A tug followed the steamer up the bay with a band of music on board; and, to tell the truth, I was very glad to get out of the place in order that I might have a little relaxation.
CHAPTER VI.
ROYAL ITALIAN OPERA LIQUIDATES—GETTING PATTI OFF THE SHIP—HENRY WARD BEECHER'S CIDER—PATTI'S SILVER WEDDING—A PATTI PROGRAMME OF 1855—A BLACK CONCERT.
AFTER my departure the Directors of the Metropolitan Opera-house, convinced that they could make no arrangement with me in consequence of my engagement with the Directors of the Academy, which had still a year to run, took further steps towards securing Mr. Gye as manager; and it was proposed that he should open his season at the new theatre on November 10th, to continue for thirteen weeks. The negotiations were conducted on his behalf by his agent, Mr. Lavine. The stockholders of the Metropolitan Opera reserving seventy of the best boxes for themselves, Mr. Gye was to have the house rent free, together with a guarantee against loss, and £200 for each performance. This sum was ultimately raised to £300 for each performance.
Seeing another opera looming in the distance, I at once set to work by re-engaging Mdme. Adelina Patti on her own terms of £1,000 a night; likewise Mdme. Scalchi, Galassi, and Arditi, thus forming a very strong nucleus to start with. I afterwards learned that Gye had been making overtures to Mdme. Patti, Galassi, and others; but fortunately they had already signed contracts with me.
The Metropolitan Directors next dispatched their able attorney, George L. Rives, to Europe for the purpose of completing the arrangements with Gye.
Shortly after my return to London I learned that the Royal Italian Opera, Limited, had gone into liquidation. This, of course, snuffed out at once Gye's contract with the Metropolitan Opera Directors, who being now left without an impresario contemplated diverting the grand building to other purposes. They ultimately, however, resolved to try a German Opera rather than have no Opera at all, and they dispatched their energetic secretary, Mr. Stanton, to Europe for the purpose of engaging artists, Dr. Damrosch being appointed orchestral conductor.
During the summer months I visited various parts of the Continent for the purpose of obtaining the best talent I could find for the coming contest. Various meetings were held by my Academy stockholders in New York when they at length began to realize the justice of my demands for assistance, as it could not be expected that 200 of the best seats, for which no payment whatever was to be made, should be occupied for listening to Mdme. Patti, who was receiving £1,000 a night. After various meetings, a resolution was passed by which they agreed to give me a nightly assessment of four dollars a seat for the proscenium boxes, three for the other boxes, and two for the seats elsewhere, which during my season it was estimated by them would produce some £6,000; and a cable was sent me to that effect in order to obviate the trouble we had all fallen into in the previous year. At the same time the Directors passed a resolution to keep the theatre closed in case I did not accept their promised support.
About this time a young singer named Emma Nevada was attracting considerable attention in Europe, and after some difficulty I succeeded in adding her name to my already powerful list, which, however, did not include that of Madame Christine Nilsson, as I had contemplated; that lady having cried off at the last moment without any valid reason, after I had accepted all her conditions.
In due course the New York prospectus was issued, and a very fine subscription was the result, the demand for boxes being particularly brisk.