The former, a daughter of General Macintyre, was to be the best known of Garcia's pupils at Dr Wyld's London Academy of Music, where he taught for some twenty years. The prima donna during her training there carried off in turn the Bronze, Silver, and Gold Medals of the Academy. During the last year she had the honour of singing the soprano rôle in the performance of Liszt's oratorio "St Elizabeth," given at the London Academy Concert in the St James's Hall in honour of the composer's presence in London. Two years later she appeared as Michaela in "Carmen," winning instant success. Moreover, as we have already seen, she shared with Miss Thudicum the rôle of Rebecca in the production of "Ivanhoe," while shortly afterwards she took part in the Handel Festival of 1891. After this she sang with the greatest success as prima donna in the Grand Opera seasons at Milan, Moscow, and St Petersburg.
Marie Tempest arrived at the Royal Academy of Music in the Easter term of 1882, and remained there three years under Garcia, carrying off the Bronze, Silver, and Gold Medals of the Institution. The Academy was specially prolific of talent at this time, for among the students during these years were Eleanor Rees, Miss Thudicum, Edward German, Courtice Pounds, and several others who were to attain wide fame in the musical world.
Of her studies under Garcia Miss Tempest told me a couple of very characteristic anecdotes.
When Miss Etherington, as she was in those days, came for her first interview with the maestro (having arrived from a convent in France only a few days before), she was wearing a very tight-fitting dress of Stuart tartan, cut in the Princess style, which showed off her figure to advantage and drew attention to the nineteen-inch waist of which she was the proud possessor.
Garcia raised his eyebrows when he saw his prospective pupil step forward from the group of girls who were waiting their turn to be heard. However, nothing was said until her song, an Italian "aria," had been brought to a close. Then came a pause, while Marie Tempest tremblingly awaited the verdict on her voice. At last the oracle spoke. "Thank you, Miss Etherington; will you please go home at once, take off that dress, rip off those stays, and let your waist out to at least twenty-five inches! When you have done so you may come back and sing to me, and I will tell you whether you have any voice."
The assembled girls tittered audibly, and the unfortunate victim slunk out of the room with flaming cheeks.
"He was quite right, though," Miss Tempest concluded; "no one can sing when laced in as tightly as that. I went home, and—well, I've never had a nineteen-inch waist since."
The other episode concerned the Academy weekly concerts. Garcia generally had a pupil singing at these, and would sit in front, nodding, waving his hand, and generally doing his best to establish telepathic communication with the vocalists, that he might inspire them with his spirit. At one of these Marie Tempest was due to sing with orchestra an air from "Ernani," which had been carefully studied under her master.
The conductor waved his hand and the aria was commenced. After a few bars Manuel Garcia began to fidget in his seat, then to frown, and to beat time with his feet. At last the veteran could stand it no longer. He rose from his seat, leapt on to the platform—approaching his eightieth year as he was,—and seized the baton from the conductor's hand, exclaiming, "Mon Dieu! you are ruining my pupil's song. I will conduct it myself."
Shortly after this episode Miss Tempest, as a member of the operatic class, took part in a mixed performance which included an act from "Carmen" and another from the "Mock Doctor."