History of the Opera from its Origin in Italy to the present Time / With Anecdotes of the Most Celebrated Composers and Vocalists of Europe

by H. Sutherland Edwards

MADAME FODOR AND THE COW.

There would be no end to my anecdotes if I were to attempt to give a complete list of all those in which musicians and singers have been made to figure in connection with all sorts of events during the last great continental war. The great vocalists, and many of the great composers of the day, continued to travel about from city to city, and from court to court, as though Europe were still in a state of profound peace. Sometimes, as happened once to Paer, and was nearly happening to him a second time, they were taken prisoners; or they found themselves shut up in a besieged town; and a great cantatrice, Madame Fodor, who chanced to be engaged at the Hamburg opera when Hamburg was invested, was actually the cause of a sortie being made in her favour. On one occasion, while she was singing, the audience was disturbed by a cannon ball coming through the roof of the theatre and taking its place in the gallery; but the performances continued nevertheless, and the officers and soldiers of the garrison continued to be delighted with their favourite vocalist. Madame Fodor, however, on her side, was beginning to get tired of her position; not that she cared much about the bombardment which was renewed from time to time, but because the supply of milk had failed, cows and oxen having been alike slaughtered for the sustenance of the beleaguered garrison. Without milk, Madame Fodor was scarcely able to sing; at least, she had so accustomed herself to drink it every evening during the intervals of performance, that she found it inconvenient and painful to do without it. Hearing in what a painful situation their beloved vocalist found herself, the French army gallantly resolved to remedy it without delay. The next evening a sortie was effected, and a cow brought back in triumph. This cow was kept in the property and painting room in the theatre, above the stage, and was lowered like a drop scene, to be milked whenever Madame Fodor was thirsty. So, at least, says the operatic anecdote on the subject, though it would perhaps have been a more convenient proceeding to have sent some trustworthy person to perform the milking operation up stairs. In any case, the cow was kept carefully shut up and under guard. Otherwise the animal's life would not have been safe, so great was the scarcity of provision in Hamburg at the time, and so great the general hunger for beef of any kind.

THE D'ENTRAIGUES' MURDER.

Madame Huberti, after flying from Paris during the Reign of Terror, married the Count d'Entraigues, and would seem to have terminated her operatic career happily and honourably; but she was destined some years afterwards to die a horrible death. The countess always wore the order of St. Michael, which had been given to her by the then unacknowledged Louis XVIII., in token of the services she had rendered to the royalist party, by enabling her husband to escape from prison and preserving his portfolio which contained a number of political papers of great importance. The Count afterwards entered the service of Russia, and was entrusted by the government with several confidential missions. Hitherto he had been working in the interest of the Bourbons against Napoleon; but when the French emperor and the emperor Alexander formed an alliance, after the battles of Eylau and Friedland, he seems to have thought that his connexion with Russia ought to terminate. However this may have been, he found means to obtain a copy of the secret articles contained in the treaty of Tilsit[73] and hastened to London to communicate them to the English government. For this service he is said to have received a pension, and he now established himself in England, where he appears to have had continual relations with the foreign office. The French police heard how the Count d'Entraigues was employed in London, and Fouché sent over two agents to watch him and intercept his letters. These emissaries employed an Italian refugee, to get acquainted with and bribe Lorenzo, the Count's servant, who allowed his compatriot to read and even to take copies of the despatches frequently entrusted to him by his master to take to Mr. Canning. He, moreover, gave him a number of the Count's letters to and from other persons. One evening a letter was brought to M. d'Entraigues which obliged him to go early the next morning from his residence at Barnes to London. Lorenzo had observed the seal of the foreign office on the envelope, and saw that his treachery would soon be discovered. Everything was ready for the journey, when he stabbed his master, who fell to the ground mortally wounded. The Countess was getting into the carriage. To prevent her charging him with her husband's death, the servant also stabbed her, and a few moments afterwards, in confusion and despair, blew his own brains out with a pistol which he in the first instance appears to have intended for M. d'Entraigues. This horrible affair occurred on the 22nd of July, 1812.

Nothing fatal happened to Madame Colbran, though she was deeply mixed up with politics, her name being at one time quite a party word among the royalists at Naples. Those who admired the king made a point of admiring his favourite singer. A gentleman from England asked a friend one night at the Naples theatre how he liked the vocalist in question.

"Like her? I am a royalist," was the reply.

When the revolutionists gained the upper hand, Madame Colbran was hissed; but the discomfiture of the popular party was always followed by renewed triumphs for the singer.

Madame Colbran must not lead us on to her future husband, Rossini, whose epoch has not yet arrived. The mention of Paer's wife has already taken us far away from the composers in vogue at the end of the eighteenth century.

IL MATRIMONIO SEGRETTO.

Two of the three best comic operas ever produced, Le Nozze di Figaro and Il Matrimonio Segretto (I need scarcely name Rossini's Il Barbiere di Siviglia as the third), were written for Vienna within six years (1786-1792), and at the special request of emperors of Germany. Cimarosa was returning from St. Petersburgh when Leopold II., Joseph the Second's successor, detained him at Vienna, and invited him to compose something for his theatre. The maestro had not much time, but he did his best, and the result was, Il Matrimonio Segretto. The Emperor was delighted with the work, which seemed almost to have been improvised, and gave the composer twelve thousand francs, or, as some say, twelve thousand florins; in either case, a very liberal sum for the period when Cimarosa, Paisiello and Gughelmi had mutually agreed, whatever more they might receive for their operas, never to take less than two thousand four hundred francs.