Masini's voice was more sensuously beautiful than Fancelli's, and he was more full of conceit. He travelled with a retinue of ten people, including cook, barber, doctor, and lawyer. He also distinguished himself in London by sending word to Sir Michael Costa, the conductor of the orchestra, to come around to his apartments, and run through the music of his part, as he did not care to attend the rehearsal. Costa did not go, and Masini returned to Italy in great wrath.
Joseph Victor Amédée Capoul, who made his début in 1861, was for many years considered[{263}] one of the best tenors on the French stage. He was born in 1839, at Toulouse, and entered the Paris Conservatoire in 1859, gaining the first prize in comic opera in 1861. He was good-looking, and had a pleasant voice, somewhat marred by vibrato, and he was an excellent actor in both light and serious parts. He visited America first in 1873, as a member of Strakosch's company, which included Nilsson, Miss Cary, Campanini, Maurel, Del Puente, and others not so well known, and to which were afterwards added Pauline Lucca and Ilma di Murska. He was also chief tenor of a French Opera Bouffe Company, which visited America in 1879-80. During the past few years M. Capoul has lived in New York, where he has become a teacher of singing.
Theodore Wachtel was for a long time one of the leading German tenors. He was the son of a stable keeper in Hamburg, and began life by driving his father's cabs.[{264}] He was born in 1823, and obtained his first operatic engagements in 1854, singing in several German cities. His first appearance in London was in 1862, when he sang the part of Edgardo in "Lucia," and made a complete failure. His later appearances brought better results, and yet his popularity was gained more on account of the fine quality and great power of his voice than from any artistic use of it. His high C was his chief attraction, and this note he produced from the chest with tremendous power.
Wachtel sang in America during several seasons. He died in Berlin in 1893.
The greatest German tenor, however, for many years was Albert Niemann, who was blessed with a magnificent voice and a fine appearance, suitable for the impersonation of Wagner's heroes, in which he excelled. He was born in 1831, at Erxleben, Magdeburg, and went on the stage in 1849. At[{265}] first he sang only small parts, or else in the chorus, but, as he improved with study, he attracted the attention of Herr von Hülsen, General Intendant of the Royal German Theatres, who took him to Berlin. He enjoyed a great reputation for a quarter of a century in Germany, and was selected by Wagner to sing Siegmund at Bayreuth, in 1876. Until he came to America in 1886, and 1887, when his voice had long since departed, his only appearances out of Germany were in the unsuccessful production of "Tannhäuser" at Paris, in 1861, and he sang in London in '82. In 1887 he formally retired from the stage.
Heinrich Vogl won distinction as an interpreter of Wagner rôles. He was born in 1845, at Au, near Munich, and was instructed in singing by Lachner, and in acting by Jenk, the stage manager of the Royal Theatre, Munich. At this theatre he made his début in 1865 as Max in "Der Freischütz.[{266}]" He was engaged at the same theatre almost permanently after his début and was always immensely popular. In 1868 he married Theresa Thoma, also a singer of renown, and from that time they generally appeared together.
Vogl played Loge, in the "Rheingold," and Siegmund, in "Walkyrie," when they were produced in 1869 and 1870, and his greatest triumphs have been gained in Wagner's operas. When the Trilogy was produced at Bayreuth, in 1876, he played the part of Loge, and was highly praised for his admirable declamation and fine acting.
Theresa Vogl was the original Sieglinde, at Munich, and was very successful in Wagner opera. She was born in 1846, at Tutzing, Bavaria, and studied singing at the Munich conservatory, appearing first in opera at Carlsruhe in 1865.
As Mario's powers began to wane, people wondered who would succeed him, and many[{267}] based their hopes on Antonio Giuglini, a native of Fano, Italy. Giuglini was born in 1827, but did not appear in England until 1857, when he sang at Her Majesty's Theatre. He possessed a sweet, high tenor voice and an elegance of style which some critics complained of as cold, languid, and drawn out. His singing was without variety and his acting colorless and tame. Notwithstanding all this, he was called by one eminent critic "the best that has been heard since the arrival of Tamberlik," seven years previously.
Giuglini's career was, however, of short duration, for he became insane in 1862, and died at Pesaro three years later.