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.

Mr. [afterwards Sir Michael] Costa had left Her Majesty's Theatre two years previously to take part in establishing the Royal Italian Opera at Covent Garden, and the new conductor at Her Majesty's Theatre was our eminent composer M. W. Balfe. It had already occurred to me to quit the comparative obscurity of the orchestra for a brilliant position on the stage; and this idea was encouraged by Balfe, who, during the intervals of operatic business, gave me singing lessons. I also received instruction from Gardoni, the tenor, and Belletti, the baritone. As I had a tenor voice, Gardoni's lessons were particularly useful to me; and I was led to believe by each of my distinguished professors that I had in me the making of a primo tenore.

Long before I had completed my studies as a vocalist, an opportunity, indeed a necessity, for making my first appearance as a singer presented itself. Not to remain idle during the long months separating one opera season from another, I took out in the English Provinces in 1849 a company in which were included Sontag, Calzolari, Belletti, Lablache, and the famous pianist Thalberg. On one occasion, after giving a concert at Salisbury, the whole party paid a visit to Stonehenge, where Sontag sang "Casta diva," and Lablache a portion of Oroveso's solo music among the Druidical remains, so suggestive of the opera of _Norma_. I have now before me a handsome little clock which Madame Sontag presented to me at the end of the tour. It is inscribed: "To J. H. Mapleson from Madame Sontag (Countess Rossi)." I may mention in connection with this charming vocalist, whose good nature and good temper were on a par with her talent, a peculiarity which will perhaps astonish some of the concert singers of the present day. Instead of avoiding, according to the modern practice, the task of either beginning or ending a concert, she was ready and even anxious to sing both the first piece and the last. "If I do not begin the concert people will not come in time," she would say; "and if I do not end it they will go away before it is over."

In the autumn of 1850 I took on tour a company which included Roger and Madame Viardot, the famous representatives of "John of Leyden" and "Fidès" in _Le Prophète_. Meyerbeer was in constant correspondence with them. To avoid the expense of postage, he used to send his music written on such fine paper that to be able to read it with any ease it was necessary to place it on a back-ground of ordinary writing paper.

In a subsequent tour my leading tenor was one night for some reason or other not forthcoming. There was no one to replace him, and as I was myself a tenor I plunged boldly into the gap. I sang with success, but it occurred to me even as I was singing that I had need of further instruction. On my return to London I called on Sims Reeves, and sang to him; when he at once recommended me to go to Milan, and place myself under Signor Mazzucato, director and principal professor of singing at the celebrated Conservatorio. Reeves was kind enough to give me a letter to Mazzucato, under whom he had himself studied, with results which need not here be set forth.

Before taking farewell of England in order to go through a three years' course of training in Italy I did a little work as musical critic for a journal called the _Atlas_, which for years past has ceased to exist, but which, at the time I speak of, enjoyed a good reputation, especially in connection with literary and artistic matters. The proprietor, and ostensible editor, was a well-known journalist, Mr. George Francis, author of "The Orators of the Age," a series of papers which made some stir when, before appearing in book-form, they were published in the pages of _Frazer's Magazine_. Mr. Francis had, I believe, gained his experience of our British orators in the gallery of the House of Commons, where he was for many years one of the principal reporters of the _Times_ staff. Mr. Francis was also a brilliant foreign correspondent, and it afterwards became a speciality of his to assist and preside at the birth of new journals. His fee as accoucheur on these occasions was, I believe, a considerable one. After a time nothing would satisfy him but to have a paper of his own. He bought the _Atlas_, and while entrusting most of the editorial work to a Mr. Joyce, who was my immediate chief, appropriated to himself all free admissions that reached the office. Accordingly, when it became my duty to write an account of the first production of _Le Prophète_ at the Royal Italian Opera, I received instructions from my editor about sending in "copy," but was not furnished with a stall. I was to manage, somehow or other, to hear the opera, and I was in any case to send in a notice of it. I endeavoured to buy a ticket, but everything was sold.

In my despair I chanced to meet the American philanthropist, Mr George Peabody, well known by his charitable deeds, and who hastened on this occasion to perform a good work towards me. He assured me that the difficulty which troubled me was not so great as I imagined. It was now late in the afternoon. The performance was to take place that evening, and Mr. Peabody suggested that first of all the best thing I could do was to dine with him at the "Hummums." Thence, after finishing a bottle of excellent port, we walked quietly to the gallery entrance of the opera--at that time under the piazza, next door to the Bedford Hotel--bought our tickets, and found places in the very front row.

Soon, however, I was to start for Milan, where, studying constantly with Professor Mazzucato, I spent nearly three years. Then an engagement was offered to me at Lodi, where I was to make my first appearance on any stage as "Carlo" in _Linda di Chamouni_.

Manners and customs at the Lodi Opera-house were at that time rather peculiar. Refreshments of all kinds used to be served in the audience department between the acts. Every box was furnished with a little kitchen for cooking macaroni, baking or frying pastry, and so on. The wine of the country was drunk freely, not out of glasses, but in classical fashion from bowls. Attired in the brilliant uniform of my part I was in the middle of the pit draining one of these bowls, when suddenly the signal was given for the rising of the curtain. All seemed lost. But I hurried back to the stage, and fortunately was not very late for my entry.

My success in Lodi was such that I was offered four pounds a month to sing at Verona. Here my first duty was to replace Bettini (not the husband of Madame Trebelli Bettini, but the dramatic tenor of that name) in the important part of "Manrico." _Il Trovatore_ had but lately been brought out, and was then in the first period of its success. I had never heard the work, but the tenor part had been sent to me, and I had to master it in four days, my final study being made in the diligence, with no musical instrument to aid me except a tuning-fork. I studied the part all day and, by the light of a candle, all night, and before I reached Verona knew it perfectly. The prima donna of the cast was Mdlle. Lotti, afterwards known in London and elsewhere as Madame Lotti Della Santa, the second part of her name being derived from her husband, Signor Della Santa, who, during my stay at Verona, played the part of the "Count di Luna" to the "Leonora" of his future wife. Bettini married a sister of Max Maretzek, afterwards well known as conductor and impresario in the United States. I made a sufficiently good impression at Verona to cause Signor Bettini, who on my arrival was seriously ill, to get perfectly well after I had made but two appearances.

Returning to London early in 1854, I gave a grand concert with the following eminent artists:--Mdme. Clara Novello, Miss Dolby, Mr. Sims Reeves, Herr Formes, and Mdme. Arabella Goddard. I also took part in it. My throat, however, had become affected, and after I had been very thoroughly operated upon by Dr. Billing, I found myself deprived alike of tonsils, uvula, and voice.

My path had now been marked out for me. For the future I might be a musical agent, a concert director, or an impresario; but not a vocalist.

In 1855 the two principal members of the touring party I was directing were Miss Hayes and Mdme. Gassier.

In the year 1856 I started a musical agency in the Haymarket, the first established in London. Both Mr. Lumley and Mr. Gye applied to me for singers. As I was well known in Italy, numbers of artists inscribed their names on my books. I did a good business, and was making a large income. My business relations bound me more particularly to Mr. Lumley, the manager of Her Majesty's Theatre, and he had enough confidence in me to entrust me with the work of adapting Balfe's _Bohemian Girl_ to the Italian stage. This was about the time of the gala performances in honour of the marriage of the Crown Prince of Prussia (late Emperor of Germany) to the Princess Victoria of England, when a number of Shakespearian representations were given at Her Majesty's Theatre, with Mr. Phelps in the principal parts.

No Italian version of Balfe's work existed previously, and I received for mine the sum of £50. Operatic translations are often severely judged, but it is no easy matter to adapt the words of a song so that, while other more obvious requirements are duly fulfilled, the accents shall fall in exact accordance with the composer's music.

In the early part of this year (1858) the late E. T. Smith, then lessee of the Theatre Royal, Drury Lane, called upon me at my office, in the Haymarket, requesting me to aid him in the formation of an Italian Opera Company, which he wished to secure for his theatre during the coming summer months. He had so many enterprises on hand that he asked me to undertake the superintendence and management of the Italian Opera season he had in view. I explained to him that the business I was then carrying on required all my care and attention, and that it was far more profitable than any interest he could offer me in his contemplated enterprise.

But won over by his solicitations, and influenced by my love of the divine art, I consented, and found myself at once drawn into the artistic vortex. My knowledge and experience fitted me well enough for the conduct of the undertaking, which, however, I considered rather a hazardous one.

On the one hand would be ranged against me Her Majesty's Theatre, under the late Mr. Lumley's able management, with such artists as Piccolomini, Alboni, Giuglini, and the new and successful Thérèse Titiens, who had already fully captured London; and on the other hand the Royal Italian Opera, Covent Garden, newly rebuilt, under the skilful direction of Mr. Gye, with Grisi, Mario, Costa, and a host of celebrities. I felt the great responsibility of the position I had undertaken. I, however, set to work and engaged the services of Salvini-Donatelli, Viardot, Persiani, Naudin, Badiali, Marini, Rovere, Charles Braham and other tried artists.

My first object was to secure an able conductor. I discovered Signor Vianesi (afterwards of the Royal Italian Opera, and now of the Grand Opera, Paris), and appointed him to the post at a salary of £8 a month. Much trouble was experienced in forming an efficient orchestra on account of the two great Italian Operas, and still more in obtaining a stage military band. This latter difficulty I surmounted when one day in Leicester Square I lighted upon a very excellent one composed of itinerant Italian musicians performing in the open street.

The season opened in due course, and the public gave ample support to the undertaking. I will not fatigue the reader by entering into details with respect to that season, which I began five days before the opening of the new Royal Italian Opera, Covent Garden, just rebuilt, in order that the singers might at all events give two public performances before the whole attention of the town would be centred on the new theatre.

On one occasion I encountered a slight difficulty, when the opera of _La Traviata_ had, in consequence of the illness of one of the singers, to be suddenly substituted for the work originally announced. It was already half-past seven o'clock at night, and we were without a stage band.

I sent the call-boy down all the likely thoroughfares where my Italian wanderers might be playing, and I myself started to look for them in another direction. I ultimately traced them to a small restaurant in Soho, where they were eating macaroni. I gave them orders to come on immediately to the theatre to perform behind the scenes in _La Traviata_, and hurried back to the theatre. On arriving there I found the call-boy had brought another street band, which now refused to quit the stage. At one time things looked very serious, as the Italians of the opposing bands, with their stilettos drawn, vowed vengeance on one another. Ultimately all was satisfactorily arranged.

The interest of this first season was kept up until its close, in the latter part of July. The only other incident here worth mentioning was the performance, on the 17th July, of Mozart's _Don Giovanni_ with the following powerful cast:--

"Donna Anna" Madame Pauline Viardot. "Donna Elvira" Madame Rudersdorff. "Zerlina" Madame Persiani. "Don Giovanni" Signor Badiali. "Leporello" Signor Rovere. "Commendatore" Signor Marini. "Masetto" Signor Insom. "Ottavio" Signor Naudin.

The evening prior to its performance I met Mr. E. T. Smith, who horrified me by saying that in order to "strengthen up the bill," it being his benefit, he had added _The Waterman_, in which Charles Braham would play "Tom Tug," and moreover, introduce into the piece a new song dedicated by Mr. E. T. Smith to the Metropolitan Board of Works, who, said Smith, with a knowing wink, were "a most useful body."

I paid no attention to this at the time, thinking it was only a joke; but on looking at the _Times_ newspaper on the day of the performance, I found that the announcement, as communicated to me by Mr. E. T. Smith, had really been made. The performance, too, of the _Waterman_, with the introduced song, was really given.

I waited with interest to see what the newspapers would say as to my closing representation. Only one paper mentioned the performance; and it confined itself to stating that _Don Giovanni_ had been played the previous evening "by a body of singers whose united ages amounted to nearly 500 years."

Mr. E. T. Smith, the manager, had made money by our season; and he remunerated me very handsomely for my labours. In the meantime, notwithstanding the phenomenal success of Mdlle. Titiens at Her Majesty's Theatre, Mr. Lumley's difficulties had been constantly increasing; and Her Majesty's Theatre now closed, never to open again under his management.

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.

EFFORTS were now made to obtain the lease of Her Majesty's theatre, but it was so entangled with legal difficulties that it was resolved, on my advice to remain another year at Drury Lane. I therefore set to work to secure a very powerful company for the London season of 1859.

During the latter part of 1858 the baritone Graziani had called repeatedly upon me, stating that as Mr. Gye had not renewed his engagement, and as there were some arrears outstanding, he was very desirous that I should engage him for the forthcoming season. After lengthy negotiations, some time during the month of March, 1859, I signed with him, and added him to the list of artists in the official programme.