Gottschalk was one of the first big pianists to come to New York touring. He was from New Orleans, having been born there in the French Quarter, and spoke only French, like so many persons from that city up to thirty years ago. But he had been educated abroad and always ranked as a foreign artist. He must have been a Jew, from his name. Certainly, he looked like one. He had peculiarly drooping eyelids and was considered to be very attractive. He wrote enchanting Spanish-sounding songs; and gave the banjo quite a little dignity by writing a piece imitating it, much to my delight, because of my fondness for that instrument. He was in no way a classical pianist. Thalberg was. Indeed, they were altogether different types. Thalberg was nothing like so interesting either as a personality or as a musician, although he was much more scholarly than his predecessor. I say predecessor, because Thalberg followed Gottschalk in the touring proposition. Gottschalk began his work before I began mine, and I first sang with him in my second season. He and I figured in the same concerts not only in those early days but also much later.
Gottschalk Photograph by Case & Getchell
Gottschalk
Photograph by Case & Getchell
Gottschalk was a gay deceiver and women were crazy about him. Needless to say, my mother never let me have anything to do with him except professionally. He was pursued by adoring females wherever he went and inundated with letters from girls who had lost their hearts to his exquisite music and magnetic personality. I shall always remember Gottschalk and Brignoli comparing their latest love letters from matinée girls. Some poor, silly maiden had written to Gottschalk asking for a meeting at any place he would appoint. Said Gottschalk:
"It would be rather fun to make a date with her at some absurd, impossible place,—say a ferry-boat, for instance."
"Nonsense," said Brignoli, "a ferry-boat is not romantic enough. She wouldn't think of coming to a ferry-boat to meet her ideal!"
"She would come anywhere," declared Gottschalk, not at all vaingloriously, but as one stating a simple truth. "I'll make her come; and you shall come too and see her do it!"
"Will you bet?" asked Brignoli.
"I certainly will," replied Gottschalk.
They promptly put up quite a large sum of money and Gottschalk won. That dear, miserable goose of a girl did go to the ferry-boat to meet the illustrious pianist of her adoration, and Brignoli was there to see. If only girls knew as much as I do about the way in which their stage heroes take their innocent adulation, and the wicked light-heartedness with which they make fun of it! But they do not; and the only way to teach them, I suppose, is to let them learn by themselves, poor little idiots.
As I look back I feel a continual sense of outrage that I mixed so little with the people and affairs that were all about me; interesting people and important affairs. My dear mother adored me. It is strange that we can never even be adored in the particular fashion in which we would prefer to be adored! My mother's way was to guard me eternally; she would have called it protecting me. But, really, it was a good deal like shutting me up in a glass case, and it was a great pity. My mother was an extraordinarily fine woman, upright as the day and of an unusual mentality. Uncompromising she was, not unnaturally, according to her heritage of race and creed and generation. Yet I sometimes question if she were as uncompromising as she used to seem to me, for was not the life she led with me, as well as her acceptance of it in the beginning, one long compromise between her nature and the actualities? At any rate, where she seemed to draw the line was in keeping me as much as possible aloof from my inevitable associates. I led a deadly dull and virtuous life, of necessity. To be sure, I might have been just as virtuous or even more so had I been left to my own devices and judgments; but I contend that such a life is not up to much when it is compulsory. Personal responsibility is necessary to development. Perhaps I reaped certain benefits from my mother's close chaperonage. Certainly, if there were benefits about it, I reaped them. But I very much question its ultimate advantage to me, and I confess freely that one of the things I most regret is the innocent, normal coquetry which is the birthright of every happy girl and which I entirely missed. It is all very well to be carefully guarded and to be made the archetype of American virtue on the stage, but there is a great deal of entirely innocuous amusement that I might have had and did not have, which I should have been better off for having. My mother could hardly let me hold a friendly conversation with a man—much less a flirtation.
Jane Elizabeth Crosby Mother of Clara Louise Kellogg From a tintype
Jane Elizabeth Crosby
Mother of Clara Louise Kellogg
From a tintype
THE Civil War was now coming to its close. Abraham Lincoln was the hero of the day, as he has been of all days since, in America. The White House was besieged with people from all walks of life, persistently anxious to shake hands with the War President, and he used to have to stand, for incredible lengths of time, smiling and hand-clasping. But he was ever a fine economist of energy and he flatly refused to talk. No one could get out of him more than a smile, a nod, or possibly a brief word of greeting.
One man made a bet that he would have some sort of conversation with the President while he was shaking hands with him.
"No, you won't," said the man to whom he was speaking, "I'll bet you that you won't get more than two words out of him!"
"I bet I will," said the venturesome one; and he set off to try his luck.
He went to the White House reception and, when his turn came and his hand was in the huge presidential grasp, he began to talk hastily and volubly, hoping to elicit some response. Lincoln listened a second, gazing at him gravely with his deep-set eyes, and then he laid an enormous hand in a loose, wrinkled white glove across his back.
"Don't dwell!" said he gently to his caller; and shoved him along, amiably but relentlessly, with the rest of the line. So the man got only his two words after all.
One week before the President was murdered I was in Washington and sat in the exact place in which he sat when he was shot. It was the same box, the same chair, and on Friday too,—one week to the day and hour before the tragedy. When I heard the terrible news I was able to picture exactly what it had been like. I could see just the jump that Booth must have had to make to get away. I never knew Wilkes Booth personally nor saw him act, but I have several times seen him leaving his theatre after a performance, with a raft of adoring matinée girls forming a more or less surreptitous guard afar off. He was a tremendously popular idol and strikingly handsome. Even after his wicked crime there were many women who professed a sort of hysterical sympathy and pity for him. Somebody has said that there would always be at least one woman at the death-bed of the worst criminal in the world if she could get to it; and there were hundreds of the sex who would have been charmed to watch beside Booth's, bad as he was and crazy into the bargain. It is a mysterious thing, the fascination that criminals have for some people, particularly women. Perhaps it is fundamentally a respect for accomplishment; admiration for the doing of something, good or evil, that they would not dare to do themselves.
We had all gone to Chicago for our spring opera season and were ready to open, when the tragic tidings came and shut down summarily upon every preparation for amusement of any kind. Every city in the Union went into mourning for the man whom the country idolised; of whom so many people spoke as our "Abraham Lincoln." Perhaps it was because of this universal and almost personal affection that the authorities did such an odd thing—or, at least, it struck me as odd,—with his body. He was taken all over the country and "lay-in-state," as it is called, in different court houses in different states.
I was stopping in the Grand Pacific Hotel when the body was brought to Chicago, and my windows overlooked the grounds of the Court House of that city. Business was entirely suspended, not simply for a few memorial moments as was the case when President McKinley was killed, but for many hours during the "lying-in-state." This, however, was probably only partly official. Everyone was so afraid that he would not be able to see the dead hero's face that business men all over the town suspended occupation, closed shops and offices, and made a pilgrimage to the Court House. All citizens were permitted to go into the building and look upon the Martyr President, and vast numbers availed themselves of the privilege—waited all night, indeed, to claim it. From sunset to sunrise the grounds were packed with a silent multitude. The only sound to be heard was the shuffling echo of feet as one person after another went quietly into the Court House, shuffle, shuffle, shuffle,—I can hear it yet. There was not a word uttered. There was no other sound than the sound of the passing feet. One thing that must have been official was that, for quite a long time, not a wheel in the city was allowed to turn. This was an impressive tribute to a man whom the whole American nation loved and counted a friend.
The only diversion in the whole melancholy solemnity of it all was the picking of pockets. The crowds were enormous, the people in a mood of sentiment and off their guard, and the army of crooks did a thriving business. It is a sickening thing to realise that in all hours of great national tragedy or terror there will always be people degenerate enough to take advantage of the suffering and ruin about them. Burning or plague-stricken cities have to be put under military law; and it is said that to the multiplied horrors of the San Francisco earthquake the people look back with a shudder to the ghastly system of looting which prevailed afterwards in the stricken city.
Every imaginable kind of flowers were sent to the dead President, splendid wreaths and bouquets from distinguished personages, and many little cheap humble nosegays from poor people who had loved him even from afar and wanted to honour him in some simple way. No man has ever been loved more in his death than was Abraham Lincoln.
I sent a cross of white camellias. I do not like camellias when they are sent to me, because they always seem such heartless, soulless flowers for living people to wear. But just for that reason, just because they are the most perfect and the most impersonal of all flowers that grow and blossom they seem right and suitable for death. Ever since that time I have associated white camellias with the thought of Abraham Lincoln and with my strange, impressive memory of those days in Chicago.
However, nations go on even after the beloved rulers of them are laid in the ground. Our Chicago season opened soon—I in Lucia—and everything went along as though nothing had happened. The only difference was that the end of the war had made the nation a little drunk with excitement and our performances went with a whirl.
Finally the victorious generals, Lieutenant-General Grant and Major-General Sherman, came to Chicago as the guests of the city and we gave a gala performance for them. As the Daughter of the Regiment had been our choice to inaugurate the commencement of the great conflict, so the Daughter of the Regiment was also our choice to commemorate its close. The whole opera house was gay with flags and flowers and decorations, and the generals were given the two stage boxes, one on each side of the house. The audience began to come in very early; and it was a huge one. The curtain had not yet risen—indeed, I was in my dressing-room still making-up—when I heard the orchestra break into See the Conquering Hero Comes, and then the roof nearly came off with the uproar of the people cheering. I sent to find out what was happening, and was told that General Grant had just entered his box. We were ridiculously excited behind the scenes, all of us; even the foreigners. They were such emotional creatures that they flung themselves into a mood of general excitement even when it was based on a patriotism to which they were aliens. The wild and jubilant state of the audience infected us. I had felt something of the same emotion in Washington at the beginning of the war, when we had done Figlia before, to the frantically enthusiastic houses there. Yet that was different. Mingled with that feeling there had been a grimness and pain and apprehension. Now everyone was triumphant and happy and emotionally exultant.
General Sherman came into his box early in the first act and the orchestra had to stop while the house cheered him, and cheered again. Sherman was always just a bit theatrical and loved applause, and he, with his staff, stood bowing and smiling and bowing and smiling. The whole proceeding took almost the form of a great military reception. As I look back at it, I think one of the moments of the evening was created by our basso, Susini. Susini—himself a soldier of courage and experience, a veteran of the Italian rebellion—made his entrance, walked forward, stood, faced one General after the other and saluted each with the most military exactness. They were both plainly delighted; while the house, in the mood to be moved by little touches, broke into the heartiest applause.
I had a moment of triumph also when we sang the Rataplan, rataplan. Since the early hit I had made with my drum I always played it as the Daughter of the Regiment, and when we came to this scene I directed the drum first toward one box and then toward the other, as I gave the rolling salute. The audience went mad again; and again the orchestra had to stop until the clapping and the hurrahs had subsided. It may not have been a great operatic performance but it was a great evening! Such moments written about afterwards in cold words lose their thrill. They bring up no pictures except to those who have lived them. But on a night such as that, one's heart seems like a musical instrument, wonderfully played upon.
Between the acts the two distinguished officers came behind the scenes and were introduced to the artists, making pleasant speeches to us all. Immediately, I liked best the personality of General Grant. There was nothing the least spectacular or egotistical about him; he was absolutely simple and quiet and unaffected. He bewildered me by apologising courteously for not being able to shake hands with me.
"You have had an accident to your hand!" I exclaimed.
"Not exactly an accident," he said, smiling. "I think I may call it design!"
He explained that he had shaken hands with so many people that he could not use his right hand for a while. He held it out for me to see and, sure enough, it was terribly swollen and inflamed and must have been very painful.
The great evening came to an end at last. We were not sorry on the whole for, thrilling as it had been, it had been also very tiring. I wonder if such mad, national excitement could come to people to-day? I cannot quite imagine an opera performance being conducted on similar lines in the Metropolitan Opera House. Perhaps, however, it is not because we are less enthusiastic but because our events are less dramatic.
In recalling General Sherman I find myself thinking of him chiefly in the later years of my acquaintance with him. After that Chicago night, he never failed to look me up when I sang in any city where he was and we grew to be good friends. He was always quite enthusiastic about operatic music; much more so than General Grant. He confided to me once that above all songs he especially disliked Marching through Georgia, and that, naturally, was the song he was constantly obliged to listen to. People, of course, thought it must be, or ought to be, his favourite melody. But he hated the tune as well as the words. He was desperately tired of the song and, above all, he detested what it stood for, and what it forced him to recall.
General William Tecumseh Sherman, 1877 From a photograph by Mora
General William Tecumseh Sherman, 1877
From a photograph by Mora
Like nearly all great soldiers, Sherman was naturally a gentle person and saddened by war. Everything connected with fighting brought to him chiefly the recollection of its horrors and tragedies and always filled him with pain. So it was that his real heart's preference was for such simple, old-fashioned, plantation-evoking, country-smelling airs as The Little Old Log Cabin in the Lane. One day during his many visits to our home he asked me to sing this and, when I informed him that I could not because I did not know and did not have the words, he said he would send them to me. This he did; and I took pains after that never to forget his preference.
Musical notation; In de lit-tle old log cab-in in de lane.
One night when I was singing in a concert in Washington, I caught sight of him sitting quietly in the audience. He did not even know that I had seen him. Presently the audience wanted an encore and, as was my custom in concerts, I went to the piano to play my own accompaniment. I turned and, meeting the General's eyes, smiled at him. Then I sang his beloved Little Old Log Cabin. My reward was his beaming expression of appreciation. He was easily touched by such little personal tributes.
"Why on earth did you sing that queer old song, Louise," someone asked me when I was back behind the scenes again.
"It was an official request," I replied mysteriously. The end of the war was a strenuous time for the nation; and for actors and singers among others. The combination of work and excitement sent me up to New Hartford in sore need of my summer's rest. But I think, of all the many diverse impressions which that spring made upon my memory, the one that I still carry with me most unforgetably, is a sound:—the sound of those shuffling feet, shuffle, shuffle, shuffle,—in the Court House grounds in Chicago: a sound like a great sea or forest in a wind as the people of the nation went in to look at their President whom they loved and who was dead.
THE following season was one of concerts and not remarkably enjoyable. In retrospect I see but a hurried jumble of work until our decision, in the spring, to go to England.
For two or three years I had wanted to try my wings on the other side of the world. Several matters had interfered and made it temporarily impossible, chiefly an unfortunate business agreement into which I had entered at the very outset of my professional career. During the second season that I sang, an impresario, a Jew named Ulman, had made me an offer to go abroad and sing in Paris and elsewhere. Being very eager to forge ahead, it seemed like a satisfactory arrangement, and I signed a contract binding myself to sing under Ulman's management if I went abroad any time in three years. When I came to think it over, I regretted this arrangement exceedingly. I felt that the impresario was not the best one for me. To say the least, I came to doubt his ability. At any rate, because of this complication, I voluntarily tied myself up to Max Maretzek for several years and felt it a release as now I could not tour under Ulman even if I cared to. By 1867, however, my Ulman contract had expired and I was free to do as I pleased. I had no contract abroad to be sure, nor any very definite prospects, but I determined to go to England on a chance and see what developed. At any rate I should have the advantage of being able to consult foreign teachers and to improve my method. The uncertainties of my professional outlook did not disturb me in the least. Indeed, what I really wanted was, like any other girl, to go abroad, as the gentleman in the old-fashioned ballad says:
| ... to go abroad; |
| To go strange countries for to see! |
I greatly enjoyed the voyage as I have enjoyed every voyage that I have made since, even including the channel crossing when everyone else on board was seasick, and also the one in which I was nearly ship-wrecked off the Irish coast. I have crossed the Atlantic between sixty and seventy times and every trip has given me pleasure of one kind or another. I am never nervous when travelling. Like poor Jack, I have a vague but sure conviction that nothing will happen to me; that I am protected by "a sweet little cherub that sits up aloft!"
At Queenstown, where we touched before going on to our regular port of Liverpool, a man came on board asking for Miss Clara Louise Kellogg. He was from Jarrett, the agent for Colonel Mapleson who was then impresario of "Her Majesty's Opera" in London, and he brought me word that Mapleson wanted me to call on him as soon as I reached London and, until we could definitely arrange matters, to please give him the refusal of myself, if I may so express it. Perhaps I wasn't a proud and happy girl! Mapleson, I heard later, was then believed to be on the verge of failure and it was hoped that my appearance in his company would revive his fortunes. I grew afterwards cordially to detest and to distrust him, and we had more troubles than I can or care to keep track of: and, as for Jarrett, he was a most unpleasant creature with a positive genius for making trouble. But on that day in Queenstown harbour, with the sun shining and the little Irish fisher boats—their patched sails streaming into the blue off-shore distance,—the man Jarrett had sent to meet me on behalf of Colonel Mapleson seemed like a herald of great good cheer.
When we reached London we went to Miss Edward's Hotel in Hanover Square. It was a curious institution, distinctive of its day and generation, a real old-fashioned English hotel, behind streets that were "chained-up" after nightfall. It was called a "private hotel" and unquestionably was one; deadly dull, but maintained in the most aristocratic way imaginable, like a formal, pluperfect, private house where one might chance to be invited to visit. Everyone dined in his own sitting-room, which was usually separated from the bedroom, and never a soul but the servants was seen. The Langham was the first London hotel to introduce the American style of hotel and it, with its successors, have had such an influence upon the other hostelries of London as gradually to undermine the quaint, old, truly English places we used to know, until there are no more "private hotels" like Miss Edward's in existence.
We had friends in London and quickly made others. Commodore McVickar, of the New York Yacht Club, had given me a letter to a friend of his, the Dowager Duchess of Somerset. Her cards, by the way, were engraved in just the opposite fashion—"Duchess Dowager." McVickar told me that, if she liked, she could make things very pleasant for me in London. It appeared that she was something of a lion hunter and was always on the lookout for celebrities either arriving or arrived. She went in for everything foreign to her own immediate circle—art, intellect, and Americans—chiefly Americans, in fact, because they were more or less of a novelty, and she had the thirst for change in her so strongly developed that she ought to have lived at the present time. Every night of her life she gave dinners to hosts of friends and acquaintances. Indeed, it is a fact that her sole interest in life consisted of giving dinner parties and making collections of lions, great and small. I have been told that after dinner she sometimes danced the Spanish fandango toward the end of the evening. I never happened to see her do it, but I quite believe her to have been capable of that or of anything else vivacious and eccentric, although she was seventy or eighty in the shade and not entirely built for dancing.
I was somewhat impressed by the prospect of meeting a real live Duchess, and had to be coached before-hand. In the early part of the eighteenth century the mode of address "Your Grace" was used exclusively, and very pretty and courtly it must have sounded. Nowadays it is only servants or inferiors who think of using it. Plain "Duke" or "Duchess" is the later form. At the period of which I am writing the custom was just betwixt and between, in transition, and I was duly instructed to say "Your Grace," but cautioned to say it very seldom!
Henry G. Stebbins From a photograph by Grillet & Co.
Henry G. Stebbins
From a photograph by Grillet & Co.
On the nineteenth of November, Colonel Stebbins and I went to call. Maria, Dowager Duchess of Somerset lived in Park Lane in a house of indifferent aspect. Its distinctive feature was the formidable number of flunkeys ranged on the steps and standing in front, all in powdered wigs and white silk stockings and wearing waistcoats of a shade carrying out the dominant colour of the ducal coat of arms. It was raining hard when we got there, but not one of these gorgeous functionaries would demean himself sufficiently to carry an umbrella down to our carriage. In the drawing-room we had to wait a long time before a sort of gilt-edged Groom of the Chambers came to the door and announced,
"Her Grace, the Duchess!"
My youthful American soul was prepared for someone quite dazzling, a magnificent presence. What is the use of diadems and coronets if the owner does not wear them? Of course I knew, theoretically, that duchesses did not wear their coronets in the middle of the day, but I did nevertheless hope for something brilliant or impressive.
Then in walked Maria, Dowager Duchess of Somerset. I cannot adequately describe her. She was a little, dumpy, old woman with no corsets, and dressed in a black alpaca gown and prunella shoes—those awful things that the present generation are lucky enough never to have even seen. She furthermore wore a fichu of a style which had been entirely extinct for fifty years at least. I really do not know how there happened to be anyone living even then who could or would make such things for her. No modern modiste could have achieved them and survived. Her whole appearance was certainly beyond words. But she had very beautiful hands, and when she spoke, the great lady was heard instantly. It was all there, of course, only curiously costumed, not to say disguised.
After Colonel Stebbins had presented me and she had greeted me kindly, he said:
"I am sure Miss Kellogg will be glad to sing for you."
"O," said Her Grace, carelessly, "I haven't a piano. I don't play or sing and so I don't need one. But I'll get one in."
I was amazed at the idea of a Duchess not owning a piano and having to hire one when, in America, most middle-class homes possess one at whatever sacrifice, and every little girl is expected to take music lessons whether she has any ability or not. Even yet I do not quite understand how she managed without a piano for her musical lions to play on.
She did get one in without delay and I was speedily invited to come and sing. I thought I would pay a particular compliment to my English hostess on that occasion by choosing a song the words of which were written by England's Poet Laureate, so I provided myself with the lovely setting of Tears, Idle Tears; music written by an American, W. H. Cook by name, who besides being a composer of music possessed a charming tenor voice. In my innocence I thought this choice would make a hit. Imagine my surprise therefore when my hostess's comment on the text was:
"Very pretty words. Who wrote them?"
"Why," I stammered, "Tennyson."
"Indeed? And, my dear Miss Kellogg, who was Tennyson?"
Almost immediately after Colonel Stebbins bought her a handsome set of the Poet Laureate's works with which she expressed herself as hugely pleased, although I am personally doubtful if she ever opened a single volume.
She did not forget the Tears, Idle Tears episode, however, and had the wit and good humour often to refer to it afterwards and, usually, quite aptly. One of her most charming notes to me touches on it gracefully. She was a great letter-writer and her epistles, couched in flowery terms and embellished with huge capitals of the olden style, are treasures in their way:
" ...I know all I feel; and the Tears (not idle Tears) that overflow when I read about that Charming and Illustrious 'glorious Queen' ... who is winning all hearts and delighting everyone...."
Another letter, one which I think is a particularly interesting specimen of the Victorian style of letter-writing, runs:
...I read with great delight the "critique" of you in The London Review, which your Mamma was good enough to send me. The Writer is evidently a man of highly Cultivated Mind, capable of appreciating Excellency and Genius, and like the experienced Lapidary knows a pearl and a Diamond when he has the good fortune to fall in the way of one of high, pure first Water, and great brilliancy. Even you must now feel you have captivated the "elite" of the British Public, and taken root in the country, deep, deep, deep....
My mother and I used often to go to see the Duchess and, through her met many pleasant English people; the Duke and Duchess of Newcastle, Lady Susan Vane-Tempest who was Newcastle's sister, Lord Dudley, Lord Stanley, Lord Derby, Viscountess Combermere, Prince de la Tour D'Auvergne, the French Ambassador,—I cannot begin to remember them all—and I came really to like the quaint little old Duchess, who was always most charming to me. One small incident struck me as pathetic,—at least, it was half pathetic and half amusing. One day she told me with impressive pride that she was going to show me one of her dearest possessions, "a wonderful table made from a great American treasure presented to her by her dear friend, Commodore McVickar." She led me over to it and tenderly withdrew the cover, revealing to my amazement a piece of rough, cheap, Indian beadwork, such as all who crossed from Niagara to Canada in those days were familiar with. It was about as much like the genuine and beautiful beadwork of the older tribes as the tawdry American imitations are like true Japanese textures and curios. This poor specimen the Duchess had had made into a table-top and covered it with glass mounted in a gilt frame, and had given it a place of honour in her reception room. I suppose Mr. McVickar had sent it to her to give her a rough general idea of what Indian work looked like. I cannot believe that he intended to play a joke on her. She was certainly very proud of it and, so far as I know, nobody ever had the heart to disillusion her.
More than once I encountered in England this incongruous and inappropriate valuation of American things. I do not put it down to a general admiration for us but, on the contrary, to the fact that the English were so utterly and incredibly ignorant with regard to us. The beadwork of the Duchess reminds me of another somewhat similar incident.
At that time there were only two really rich bachelors in New York society, Wright Sandford and William Douglass. Willie Douglass was of Scotch descent and sang very pleasingly. Women went wild over him. He had a yacht that won everything in sight. While we were in London, he and his yacht put in an appearance at Cowes and he asked us down to pay him a visit. It was a delightful experience. The Earl of Harrington's country seat was not far away and the Earl with his daughters came on board to ask the yacht's party to luncheon the day following. Of course we all went and, equally of course, we had a wonderful time. Lunch was a deliciously informal affair. At one stage of the proceedings, somebody wanted more soda water, when young Lord Petersham, Harrington's eldest son, jumped up to fetch it himself. He rushed across the room and flung open, with an air of triumph, the door of a common, wooden ice-box,—the sort kept in the pantry or outside the kitchen door by Americans.
"Look!" he cried, "did you ever see anything so splendid? It's our American refrigerator and the joy of our lives! I suppose you've seen one before, Miss Kellogg?"
I explained rather feebly that I had, although not in a dining-room. But the family assured me that a dining-room was the proper place for it. I have seldom seen anything so heart-rendingly incongruous as that plain ugly article of furniture in that dining-room all carved woodwork, family silver, and armorial bearings!
They were dear people and my heart went out to them more completely than to any of my London friends. I soon discovered why.
"You are the most cordial English people I've met yet," I said to Lady Philippa Stanhope, the Earl's charming daughter. Her eyes twinkled.
"Oh, we're not English," she explained, "we're Irish!"
Yet even if I did not find the Londoners quite so congenial, I did like them. I could not have helped it, they were so courteous to my mother and me. Probably they supposed us to have Indians in our back-yards at home; nevertheless they were always courteous, at times cordial. One of the most charming of the Englishwomen I met was the Viscountess Combermere. She was one of the Queen's ladies-in-waiting, a very vivacious woman, and used to keep dinner tables in gales of laughter. Just then when anyone in London wanted to introduce or excuse an innovation, he or she would exclaim, "the Queen does it!" and there would be nothing more for anyone to say. This became a sort of catch-word. I recall one afternoon at the Dowager Duchess of Somerset's, a cup of hot tea was handed to the Viscountess who, pouring the liquid from the cup into the saucer and then sipping it from the saucer, said:
"Now ladies, do not think this is rude, for I have just come from the Queen and saw her do the same. Let us emulate the Queen!" Then, seeing us hesitate, "the Queen does it, ladies! the Queen does it!"
Whereupon everyone present drank tea from their saucers.
It was the Viscountess, also, who so greatly amused my mother at a luncheon party by saying to her with the most polite interest:
"You speak English remarkably well, Mrs. Kellogg! Do they speak English in America?"
"Yes, a little," replied mother, quietly.
ADELINA Patti came to see us at once. I had known her in America when she was singing with her sister and when, if the truth must be told, many people found Carlotta the more satisfactory singer of the two. I was glad to see her again even though we were prime donne of rival opera organisations. Adelina headed the list of artists at Covent Garden under Mr. Gye, among whom were some of the biggest names in Europe. Indeed, I found myself confronted with the competition of several favourites of the English people. At my own theatre, Her Majesty's, was Mme. Titjiens, always much beloved in England and still a fine artist. Christine Nilsson was also a member of the company; had sung there earlier in that year and was to sing there again later in the season.
A tour de force of Adelina's was my old friend Linda di Chamounix. She was supposed to be very brilliant in the part, especially in the Cavatina of the first act. As for Marguerite it was considered her private and particular property at Covent Garden, and Nilsson's private and particular property at Her Majesty's.
I have been often asked my opinion of Patti's voice. She had a beautiful voice that, in her early days, was very high, and she is, on the whole, quite the most remarkable singer that I ever heard. But her voice has not been a high one for many years. It has changed, changed in pitch and register. It is no longer a soprano; it is a mezzo and must be judged by quite different standards. I heard her when she sang over here in America thirteen years ago. She gave her old Cavatina from Linda and sang the whole of it a tone and a half lower than formerly. While the public did not know what the trouble was, they could not help perceiving the lack of brilliancy. Ah, those who have heard her in only the last fifteen years or so know nothing at all about Patti's voice! Yet it was always a light voice, although I doubt if the world realised the fact. She was always desperately afraid of overstraining it, and so was Maurice Strakosch for her. She never could sing more than three times in a week and, of those three, one rôle at least had to be very light. A great deal is heard about the wonderful preservation of Patti's voice. It was wonderfully preserved thirteen years ago. How could it have been otherwise, considering the care she has always taken of herself? Such a life! Everything divided off carefully according to régime:—so much to eat, so far to walk, so long to sleep, just such and such things to do and no others! And, above all, she has allowed herself few emotions. Every singer knows that emotions are what exhaust and injure the voice. She never acted; and she never, never felt. As Violetta she did express some slight emotion, to be sure. Her Gran Dio in the last act was sung with something like passion, at least with more passion than she ever sang anything else. Yes: in La Traviata, after she had run away with Nicolini, she did succeed in putting an unusual amount of warmth into the rôle of Violetta.
Adelina Patti From a photograph by Fredericks
Adelina Patti
From a photograph by Fredericks
But her great success was always due to her wonderful voice. Her acting was essentially mechanical. As an intelligent actress, a creator of parts, or even as an interesting personality, she could never approach Christine Nilsson. Nilsson had both originality and magnetism, a combination irresistibly captivating. Her singing was the embodiment of dramatic expression.
In September of that year we went down to Edinburgh to see the ruins of Melrose Abbey. To confess the truth, I remember just two things clearly about Scotland. One was that, at the ruins, Colonel Stebbins picked up a piece of crumbling stone, spoke of the strange effect of age upon it, and let it drop. Around turned the showman, or guide, or whatever the person was called who crammed the sights down our throats.
"You Americans are the curse of the country!" he exclaimed sharply.
My other distinct memory—with associations of much discomfort and annoyance—is that I left one rubber overshoe in Loch Lomond.
So much for Scotland. We did not stay long; and were soon back in London ready for work.
Our rehearsals were rather fun. It seemed strange to be able to walk across a stage without getting the hem of one's skirt dirty. English theatres are incredibly clean when one considers what a dirty, sooty, grimy town London is. Our opera was at the old Drury Lane, although we always called it Her Majesty's because that was the name of the opera company. I was amused to find that a member of the company, a big young basso named "Signor Foli," turned out to be none other than Walter Foley, a boy from my old home in the Hartford region. I always called him "the Irish Italian from Connecticut."
We opened on November 2d in Faust. There was rather a flurry of indignation that a young American prima donna should dare to plunge into Marguerite the very first thing. The fact that the young American had sung it before other artists had, with the exception of Patti and Titjiens, and that she was generally believed to know something about it, mattered not at all. English people are acknowledged idolaters and notoriously cold to newcomers. They cling to some imperishable memory of a poor soul whose voice has been dead for years: and it was undoubtedly an inversion of this same loyalty to their favourites that made them so dislike the idea of Marguerite being selected for the new young woman's début. But, really, though on a slightly different scale, it was not so unlike the early days of Linda, over again when the Italians accused me with so much animosity of taking the bread out of their mouths. It can easily be believed that, with Nilsson holding all records of Marguerite at Her Majesty's, and with Adelina waiting at Covent Garden with murderous sweetness to see what I was going to do with her favourite rôle, I was wretchedly nervous. When the first night came around no one had a good word for me; everybody was indifferent; and I honestly do not know what I should have done if it had not been for Santley—dear, big-hearted Santley. He was our Valentine, that one, great, incomparable Valentine for whom Gounod wrote the Dio possente. I was walking rather shakily across the stage for my first entrance, feeling utterly frightened and lonely, and looking, I dare say, nearly as miserable as I felt, when a warm, strong hand was laid gently on my shoulder.
"Courage, little one, courage," said Santley, smiling at me and patting me as if I had been a very small, unhappy, frightened child.
I smiled back at him and, suddenly, I felt strong and hopeful and brave again. Onto the stage I went with a curiously sure feeling that I was going to do well after all.
I suppose I must have done well. There was a packed house and very soon I felt it with me. I was called out many times, once in the middle of the act after the church scene, an occurrence that was so far as I know unprecedented. Colonel Keppel, the Prince of Wales's aide (I did not dream then how well-known the name Keppel was destined to be in connection with that of his royal master), came behind during the entr'acte to congratulate me on behalf of the Prince. In later performances his Highness did me the honour of coming himself. The London newspapers—of which, frankly, I had stood in great dread—had delightful things to say. This is the way in which one of them welcomed me: " ...She has only one fault: if she were but English, she would be simply perfect!" The editorial comments in The Athenæum of Chorley, that gorgon of English criticism, included the following paragraph:
Miss Kellogg has a voice, indeed, that leaves little to wish for, and proves by her use of it that her studies have been both assiduous and in the right path. She is, in fact, though so young, a thoroughly accomplished singer—in the school, at any rate, toward which the music of M. Gounod consistently leans, and which essentially differs from the florid school of Rossini and the Italians before Verdi. One of the great charms of her singing is her perfect enunciation of the words she has to utter. She never sacrifices sense to sound; but fits the verbal text to the music, as if she attached equal importance to each. Of the Italian language she seems to be a thorough mistress, and we may well believe that she speaks it both fluently and correctly. These manifest advantages, added to a graceful figure, a countenance full of intelligence, and undoubted dramatic ability, make up a sum of attractions to be envied, and easily explain the interest excited by Miss Kellogg at the outset and maintained by her to the end.
But, oh, how grateful I was to that good Santley for giving the little boost to my courage at just the right moment! He was always a fine friend, as well as a fine singer. I admired him from the bottom of my heart, both as an artist and a man, and not only for what he was but also for what he had grown from. He was only a ship-chandler's clerk in the beginning. Indeed, he was in the office of a friend of mine in Liverpool. From that he rose to the foremost rank of musical art. Yet that friend of mine never took the least interest in Santley, nor was he ever willing to recognise Santley's standing. Merely because he had once held so inferior a position this man I knew—and he was not a bad sort of man otherwise—was always intolerant and incredulous of Santley's success and would never even go to hear him sing. It is true that Santley never did entirely shake off the influences of his early environment, a characteristic to be remarked in many men of his nationality. In addition to this, some men are so sincere and simple-hearted and earnest that they do not take kindly to artificial environment and I think Santley was one of these. And he was a dear man, and kind. His wife, a relative of Fanny Kemble, I never knew very well as she was a good deal of an invalid.
Clara Louise Kellogg as Linda, 1868 From a photograph by Stereoscopic Co.
Clara Louise Kellogg as Linda, 1868
From a photograph by Stereoscopic Co.
On the 9th we repeated Faust and on the 11th we gave Traviata. This also, I feel sure, must have irritated Adelina. It is a curious little fact that, while the opera of Traviata was not only allowed but also greatly liked in London, the play La Dame aux Camilias—which as we all know is practically the Traviata libretto—had been rigorously banned by the English censor! Traviata brought me more curtain calls than ever. The British public was really growing to like me!
Martha followed on the 15th. This was another rôle in which I had to challenge comparison with Nilsson, who was fond of it, although I never liked her classic style in the part. It was given in Italian; but I sang The Last Rose of Summer in English, like a ballad, and the people loved it. I wore a blue satin gown as Martha which, alas! I lost in the theatre fire not long after.
Then came Linda di Chamounix, the second rôle that I had ever sung. I was glad to sing it again, and in England, and the newspapers spoke of it as "a great and crowning success" for me. As soon as we had given this opera, Gye, the impresario at Covent Garden, decided it was time to show off Patti in that rôle. So he promptly—hastily, even—revived Linda for her. I have always felt, however, that Linda was tacitly given to me by the public. Arditi, our conductor at Her Majesty's, wrote a waltz for me to sing at the close of the opera, The Kellogg Waltz, and I wore a charming new costume in the part, a simple little yellow gown, with a blue moiré silk apron and tiny pale pink roses. The combination of pink and yellow was always a favourite one with me. I wore it in my early appearance as Violetta and, later, also in Traviata, I wore a variant of the same colour scheme that was called by my friends in London my "rainbow frock." It was composed of a grosgrain silk petticoat of the hue known as apricot, trimmed with mauve and pale turquoise shades; the overskirt was caught back at either side with a turquoise bow and the train was of plain turquoise. I took a serious interest in my costumes in those days—and, indeed, in all days! This latter gown was one of Worth's creations and met with much admiration. More than once have I received letters asking where it was made.
The English public was most cordial and kindly toward me and unfailingly appreciative of my work. But I believe from the bottom of my heart that, inherently and permanently, the English are an unmusical people. They do not like fire, nor passion, nor great moments in either life nor art. Mozart's music, that runs peacefully and simply along, is precisely what suits them best. They adore it. They likewise adore Rossini and Handel. They think that the crashing emotional climaxes of the more advanced composers are extravagant; and, both by instinct and principle, they dislike the immoderate and the extreme in all things. They are in fact a simple and primitive people, temperamentally, actually, and artistically. I remember that the first year I was in London all the women were singing:
| My mother bids me bind my hair |
| And lace my bodice blue! |
It wandered along so sweetly and mildly, not to say insipidly, that of course it was popular with Victorian England.
Finally, came Don Giovanni on December 3d. I played Zerlina as I had done in America. Later I came to prefer Donna Anna. But in London Titjiens did Donna Anna. Santley was the Almaviva and Mme. Sinico was the Donna Elvira. The following spring when we gave our "all star cast" Nilsson was the Elvira. I had no Zerlina costume with me and the decision to put on the opera was made in a hurry, so I got out my old Rosina dress and wore it and it answered the purpose every bit as well as if I had had a new one.
The opera went splendidly, so splendidly that, two days later, on the 5th, we gave it again at a matinée, or, as it was the fashion to say then, a "morning performance." The success was repeated. I caught a most terrible cold, however, and returned in a bad temper to Miss Edward's Hotel to nurse myself for a few days and get in condition for the next performance. But there was destined to be no next performance at the old Drury Lane.
The following evening at about half-past ten, my mother, Colonel Stebbins, and I were talking in our sitting-room with the window-shades up. Suddenly I saw a red glow over the roofs of the houses and pointed it out.
"It's a fire!" I exclaimed.
"And it's in the direction of the theatre!" said Colonel Stebbins.
"Oh, I hope that Her Majesty's is in no danger!" cried my mother.
We did not think at first that it could be the theatre itself, but Colonel Stebbins sent his valet off in a hurry to make enquiries. While he was gone a messenger arrived in great haste from the Duchess of Somerset asking for assurances of my safety. Then came other messages from friends all over London and soon the man servant returned to confirm the reports that were reaching us. Her Majesty's had caught fire from the carpenter's shop underneath the stage and, before morning, had burned to the ground.
Arditi had been holding an orchestra rehearsal there at the time and the last piece of music ever played in the old theatre was The Kellogg Waltz.
Mr. McHenry From a photograph by Brady
Mr. McHenry
From a photograph by Brady
TITJIENS had smelled smoke and she had been told that it was nothing but shavings that were being burned. Luckily, nobody was hurt and, although some of our costumes were lost, we artists did not suffer so very much after all. But of course our season was summarily put an end to and we all scattered for work and play until the spring season when Mapleson would want us back.
My mother and I went across to Paris without delay. I had wanted to see "the Continent" since I was a child and I must say that, in my heart of hearts, I almost welcomed the fire that set me free to go sightseeing and adventuring after the slavery of dressing-rooms and rehearsals. Crossing the Channel I was the heroine of the boat because, while I was just a little seasick, I was not enough so to give in to it. I can remember forcing myself to sit up and walk about and even talk with a grim and savage feeling that I would die rather than admit myself beaten by a silly and disgusting malaise like that; and after crossing the ocean with impunity too. Everyone else on board was abjectly ill and I expect it was partly pride that kept me well.
In Paris we went first to the Louvre Hotel where we were nearly frozen to death. As soon as we could, we moved into rooms where we might thaw out and become almost warm, although we never found the temperature really comfortable the whole time we lived in French houses. We saw any number of plays, visited cathedrals and picture galleries, and bought clothes. In fact we did all the regulation things, for we were determined to make the most of every minute of our holiday. Rather oddly, one of the entertainments I remember most distinctly was a production of Gulliver's Travels at the Théâtre Châtelet. It was the dullest play in the world; but the scenery and effects were splendid.
I was not particularly enthusiastic over the French theatres. Indeed, I found them very limited and disappointing. I had gone to France expecting every theatrical performance in Paris to be a revelation. Probably I respect French art as much as any one; but I believe it is looked up to a great deal more than is justified. Consider Mme. Carvalho's wig for example, and, as for that, her costume as well. Yet we all turned to the Parisians as authority for the theatre. The pictures of the first distinguished Marguerite give a fine idea of the French stage effects in the sixties. A few years ago I heard Tannhäuser in Paris. The manner in which the pilgrims wandered in convinced me in my opinion. The whole management was inefficient and Wagner's injunctions were disregarded at every few bars. The French Gallicise everything. They simply cannot get inside the mental point of view of any other country. Though they are popularly considered to be so facile and adaptable, they are in truth the most obstinate, one-idead, single-sided race on earth barring none except, possibly, the Italians. Gounod's Faust is a good example—a Ger man story treated by Frenchmen. Remarkably little that is Teutonic has been left in it. Goethe has been eliminated so far as possible. The French were held by the drama, but the poetry and the symbolism meant nothing at all to them. Being German, they had no use for its poetry and its symbolism. The French colour and alter foreign thought just as they colour and alter foreign phraseology. They do it in a way more subtle than any usual difficulties of translation from one tongue to another. The process is more a form of transmuting than of translating—words, thoughts, actions—into another element entirely. How idiotic it sounds when Hamlet sings:
Être—ou n'être pas!
Perhaps this, however, is not entirely the fault of the French. Shakespeare should never be set to music.
There is also the question of traditions. I may seem to be contradicting myself when I find fault with a certain French school for its blind and bigoted adherence to traditions; but there should be moderation in all things and a hidebound rigidity in stupid old forms is just as inartistic as a free-and-easy elasticity in flighty new ones. It is possible to put some old wine in new bottles, but it must be poured in very gently. French artists learn most when once they get away from France. Maurel is a good example. Look at the way he grew and developed when he went to England and America and was allowed to work problems and ideas out by himself.
Once when in Paris I wanted to vary and freshen my costume of Marguerite, give it a new yet consistent touch here and there. I was not planning to renovate the rôle, only the girl's clothes. Having always felt that the Grand Opera was a Mecca to us artists from afar, I hastened there and climbed up the huge stairway to pay my respects to the Director. Monsieur had never heard of me. Frenchmen make a point never to have heard of any one outside of France. The fact that I was merely the first and the most famous Marguerite across the sea did not count. He was, however, very polite. He brought out his wonderful costume books that were full of new ideas to me and delighted me with numberless fresh possibilities. I saw unexplored fields in the direction of correct costuming and exclaimed over the designs, Monsieur watching my enthusiasm with bored civility. There was one particularly enchanting design for a silver chatelaine, heavy and mediæval in character. I could see it with my mind's eye hanging from Marguerite's bodice. This I said to M. le Directeur: but he shook his dignified head with a frown.
"Too rich. Marguerite was too poor," he said with weary brevity.
"Oh, no!" I explained volubly and eagerly, "she was of the well-to-do class—the burghers—don't you remember? Marguerite and Valentine owned their house and, though they were of course of peasant blood, this sort of chatelaine seems to me just the thing that any German girl might possess."
"Too rich," Monsieur put in imperturbably.
"But," I protested, "it might be an heirloom, you know, and——"
"Too rich," he repeated politely; and he added in a calm, dreamy voice as he shut up the book, "I think that Mademoiselle will make a mistake if she ever tries anything new!"
As for sightseeing in France, my mother and I did any amount of it on that first visit. Sometimes I was charmed but more often I was disillusioned. There have been few "sights" in my life that have come up to my "great expectations" or been half as wonderful as my dreams. This is the penalty of a too vivid imagination; nothing can ever be as perfect as one's fancy paints it. The view of Mont Blanc from the terrace of Voltaire's house near the borderland of France and Switzerland is one of the few in my experience that I have found more lovely than I could have dreamed it to be. Of all the palaces that I have been in—and they have numbered several—the only one that ever seemed to me like a real palace was Fontainebleau. Small but exquisite, it looked like a haven of rest and loveliness, as though its motto might well be: "How to be happy though a crowned head!"
Speaking of crowned heads reminds me that while we were in Paris Mr. McHenry, our English friend from Holland Park, made an appointment for me to be presented to the ex-Queen of Spain, the Bourbon princess, Christina, so beloved by many Spaniards. I was delighted because I had never been presented to royalty and a Spanish queen seemed a very splendid sort of personage even if she did not happen to be ruling at the moment. Christina had withdrawn from Spain and had married the Duke de Rienzares. They lived in a beautiful palace on the Champs Élysées. There are nothing but shops on the site now but it used to be very imposing, especially the formal entrance which, if I remember correctly, was off the Rue St. Honoré. Mrs. and Mr. McHenry went with me and, after being admitted, we were shown up a marble staircase into what was called the Cameo Room, a small, austere apartment filled with cameos of the Bourbons. Queen Christina liked to live in small and unpretentious rooms; they seemed less suggestive of a palace.
I found that "royalty at home" was about as simple as anything could conceivably be; not quite as plain as the old Dowager Duchess of Somerset to be sure but quite plain enough. The Queen and the Duke de Rienzares entered without ceremony. The Queen wore a severe and simple black gown that cleared the floor by an inch or two. It was a perfectly practical and useful dress, admirably suited for housekeeping or tidying up a room. Around the royal lady's shoulders hung a little red plaid shawl such as no American would wear. She was Spanishly dark and her black hair was pulled into a knot about the size of a silver dollar in the middle of the back of her head. I have never seen her en grande toilette and so do not know whether or not she ever looked any less like a respectable housekeeper. She had a delightful manner and was most gracious. She had, with all the Bourbon pride, also the Bourbon gift of making herself pleasant and of putting people at their ease. Of course she was immensely accomplished and spoke Italian as perfectly as she did Spanish. The Duke seemed harmless and amiable. He had little to say, was thoroughly subordinate, and seemed entirely acclimated to his position in life as the ordinarily born husband of a Queen.
Our visit was not much of an ordeal after all. It was really quite instinctively that I courtesied and backed out of the room and observed the other points of etiquette that are correct when one is introduced to royalty. As it was a private presentation, it had not been thought necessary to coach me, and as I backed myself out of the august presence, keeping myself as nearly as possible in a courtesying attitude, I caught Mr. McHenry looking at me with amused approval.
"Well," said he, when we were safe in the hall and I had straightened up, "I should say that you had been accustomed to courts and crowned heads all your life! You acted as if you had been brought up on it!"
"Ah," I replied, "that comes from my opera training. We learn on the stage how to treat kings and queens."
Not more than a fortnight after this I had an offer for an engagement at the Madrid Opera for $400.00 a night, very good for Spain in those days. I suppose that it came indirectly through the influence of Queen Christina. I wanted to go to Spain, but my mother would not let me accept. We were almost pioneers of travel in the modern sense and had no one to give us authoritative ideas of other countries. People alarmed us about the climate, declaring it unhealthy; and about the public, which they said was capricious and rude. The warning about the public particularly frightened me. I should never object to my efforts being received in silence in case of disapproval, but I felt that I could not survive what I had been told was the Spanish custom of hissing. I was also told that Spanish audiences were very mercurial and difficult to win. So we refused the Madrid Opera offer, and I have never sung in either Spain or Italy principally because of my dread of the hissing habit.
That same year I heard Christine Nilsson for the first time, in Martha at the Théâtre Lyrique and, later, in Hamlet at the same theatre with Faure. Shortly after both Nilsson and Faure were taken over by the Grand Opera. Ophélie had been written for Nilsson and composed entirely around her voice. She created the part, singing it exquisitely, and Ambrose Thomas paid her the compliment of taking his two principal soprano melodies from old Swedish folk-songs. Nilsson could sing Swedish melodies in a way to drive one crazy or break one's heart. I have been quite carried away with them again and again. There was one delicious song that she called Le Bal in which a young fellow asks a girl to dance and she is very shy. It was slight, but ever so pretty, and it had a minor melody that was typically northern. These were the good days before her voice became impaired. In this connection I may mention that it was Christine Nilsson who, having heard the Goodwin girls sing Way Down upon the Swanee River, first introduced it on the stage as an encore.
While speaking of Nilsson, I want to record that I was present on the night, much later, when she practically murdered the high register of her voice. She had five upper notes the quality of which was unlike any other I ever heard and that possessed a peculiar charm. The tragedy happened during a performance of The Magic Flute in London and I was in the Newcastles' box, which was near the stage. Nilsson was the Queen of the Night, one of her most successful early rôles. The second aria in The Magic Flute is more famous and less difficult than the first aria and, also, more effective. Nilsson knew well the ineffectiveness of the ending of the first aria in the two weakest notes of a soprano's voice, A natural and B flat. I never could understand why a master like Mozart should have chosen to use them as he did. There is no climax to the song. One has to climb up hard and fast and then stop short in the middle. It is an appalling thing to do: and that night Nilsson took those two notes at the last in chest tones.
Christine Nilsson as Queen of the Night From a photograph by Pierre Petit
Christine Nilsson as Queen of the Night
From a photograph by Pierre Petit
"Great heavens!" I gasped, "what is she doing? What is the woman thinking of!"
Of course I knew she was doing it to get volume and vibration and to give that trying climax some character. But to say that it was a fatal attempt is to put it mildly. She absolutely killed a certain quality in her voice there and then and she never recovered it. Even that night she had to cut out the second great aria. Her beautiful high notes were gone for ever. Probably the fatality was the result of the last stroke to a continued strain which she had put upon her voice. After that she, like Mario, began to be dramatic to make up for what she had lost. She, the classical and cold artist, became full of expression and animation. But the later Nilsson was very different from the Nilsson whom I first heard in Paris during the winter of 1868, when, besides singing the music perfectly, she was, with her blond hair and broad brow, a living Ophélie. As I have said, Faure, the baritone, was her Hamlet in that early performance. He was a great artist, a great actor in whatever rôle he took. His voice was not wonderful, but he was saved, and more than saved, by his style and his art. He was a particularly cultivated, musicianly man whose dignity of carriage and elegance of manner could easily make people forget a certain ungrateful quality in his voice. It was Faure who had the brains and perseverance to learn how to sing a particular note from a really bad singer. The bad singer had only one good note in his voice and that happened to be the worst one in Faure's. So, night after night, the great artist went to hear and to study the inferior one to try and learn how he got that note. And he succeeded, too. This is a fair sample of his careful and finished way of doing anything. He was a big artist, and to big artists, especially in singing, music is almost mathematical in its exactness.
Adelina Patti, who had also left London for the winter, was singing at the Italiens in Paris. I went to hear her give an indifferent performance of Ernani. It was never one of her advantageous rôles. Adelina had a most extraordinary charm and a great power over men of very diverse sorts. De Caux, Nicolini, Maurice Strakosch, who married Adelina's sister Amelia, all adored her and felt that whatever she did must be right because she did it. Nicolini, who had been a star tenor singing all over Italy before she captured him, was willing to forget that he ever had a wife or children. Maurice was for years her "manager and representative," and as such put up with incredible complexities in the situation. There is a long and lurid tale about Nicolini's wife appearing in Italy when Nicolini, Maurice, and Adelina were all there. The story ended with Nicolini being kicked downstairs and the press commented upon the episode with an apt couplet from Schiller to the effect that "life is hard, but merry is art!"
The names of Paris and of Maurice Strakosch in conjunction conjure up the thought of Napoleon III, who, in his young days of exile, used to be very intimate with Maurice. Louis Napoleon, after he had escaped from the fortress of Ham, spent some time in London, and he and Maurice frequently lunched or dined together. By the way, some years later, at a dinner at the McHenrys' in Holland Park, I was told by Chevalier Wyckoff that it was he who rescued Napoleon from the prison of Ham by smuggling clothes in to him and by having a boat waiting for him. Maurice used to tell of one rather amusing incident that occurred during the London period. Louis Napoleon's dress clothes were usually in pawn, and one night when he wanted to go to some party, he presented himself at Maurice's rooms to borrow his. Maurice was out; but nevertheless Louis Napoleon took the dress clothes anyway, adding all of Maurice's orders and decorations. When he was decked out to his satisfaction he went to the party. Shortly after, in came Maurice, to dress for the same party, and called to his valet to bring him his evening clothes.
"Mr. Bonaparte's got 'em on, sir," said the man: and Maurice stayed at home!
Napoleon III was a man of many weaknesses. Yet he kept his promises and remembered his friends—when he could. As soon as he became Emperor he sent for Maurice Strakosch and offered him the management of the Italiens; but Maurice declined the honour. He was too busy "representing" Patti in those days to care for any other engagement. He did give singing lessons to the Empress Eugénie however, and was always on good terms with her and with the Emperor.
When I was in Paris in '68 Napoleon and Eugénie were in power at the Tuileries and day after day I saw them driving behind their splendid horses. Paris was extremely gay and yet somewhat ominous, for there was a wide-spread feeling that clouds were gathering about the throne. When thinking of that period I sometimes quote to myself Owen Meredith's poem, Aux Italiens,
The Tuileries court was a very brilliant one and we were accustomed to splendid costumes and gorgeous turnouts in the Bois, but one day I came home with a particularly excited description of the "foreign princess" I had seen. Her clothes, her horses (she drove postilion), her carriage, her liveries, her servants, all, to my innocent and still ignorant mind, proclaimed her some distinguished visiting royalty. How chagrined I was and how I was laughed at when my "princess" turned out to be one of the best known demi-mondaines in Paris! Even then it was difficult to tell the two mondes apart.
A unique character in Paris was Dr. Evans, dentist to the Emperor and Empress. He was an American and a witty, talented man. I remember hearing him laughingly boast:
"I have looked down the mouth of every crowned head of Europe!"
When disaster overtook the Bonapartes, he proved that he could serve crowned heads in other ways besides filling their teeth. It was he who helped the Empress to escape, and the fact made him an exile from Paris. He came to see me in London years afterwards and told me something of that dark and dramatic time of flight. He felt very homesick for Paris, which had been his home for so long, but the dear man was as merry and charming as ever.
We spent in all only a short time in Paris. Two months were taken out of the middle of that winter for travelling on the Continent, after which we returned to the French city for March. When we first started from Paris on our trip we were headed for Nice. It was Christmas Day, and cold as charity. Why did we choose that day of all others on which to begin a journey? Our Christmas dinner consisted of cold soup swallowed at a station. Christmas!—I could have wept!