In former times the London season was set by the opera; and its beginning usually coincided with the arrival of the singers from abroad, who in those days had to cross in sailing vessels, and would only come in fine weather.
Returning to London in the latter part of February, I decided on opening the Royal Italian Opera early in March; for which purpose I formed an admirable Company, consisting in the prima donna department of Mdlle. Alma Fohström, Mdlle. Emma Nevada, Mdlle. Jenny Broch, Mdlle. Marie Engle, Mdlle. Lilian Nordica, Mdlle. Louise Dotti, Mdlle. Hélène Hastreiter, Mdlle. Borghi, Mdlle. Bauermeister, Mdme. Lablache, Mdlle. Rosina Isidor, and Mdme. Minnie Hauk; my tenors being Signor Ravelli, M. Caylus, and Signor Garulli; my baritones Signor Padilla, Signor Del Puente, and M. Lhérie; with Signor Miranda, Signor Vetta, Signor de Vaschetti, and Signor Foli as basses, Signor Ciampi as buffo, and Signor Logheder as musical conductor—in which capacity he proved most efficient. I moreover introduced two danseuses of remarkable excellence, Mdlle. Dell'Era and Mdlle. Hayten; both of whom must have left a favourable impression.
The novelties I produced were Leila (Bizet's Pêcheurs de Perles); and Gounod's Mirella, for the first time since twenty-five years. Thus Mirella was practically a new opera. Both works were newly mounted, and both made their mark artistically.
But the season being a short one, and having no spare capital, I could not resort to my old Faust and Carmen plan and hammer the music of Leila into people's heads. Consequently my production of the work did not meet with the financial success it should have done. The day will, however, come when it will form an attractive gem in the operatic crown. Leila is readily accepted all over the Continent; and even in Italy has been the mainstay of some twelve or fourteen opera-houses. Here, unfortunately, at its first production, many of the Pressmen were absent; and at its repetition no further notice was taken of it—though numbers of the public rely entirely upon what the newspapers say for their opinions and views.
The same fate awaited Gounod's Mirella—another most charming opera, in which Mdlle. Nevada sang to perfection.
The season continued for upwards of eight weeks, and was a pronounced success, both artistically and financially. It terminated about the middle of May. As I knew that London would be full of strangers on account of Her Majesty's Jubilee, I rented Her Majesty's Theatre, and on taking possession of it discovered it to be in a most desolate state. There was not a scene or a rope in working order, and the interior of the theatre was in a most deplorable condition, entailing upon me considerable expense for cleaning and restoring, painting, papering, carpeting, etc. There was nearly a mile of corridors and staircases to whiten, paper, paint, and carpet.
I opened a fortnight afterwards, when I again brought forward a powerful Company, including such valuable new-comers as Mdlle. Lilli Lehmann, Mdme. Trebelli (after an absence of eight years), and Mdlle. Oselio.
The season commenced most auspiciously on Saturday, June 4. But soon there was a difficulty with the orchestra, for there were now two other Italian Operas going on. It was impossible to induce the players I had engaged to attend rehearsals. There were Philharmonic, Richter, and other concerts in full swing; and although I paid them weekly salaries I could never command the services of my musicians for rehearsal, even though I closed my theatre at night for the purpose. I therefore had to suspend the representations for a week and form another orchestra, in order that I might sufficiently rehearse Boito's Mefistofele, which I had then in preparation. Ultimately I succeeded in bringing out that work, when, as on its first performance, it met with considerable success. This was followed by the rentrée of Mdlle. Lilli Lehmann in Beethoven's Fidelio, which was probably the grandest and most perfect performance given in London for many years. In the meantime I placed Bizet's masterpiece, Leila, in rehearsal.
About this time the Royal Jubilee excitement began, followed by extremely hot weather; and notwithstanding the brilliant performances given the house was empty nightly, the public preferring the free show they got out of doors, in the shape of processions, illuminations, etc., to performances at the theatre, where the temperature was now averaging 90°, notwithstanding all I did to keep it cool.