The Mapleson Memoirs, 1848-1888, vol I — Context and Discussion

Qualifications for the Career of Impresario--My First Appearance as Violinist--_Début_ as a Vocalist--Difficulties as a Critic--Engaged at Lodi and Verona--Radical Operation on my Throat--I start as Musical Agent--Meeting with Mr. E. T. Smith--Management of Drury Lane pp. 1-12

Injunction against the Birds on the Trees--Drury Lane Season of 1859--_Débuts_ of Victoire Balfe, Mongini, and Guarducci--My Contralto Marries a Duke--The Duke and Duchess at Naples pp. 13-22

Nocturnal Negotiations--Reopening of Her Majesty's Theatre--Sayers and Heenan Patronize the Opera--English and Italian Opera Combined--Smith and his Speculations--Discovery of Adelina Patti--My Management of the Lyceum pp. 23-39

At Her Majesty's Theatre--Verdi's Cantata--Ginglini at the Seaside--Pollio and the Drum-stick--An Operatic Conspiracy--Confusion of the Conspirators pp. 40-57

Running over a Tenor--Titiens in Italy--Cashing a Cheque at Naples--A Neapolitan Ball--Approaching a Minister--Return to London pp. 58-65

Production of Gounod's _Faust_--Apathy of the British Public--A Managerial Device--Damask Crumb Cloth and Chintz Hangings--Heroic Attitude of a Dying Tenor--Prayers to a Portmanteau pp. 66-80

Garibaldi Visits the Opera--Giuglini's Trouble at St. Petersburg--Giuglini Visited by Titiens--Alarm of Fire--Production of _Medea_--Grisi's Last Appearance--An Enraged Tenor pp. 81-98

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 pp. 99-117

Proposal for an Operatic Union--Titiens in Dublin--Her Services as a Pacificator--Autumn Season at Covent Garden--The Combination Season--Immense Success--Costa's Despotism--An Operatic Conspiracy--Lucca and her Husbands pp. 118-135

Gye's Fraternal Embrace--Law-suits Interminable--Dissolution of Partnership--Return to Drury Lane--Arrival of Albani--_Début_ of Cainpanini--The Annual Onslaughts of Mr. Gye pp. 136-149

Adelina's Successor--A Prima Donna's Marriage Negotiations--Pounds _v._ Guineas--Nilsson and the Shah--Production of _Lohengrin_--Salvini's Performances and Profits--Marguerite Chapuy--Irony of an Earl pp. 150-174

The National Opera-house--Foundation Difficulties--Primæval Remains--Titiens Lays the First Brick--The Duke of Edinburgh the First Stone--The Opera and Parliament--Our Recreation Rooms pp. 175-183

First Visit to America--Making Money out of Shakespeare--Chatterton's Secret Agents--Bidding for Her Majesty's Theatre--Illness of Titiens--Gerster's Success--Production of _Carmen_ pp. 184-198

First American Campaign--Difficulties of Embarkation--Concert on Board--Dangerous Illness of Gerster--Opera on Wheels--The "Dressing-room Row"--A Learned Throat Doctor--Gerster Sings before her Judge--The Pianoforte War--Our Hurried Departure pp. 199-219

Reception of a Tenor--Belocca and Lady Spencer--Marimon's Superstitions--Her Lovesick Maid--An Encouraging Telegram--Marimon in the Cathedral--Disappearance of a Tenor pp. 220-236

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 pp. 237-253

Production of _Il Rinnegato_--Ravelli's Operatic Theory Negotiations with Covent Garden, "Limited"--A Search for a Prima Donna--Failure of Patti's Concerts--Cincinnati Opera Festival of '82--Patti's Indisposition pp. 254-272

I Engage Patti--My Military Experience--Influencing Electors--Operatic Joint Stock Company--Objections to English Monopoly--Patti in New York pp. 273-291

Non-Arrival of Scalchi--General Indisposition--King Kalakau Ennobles Patti--Ravelli Consults his Dog--The Company Vaccinated--Patti Eaten by Mice--Arrival of Albani--Cincinnati Opera Festival of '83--Freedom of the City pp. 292-308

Galassi Distinguishes Himself--Politeness of Prime Donne--English Welcome to Canada--Concert at the White House--Value of Patti's Notes--Phantom Ship Wrecked--Nilsson's Contract--Patti's Contract--Return to England pp. 309-327

QUALIFICATIONS FOR THE CAREER OF IMPRESARIO--MY FIRST APPEARANCE AS VIOLINIST--DÉBUT AS A VOCALIST--DIFFICULTIES AS A CRITIC--ENGAGED AT LODI AND VERONA--RADICAL OPERATION ON MY THROAT--I START AS MUSICAL AGENT--MEETING WITH MR. E. T. SMITH--MANAGEMENT OF DRURY LANE.

BEFORE beginning my thirty years' career as an operatic manager, I had already had a large and varied experience of music in the character of student, critic, violinist, vocalist, composer, concert director, and musical agent. At the age of fourteen I entered the Royal Academy of Music, where the Principal was at that time Cipriani Potter. I took as my first study the violin, my professor being Watson, under whom I made good progress. Harmony I studied under Lucas. My compositions are limited to two pianoforte pieces and a song, which I published soon after leaving the Academy, where I remained about two years.

I made my first public appearance among the first violins at Her Majesty's Theatre, where, during the Jenny Lind seasons of 1848 and a portion of 1849, I played from the same desk as Remenyi, the famous Hungarian violinist. Remenyi, too, shared my rooms, and often kept me up at night by his loud and passionate declamations on the subject of Hungarian independence, and of liberty generally. He had taken part in the revolutionary movement of 1848, and on its collapse had fled for his life to foreign parts. Fortunately, he had his violin to depend upon; and it was in London, I believe, that he first turned his remarkable talent to practical and pecuniary account.