On April 3, 1859, began the forty-third season of oratorio with such singers as Mrs. J.H. Long and Miss Louisa Adams, sopranos; Adelaide Phillips, contralto; C.R. Adams, P.H. Powers and J.P. Draper, tenors; Edward Hamilton, George Wright Jr. and Carl Formes, bass; Carl Zerrahn, conductor; J.C.D. Parker, organist, and full orchestra. Among the productions rendered were: Magic Flute, David, Creation, Messiah, Moses in Egypt, Samson, Elijah, etc., with Clara Louisa Kellogg, soprano; Isabella Hinkley, soprano; Adelaide Phillips, contralto; Signor Stigelli, tenor; Signor Guilmetti, bass.
Grand opera began the season of 1861 and I had my first opportunity to hear an opera given by such a galaxy of fine artists, being a member of the Handel and Haydn Society, and assisting in the chorus and also a member of the celebrated choir in Dedham, Mass., I was enabled to have especial advantages to hear this grand music. "La Juive" was the first with Mme Colson, Hinkley, Signor Stigelli and Susini as Cardinal; Sig. Hartman, Mancini, Barilli, Sig. Sheele. Martha with Colson, Phillips, Brignoli, Susini, Arili, Mancini; Il Giuramento with Colson, Phillips, Brignoli, Farri; Lucia di Lammermoor with Isabel Hinkley, Sig. Ferri, Sig. Lotti, Stigelli and N. Birelli.
At the close of the season, January 28, Sig. Stigelli was prevailed upon to give a farewell concert in Boston Music Hall, assisted by the Oratorio Society and Orpheus Musical Society. Soloists for the occasion were Mlle. Carlotta Patti, who sang the aria from the Magic Flute, Carl Formes, basso profundi, Signor Stigelli, tenor. It was a gala night and every seat was filled at the exact hour to hear for the last time the famous tenor who had sung himself into the hearts of the people by his beautiful voice and exquisite singing of the different arias of the opera in which he excelled. The hall was crowded to overflowing. Never had I beheld such beautifully gowned women and brilliant lights; the tremendous chorus and the full orchestra left a lasting impression upon me which cannot be erased by time. It is over fifty years since I saw such gorgeous splendor and heard the marvelous singing of these birds of song. The singing of Mlle. Carlotta Patti was a revelation almost beyond my conception. I heard her in 1861 and heard Adelina in 1886, twenty-five years afterwards, and of the two sisters I'd give Carlotta the preference. Her trills were like warblings of the birds and filled the auditorium and floated to the high arched ceiling of the cupola in the center of the hall and sounded like a chorus of birds rejoicing over the advent of their nestlings. Words are not adequate to explain the beautiful work of this petite singer and the reception she received on this occasion. This concert was my first opportunity to hear such artists. They were singers and players of the highest art.
It was to me not real. The music that I had heard and sung before was sacred, on the Sabbath, and in songs familiar at that time, Home, Sweet Home, Swanee River, Mary of Argyle, etc., and songs moderately difficult, anthems and Te Deums and German leider were all we aspired to. Others than these were not to be thought of. Nothing worldly was tolerated. The minister's daughters must always be proper in all walks of life. In 1846 when Jenny Lind made her tour of the world my sister Mary was the fortunate one to be able to hear her. All of her beautiful songs were in vogue and I was familiar with them, as my sister was a fine singer. She obtained these songs and although it is over sixty-six years ago I still have a great number of them, yellow with age, published by Pond and Company, and Oliver Ditson Company. These publishing houses were founded during my early life, Ditson and Company began in 1834 and I was born in 1836. When I was ten years old I was sent to these places to purchase the music sister required in her teaching, church and home songs. For sixty-seven years I have patronized the house of Ditson and Company. The original men have passed out and the sons are now the members of the firm. Only this year I received a cheery holiday greeting from the firm. I have digressed somewhat and gone back to my girlhood days in Cincinnati.
Let us return again to Boston fifty years ago and listen to this fine concert given in Boston Music Hall. It is almost impossible for me to describe the grandeur of this magnificent chorus and the orchestra and grand organ with Carl Zerrahn directing this multitude of singers and players and Howard Dow at the organ, playing with such a masterful touch. The brilliant audience listened with marked attention to this beautiful music and the stillness was only broken by the mighty applause of approval at the close of the grand performance and the repeated recall of the artists who deserved all of this great demonstration. The first great concert was but the beginning of my career. In the four years I had opportunities that were of a lasting profit to me. It was the cradle of my musical life and I often go back in my mind and see those beautiful singers I learned to love as friends and companions in song. Friends made then have lasted as long as life. All have passed beyond and only five or six of the galaxy of male and female singers of that time are left to remember with pleasure the days of Auld Lang Syne.
During this period of 1861 the Civil War broke out and every patriotic man and woman was called into action. The union of the states must be preserved. The excitement was intense. Volunteers were called for and business men, clerks and rich men enrolled at once and soon our boys and men were drilling for the march to the south. It was not many weeks before the order was given to march. The first fire had been heard at Fort Sumter and the American citizen soon became a soldier and as the call was given he marched away. Shall I ever forget the sight of those splendid young men as they marched away, company after company. As I saw them in the strength of their manhood going to their destruction, my heart wept inwardly knowing many of them would never return. But those at home had no time for repining, and we were called upon also to supply the needs of the soldier who was fighting for us with willing hands and stout heart. Each one kept busy. Our choir was enlisted when the call came for funds, and faithfully we all responded. Many choirs were united by Edwin Bruce, and we were at once formed into a chorus of willing singers, great and small, in the realms of music, and in several months were well equipped for the work of raising funds for the war needs. The chorus was formed from Dr. Burgess' choir of Dedham, Newton Musical Association, Boudoin Street choir, Church of the Unity choir, the Bullfinch choir, number 200 voices in all. We were known as the Operatic Bouquet of artists. Our repertoire consisted of national and martial songs, our choruses selected from the following great compositions:
Il Trovatore, Verdi; Lucrezia Borgia, Donizetti; Martha, Flotow; Semiramide, Rossini; War Songs (male voices), Adams; Bohemian Girl, Balfe; I Puritani, Bellini; Maritana, Wallace; Masaniello, Auber; Enchantress, Balfe; Hark, Apollo, H.R. Bishop; Enchantress (male voices) Balfe; solo and choruses from Lucrezia Borgia, Donizetti; Hail to the Chief, Il Templario, Nicolai; quintette and chorus from Martha, Flotow; Miserere, from Il Trovatore, Verdi; Chorus of Martyrs, Donizetti; La Fille Du Regiment, Donizetti; chorus from Maritana, Wallace; chorus from Il Lombardi, Verdi; trio and chorus, Attila, Verdi; solo and chorus, Martha, Flotow; trio, Charity, Rossini; trio and chorus, Ernani, Verdi; chorus, full, Gibby La Cornemuse, Clapisson.
In the spirit of the times these two hundred voices trained especially for the occasion, it was not to be wondered at that success followed our efforts. Whenever we were called old Tremont Temple was filled to the doors. Our treasury was never depleted during all the months we were doing service in the cause of the soldier and his needs. Boston Music Hall, churches in the smaller cities were always filled to overflowing whenever we appeared in Dedham, Medford, Roxbury and Old South Church. For nearly two years this work went on. In 1862 my husband decided to come home once more, as there was less need for our services. We were in Santa Cruz when the war ended, still helping the cause through the Christian Sanitary Commission, founded at the beginning of the rebellion. Money was supplied through this medium, and through free contributions from the different states of the Union and churches and societies, etc. Having had much experience in the East we were enabled to be of great assistance to the musical people of Santa Cruz and made successful entertainments for the cause for the following year which aroused the patriotic fire in the hearts of the California defenders of the Union and crowned our efforts with success until the end of this dreadful war.
In 1869, Mr. Blake having failed in his business, we left Santa Cruz and returned once more to San Francisco to retrieve our lost fortune. Youth, hope and energy were my strong salient points and I began in earnest to gain a substantial footing in music. My opportunity came with the Lyster Opera troupe and through efforts of a friend, Mrs. Cameron, who was employed there as soprano, I secured a position at $20 per week during their season in San Francisco.