This speech had an immediate effect; and Santley continued his song as if nothing had happened. But for his presence of mind the loss of life would have been most serious.
I likewise produced Cherubini's tragic opera, Medea; a work considered by musical amateurs one of the finest dramatic compositions ever written. No musician ever exercised more influence on his art than Cherubini. His compositions are of the first authority, so that no musical library, whether of the professor or the amateur, can claim to be considered complete without them. The part of "Medea" was represented by Mdlle. Titiens. In assuming this rôle Mdlle. Titiens certainly added the final touch of lustre to her lyric crown. I need scarcely say the opera was magnificently mounted, even to the smallest detail. It was particularly successful, and still retains its place in the répertoire. I was interested to find in what large numbers the relatives and descendants of Cherubini were attracted to my theatre by the announcement of his Medea. Naturally they all expected free admissions, even to great-grandchildren and third cousins.
The season was a very successful one. In the autumn I started the regular provincial opera tour, Mario being my principal tenor, vice Giuglini. We commenced in Manchester, where Mario's unrivalled performances in Faust, Rigoletto, Martha, Ballo in Maschera, and Don Giovanni attracted crowded houses. We afterwards visited Dublin, proceeding thence to Belfast, Liverpool, etc., terminating, as usual, about Christmas.
In the early part of January, 1866, I made a very successful concert tour, giving no less than one hundred and twenty concerts in some seventy cities in sixty successive days, with two very strong parties: Titiens, Trebelli, Santley, Stagno, and Bossi in one; and Grisi, Lablache, Mario, Foli, and Arditi in the other; ending up with a brilliant series of operas with casts combined from the two parties in the northern capital and at Glasgow, where Mdme. Grisi distinguished herself in the rôles of "Lucrezia Borgia," "Norma," "Donna Anna," etc.
Thus matters went on until the London season. On each occasion when I visited Giuglini I found no improvement, and it was ultimately decided that a sea trip might benefit him. He, therefore, left London in a sailing ship for Italy. I never saw him afterwards. I need scarcely add that his loss was irreparable.
I opened my London season of 1866 early in April, for which I engaged a very powerful Company, including Mdme. Grisi. I announced her engagement in the following terms:—
"Mr. Mapleson has the gratification to announce that he has prevailed on Mdme. Grisi to revisit the scene of her early triumphs, and again to appear at the Theatre, her previous connection with which formed one of the most brilliant epochs in operatic history. Mdme. Grisi will once more undertake some of the parts which she created, and in her impersonations of which will be revived the traditions obtained direct from Rossini, Donizetti, and Bellini. These representations can only extend for a few nights, and they will derive additional interest from the fact that Mdlle. Titiens has consented to take part in them as a mark of respect to one who for so many years reigned absolutely without a rival on the lyric stage."
I was justified in making this announcement in consequence of the magnificent style in which Mdme. Grisi had been singing during our spring opera tour.
Grisi seemed interested and affected by her return to the old house of which she had taken leave twenty years previously. The old habitués came in large numbers to see her, to hear her, and naturally to support her with their applause on her first (which proved also to be her last) appearance. This took place on the evening of May 5, 1866. The Prince and Princess of Wales were both present.
When the gondola came down, from which, in the first act of Lucrezia Borgia, the heroine makes her entry, there was breathless attention throughout the house. The great vocalist had the command of all her resources, and sang the two verses of "Com'è bello" admirably, omitting, according to her custom, the cabaletta, which Titiens and all other "Lucrezias" made a point of giving.