The Mapleson Memoirs, 1848-1888, vol IMapleson, James Henry
History
The Mapleson Memoirs, 1848-1888, vol I
Mapleson, James Henry
Opera -- England -- London; Opera -- United States
One or two newspapers the following morning insisted on regarding my
speech of the previous evening as a melancholy joke. I had announced
that Mdlle. Marimon was physically unable to fulfil the demands of her
_rôle_, and that she would omit the shadow song. But, said the papers,
her efforts throughout the evening had all been shadow songs, the little
lady having been absolutely voiceless.
Mdlle. Marimon, however, in settling up the account some weeks
afterwards, charged me £120 for this performance, arguing that she had
appeared and done her best under the circumstances.
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.
Public-domain text, read in full here on John Shaqi.
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