Madame Eames has several times been obliged in her own interests to maintain an independent position in dealing with managers, and when, after her great American successes, the Abbey, Schoeffel, and Grau Company would not offer her what she considered just terms, she would not retreat from the stand which she had taken, and the company decided to punish her by letting her alone. The result was, that Madame Eames reaped a golden harvest in Europe, and built up a reputation so great that her name is now mentioned as one of the four great sopranos,—Melba, Calvé, Nordica, and Eames.
With this slight sketch of an interesting career we must be content, for a word must be added about Mlle. Zelie de Lussan, who made herself popular to Americans during her connection with the Boston Ideal Opera Company, from 1885-88, when she secured an engagement in London, and is rapidly[{259}] building a great reputation. Her great part is Carmen, and in this and Mignon she has delighted the Parisians. She is piquant and brilliant, and has the faculty of charming the audience by her grace and personal magnetism. Mlle. de Lussan was born in New York of French parents, and received her musical education from her mother, who was once a well-known singer.[{260}]
CHAPTER VIII.
TENORS AND BARITONES.
The operatic tenor is frequently as much of a trial to the impresario as the soprano. Brignoli would feel hurt unless he received what he considered the proper amount of applause, and then he would have a sore throat, and be unable to sing. Ravelli had a mortal hatred of Minnie Hauk, because she once choked his high B flat with a too comprehensive embrace, and his expression of rage, being understood by the audience as a tremendous burst of dramatic enthusiasm, was, in consequence, loudly applauded. Nicolini, in behalf of Patti, once went out and measured the letters on a poster. It had been agreed that Patti's name was to[{261}] be in letters half as big again as those used for any other singer. It was discovered that the name of Nevada, who was also a member of the company, was a fraction over the stipulated size, and all the posters had to be cut in such a way that a strip was taken out of Nevada's name, and the middle dash of the E and of the A's was amputated.
Some tenors have travelled with numerous retainers, who always occupied seats at the theatre for the purpose of directing the applause, but nothing of the kind has ever been heard of with a contralto or basso.
Ernest Nicolini, who made his début in 1855, was for some time considered the best French tenor on the stage, but he is better known as Madame Patti's husband than as a singer. Nicolini died in January, 1898.
Fancelli and Masini were tenors of merit, with beautiful voices; also Brignoli, who for twenty years lived in America. Fancelli was a very ignorant man, scarcely able to read[{262}] or write. According to Mapleson, he once attempted to write his name in the album of the Liverpool Philharmonic Society, with deplorable results. He wished to write "Fancelli, Primo Tenore Assoluto," but after great efforts, which resulted in overturning the ink-bottle, the signature appeared thus: "Faneli Primo Tenore Ass—"