In 1856 the prima donna appeared in London at Her Majesty's Opera House in "Tancredi," "Lucrezia Borgia," and as Romeo. In 1859 she married Herr Jackmann; two years later she lost her voice suddenly, and started on a second career as an actress, in which she made her name no less surely than as a singer. In this, Johanna Wagner resembled Geneviève Ward, for that famous tragédienne only entered upon a career of acting after having sung in opera under the name of Ginevra Guerrabella. With her, too, it was owing to loss of voice in consequence of overstrain that the change of career was adopted.
The training of Johanna Wagner by Garcia raises an interesting point in connection with German singing. Richard Wagner was so delighted upon hearing the improvement in his niece's voice on her return from Paris, that he wrote the maestro a letter full of the warmest recognition of the progress which she had made under his tuition.
But the gratitude did not end here: over twenty-five years later there came a very signal proof of the extent to which he had been impressed with Garcia's powers, for, when he was making the arrangements for the first Bayreuth Festival, he wrote to his old friend, asking whether he would undertake the training of the singers who were to take part in it. Garcia was so busy with his teaching in London at this time that he was unable to accept the offer; but the mere fact that he was asked to do this is a very material answer to those who would have it that Wagner's music is not supposed to be treated according to the Italian ideals, but should be rendered in the style of Sprechgesang, which has been a current German cry.
After the publication of his 'Mémoire sur la Voix,' Señor Garcia had continued to labour incessantly in perfecting his method, and in 1847 (the year in which Jenny Lind made her triumphant début in London as Alice in "Roberto," took the town by storm, and earned the name of the "Swedish Nightingale") this culminated in the publication of what is without question the most valuable contribution to the books upon the study of singing. It was issued in two parts, under the title of 'Traité complet de l'Art du Chant,' and was dedicated to King Oscar I. of Sweden, as a tribute to the nationality of the greatest of the maestro's pupils.
The work was translated into various languages, and thereby gained a world-wide reputation. The 'Traité' was acknowledged on all sides to be invaluable, and it laid the foundations of all important subsequent investigations into the emission of the voice.
As to Garcia's treatment of his pupils, he exhibited ever the most untiring patience. The infinite pains he took with them never failed to win their affection as well as their admiration, and this undoubtedly contributed in some considerable degree to the progress which they made under his care. A story has been told by Jourdan, which gives a good illustration of the great master's care of his pupils.
One day, being upset and ruffled at some remarks made upon his singing by the maestro, Jourdan left the class in a temper, and did not return for the next lesson. Garcia, noticing his absence, went to his lodging, a small room on the fifth floor, and took the young student by the ear, saying, "Come along, méchant garçon, come and have your lesson."
And now we come to 1848, the year in which Manuel Garcia terminated his residence in Paris.
He did so in consequence of the Revolution, which flared up on February 24, and finally resulted in the flight of Louis Philippe. It was during these disturbances that the maestro was sought out by Julius Stockhausen, a lad of twenty-two, who was eventually to become one of Germany's greatest teachers and singers. Of this period Herr Stockhausen sent me some reminiscences, and in reproducing them there is a pathetic interest, owing to the fact that two days after their arrival from Germany the lieder-singer passed away in his eighty-first year.
"I first made the acquaintance of the maestro," writes Herr Stockhausen, "in 1848. The year had begun with much unrest, and on February 24 the Revolution broke out. Owing to the absence of the friend under whose roof I was residing at the time, I was obliged to enter the National Guard as a substitute. As such I presented myself before the maestro in full uniform. He received me very kindly, for a relation of mine, Frau Reiter, who had already been studying with him, had spoken a few words of recommendation on my behalf.