In putting on grand opera in English I had, in each case, the tradition of two countries to contend with; but I endeavoured to secure some uniformity of style and usually rehea.r.s.ed them all myself, sitting at the piano. The singers were, of course, hide-bound to the awful translations that were inst.i.tutional and to them inevitable. None of them would have ever considered changing a word, even for the better.

The translation of _Mignon_ was probably the most completely revolutionary of the many translations and adaptations I indulged in. I shall never forget one fearfully clumsy pa.s.sage in _Trovatore_.

"To the handle, To the handle, To the handle Strike the dagger!"

There were two modifications possible, either of which was vastly preferable, and without actually changing a word.

"Strike the dagger, Strike the dagger, Strike the dagger To the handle!"

or, which I think was the better way,

"Strike the dagger To the handle, Strike the dagger To the handle!"

a simple and legitimate repet.i.tion of a phrase. This is a case in ill.u.s.tration of the meaningless absurdity and unintelligibility of the average libretto.

Those were the days in which I devoutly appreciated my general sound musical training. The old stand-bys, _Fra Diavolo_, _Trovatore_, and _Martha_ were all very well. Most singers had been reared on them from their artistic infancy. But, for example, _The Marriage of Figaro_ was an innovation. To it I had to bring my best experience and judgment as cultivated in our London productions; and we finally gave a very creditable English performance of it. Then there were, besides, the new operas that had to be incepted and created and toiled over:--_The Talisman_ and _Lily o'Killarney_ among others. _The Talisman_ by Balfe, an opera of the Meyerbeerian school, was first produced at the Drury Lane in London, with Nilsson, Campanini, Marie Roze, Rota, and others.

Our presentation of it was less pretentious, naturally, but we had an excellent cast, with Joseph Maas as Sir Kenneth, William Carlton as Coeur de Lion, Mme. Loveday as Queen Berengaria, and Charles Turner as De Vaux. I was Edith Plantaganet. When the opera was first put on in London, under the direction of Sir Jules Benedict, it was called _The Knight of the Leopard_. Later, it was translated into Italian under the t.i.tle of _Il Talismano_, and from that finally re-translated by us and given the name of Sir Walter Scott's work on which it was based. It was not only Balfe's one real grand opera, but was also his last important work. _Lily o'Killarney_, by Sir Jules Benedict, was not a striking novelty. It had a graceful duet for the ba.s.so and tenor, and one pretty solo for the _prima donna_--"I'm Alone"--but, otherwise, it did not amount to much. But we scored in it because of our good artistry. Our company was a good one. Parepa Rosa did tremendous things with her English opera _tournees_; but I honestly think our work was more artistic as well as more painstaking. There were not many of us; but we did our best and pulled together; and I was very happy in the whole venture. Benedict's _Lily o'Killarney_ was written particularly for me, and was inspired by _Colleen Bawn_, Dion Boucicault's big London success. I have always understood that Oxenford wrote the libretto of that--a fine one as librettos go--but Grove's Dictionary says that Boucicault helped him.

Perhaps this is as good a place as any in which to mention Sir George Grove and his dictionary. When I was in London I was told that young Grove--he was not "Sir" then--was compiling a dictionary; and, not having a very exalted idea of his ability, I am free to confess that, in a measure, I snubbed him. In his copiously filled and padded dictionary, he punished me by giving me less than half a column; considerably less s.p.a.ce than is devoted in the corresponding column to one Michael Kelly "composer of wines and importer of music!" It is an accurate paragraph, however, and he heaped coals of fire on my head by one pa.s.sage that is particularly suitable to quote in a chapter on English opera:

She organised an English troupe, herself superintending the translation of the words, the _mise en scene_, the training of the singers and the rehearsals of the chorus. Such was her devotion to the project that, in the winter of '74-'75, she sang no fewer than one hundred and twenty-five nights. It is satisfactory to hear that the scheme was successful. Miss Kellogg's musical gifts are great.... She has a remarkable talent for business and is never so happy as when she is doing a good or benevolent action.

I have never been able to determine to my own satisfaction whether the "remarkable talent for business" was intended as a compliment or not!

The one hundred and twenty-five record is quite correct, a number of performances that tried my endurance to the utmost; but I loved all the work. This particular venture seemed more completely my own than anything on which I had yet embarked.

We put on _The Flying Dutchman_, at the Academy of Music (New York), and it was a tremendous undertaking. It was another case of not having any traditions nor impressions to help us. No one knew anything about the opera and the part of Senta was as unexplored a territory for me as that of Marguerite had been. One thing I had particular difficulty in learning how to handle and that was Wagner's trick of long pauses. There is a pa.s.sage almost immediately after the spinning song in _The Flying Dutchman_ during which Senta stands at the door and thinks about the Flying Dutchman, preceding his appearance. Then he comes, and they stand still and look at each other while a spell grows between them. She recognises Vanderdecken as the original of the mysterious portrait; and he is wondering whether she is the woman fated to save him by self-sacrifice. The music, so far as Siegfried Behrens, my director at the time, and I could see, had no meaning whatever. It was just a long, intermittent mumble, continuing for eighteen bars with one slight interruption of thirds. I had not yet been entirely converted to innovations such as this and did not fully appreciate the value of so extreme a pause. I knew, of course, that repose added dignity; but this seemed too much.

"For heaven's sake, Behrens," said I, "what's the public going to do while we stand there? Can we hold their interest for so long while nothing is happening?"

Behrens thought there might be someone at the German Theatre who had heard the opera in Germany and who could, therefore, give us suggestions; but no one could be found. Finally Behrens looked up Wagner's own brochure on the subject of his operas and came to me, still doubtful, but somewhat rea.s.sured.

"Wagner says," he explained, "not to be disturbed by long intervals. If both singers could stand absolutely still, this pause would hold the public double the length of time."

We tried to stand "absolutely still." It was an exceedingly difficult thing to do. In _roles_ that have tense moments the whole body has to hold the tension rigidly until the proper psychological instant for emotional and physical relaxation. The public is very keen to feel this, without knowing how or why. A drooping shoulder or a relaxed hand will "let up" an entire situation. The first time I sang Senta it seemed impossible to hold the pause until those eighteen bars were over. "I have _got_ to hold it! I have _got_ to hold it!" I kept saying to myself, tightening every muscle as if I were actually pulling on a wire stretched between myself and the audience. I almost auto-hypnotized myself; which probably helped me to understand the Norwegian girl's own condition of auto-hypnotism! An inspiration led me to grasp the back of a tall Dutch chair on the stage. That chair helped me greatly and, as affairs turned out, I held the audience quite as firmly as I held the chair!

Afterwards I learned the wonderful telling-power of these "waits" and the great dignity that they lend to a scene. There is no hurry in Wagner. His work is full of pauses and he has done much to give leisure to the stage. When I was at Bayreuth--that most beautiful monument to genius--I met many actors from the Theatre Francais who had journeyed there, as to a Mecca, to study this leisurely stage effect among others.

Our production was a fair one but not elaborate. We had, I remember, a very good ship, but there were many shortcomings. There is supposed to be a transfiguration scene at the end in which Senta is taken up to heaven; but this was beyond us and _I_ was never thus rewarded for my devotion to an ideal! I liked Senta's clothes and make-up. I used to wear a dark green skirt, shining chains, and a wonderful little ap.r.o.n, long and of white woollen. For hair, I wore Marguerite's wig arranged differently. I should like to be able to put on a production of _Die Fliegende Hollander_ now! There is just one artist, and only one, whom I would have play the Dutchman--and that is Renaud, for the reason, princ.i.p.ally, that he would have the necessary repose for the part. I had understudies as a matter of course. One of them was wall-eyed; and, on an occasion when I was ill, she essayed Senta. William Carlton, was, as usual, our Dutchman, and he had not been previously warned of Senta's infirmity. He came upon it so unexpectedly, indeed, and it was so startling to him, that he sang the whole opera without looking at her for fear that he would break down!

CHAPTER XXV

ENGLISH OPERA (_Continued_)

No account of our English Opera would be complete without mention of Mike. He was an Irish lad with all the wit of his race, and his head was of a particularly cla.s.sic type. He was only sixteen when he joined us, but he became an inst.i.tution, and I kept track of him for years afterwards. His duties were somewhat arbitrary, and chiefly consisted of calling at the dressing-room of the chorus each night after the opera with a basket to collect the costumes. Beyond this, his princ.i.p.al occupation was watching my scenes and generally pervading the performances with genuine interest. He particularly favoured the third act of _Faust_, I remember; and absolutely considered himself a part of my career, constantly making use of the phrase "Me and Miss Kellogg."

One of the operas we gave in English was my old friend _The Star of the North_. It was quite as much a success in English as it had been in the original. We chose it for our _gala_ performance in Washington when the Centennial was celebrated, and my good friends, President and Mrs.

Grant, were in the audience. The King of Hawaii was also present, with his suite, and came behind the scenes and paid me extravagant compliments. His Hawaiian Majesty sent me lovely heliotropes, I remember,--my favourite flower and my favourite perfume. At one performance of _The Star of the North_ at a matinee in Booth's Theatre, New York, there occurred an incident that was reminiscent of my London experience with Sir Michael Costa's orchestra. It was in the third act, the camp scene. There is a quartette by Peter, Danilowitz and two _vivandieres_ almost without accompaniment in the tent on the stage, and I, as Catherine, had to take up the note they left and begin a solo at its close. The orchestra was supposed to chime in with me, a simple enough matter to do if they had not fallen from the key. It is surprising how relative one's pitch is when suddenly appealed to. Even a very trained ear will often go astray when some one gives it a wrong keynote. Music more than almost any other art is dependent; every tone hangs on other tones. That particular quartette was built on a musical phrase begun by one of the sopranos and repeated by each. She started on the key. The mezzo took it up a shade flat. The tenor, taking the phrase from the mezzo, dropped a little more, and when the ba.s.so got through with it, they were a full semitone lower. Had I taken my _attaque_ from their pitch, imagine the situation when the orchestra came in! My heart sank as I saw ahead of us the inevitable discord. It came to the last note. I allowed a half-second of silence to obliterate their false pitch. Then I _concentrated_--and took up my solo in the _original and correct key_. That "absolute pitch" again! Behrens expressed his amazement after the curtain fell.

The company, after that, was never tired of experimenting with my gift.

It became quite a joke with them to cry out suddenly, at any sort of sound--a whistle, or a bell:

"Now, what note is that? What key was that in, Miss Kellogg?"

Most of our travelling on these big western tours of opera was very tiresome, although we did it as easily as we could and often had special cars put at our disposal by railroad directors. We were still looked upon as a species of circus and the townspeople of the places we pa.s.sed through used to come out in throngs at the stations. I have said so much about the poor hotels encountered at various times while on the road that I feel I ought to mention the disastrous effect produced once by a really good hotel. It was at the end of our first English Opera season and, in spite of the fact that we were all worn out with our experiences, we proceeded to give an auxiliary concert trip. We had a special sleeper in which, naturally, no one slept much; and by the time we reached Wilkesbarre we were even more exhausted. The hotel happened to be a good one, the rooms were quiet, and the beds comfortable. Every one of us went promptly to bed, not having to sing until the next night, and William Carlton left word at the office that he was going to sleep: "and don't call me unless there's a fire!" he said. In strict accordance with these instructions n.o.body did call him and he slept twenty-four hours. When he awoke it was time to go to the theatre for the performance and--he found he couldn't sing! He had slept so much that his circulation had become sluggish and he was as hoa.r.s.e as a crow.

Consequently, we had to change the programme at the last moment.

Carlton, like most nervous people, was very sensitive and easily put out of voice, even when he had not slept twenty-four consecutive hours. Once in _Trovatore_ he was seized with a sharp neuralgic pain in his eyes just as he was beginning to sing "Il Balen" and we had to stop in the middle of it. During this same performance, an unlucky one, Wilfred Morgan, who was Manrico, made both himself and me ridiculous. In the _finale_ of the first act of the opera, the Count and Manrico, rivals for the love of Leonora, draw their swords and are about to attack each other, when Leonora interposes and has to recline on the shoulder of Manrico, at which the attack of the Count ceases. Morgan was burly of build and awkward of movement and, for some reason, failed to support me, and we both fell heavily to the floor. It is so easy to turn a serious dramatic situation into ridicule that, really, it was very decent indeed of our audience to applaud the _contretemps_ instead of laughing.

Ryloff, an eccentric Belgian, was our musical director for a short time.

He was exceedingly fond of beer and used to drink it morning, noon, and night,--especially night. Even our rehearsals were not sacred from his thirst. In the middle of one of our full dress rehearsals he suddenly stopped the orchestra, laid down his baton, and said to the men:

"Boys, I _must_ have some beer!"

Then he got up and deliberately went off to a nearby saloon while we awaited his good pleasure.

I have previously mentioned what a handsome and dashing Fra Diavolo Theodore Habelmann was, and naturally other singers with whom I sang the opera later have suffered by comparison. In discussing the point with a young girl cousin who was travelling with me, we once agreed, I remember, that it was a great pity no one could ever look the part like our dear old Habelmann. Castle was doing it just then, and doing it very well except for his clothes and general make-up. But he was so extremely sensitive and yet, in some ways, so opinionated, that it was impossible to tell him plainly that he did not look well in the part. At last, my cousin conceived the brilliant scheme of writing him an anonymous letter, supposed to be from some feminine admirer, telling him how splendid and wonderful and irresistible he was, but also suggesting how he could make himself even more fascinating. A description of Habelmann's appearance followed and, to our great satisfaction, our innocent little plot worked to a charm. Castle bought a new costume immediately and strutted about in it as pleased as Punch. He really did present a much more satisfactory appearance, which was a comfort to me, as it is really so deplorably disillusioning to see a man looking frumpy and unattractive while he is singing a gallant song like:

[Ill.u.s.tration: Musical notation; Proud-ly and wide ... my stand-ard

flies O'er dar-ing heads, a no-ble band!]

Naturally these tours brought me all manner of adventures that I have long since forgotten--little incidents "along the road" and meetings with famous personages. Among them stand out two experiences, one grave and one gay. The former was an occasion when I went behind the scenes during a performance of _Henry VIII_ to see dear Miss Cushman (it must have been in the early seventies, but I do not know the exact date), who was playing Queen Katherine. She asked me if I would be kind enough to sing the solo for her. I was very glad to be able to do so, of course, and so, on the spur of the moment, complied. I have wondered since how many people in front ever knew that it was I who sang _Angels Ever Bright and Fair_ off stage, during the scene in which the poor, wonderful Queen was dying! The other experience of these days which I treasure was my meeting with Eugene Field. It was in St. Louis, where Field was a reporter on one of the daily papers. He came up to the old Lindell Hotel to interview me; but that was something I would _not_ do--give interviews to the press--so my mother went down to the reception room with her sternest air to dismiss him. She found the waiting young man very mild-mannered and pleasant, but she said to him icily:

"My daughter never sees newspaper men."

"Oh," said he, looking surprised, "I'm a singer and I thought Miss Kellogg might help me. I want to have my voice trained." (This is the phrase used generally by applicants for such favours.) Mother looked at the young man suspiciously and pointed to the piano.

"Sing something," she commanded.

Field obediently sat down at the instrument and sang several songs. He had a pleasing voice and an expressive style of singing, and my mother promptly sent for me. We spent some time with him in consequence, singing, playing, and talking. It was an excellent "beat" for his paper, and neither my mother nor I bore him any malice, we had liked him so much, when we read the interview next day. After that he came to see me whenever I sang where he happened to be and we always had a laugh over his "interview" with me--the only one, by the way, obtained by any reporter in St. Louis.

On one concert tour--a little before the English Opera venture--we had arrived late one afternoon in Toledo where the other members of the company were awaiting me. Petrelli, the baritone, met me at the train and said immediately:

"There is a strange-looking girl at the hotel waiting for you to hear her sing."

"Oh, dear," I exclaimed, "another one to tell that she hasn't any ability!"

"She's _very_ queer looking," Petrelli a.s.sured me.

As I went to my supper I caught a glimpse of a very unattractive person and decided that Petrelli was right. She was exceedingly plain and colourless, and had a large turned-up nose. After supper, I went to my room to dress, as I usually did when on tour, for the theatre dressing-rooms were impossible, and presently there was a knock at the door and the girl presented herself.

She was poorly clad. She owned no warm coat, no rubbers, no proper clothing of any sort. I questioned her and she told me a pathetic tale of privation and struggle. She lived by travelling about from one hotel to the next, singing in the public parlour when the manager would permit it, accompanying herself upon her guitar, and pa.s.sing around a plate or a hat afterwards to collect such small change as she could.

"I sang last night here," she told me, "and the manager of the hotel collected eleven dollars. That's all I've got--and I don't suppose he'll let me have much of that!"