For the first time in New York Massenet's famous opera MANON: words by MM. H. Meilhac and Ph. Gille. Mr. Mapleson has secured the sole right of representation, for which M. Massenet has made several important alterations and additions. "The Chevalier des Grieux," Signor Giannini; "Lescaut," Signor Del Puente; "Guillot Morfontaine," Signor Rinaldini; "The Count Des Grieux," Signor Cherubini; "De Bretigny," Signor Caracciolo; "An Innkeeper," Signor de Vaschetti; "Attendant at the Seminary of St. Sulpice," Signor Bieletto; "Poussette," Mdlle. Bauermeister; "Javotte," Mdme. Lablache; "Rosette," Mdlle. de Vigne; and "Manon," Mdme. Minnie Hauk. Gamblers, croupiers, guards, travellers, townsfolk, lords, ladies, gentlemen, &c., &c. The action passes in 1721. The first act in Amiens; the second, third, and fourth in Paris. The last scene, the road to Havre.
Also Vincent Wallace's opera, MARITANA. For the first time on the Italian stage, by special arrangement with the proprietors. The recitatives by Signor Tito Mattei. "Don Cæsar de Bazan," Signor Ravelli; "The King," Signor Del Puente; "Don Josè," Signor De Anna; "Il Marchese," Signor Caracciolo; "La Marchesa," Mdme. Lablache; "Lazarillo," Mdlle. De Vigne; and "Maritana," Mdlle. Alma Fohström. Mdme. Malvina Cavalazzi will dance the Saraband.
Likewise Auber's FRA DIAVOLO. "Fra Diavolo," Signor Ravelli; "Beppo," Signor Del Puente; "Giacomo," Signor Cherubini; "Lord Allcash," Signor Caracciolo; "Lorenzo," Signor De Falco; "Lady Allcash," Mdme. Lablache; and "Zerlina," Mdme. Alma Fohström.
Ambroise Thomas' opera, MIGNON, will be also presented. "Mignon," Mdme. Minnie Hauk; "Wilhelm," Signor Del Falco; "Lothario," Signor Del Puente; "Laertes," Signor Rinaldini; "Frederick," Mdlle. De Vigne; "Giarno," Signor Cherubini; "Antonio," Signor De Vaschetti; and "Filina," Mdlle. Alma Fohström."
The list of singers, which I give above in extenso, would have done honour to any theatre in Europe. But, alas! the magic name of Patti not being included had at once the effect of damaging seriously the subscription. In addition to this, a strong leaning showed itself on the part of my New York supporters towards the German Opera at the Metropolitan House; while a newly-formed craze had been developed for Anglo-German Opera, or "American Opera," as it was denominated. The prospectus of the latter setting it forth as a "national" affair, everyone rushed in for it, and considerable sums of money were subscribed. Its projectors rented the Academy of Music where I was located. The upshot of it was that a considerable number of intrigues were forthwith commenced for the purpose, if possible, of wiping me entirely out. I will mention a few of them in order that the reader may understand the position in which I was placed. Just prior to leaving England, and after I had completed my Company, I was informed by the Directors that I should be called upon to pay a heavy rental for the use of the Academy, my tenancy, moreover, being limited to three evenings a week and one matinée.
Having made all my engagements, I was, of course, at their mercy, and it was with the greatest possible difficulty that I could even open my season, as they began carpentering and hammering every time I attempted a rehearsal. However, I succeeded in making a commencement on the 2nd of November with a fine performance of CARMEN, cast as follows:—
"Don José," Signor Ravelli; "Escamillo (Toreador)," Signor Del Puente; "Zuniga," Signor De Vaschetti; "Il Dancairo," Signor Caracciolo; "Il Remendado," Signor Rinaldini; "Morales," Signor Bieletto; "Michaela," Mdlle. Dotti; "Paquita," Mdlle. Bauermeister; "Mercedes," Mdme. Lablache; "Carmen" (a Gipsy), Mdme. Minnie Hauk.
The incidental divertissement supported by Mdme. Malvina Cavalazzi and the Corps de Ballet.
This was followed by an excellent performance of Trovatore, in which Mdlle. Litvinoff, a charming Russian soprano from the Paris Opera, made a successful appearance, supported by Lablache, De Anna, the admirable baritone, and Giannini, one of the favourite tenors of America, who after the Pira was encored and recalled four times in front of the curtain. I afterwards introduced Mdlle. Alma Fohström, who had made such a great success during my London season at the Royal Italian Opera, Covent Garden.
On the occasion of my attempting a rehearsal two days afterwards of L'Africaine, I found the stage built up with platforms to the height of some 30 feet, which were occupied by full chorus and orchestra.