In the midst of these difficulties I caught a severe cold and found myself one morning speechless. I was surprised that afternoon to find a bottle of unpleasant sticky-looking mixture left with the hall-keeper, accompanied by a letter strongly recommending it from an admirer, who had heard, with sorrow, that I had taken cold. Not liking the smell of it, I sent it to an apothecary's for analysis, when it was found to contain poison. Fortunately I had not tasted it.
Finding myself so heavily handicapped, I decided, pending the preparation of Manon, to get ready Auber's Fra Diavolo, which had to be rehearsed under the same difficulties. I, however, succeeded in producing it on the 20th November, and an excellent performance we gave. Fohström was charming as "Zerlina," and in the rôles of the two brigands, Del Puente and Cherubini were simply excellent. I have seen many performances of Fra Diavolo in London with Tagliafice and Capponi, whom I considered admirable; but on this occasion they were fairly surpassed in the brigands' parts by Del Puente and Cherubini. The part of "Fra Diavolo" was undertaken by Ravelli, and the scenery and dresses were entirely new; the former having been painted on the roof of the theatre, either late at night or early in the morning, with the finishing touches put in on the Sundays.
The majority of my stockholders were careful to remain away, thus leaving a very bare appearance in the proscenium boxes. They, too, were siding with the enemy, or had not quite recovered from the three-dollar assessment which they had been called upon to pay for Patti the previous year. All these intrigues, however, marked in my mind the future downfall of the Academy and its stockholders, the house being now "divided against itself."
I will quote from the Evening Post, a paper hostile to my enterprise, a criticism on the Fra Diavolo performance:—
"Fra Diavolo, as presented at the Academy last evening, was by far the most enjoyable performance given by Mr. Mapleson's Company for a long time. There was an element of brightness and buoyancy in the acting and singing of all the principals that admirably reflected the spirit of Auber's brilliant and tuneful score. Next Monday, when the season of German Opera opens at the Metropolitan with Lohengrin, there will be doubtless hundreds who will be unable to secure seats. All such we earnestly advise to proceed straight to the Academy next Monday, where Fra Diavolo will be repeated; not only because they cannot fail to enjoy this performance, since it is an entertaining opera entertainingly interpreted, but because Mr. Mapleson ought to be encouraged, when he undertakes to vary his old repertory.... Ravelli sang admirably last evening, and so did Fohström, who acted her part with much grace and dainty naïveté. Lablache, Del Puente, and Cherubini were unusually good and amusing. The Academy, we repeat, ought to be crowded on Monday next."
The production of Fra Diavolo gave great satisfaction. Meanwhile, I made another attempt to continue my rehearsals of Manon. Not only was I excluded from the stage by the hammering and knocking of this new Anglo-German Opera Company, but they turned one of the corners of the foyer into a kind of business office, where their chatterings greatly interrupted my rehearsals with pianoforte. These, at least, I thought, might be managed within the theatre.
On ordering an orchestral rehearsal at Steinway Hall the following morning I was surprised to find that Mr. Thomas and his orchestra had actually gone there before me; and I had to dismiss my principal singers, chorus, and orchestra for a couple of hours, when with difficulty I was enabled to make a short rehearsal.
This went on day after day much to my annoyance. The Directors now began troubling me to pay the rent; to which I replied that I would willingly do so as soon as they performed their portion of the contract by allowing me to rehearse.
About this time I was challenged to meet the Rev. H. Haweis, author of Music and Morals, in a discussion on Wagner to be held at the Nineteenth Century Club, at which a great number of the fashionables of New York were present. After a brief introductory address, Mr. Courtlaudt Palmer, President of the Club, introduced the Rev. Mr. Haweis. His paper was a running series of anecdotes about Wagner, many of them keeping the audience in a continual laugh. He then made an onslaught on Italian Opera, assuring the audience that its days were numbered, that Wagner for the future was the one composer of dramatic music, and that every support should be given to his works now being represented at the Metropolitan Opera-house.
When he had concluded I rose and said, "You have told us much about Wagner, but nothing about his music. I trust I am not unparliamentary when I say that if he is to be judged by the effect of his works on the public—works that have now been for years before the world—Wagner is an operatic failure, and that what the Rev. Mr. Haweis has told us about his operas is sheer nonsense. One question he puts to me is: 'Did I ever lose money by Wagner?' I say emphatically, 'yes.' I once brought over all the material for his trilogy, the Ring des Nibelungen, from Munich to London, where it was to have been produced (according to one of the conditions of the agreement) under the supervision of Wagner himself. The master did not come; but his work was produced under a conductor of his own choice, and when the series had been twice given about six thousand pounds had been lost.