OPERA AND BALLET.
If there were good Actors, in those days, there were also good singers, traditions of whom have lasted until our time. Of course, they were fewer than the Actors, because there was but one Opera—and the operas, then in vogue, required but a very limited number of artists.
Still, the names of several of the prime donne are yet remembered, and the names of Mara, Storace, and Crouch will always live in the annals of song.
Elizabeth Mara, whose maiden name was Schmelling, was born at Cassel in 1750. She commenced her musical education by playing on the violin, but, subsequently, finding she had a good voice, she devoted herself to its cultivation, and so far succeeded, as even to earn unqualified approbation, and applause, from Frederick the Great—who was, as a rule, absolutely indifferent to Music. She first came to England, in 1784, and chiefly resided here till 1802; when she retired to Moscow, where she had property, which, however, was destroyed at the French Invasion, and destruction of the city, in 1812, and she was reduced to poverty. She then went to reside at Revel, where her old friends kindly helped to support her. She came once more to London, in 1819, and gave a Concert—but her voice was gone, and this was her last effort. She went back to Revel, where she died, in 1833, aged 84.
At the Opera; At Church.
The Celebrated Mademoiselle G—m—rd,
or Grimhard from
Paris.
Anne, Selina Storacé, was born in England, and was sister of the celebrated Composer. She was an excellent actress, a beautiful singer, and was universally popular. She died in 1814.
Of Mrs. Crouch, née Phillips, I have already written, slightly, as an Actress. She was born in 1763, and went early on the stage, making her début, at Drury Lane, in the play of "The Lord of the Manor," in 1780, so that she was but 17. In 1784, she went to Ireland, where her admirers were numerous, and some most passionate. One young man, whose affection she did not return, declared he would shoot both her, and himself—and went to the theatre, ostensibly to carry out his threat, but he was ejected from the building, and, ultimately, left the country.
But there was, about this time, a very romantic episode in her life. She was loved by a young man, heir to a title, and fortune, and she returned his love. Naturally, under the circumstances, his family had higher matrimonial aims for him, so the young people had no other course open to them, than a clandestine Marriage. They were even before the Altar, of a Roman Catholic Chapel, but the priest refused to marry them, on hearing the name of the bridegroom, unless he had his father's consent. No priest could be found to marry them, for the lover was under age, so the love lorn couple eloped, hoping, at some seaside port to find a ship for Scotland. They were followed by both irate fathers, Mr. Phillips having informed the other. The lovers were separated, but history is silent as to whether they ever met again.
After she got over this disappointment, which took some time, she married Lieutenant Crouch of the Navy,—good looking, but dissipated, and spendthrift.—Of course the marriage was not a happy one, and they parted:
Her voice was exquisitely sweet, and she was a most graceful actress. She kept her hold on the public, and was on the stage until a short time before her death, in 1805.
The names of Incledon, and Braham, have only to be mentioned, to recall their vocal triumphs.
Benjamin Charles Incledon, was the son of a surgeon—and was born at St. Keveran, in Cornwall, in 1764. He made his first appearance, in London, in 1790—when he played in "The poor Soldier." He, at once, became a public favourite, and so continued until his retirement from the stage, which was some time before his death, in 1826. His acting was clumsy, and ungraceful, but his sweet voice rendered him unequalled in ballad singing, which was his especial forte.
John Braham, (or more correctly Abraham,) was born of Jewish parents, in London, A.D. 1774. Early left an orphan, he was brought up by Leoni, a celebrated Italian Singer, and so well taught by him, was he, that he came out, as a public vocalist, before he was eleven years old, when he sang bravura songs, which had been written for Madame Mara. After singing, both in English, and Italian, Opera, he went to Italy—and, after his return, he appeared at Covent Garden, in 1801. He died in 1856.
Michael Kelly was both composer, and singer, but he cannot take rank with either Incledon, or Braham. He made his first appearance on the stage of the Metropolis, at Drury Lane, in 1787. He composed elegant, and pretty, airs, and he sang nicely, but many of his compositions are said to have had their origin in Italian, and German, sources. This gave rise to a bon mot of Sheridan's, when he heard that Kelly had turned wine merchant—he suggested that, over his door, should be painted, "Michael Kelly, composer of wine, and importer of music." Died 1826.
Ballet at the King's Theatre,—Pantheon,—1791.
Far more eminent than he, as composers, were Arnold, Shield, Storacé, Linley, and Jackson.
Samuel Arnold, Mus. Doc., was born in 1740—and had the advantage of studying music under Nares. He was, during his lifetime, both organist to the King, and to Westminster Abbey, wrote several Oratorios, and published selections of sacred music—but it is as a composer for the theatre, that we have to consider him. When only twenty-three years of age, he was appointed composer to Covent Garden Theatre, and his earliest operas were there produced. In 1776, he filled the same position with regard to the Haymarket, and this versatile genius composed Operas, and Oratorios, until his death in 1802.
William Shield (born in 1754) carved his own way up to the eminence, which he enjoyed, in his profession. Apprenticed to a boatbuilder, he gave up that business, as soon as he was out of his time: and, being musical, and, playing well on the violin, he soon obtained a situation at Scarborough, as leader of Concerts there, and gained such a reputation, that he was offered, and accepted, the position of first Viola, at the Italian Opera House. His first theatrical work was composing the Music, (in 1778), to "The Flitch of Bacon." He wrote the music for many other plays—and, on the death of Sir W. Parsons, he gained the appointment of "Master of his Majesty's Musicians in ordinary." He died in 1829.
In spite of his foreign name, Stephen Storacé, was born in England, although of Italian parentage. He was early sent to Italy, and studied at the Conservatorio of St. Onophris, at Naples, in 1787, being then 24 years of age. He returned to England, and, soon afterwards, was appointed Composer to Drury Lane; and, up to his death, in 1796, he was actively engaged on Operas, &c.
Thomas Linley received his musical education from Chilcott, the organist at Bath. One of his daughters, Eliza, married Sheridan, and, soon after the production of his first theatrical essay, "The Duenna," he became joint patentee, with his son-in-law, in Drury Lane Theatre, and, leaving Bath, went to reside in London. There, he wrote for the Stage, and composed many operas, besides songs, madrigals, &c. He received a severe shock, when his son was drowned, in 1778—and, although he lived till 1795, he never recovered from it.
William Jackson (whose Te Deum is, or was, such a favourite), was born, at Exeter, in 1730, and was afterwards Organist to the Cathedral of that city. He did not write much for the Stage, preferring sacred music, songs, and canzonets.
The following paragraph shows a curious state of things at the Opera:—
"When the Gallery at the Opera House, on Saturday night, expressed its disapprobation of the crowded stage, Sir John Gallini!!![9] who was part of that crowd, very modestly declared, that, unless the gentlemen behind the scenes left the House, there would be no Opera.—But, upon being asked where the half guineas should remain, if the gentlemen retired, this shark for words recanted his former assertion, and, very composedly, swallowed the gilded pill."—(Morning Post, Apr. 10, 1788.)
The Operatical Finale to the Ballet of "Alonzo e Caro."
The same paper (15 Ap. 1788) in its Notice "to Correspondents" rather injures him with its forbearance. "The various articles sent to this paper against Mr. Gallini, previous to his Benefit, we have uniformly refused to insert, being unwilling to injure a POOR MAN, at so important a period."
"How we are ruined! Bruni, the new singer, has 1400 guineas, Mara 1000, and a benefit, and Millerd, 1000 for the present Opera season."—(Times, Febr. 16, 1793.)
"Haymarket Opera. Almost all the subscribers, in Town, graced the Boxes, with the Prince of Wales, and Duke of Clarence, at the head of the list. The Pit had some pretty, as well as well dressed, women; but we were sorry to observe several of the gentlemen in round hats, and many of them slovenly to a degree, descending even to boots. This ought not to be permitted."—(Times, Jan. 13, 1794.)
OPERA.
"Il Capriccio Dramatico, considerably curtailed, on Saturday, again introduced Signora Negri, and her reception was again most flatteringly favorable. The Burletta has to boast some very beautiful music, and the Finale in particular is much indebted to the exertions of the performers. So far, all was peace, and harmony. Would we could say the same of Don Giovanni, whose reception was, throughout, disapproved. So determined an opposition to this kind of entertainment we have never witnessed: and, indeed, some of the occurrences were so peculiarly striking, as to baffle all description. Several blows passed in the pit; and one gentleman, who was remarkably forward in having a slap at Don Juan, got a slap in the face from an enraged amateur, who, perhaps, would have been better employed in beating time. In short, till the fall of the curtain, Morelli's pretty Venetian Ballad, excepted, which gained an encore, all was noise and uproar; and the scene of Hell, magnificent, and terrific, as it was, had so far the characteristic accompanyment of groans, not of the damned, but of those troubled spirits who wished to torment the Manager.
"The Procession was totally omitted, and several other judicious alterations made, but, as the sense of the subscribers, as well as the public, seems decidedly against a repetition of this Opera, we have no doubt but the Manager will submit, respectfully, to their fiat—comforting himself with the reflection, that his liberal exertions deserve—though it is not always in the power of mortals to command—success.
"The Opposition to the new Opera of Don Giovanni, on Saturday night, is said to have been preconcerted: and it was known in the morning of that day that there was to be a riot. In one part of the Pit, the disturbance became so serious, that two Gentlemen called each other out, and agreed to meet, as yesterday morning. Sir W. H. was at the head of the opposition party. In justice to the Manager of the Opera, it should be recollected by those who are dissatisfied with the present company of performers, that the same unprecedented circumstances which prevented several Dancers from leaving France, also deterred several singers from coming from Italy, as they must pass through a part of France. This inconvenience is only of a temporary nature, and cannot be prevented. In the meantime, the subscribers, and the public, have the most magnificent, as well as the most commodious, theatre in Europe to resort to."—(Times, Mar. 10, 1794.)
"Tweedle dum, and Tweedle twee—the Soprano, and Tenor, of the Italian Opera are objects equally important, no doubt, in the eye of the public. Instead of high notes they have gone to high words. Signor Tenor, not having taken the precaution to soap his nose,—Signor Soprano got fast hold, and gave it a musical shake, not perfectly in unison with the feelings of the tenor, who, now, if he wishes to sleep in a whole skin, will, no doubt, alter the tenor of his conduct!!"—(Times, Jan. 14, 1795.)
"The Opera.—The Public are acquainted, that on Saturday se'nnight there was a violent disturbance at the Opera House, in consequence of the Subscribers shewing great dissatisfaction at the want of novelty in the Performances. The Manager, having understood that the greatest clamour came from the Boxes of the Countess Spencer, and Mr. Pole, Mr. Taylor (a few days since) sent a letter to her Ladyship, and Mr. Pole, saying, that as they were not satisfied with the Performances, he desired to return them their subscription money, which he did. The Subscribers have taken up this business, which they consider as a gross affront, and disrespect, and yesterday there was a meeting of them at the Thatched House Tavern, the result of which we have not learnt. We are sorry that there should be any misunderstanding respecting an Entertainment, where harmony only ought to prevail: and, we are equally concerned, that the Manager should, so indiscreetly, send such a letter to Lady Spencer, who is the last person in the world who would be suspected of any impropriety of behaviour, for, a Lady of greater accomplishments, and more unaffected manners, is not to be found in the whole circle of Nobility."[10]—(Times, Febr. 20, 1795.)
"The excuse for the rows, in a certain box, at the Opera, is, that the Gentlemen come in tipsy. This is an excuse, (whether good, or bad, we will not determine) for the Gentlemen. But, as we take for granted the Ladies are not tipsy, pray what excuse is to be offered them?"—(Times, Dec. 26, 1796.)
Mdlle. Parisot.
The Ballet does not receive so much attention in the public press, as the Opera—and, as far as I know, there are no means of getting at the biographies of the premieres danseuses.
The first of note during this period is Mdlle. Guimard, who was then playing in the ballet of "Ninette." It is just possible that there may be a suspicion of caricature in the illustration.
The Ballet was a special feature at the Pantheon Theatre (the site of which is now occupied by Messrs. W. & A. Gilbey of Oxford Street), which was built as a counter attraction to Carlisle House, then popularly conducted by Madame Cornelys, of whom more anon.
"The Pas Trois, introduced into the Ballet at the Opera House on Tuesday night, for the first time, had a very pretty effect. It goes to the tune of 'God save the King,' and is intended as a compliment to his Majesty."—(Times, Feb. 16, 1793.)
"Simonet, the dancer, and Grenier, who keeps the hotel in Jermyn Street, were, last week, ordered to depart the kingdom."[11]—(Times, March 26, 1793.)
The centre figure in this illustration is M. Didelot—and the danseuse on the left, is Miss Rose, an English-woman, who was not bewitchingly handsome, though a good ballerina. The lady on the right is probably Mdlle. Parisot.
"The OPERA.—The mania of expectation was, on Saturday night, at the very acme of curiosity. The Pit was so crowded even before the drawing up of the curtain, that it was not possible to edge another face into the area. Stars, garters, feathers, and turbans, were so jumbled, and intermixed, at the doors, that all sex and identity were indistinguishable. The stage itself was crammed on all sides, and in such a manner, as to render the shifting of the scenery 'a work of labour, and a service of danger.' So eager, indeed, was the desire of seeing Didelot and Rose, that the wings were crowded with Ladies. Amongst those Ladies who thus made their first appearance on the stage, we heard some very respectable, and titled names.
"The new Ballet of Les Trois Sultanes taken from Marmontel Hillisberg, is the 'Cock-nosed English-woman,' yet while we remember Abingdon and Jordan in Roxalana, with all the roguishness of language, mere action must appear dull, and unentertaining. It were injustice, to be sure, to decide what effect the Ballet might have produced, could it have been fairly exhibited: but the stage was so very full, that figure dancers could scarce round a horse-shoe to trip in, and no performer could make an exit. Didelot and Rose appeared again in the Ballet, lugged in without character, merely to shew themselves. We hope that some Ballet will be got up wherein they may display the fulness of those powers, and talents, which the great world allow them to possess."—(Times, Feb. 22, 1796.)
"The Stage at the Opera is so crowded, that Madame Rose, in throwing up her fine muscular arm into a graceful attitude, inadvertently levelled three men of the first quality at a stroke."—(Times, May 9, 1796.)
Durham Mustard too powerful for Italian Capers—1798.
Mdlle. Parisot.
The length of Mdlle. Parisot's skirts would have delighted the Bishop of Durham (Shute Barrington), who was much exercised in his mind, in 1798, as to the brevity of those worn by the ladies of the ballet. He seems to have entered into a crusade against the ballet, before he made his memorable speech in the House of Lords, on 2nd March, 1798—for the next illustration is dated January in that year.
It was, however, on the occasion of the second reading of Esten's divorce bill, that the wrath of the Right Reverend Father in God, fairly boiled over, and the Times of 3rd March, reports him to have spoken thus. "He considered it a consequence of the gross immoralities, imported of late years, into this kingdom, from France; the Directory of which country, finding that they were not able to subdue us by their arms, appeared as if they were determined to gain their ends by destroying our morals. They had sent over persons to this country, who made the most indecent exhibitions on our Theatres; exhibitions which would not have been allowed even in France; and which, so far from being allowable in a Christian Country, would have disgraced the ancient Theatres of Athens and Rome.
"It was his intention to move, on some future day, that an Address be presented to his Majesty, beseeching him to order all such persons out of the Kingdom, as people who were likely to destroy our morality, and religion; and who were very probably, in the pay of France."
This tirade made him a fitting subject for the Caricaturists, and they did not forget him.
In a picture by Gillray, 14th Mar. 1798, "Operatical Reform, or La Danse à l'Evêque," we recognise Miss Rose, on the extreme right of the three ladies, who have little other covering for their bodies but the episcopal apron and lawn sleeves. At the foot, is this verse—
"'Tis hard for such new-fangled orthodox rules,
That our Opera troupe should be blamed;
Since, like our first Parents, they only (poor fools!)
Danced naked, and were not ashamed."
And there was yet another amusing Caricature of the Prelate, in connection with this subject. In July 1798, Gillray published a picture of "More short Petticoats, or the Highland Association under Episcopal Examination." The Bishop is accompanied by Lord Salisbury, the then Lord Chamberlain, and inspects the Kilts of three Highlanders, who assure him "You'll find them exactly according to the rules of the Highland Association." But the Bishop's modesty is blushing violently, and he replies "Don't tell me of rules, I say it's abominable! It's about half a foot too short according to the opera Standard. Bring the large breeches directly; why, the figurantes would be ashamed of it."
Ecclesiastical Scrutiny.—or—the Durham Inquest on Duty.—1798