During our stay in Philadelphia Mdlle. Marimon, who had met with such great success two evenings previously, was announced to appear as "Dinorah." About six o'clock in the afternoon she sent word that she would be unable to sing. All persuasion on my part was useless. However, as I was descending the staircase of the hotel I met Brignoli, who on hearing of my trouble declared that he had a remedy and that he felt sure he could induce Mdlle. Marimon to sing. He made it a condition, however, that in case of success I should re-engage him for the approaching London season. To this I readily consented, and I was greatly surprised at hearing within half an hour that Mdlle. Marimon and her maid had gone on to the theatre. This was indeed a relief to me, as nearly every seat in the theatre had been sold, Meyerbeer's romantic opera not having been performed in Philadelphia for some twenty years.
On the rising of the curtain Mdlle. Marimon's voice was inaudible. She was very warmly greeted, and went through all the gestures of the part; played it, in short, pantomimically. At the close of the act I went before the curtain, and announced that Mdlle. Marimon's voice, instead of recovering itself, was going gradually from bad to worse; and that the shadow scene in the second act would have to be omitted; but that, to compensate the public for the disappointment, Signor Campanini, who was then present in one of the boxes, had kindly consented, together with Miss Cary, to give the concluding acts of Il Trovatore. This at once restored the depressed spirits of the audience.
Miss Cary surprised everyone by the dramatic force of her "Azucena." Galassi was equally effective in the rôle of the "Count di Luna." But Campanini, in Di quella pira, met with more than a success: it was a triumph. The house broke into rapturous applause, and cheered the singer to the echo. At the conclusion he was loaded with flowers. Thus I avoided the misfortune of having to close the theatre.
On returning home to supper I discovered the "remedy" Brignoli had employed, which was this: He presented himself on leaving me to Mdlle. Marimon, and informed her that he understood Mapleson meant to close up the Opera-house that evening, and charge her the value of the receipts, then estimated at nearly £1,000. He, therefore, advised her to go to the theatre, even if she walked through the part.
One or two newspapers the following morning insisted on regarding my speech of the previous evening as a melancholy joke. I had announced that Mdlle. Marimon was physically unable to fulfil the demands of her rôle, and that she would omit the shadow song. But, said the papers, her efforts throughout the evening had all been shadow songs, the little lady having been absolutely voiceless.
Mdlle. Marimon, however, in settling up the account some weeks afterwards, charged me £120 for this performance, arguing that she had appeared and done her best under the circumstances.
CHAPTER XVI.
SIR MICHAEL AND HIS CHEQUE—SIX MINUTES' BANKRUPTCY—SUCCESS OF "LOHENGRIN"—PRODUCTION OF "MEFISTOFELE"—RETURN TO NEW YORK—"LOHENGRIN" UNDER DIFFICULTIES—ELSA'S TAILS—CINCINNATI OPERA FESTIVAL.
I BEGAN my London season of 1880 a few days after my return from the United States, Mdme. Christine Nilsson appearing as "Margherita" in Faust on the opening night, followed by La Sonnambula, Carmen, Aida, etc., also Lohengrin, for which I had specially entered into an engagement with Richter, who after some fifteen rehearsals declared the work ready for presentation. He at the same time informed me that on looking through the orchestral parts he had discovered no less than 430 mistakes which had been passed over by his predecessor, Sir Michael Costa, and which he had corrected.
About this time law proceedings were pretty hot between myself and Sir Michael Costa, and as they led to my becoming a bankrupt for about six minutes, I may as well explain to the reader how this occurred.