On my opening night I presented La Sonnambula, when Mdme. Etelka Gerster, after an absence of two years, renewed her triumphs in America. The rival house presented Gounod's Faust, with Christine Nilsson as "Margherita," Scalchi as "Siebel," Novara as "Mephistopheles," Del Puente as "Valentine," and Campanini as "Faust;" a fine cast and perfectly trained, since all these artists had played under my direction and did not even require a rehearsal. After a few nights I began to discover that the counter attraction of the new house was telling considerably against me, and I informed the Academy Directors of my inability to contend against my rival with any degree of success, unless I could have a small amount of backing.
After consultation, several stockholders signed a paper, each for a different amount, which totalled up to something like £4,500, which I had previously calculated would be about the amount required to defeat the enemy. This was guaranteed by them to the Bank of the Metropolis on the understanding that I should never draw more than £600 a week from it, and then only in case of need.
The Manager of the rival Opera-house had fired off all his guns the first night; and after a few evenings, as soon as the public had seen the interior of the new building, the receipts gradually began to decline. In the meanwhile, I was anxiously expecting notice of Adelina Patti's approaching arrival. I, therefore, arranged to charter sixteen large tug boats, covered with bunting, to meet the Diva; eight of them to steam up the bay on each side of the arriving steamer, and to toot off their steam whistles all the way along, accompanied by military bands. All was in readiness, and I was only waiting for a telegraphic notification. Some of the pilots at Sandy Hook, moreover, had promised to improvise a salute of twenty-one guns; and Arditi had written a Cantata for the occasion, which the chorus were to sing immediately on Patti's arrival.
By some unfortunate mistake, either from fog or otherwise, the steamer passed Fire Island and landed la Diva unobserved at the dock, where there was not even a carriage to meet her. She got hustled by the crowd, and eventually reached her hotel with difficulty in a four-wheeler. The military bands had passed the night awaiting the signal which I was to give them to board the tugs.
On learning of Mdme. Patti's arrival, I hurried up to the Windsor Hotel, when I was at once received.
"Is it not too bad?" she exclaimed, with a comical expression of annoyance. "It is a wonder that I was not left till now on the steamer. As it was, by the merest chance one of my friends happened to come down to the dock and luckily espied me as I was wandering about trying to keep my feet warm, and assisted me into a four-wheeler. However, here I am. It is all over now, and I am quite comfortable and as happy as though twenty boats had come down to meet me."
She then agreed to make her début three days afterwards in La Gazza Ladra.
On the second night of the opera we had a brilliant audience for Rigoletto, Mdme. Gerster undertaking the part of "Gilda," which she sang with rare delicacy and brilliancy of vocalization, so that "Brava's!" rang throughout the entire audience.
My new tenor, Bertini, who likewise made his début on this occasion, produced but little effect, either vocally or dramatically. In the "La Donna è Mobile" he cracked on each of the high notes, whilst in the "Bella Figlia" quartet his voice broke in a most distressing manner when ascending to the B flat, causing loud laughter amongst the audience.
I was therefore under the necessity of sending him the following letter the next morning:—