the principals that admirably reflected the spirit of Auber's brilliant and tuneful score. Next Monday, when the season of German Opera opens at the Metropolitan with _Lohengrin_, there will be doubtless hundreds who will be unable to secure seats. All such we earnestly advise to proceed straight to the Academy next Monday, where _Fra Diavolo_ will be repeated; not only because they cannot fail to enjoy this performance, since it is an entertaining opera entertainingly interpreted, but because Mr. Mapleson ought to be encouraged, when he undertakes to vary his old repertory.... Ravelli sang admirably last evening, and so did Fohstroem, who acted her part with much grace and dainty _naivete_. Lablache, Del Puente, and Cherubini were unusually good and amusing. The Academy, we repeat, ought to be crowded on Monday next."

The production of _Fra Diavolo_ gave great satisfaction. Meanwhile, I made another attempt to continue my rehearsals of _Manon_. Not only was I excluded from the stage by the hammering and knocking of this new Anglo-German Opera Company, but they turned one of the corners of the foyer into a kind of business office, where their chatterings greatly interrupted my rehearsals with pianoforte. These, at least, I thought, might be managed within the theatre.

On ordering an orchestral rehearsal at Steinway Hall the following morning I was surprised to find that Mr. Thomas and his orchestra had actually gone there before me; and I had to dismiss my principal singers, chorus, and orchestra for a couple of hours, when with difficulty I was enabled to make a short rehearsal.

This went on day after day much to my annoyance. The Directors now began troubling me to pay the rent; to which I replied that I would willingly do so as soon as they performed their portion of the contract by allowing me to rehearse.

About this time I was challenged to meet the Rev. H. Haweis, author of _Music and Morals_, in a discussion on Wagner to be held at the Nineteenth Century Club, at which a great number of the fashionables of New York were present. After a brief introductory address, Mr. Courtlaudt Palmer, President of the Club, introduced the Rev. Mr. Haweis. His paper was a running series of anecdotes about Wagner, many of them keeping the audience in a continual laugh. He then made an onslaught on Italian Opera, assuring the audience that its days were numbered, that Wagner for the future was the one composer of dramatic music, and that every support should be given to his works now being represented at the Metropolitan Opera-house.

When he had concluded I rose and said, "You have told us much about Wagner, but nothing about his music. I trust I am not unparliamentary when I say that if he is to be judged by the effect of his works on the public--works that have now been for years before the world--Wagner is an operatic failure, and that what the Rev. Mr. Haweis has told us about his operas is sheer nonsense. One question he puts to me is: 'Did I ever lose money by Wagner?' I say emphatically, 'yes.' I once brought over all the material for his trilogy, the _Ring des Nibelungen_, from Munich to London, where it was to have been produced (according to one of the conditions of the agreement) under the supervision of Wagner himself. The master did not come; but his work was produced under a conductor of his own choice, and when the series had been twice given about six thousand pounds had been lost.

"My time will come yet. I labour under many difficulties now; but when New Yorkers are tired of backing German and American Opera, and will only subsidize me with one per cent. of the millions they are going to lose, I will return and give them Italian Opera."

I remember an interesting and, I must admit, not altogether inexact account of my production of the _Ring des Nibelungen_ being given in the _Musical Journal_ of New York.

"The series," wrote the American journalist, "was given under the special patronage of the Prince of Wales, who loyally remained in his box from the rising to the going down of the curtain, although he confessed afterwards that it was the toughest work he had ever done in his life. When Wotan came on the darkened stage and commenced his little recitative to an accompaniment of discords the Prince took a doze, but was awakened half-an-hour later by a double forte crash of the orchestra, and, having fallen asleep again, was startled by another climax fifteen minutes afterwards, when he found Wotan still at it, singing against time. At the end of five weeks Mapleson's share of the losses was 30,000 dollars; and the Prince told him confidentially that if Wotan appeared in any more operas he should withdraw his patronage."

By dint of perseverance, together with the aid of various managers, I succeeded in producing Wallace's _Maritana_. I first performed it over in Brooklyn, where it met with the most unqualified success, nearly every piece of music being encored, while Ravelli roused the audience to frantic enthusiasm by a finely-delivered high C from the chest at the conclusion of "Let me like a soldier fall." On a third encore he sang it in English. I then returned to the New York Academy with this opera, thus fulfilling the second of my promises in the prospectus.

It wanted now but nine days to the conclusion of my season, and as I had given to the public, despite the grumbling and cavilling, all the singers announced in my prospectus, I strained every nerve to produce the last of my promised operas, which caused more difficulty than all the others put together. This was _Manon_, which I succeeded in placing on the stage with entirely new scenery and dresses, and with a magnificent cast.

Glad indeed was I to shake the dust off my feet on leaving the Academy, where during a course of some eight or nine years I had given the New York public every available singer of eminence, including Adelina Patti, Etelka Gerster, Albani, Fursch-Madi, Scalchi, Campanini, Aramburo, Mierzwinski, Galassi, De Anna, Del Puente, Foli, and other celebrities. I confess I was not chagrined when I gradually saw after a couple of seasons had passed the downfall of the Anglo-German-American Opera Company, which from the very beginning had failed to benefit musical art in any way. Not a single work by an American composer was given, the repertory being entirely made up of translations of German operas. I also read without any deep regret of the total break-up of the Academy with all its belongings. It is now the home of a "variety show."

This New York season of 1885 was a most disastrous one financially, as it necessitated my closing for nearly a fortnight in order that the promised productions should all be given. It was with great difficulty that I could start the tour, as every combination seemed to be against me.

However, I opened at Boston with _Carmen_ early in January, 1886, to a crowded house; the other performances of that week being _Fra Diavolo_, _Manon_, _Maritana_, _Traviata_, and _Carmen_ for a _matinee_, the receipts of which exceeded even those of its performance on the previous Monday.

During the second week _Faust_, _Don Giovanni_, _Rigoletto_, _Martha_, etc., were performed. We left the next day for Philadelphia, where we remained until the middle of the following week. From there we went on to Baltimore, Washington, Pittsburg, Chicago, opening in the last-named city very successfully with a performance of _Carmen_; when a violent scene occurred during the third act from which may be said to date the disastrous consequences which followed throughout the whole of the route; one paper copying from another, with occasional exaggerations, so that in every town we visited the public expected a similar disturbance. Hence a general falling off in the receipts.

It was in the middle of the third act, when "Don Jose," the tenor (Ravelli), was about to introduce an effective high note which generally brought down the house, that "Carmen" rushed forward and embraced him--why I could never understand. Being interrupted at the moment of his effect, he was greatly enraged, and by his movements showed that he had resolved to throw Madame Hauk into the orchestra. But she held firmly on to his red waistcoat, he shouting all the time, "_Laissez moi, Laissez moi!_" until all the buttons came off one by one, when she retired hastily to another part of the stage. Ravelli rushed forward and exclaimed, "_Regardez, elle a dechire mon gilet!_" and with such rage that he brought down thunders of applause, the people believing this genuine expression of anger to be part of the play.

Shortly afterwards, on the descent of the curtain, a terrible scene occurred, which led to my receiving this letter the following morning:--

"Palmer House, Chicago,

"February 9th, 1886.

"DEAR COLONEL MAPLESON,

"The vile language, the insults, and threats against the life of my wife in presence of the entire Company, quite incapacitate her from singing further, she being in constant fear of being stabbed or maltreated by that artist, the unpleasant incident having quite upset her nervous system. She is completely prostrate, and will be unable to appear again in public before her health is entirely restored, which under present aspects will take several weeks. I have requested two prominent physicians of this city to examine her and send you their certificates. Please, therefore, to withdraw her name from the announcements made for the future.

"As a matter of duty, I trust you will feel the necessity to give ample satisfaction to Miss Hauk for the shameful and outrageous insults to which she was exposed last night, and Mr. Ravelli can congratulate himself on my absence from the stage, when further scenes would have occurred.

"I fully recognize the unpleasant effect this incident may have on your receipts, more especially so should I inflict upon him personally the punishment he deserves.

"I am, dear Colonel Mapleson,

"Very truly yours,

"(Signed) E. DE HESSE WARTEGG."

The following day I received this, other epistle:--

"February 10th.

"DEAR SIR,

"My client, Baron Hesse Wartegg, has applied to me for advice concerning the indignities which Signor Ravelli, of your troupe, has offered to Mdme. Minnie Hauk on the stage. Signor Ravelli has uttered serious threats against the lady, and has on several occasions in presence of the public assaulted her and inflicted bodily injuries, notably on Monday evening last, during the performance of _Carmen_. My client wishes me to invoke the protection of the law against similar occurrences, as Mdme. Hauk fears that her life is in imminent danger. Under these circumstances I am compelled to apply to the magistrates for a warrant against Signor Ravelli, in order that he may be bound over to keep the peace. The law of this State affecting offences of this character is very severe, and should the matter be brought to the cognizance of our courts, Miss Hauk will not only have ample protection, but Mr. Ravelli will be punished. It is her desire, however, to avoid unpleasant notoriety, which would doubtless reflect on your entire troupe, and on your undertaking to execute a bond for 2,000 dollars to guarantee the future good conduct of Ravelli I shall proceed no further. I respectfully invite your immediate attention to this, and beg you will favour me with an early reply. Should I fail to hear from you before to-morrow evening I shall construe your silence as a refusal to secure proper protection for Miss Hauk and proceed accordingly.

"Miss Hauk and her husband are actuated by no other motives but those which are prompted by the lady's own safety. Please favour me with an early answer.

"Very respectfully yours,

"(Signed) WILLIAM VOCKE,

"Attorney for Miss Minnie Hauk."

I had no option but to give the bond.

That evening Signor Arditi, on leaving the theatre, caught a severe cold, which confined him to his bed, developing afterwards into an attack of pneumonia. The assistant conductor, Signor Sapio, was attacked by a similar malady; also Mdlle. Bauermeister, who was soon indeed in a very dangerous condition.

The following evening Mdlle. Fohstroem appeared as "Lucia di Lammermoor," and met with very great success.

With much persuasion I induced Miss Hauk to reappear as "Carmen", replacing Ravelli by the other tenor, De Falco.

During the ensuing week Arditi's condition became worse and worse. As we were engaged to appear the following evening at Minneapolis we were compelled to leave him behind as well as various other members of the Company, who were also indisposed. Prior to my departure I saw the doctor, who informed me that he considered Arditi's case hopeless; on which I prepared a cable for his wife asking what was to be done with his remains. This I left confidentially with the waiter.

I managed to get with the remnants of my Company to Minneapolis, where a severe attack of gout developed itself, which confined me to my bed; I in turn being left behind whilst the Company went on to St. Paul.

On the Company leaving St. Paul I managed to join the train on its road to St. Louis, where we remained a week. On the last day of our stay there I was pleased to see Arditi again able to join the Company, though in a very delicate state. Mdme. Hauk arrived at St. Louis the last day we were there. The following week we performed in Kansas City, where for the opening we gave _Carmen_ with Minnie Hauk, followed by _Faust_ with Mdme. Nordica as "Margherita." The following night at Topeka we played _Lucia di Lammermoor_ with Fohstroem.

During these lengthened journeys across the Continent to the Pacific Coast the whole of the salaries ran on as if the artists were performing regularly.

As a rule we all travelled together; but occasionally, when the distance between one engagement and the next was too great, and the time too short, we separated. Sometimes one town in which we performed was four or five hundred miles away from the next. In that case the train was either divided into two or into three pieces, as the case might be. For instance, when we left for Chicago the engineer saw that he was unable to get to that city in time for our engagement the same evening. He therefore telegraphed back to Pittsburg, and the railroad officials there telegraphed on to Fort Wayne to have two extra locomotives ready for us. Our train was then cut into three parts, and sent whizzing along to Chicago at a lively rate, getting there in plenty of time for the evening's performance. It was wonderful, and nothing but a great corporation like the Pennsylvania Railroad Company could accomplish such a feat. By leaving at two o'clock in the morning we arrived at four the same afternoon at our next destination, in ample time to perform that evening; my hundred and sixty people having travelled a distance of four or five hundred miles with scenery, dresses, and properties.

We afterwards visited St. Joseph and Denver, opening at the latter with _Carmen_ on a Saturday at the Academy of Music. Early the next morning we decided to give a grand Sunday concert at the Tabor Opera-house; but as no printing could be done, and no newspapers were published, the announcements had to be chalked upon the walls. With some difficulty we got a programme printed towards the latter part of the day, but notwithstanding this short announcement, so popular was the Company that the house was literally packed full. We played at Cheyenne the following evening, afterwards visiting Salt Lake City, where we presented _Carmen_. The irascible Mr. Ravelli again showed temper, and by doing so caused great inconvenience. I replaced him by one of the other tenors of the Company.

Of course I was blamed for this. Ravelli, however, had declared himself to be indisposed, and I at once published the certificate signed by Dr. Fowler.

The opera went exceedingly well.

Immediately after the performance we started for San Francisco, where we arrived the following Sunday afternoon, opening with _Carmen_ on the Monday night before a most distinguished audience. Signor Ravelli performed "Don Jose," but in a very careless manner, omitting the best part of the music. He made little or no effect, whilst Minnie Hauk, who had not recovered from her previous fatigues, obtained but a _succes d'estime_.

Meantime a sale of seats by auction, which had been held, was an entire _fiasco_.

The second evening Mdlle. Fohstroem made a most brilliant success. The third night was devoted to Massenet's _Manon_, in which Miss Hauk did far better than on the opening night. The following evening we performed _La Traviata_, in which Mdme. Nordica made her appearance, Signor Giannini undertaking the _role_ of "Alfredo." During this time great preparations were being made for a production of _L'Africaine_. The whole of the scenery and dresses, even to the ship, had been brought to the Pacific coast, at a considerable outlay; no less than L900 being paid for overweight of baggage through transporting this costly vessel across the plains.

The performance was a fine one, and the work was rendered admirably throughout, the great ballets and the processions gaining immense applause.

In the meantime a great deal of unpleasantness was going on in the Company, which greatly crippled my movements, besides diminishing my nightly receipts.

Although Ravelli, who was really the cause of all the trouble, had been ill for nearly three weeks, he refused to sing any more unless his full salary were paid him for the whole of the time. This, of course, I refused, and law proceedings were the consequence.

De Anna, the baritone, had an engagement for the whole six months of our American tour; and there was a clause in his contract which provided that during the interval of eight days, about the latter part of December, whilst the Company was idle, the salary should be suspended. But on our resuming the tour Mr. De Anna immediately notified me that unless I paid him for those eight days he would stop singing. This was the commencement of my trouble with him. Prior to our arrival his salary was handed to him, half in cash, and half in a cheque payable at San Francisco. He presented his cheque at the bank before the money had been placed there, and notified me that in consequence of non-payment he refused to sing that evening. Thereupon the treasurer went down to his hotel with the money, which was only a small amount of some L50 or L60. But he refused to accept it and surrender the cheque. The money was again tendered to him, and again refused.

De Anna, following suit with Ravelli, immediately inserted an advertisement in the daily papers setting forth that the part of "Nelusko" in _L'Africaine_ was one of the most arduous _roles_ in the _repertoire_ of a baritone, and that he alone was capable of performing it; while he at the same time respectfully informed the public that he did not intend to do so.

In the production of _L'Africaine_, however, Del Puente undertook the _role_ of "Nelusko," and met with signal success, so that the recalcitrant baritone was left out in the cold and not missed. This tended still further to rouse his ire, and he resorted to a series of daily statements of some kind or other with the view of discrediting the Opera.

It was, indeed, a trying matter to me. The baritone, De Anna, refused to sing, and Ravelli was in bed with a bad cold; so, too, was Mdlle. Fohstroem. News, moreover, arrived from Minneapolis that Mdme. Nordica's mother, who had been left there, was at the point of death. Nordica insisted on rushing off at a moment's notice to make the journey of five days in the hope of reaching her while she was yet alive; and the rest of the Company were in open rebellion.

The season, however, despite these almost insurmountable difficulties, was a complete artistic success; and the Company I presented to my supporters in San Francisco was one that would have done honour to any European Opera-house. But, again, the name of _la Diva_ being missing, the patronage accorded me was of a most scanty kind. The wealthy and luxurious inhabitants of the suggestively named "Nobs' Hill" remained carefully away.

I managed, however, to give the twenty-four consecutive performances promised, together with three Sunday concerts, the penultimate performance being devoted to my benefit.