_Don Pedro_, Lolli (Guiseppe).

_Masetto_, the same.

Righini, of Bologna, had produced his opera of _Don Giovanni, ossia il Convitato di Pietra_, at Prague, only eight years before, for which reason the t.i.tle of _Il Dissoluto Punito_ was given to Mozart's work. It was not until some years afterwards that it received the name by which it is now universally known.

[Sidenote: DON GIOVANNI.]

Although the part of _Don Giovanni_ was written for a baritone, tenors, such as Tacchinardi and Garcia, have often played it, and frequently with greater success than the majority of baritones have obtained. But no individual success of a favourite singer can compensate for the transpositions and changes that have to be effected in Mozart's masterpiece, when the character of the hero is a.s.signed to a vocalist who cannot execute the music which of right belongs to it. It has been said that Mozart wrote the part of _Don Giovanni_ for a baritone, because it so happened that the baritone at the Prague theatre, Ba.s.si, was the best singer of the company; but it is not to be imagined that the musical characterization of the personages in the most truly dramatic opera ever written, was the result of anything but the composer's well-considered design. "_Don Giovanni_ was not intended for Vienna, but for Prague," Mozart is reported to have said. "The truth, however, is," he added, "that I wrote it for myself, and a few friends."

Accordingly, the great composer was not thinking of Ba.s.si at the time.

It would be easy, moreover, to show, that though the most feminine of male voices may suit the ordinary _jeune premier_, or _premier amoureux_, there is nothing tenor-like in the temperament of a _Don Giovanni_; deceiving all women, defying all men, breaking all laws, human and divine, and an unbeliever in everything--even in the power of equestrian statues to get off their horses, and sit down to supper.

[Sidenote: DON GIOVANNI.]

But, let us not consider whether or not _Fin ch' han dal vino_ is improved by being sung (as tenor _Don Giovannis_ sometimes sing it) a fourth higher than it was written by Mozart; or whether it is tolerable that the concerted pieces in which _Don Giovanni_ takes part should be, not transposed (for that would be insufficient, or, rather, would increase the difficulties of execution) but so altered, that in some pa.s.sages the original design of the composer is entirely perverted. Let us simply repeat the maxim, on which it is impossible to lay too much stress, that the work of a great master should not be touched, re-touched, or in any manner interfered with, under any pretext. There is, absolutely, no excuse for managers mutilating _Don Giovanni_; not even the excuse that in its original form this inexhaustible opera does not "draw." It has already lived, and with full, unfailing life, for three-quarters of a century. It has survived all sorts of revolutions in taste, and especially in musical taste. There are now no Emperors of Germany. Prague has become a third-rate city. That German Opera, which Mozart originated with his _Entfuhrung aus dem Serail_, has attained a grand development, and among its composers has numbered Beethoven, Weber, and the latter's follower, and occasional imitator, Meyerbeer.

Rossini has appeared with his seductive melody, and his brilliant, sonorous orchestra. But justice is still--more than ever--done to Mozart. The verdict of Prague is maintained; and this year, as ten, twenty, forty years ago, if the manager of the Italian Opera of London, Paris, or St. Petersburgh, has had for some time past a series of empty houses, he takes an opera, seventy-four years of age, and which, according to all ordinary musical calculations, ought long since to have had, at least, one act in the grave, dresses it badly, puts it badly on the stage, with such scenery as would be thought unworthy of Verdi, and hazardous for Meyerbeer, announces _Don Giovanni_, and every place in the theatre is taken!

Although Mozart's genius was fully acknowledged by the greatest musicians, among his contemporaries (the reader already knows what Haydn said of him, and what Cimarosa replied when he was addressed as his superior), his music found an echo in the hearts of only a very small portion of the ordinary public. Admired at Prague, condemned at Vienna, unknown in the rest of Europe, it may be said, with only too much truth, that Mozart's master-pieces, speaking generally, met with no recognition until after his death; with no fitting recognition until long afterwards. From the slow, strong, oak-like growth of Mozart's fame, now flourishing, and still increasing every day, we may see, not for his name alone, but for his music, a continued celebrity and popularity, which will probably endure as long as our modern civilization. I have already spoken of the effects of the last general war in checking literary and artistic communication between the nations of Europe. This will, in part, account for Mozart's master-piece not having been performed at the Italian Opera of Paris until 1811, nor in London until after the peace, in 1817. In the Paris cast, the part of _Don Giovanni_ was a.s.signed to a tenor, Tacchinardi; and when the opera was revived at the same theatre (which was not until nine years afterwards), Tacchinardi was replaced by Garcia.

The first "Don Giovanni" who appeared in London, was the celebrated baritone, Ambrogetti. Among the other distinguished singers who have appeared as "Don Giovanni," with great success, may be mentioned Nourrit, the tenor; Lablache (in 1832), before he had identified himself with the part of "Leporello;" Tamburini, and I suppose I must now add, Mario; though this great artist has been seen and heard to more advantage in other characters. The last great "Don Giovanni" known to the present generation was Signor Tamburini. It is a remarkable fact, well worth the consideration of managers, who are inclined to take liberties with Mozart's master-piece, that when Garcia, the tenor, appeared in London as "Don Giovanni," after Ambrogetti, the baritone, he produced comparatively but little effect; though Garcia was one of the most accomplished musicians, and, probably, the very best singer of his day.

Without going back again to the original cast, I may notice among the most celebrated Donna Annas, Madame Ronzi de Begnis, Mademoiselle Sontag, Madame Grisi, Mademoiselle Sophie Cruvelli, and Mademoiselle t.i.tiens.

Among the Zerlinas, Madame Fodor, Madame Malibran, Madame Persiani[77], and Madame Bosio.

[Sidenote: DON GIOVANNI.]

Among the Don Ottavios, Rubini and Mario.

Porto is said to have been particularly admirable as Masetto, and Angrisani and Angelini as the commandant.

Certainly, no one living has heard a better Leporello than Lablache.

Mr. Ebers tells us, in his "Seven Years of the King's Theatre," that _Don Giovanni_ was brought out by Mr. Ayrton in 1817, "in opposition to a vexatious cabal," and "in despite of difficulties of many kinds which would have deterred a less decided and persevering manager."

Nevertheless, "it filled the boxes and benches of the theatre for the whole season, and restored to a flourishing condition the finances of the concern, which were in an almost exhausted state."

[Sidenote: DIPLOMATISTS AND DANCERS.]

The war, so injurious to the Opera, had a still more disastrous effect on the ballet, a fact for which we have the authority of the manager and author from whom I have just quoted. "The procrastinated war," says Mr.

Ebers, "which, until the treaty of Aix-la-Chapelle, had kept England and France in hostilities, had rendered the importation of dancers from the latter country almost impracticable." Mr. Waters, Mr. Ebers'

predecessor, had repeatedly endeavoured to prevail on French dancers to come to England, "either with the _conges_, if attainable, or by such clandestine means as could be carried into effect." He failed; and we are told that his want of success in this respect was one cause of the disagreement between himself and the committee of the theatre, which led soon afterwards to his abandoning the management. Mr. Ebers, however, testifies from his own experience to the almost insuperable difficulty of inducing the directors of the French Opera to cede any of their princ.i.p.al performers even for a few weeks to the late enemies of their country. When the dancers were willing to accept the terms offered to them, it was impossible to obtain leave from the minister entrusted with the supreme direction of operatic affairs; if the minister was willing, then objections came from the ballet itself. It was necessary to secure the aid of the highest diplomatists, and the engagement of a few first dancers and _coryphees_ was made as important an affair as the signing of a treaty of commerce. The special envoy, the Cobden of the affair, was Monsieur Boisgerard, an ex-officer in the French army under the Bourbons, and actually the second ballet-master of the King's Theatre; but all official correspondence connected with the negotiation had to be transmitted through the medium of the English amba.s.sador at Paris to the Baron de la Ferte. Boisgerard arrived in Paris furnished with letters of introduction from the five n.o.blemen who at that time formed a "committee of superintendence" to aid Mr. Ebers in the management of the King's Theatre, and directed all his attention and energy towards forming an engagement with Bigottini and n.o.blet, the princ.i.p.al _danseuses_, and Albert, the _premier danseur_ of the French Opera. In spite of his excellent recommendations, of the esteem in which he was himself held by his numerous friends in Paris, and of the interest of a dancer named Deshayes, who appears to have readily joined in the conspiracy, and who was afterwards rewarded for his aid with a lucrative engagement as first ballet-master at the London Opera House--in spite of all these advantages it was impossible, for some time, to obtain any concessions from the Academie. To begin with, Bigottini, n.o.blet and Albert refused point blank to leave Paris. M. Boisgerard, however, as a ballet-master and a man of the world, understood that this was intended only as an invitation for larger offers; and finally all three were engaged, conditionally on their _conges_ being obtained from the directors of the theatre. Now the real difficulty began; now the influence of the five English n.o.blemen was brought to bear; now despatches were interchanged between the British amba.s.sador in Paris and the Baron de la Ferte, intendant of the royal theatres; now consultations took place between the said intendant and the Viscount de la Rochefoucault, aide-de-camp of the king, entrusted with the department of fine arts in the ministry of the king's household; and between the said artistic officer of the king's household and Duplanty, the administrator of the Royal Academy of Music, and of the Italian Opera. The result of all this negotiation was, that the administration first hesitated and finally refused to allow Mademoiselle Bigottini to visit England on any terms; but, after considerable trouble, the French agents in the service of Mr. Ebers obtained permission for Albert and n.o.blet to accept engagements for two months,--it being further arranged that, at the expiration of that period, they should be replaced by Coulon and f.a.n.n.y Bias. Albert was to receive fifty pounds for every night of performance, and twenty-five pounds for his travelling expenses. n.o.blet's terms were five hundred and fifty pounds for the two months, with twenty-five pounds for expenses.

Coulon and Bias were each to receive the same terms as n.o.blet. Three other dancers, Montessu, Lacombe, and Mademoiselle de Varennes, were at the same time given over to Mr. Ebers for an entire season, and he was allowed to retain all his prisoners--that is to say, those members of the Academie, with Mademoiselle Melanie at their head, whom previous managers had taken from the French prior to the friendly and pacific emba.s.sy of M. Boisgerard. An attempt was made to secure the services of Mademoiselle Elisa, but without avail. M. and Mademoiselle Paul entered into an agreement, but the administration refused to ratify it; otherwise, with a little encouragement, Mr. Ebers would probably have engaged the entire ballet of the Academie Royale.

[Sidenote: MADEMOISELLE n.o.bLET.]

Male dancers have, I am glad to think, never been much esteemed in England; and Albert, though successful enough, produced nothing like the same impression in London which he was in the habit of causing in Paris. Mademoiselle n.o.blet's dancing, on the other hand, excited the greatest enthusiasm, and the subscribers made all possible exertions to obtain a prolongation of her _conge_ when the time for her return to the Academie arrived. n.o.blet's performance in the ballet of _Nina_ (of which the subject is identical with that of Paisiello's opera of the same name) is said to have been particularly admirable, especially for the great dramatic talent which she exhibited in pourtraying the heroine's melancholy madness. _Nina_ was announced for Mademoiselle n.o.blet's benefit, on a night not approved by the Lord Chamberlain--either because it interfered with some of the court regulations, or for some other reason not explained. The secretary to the committee of the Opera was directed to address a letter to the Chamberlain, representing to him how inconvenient it would be to postpone the benefit, as the _conge_ of the _beneficiaire_ was now on the point of expiring. Lord Hertford, with becoming politeness, wrote the following letter, which shows with what deep interest the graceful dancer inspired even those who knew her only by reputation. The letter was addressed to the Marquis of Ailesbury, one of the members of the operatic committee.

"MY DEAR LORD,--I have this moment (eleven o'clock) received your letter, which I have sent to the Chamberlain's office to Mr. Mash; and as Mademoiselle n.o.blet is a very pretty woman as I am told, I hope she will call there to a.s.sist in the solicitation which interests her so much. Not having been for many years at the opera, except for the single purpose of attending his majesty, I am no judge of the propriety of her request or the objections which may arise to the postponement of her benefit for one day at so short a notice. I hope the fair solicitress will be prepared with an answer on this part of the subject, as it is always my wish to accommodate you; and I remain most sincerely your very faithful servant,

"INGRAM HERTFORD."

"Manchester Square,

_April 29th, 1821_."

Mademoiselle n.o.blet's benefit having taken place, the subscribers, horrified at the notion that they had now, perhaps, seen her for the last time, determined, in spite of all obstacles, in spite even of the very explicit agreement between the director of the King's Theatre and the administration of the Academie Royale, that she should remain in London. The _danseuse_ was willing enough to prolong her stay, but the authorities at the French Opera protested. The Academy of Music was not going to be deprived in this way of one of the greatest ornaments of its ballet, and the Count de Caraman, on behalf of the Academy, called on the committee to direct Mr. Ebers to send over to Paris, without delay, the performers whose _conges_ were now at an end. The members of the committee replied that they had only power to interfere as regarded the choice of operas and ballets, and that they had nothing to do with agreements between the manager and the performers. They added, "that they had certainly employed their influence with the English amba.s.sador at Paris at the commencement of the season, to obtain the best artists from that city; but it appearing that the Academy was not disposed to grant _conges_ for London, even to artists, for whose services the Academy had no occasion, the committee had determined not again to meddle in that branch of the management."

[Sidenote: TERPSICh.o.r.eAN TREATY.]

The French now sent over an amba.s.sador extraordinary, the Baron de la Ferte himself, to negotiate for the restoration of the deserters. It was decided, however, that they should be permitted to remain until the end of the season; and, moreover, that two first and two second dancers should be allowed annually to come to London, but only under the precise stipulations contained in the following treaty, which was signed between Mr. Ebers, on the one hand, and M. Duplantys on the part of Viscount de la Rochefoucault, on the other.

"The administration of the Theatre of the Royal Academy of Music, wishing to facilitate to the administration of the theatre of London, the means of making known the French artists of the ballet without this advantage being prejudicial to the Opera of Paris;

"Consents to grant to Mr. Ebers for each season, the first commencing on the 10th of January, and ending the 20th of April, and the second ending the 1st of August, two first dancers, two _figurants_, and two _figurantes_; but in making this concession, the administration of the Royal Academy of Music reserves the right of only allowing those dancers to leave Paris to whom it may be convenient to grant a _conge_; this rule applies equally to the _figurants_ and _figurantes_. None of them can leave the Paris theatre except by the formal permission of the authorities.

"And in return for these concessions, Mr. Ebers promises to engage no dancer until he has first obtained the necessary authorization in accordance with his demand.

"He engages not under any pretext to keep the princ.i.p.al dancers a longer time than has been agreed without a fresh permission, and above all, to make them no offers with the view of enticing them from their permanent engagements with the French authorities.

"The present treaty is for the s.p.a.ce of * * *.

"In case of Mr. Ebers failing in one of the articles of the said treaty, the whole treaty becomes null and void."

[Sidenote: BOISGERARD IN THE TEMPLE.]

[Sidenote: MARIA MERCANDOTTI.]

The prime mover in the diplomatic transactions which had the effect of securing Mademoiselle n.o.blet far the London Opera was, as I have said, the ballet master, Boisgerard, formerly an officer in the French army.

In a chapter which is intended to show to some extent the effect on opera of the disturbed state of Europe consequent on the French Revolution, it will, perhaps, not be out of place to relate a very daring exploit performed by the said M. Boisgerard, which was the cause of his adopting an operatic career. "This gentleman," says Mr. Ebers, in the account published by him of his administration of the King's Theatre from 1821 to 1828, "was a Frenchman of good extraction, and at the period of the French Revolution, was attached to the royal party. When Sir Sidney Smith was confined in the Temple, Boisgerard acted up to his principles by attempting, and with great personal risk, effecting the escape of that distinguished officer, whose friends were making every effort for his liberation. Having obtained an impression of the seal of the Directorial Government, he affixed it to an order, forged by himself, for the delivery of Sir Sidney Smith into his care. Accompanied by a friend, disguised like himself, in the uniform of an officer of the revolutionary army, he did not scruple personally to present the fict.i.tious doc.u.ment to the keeper of the Temple, who, opening a small closet, took thence some original doc.u.ment, with the writing and seal of which, he carefully compared the forged order. Desiring the adventurers to wait a few minutes, he then withdrew, and locked the door after him.

Giving themselves up for lost, the confederate determined to resist, sword in hand, any attempt made to secure them. The period which thus elapsed, may be imagined as one of the most horrible suspense to Boisgerard and his companion; his own account of his feelings at the time was extremely interesting. Left alone, and in doubt whether each succeeding moment might not be attended by a discovery involving the safety of his life, the acuteness of his organs of sense was heightened to painfulness; the least noise thrilled through his brain, and the gloomy apartment in which he sat seemed filled with strange images. They preserved their self-possession, and, after the lapse of a few minutes, their anxiety was determined by the re-appearance of the gaoler, accompanied by his captive, who was delivered to Boisgerard. But here a new and unlooked for difficulty occurred; Sir Sidney Smith, not knowing Boisgerard, refused, for some time, to quit the prison; and considerable address was required on the part of his deliverers to overcome his scruples. At last, the precincts of the Temple were cleared; and, after going a short distance in a fiacre, then walking, then entering another carriage, and so on, adopting every means of baffling pursuit, the fugitives got to Havre, where Sir Sidney was put on board an English vessel. Boisgerard, on his return to Paris (for he quitted Sir Sidney at Havre) was a thousand times in dread of detection; tarrying at an _auberge_, he was asked whether he had heard the news of Sir Sidney's escape; the querist adding, that four persons had been arrested on suspicion of having been instrumental in it. However, he escaped all these dangers, and continued at Paris until his visit to England, which took place after the peace of Amiens. A pension had been granted to Sir Sidney Smith for his meritorious services; and, on Boisgerard's arrival here, a reward of a similar nature was bestowed on him through the influence of Sir Sidney, who took every opportunity of testifying his grat.i.tude."

We have already seen that though the international character of the Opera must always be seriously interfered with by international wars, the intelligent military amateur may yet be able to turn his European campaigning to some operatic advantage. The French officers acquired a taste for Italian music in Italy. So an English officer serving in the Peninsula, imbibed a pa.s.sion for Spanish dancing, to which was due the ch.o.r.egraphic existence of the celebrated Maria Mercandotti,--by all accounts one of the most beautiful girls and one of the most charming dancers that the world ever saw. This inestimable treasure was discovered by Lord Fife--a keen-eyed connoisseur, who when Maria was but a child, foretold the position she would one day occupy, if her mother would but allow her to join the dancing school of the French Academy.

Madame Mercandotti brought her daughter to England when she was fifteen.

The young Spaniard danced a bolero one night at the Opera, repeated it a few days afterwards at Brighton, before Queen Charlotte, and then set off to Paris, where she joined the Academie. After a very short period of study, she made her _debut_ with success, such as scarcely any dancer had obtained at the French Opera, since the time of La Camargo--herself, by the way, a Spaniard.

Mademoiselle Mercandotti came to London, was received with the greatest enthusiasm, was the fashionable theme of one entire operatic season, had a number of poems, valuable presents, and offers of undying affection addressed to her, and ended by marrying Mr. Hughes Ball.

The production of this _danseuse_ appears to have seen the last direct result of that scattering of the amateurs of one nation among the artists of another, which was produced by the European convulsions of from 1789 to 1815.

CHAPTER XV.

MANNERS AND CUSTOMS AT THE LONDON OPERA, HALF A CENTURY SINCE.