The Mapleson Memoirs, 1848-1888, vol IIMapleson, James Henry
History
The Mapleson Memoirs, 1848-1888, vol II
Mapleson, James Henry
Opera -- England -- London; Opera -- United States
Finally, at a London Musical Theatre the prima donna of an Operetta
Company, if she receives £30 or £40 a week, boasts of it to her friends.
In an Italian Operatic Company a seconda donna paid at such rates would
conceal it from her enemies.
CHAPTER XI.
HOUSE DIVIDED AGAINST ITSELF--REV. H. HAWEIS ON WAGNER--H.R.H. AND
WOTAN--ELLE A DÉCHIRÉ 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.
Fohström was charming as "Zerlina," and in the _rôles_ 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:--
Public-domain text, read in full here on John Shaqi.
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