Long before the theatre opened we had abundant signs of a prosperous season, and as the event drew near money poured in from various sources. We received in private subscriptions as much as £12,000. The booksellers' subscriptions amounted to £29,000 more, and in the course of the season the box-office sales alone brought in another £29,000. Altogether, counting profits from the Floral Hall concerts and sums received for the services of singers at public as well as private concerts, we received during the season of 1869 a grand total of £80,000.
On the other hand, we paid away in artists' salaries £22,000; for working expenses (including chorus), £13,000; orchestra, £7,500; sundry charges, £2,000.
Our whole expenditure came to £44,000, leaving us a clear profit of about £36,000.
Out of my half-share of this profit I had to pay for insurance and poor rates £3,000. Against this Mr. Gye put the use of the theatre, which was his property.
By our articles of partnership Mr. Gye had stipulated that he should "take no part in the management of the theatre unless he wished to do so." This wish came upon him after about a fortnight.
Our success during this season proved that though two rival Italian Operas can scarcely be carried on without loss on both sides, one Italian Opera can be made the source of very considerable profit. Even, however, with a monopoly there are two things essential to success. The operatic manager who would prosper must appeal to the public with a very strong Company, and with new works. Such casts as we secured for some of the recognized masterpieces of dramatic music could not fail to fill the theatre.
Among the new works or revivals produced at the Royal Italian Opera during the season of 1869 may be mentioned: Fidelio, The Magic Flute, Robert le Diable, Cherubini's Medea, Hamlet (first time in England), with Nilsson as "Ophelia," and Don Bucefalo (also first time in England). Medea had before been given at my own establishment with Mdlle. Titiens in the tragic part of the heroine. In Le Prophète, Titiens and Mongini appeared together, Titiens, of course, as "Fidès," Mongini as "John of Leyden." Don Giovanni was played with Titiens as "Donna Anna," Nilsson as "Donna Elvira," and Patti as "Zerlina;" while the part of the dissolute hero was taken by Faure, and that of "Don Ottavio" by Mario.
About this time the secret oozed out that Mr. Jarrett, who had come with me from Her Majesty's Theatre to the Royal Italian Opera, had made engagements with Mongini, Ilma de Murska, Trebelli, Christine Nilsson, Santley, Foli, Faure, and Arditi. Mr. Jarrett, who in after years became known as the agent of Mdme. Nilsson, and especially of Mdlle. Sarah Bernhardt, held at that time a post with vague duties attached to it at the Royal Italian Opera, as previously at Her Majesty's Theatre, which during the combination season of 1869 was being rebuilt. Jarrett also acted as agent to Mongini, Ilma de Murska, Trebelli, and Bettini—Mdme. Trebelli's husband. Many years before he had been in partnership with Mr. George Wood, representing the firm of Cramer and Co., the well-known music publishers, for the direction of an Opera Company, and had been left by his associate in the lurch, Mr. Jarrett being called upon to meet single-handed liabilities which would have been far too much even for the partners combined.
Nor was Jarrett particularly well disposed towards the manager of the Royal Italian Opera, in whose orchestra he had once played the horn, and who in one of those orchestral strikes so common in the history of Opera-houses had taken a leading part as against the manager. Mr. Gye had thereupon dismissed him; and he now objected to have in his employment an agent receiving percentage on the salaries of his singers.
If, then, in the opposition he proposed to organize against the Royal Italian Opera Jarrett injured Mr. Gye, he would not be sorry; while if as a result of a failure at Drury Lane he injured Mr. Wood, he would be very glad. Naturally, however, he worked chiefly with a view to his own success.