Various
Blackwood's Edinburgh Magazine, Vol. 67, No. 416, June 1850
"All English gentlemen," continued Demetri, "think they cut off heads every day in Stamboul, and put them, all of a row, on plates at the Seraglio gate. And they think people are always being drowned in the Bosphorus. Not true. I know a fellow who is a dragoman, and shows that wooden shoot which comes from the wall of the Seraglio Point, as the place they slide them down. It is only to get rid of the garden rubbish. Same with lots of other things."
Nothing like travel to dispel prejudice and romance. People are too apt to adopt Byron's notions of the East. To those who would have their eyes opened we recommend the Mediterranean steamers, or, if these would take them too far, they may stay at home and read Mr Smith.
"Travel," such is his advice to the seeker after truth, "with a determination to be only affected by things as they strike you. Swiss girls, St Bernard dogs, Portici fishermen, the Rhine, Nile travelling, and other objects of popular rhapsodies, fearfully deteriorate upon practical acquaintance. Few tourists have the courage to say that they have been 'bored,' or at least disappointed by some conventional lion. They find that Guide-books, Diaries, Notes, Journals, &c. &c., all copy one from the other in their enthusiasm about the same things; and they shrink from the charge of vulgarity, or lack of mind, did they dare to differ. Artists and writers will study effect rather than graphic truth. The florid description of some modern book of travel is as different to the actual impressions of ninety-nine people out of a hundred – allowing all these to possess average education, perception, and intellect – when painting in their minds the same subject, as the artfully tinted lithograph, or picturesque engraving of the portfolio or annual, is to the faithful photograph."
Mr Smith's concluding chapter, including his lazaretto experiences and departure for Egypt, is very amusing, and he shows up the abuses of the quarantine system, his own annoyances when in sickly durance, and the eccentricities of his Mahometan and Christian fellow-travellers, with spirit and humour. We have good will, but no space, to accompany him further in his peregrinations. An appendix, including estimates of expenses, and various remarks suggested by his recent travelling experience, will be found useful by persons contemplating a similar trip. The general texture of his book is certainly of the slightest; but, as already implied, it pretends not to solidity or to the discussion of grave topics. It is just such a volume as might be composed by the amalgamation of a series of epistles from a lively and fluent letter-writer to friends at home, during a few weeks' ramble and abode in Turkey. If it occasionally reminds us of Cockaigne, its author, we are sure, is too patriotic to be ashamed of his native village, and we have no mind to quarrel with him for the almost exclusively metropolitan character of his tropes and similes, for his frequent reminiscences of London streets and Surrey hills, or for his preference of the sunset seen from "The Cricketers" at Chertsey Bridge, to the same sight from "The little Burial-ground" at Pera. A good result – probably the one he aimed at – of the selection, as points of comparison, of localities more particularly familiar to Londoners, is that he thereby conveys, to those who will doubtless form a very large proportion of his readers, a clear idea of the places he visited and would describe. And his little volume affords evidence of good temper and feeling sufficient to cover a multitude of Cockneyisms.
When reviewing, about two years ago, a volume of rambles5 in a very different region, we stated our opinion as to the style of illustration appropriate to books of this kind, in which cuts or engravings are most acceptable when they explain scenes and objects that written description, even at great length, would less accurately and clearly place before the reader. Mr Smith is evidently of the same way of thinking. "I have given," he says, "only those illustrations which appeared to be the most characteristic rather than the most imposing." In so doing he has shown judgment, and used to the best advantage the pencils and colour-box, which formed part of the heterogeneous contents of his well-stuffed knapsack. The reader will be more obliged to him for the appropriate and useful little sketches that thickly stud his pages, than for any drawings of greater pretensions, whose introduction the size and price of the volume would have permitted.
MADAME SONTAG AND THE OPERA
It is now between three and four years since the town was startled by intelligence that the Opera House was divided against itself, and that melody and grace were about to take flight from the bottom of the Hay-market to the top of the Garden. In our quality of determined foes to unnecessary changes and theoretical reforms, we received the intelligence regretfully, and so, we have reason to believe, did that very considerable section of the London and provincial public into whose annual calculations of refined enjoyments the Italian Opera largely enters. Without going into the merits of the dispute, which up to this hour we have never heard clearly elucidated, we plainly discerned one thing – namely, that there was discord in the operatic camp; that harmony had abandoned its favourite abode; that managers, musicians, singers, and dancers, were drawing different ways: in short, that the Opera, taking the lead in a fashion that soon afterwards became disagreeably prevalent throughout Europe, was in a state of revolution. With whom the fault lay we knew not, and little cared: all that concerned us was the unpleasant fact that the pleasures of the music-loving multitude, quorum pars sumus, were seriously endangered. It is pretty notorious that, with very rare exceptions, professional votaries of the Muses are capricious, and difficult to deal with. Painters are accused of unpunctuality and improvidence; composers are often idle dogs, fretting impresarios into fevers, as Rossini did Barbaja, and fulfilling their engagements only at the last minute of the eleventh hour, with the polenta smoking on the table;6 even authors we have heard declared, upon no mean authority, to be queer cattle to guide; but, of all classes whose occupation derives from art and poetry, none, assuredly, are harder to manage and to please than actors and musicians. From those early days of Opera, when a Lully shivered Cremonas upon the heads of a refractory orchestra, to the recent ones when a Lumley in vain essayed to appease the petulance of a prima donna, and calm the choler of a conductor, the tribulations of managers have been countless as the pebbles on the shore. To judge, indeed, from their own account, few of the penalties so picturesquely set forth in Fox's martyr-book, but would be preferable to ten years' management of a large lyric theatre. Consult the comedians, and we are presented with the reverse of the medal. A manager, we shall be told, is a covetous and Heliogabalian tyrant, fattening upon the toil and talents of the artist; a sort of vampire in a black coat, sucking the blood of genius, faring sumptuously on the proceeds of a tenor, squeezing the cost of his stud out of a soprano, and making large annual investments on the strength of an underpaid barytone. These things may be true, but we shall more readily credit them when we less frequently see managers in the Gazette, and when we hear of singers putting down their carriages, retrenching their suburban villas, and contenting themselves with salaries less enormous than those they now unblushingly exact. Upon such matters, however, it is not our purpose to expatiate. Theatrical quarrels rarely excite much general interest in this country, except inasmuch as they may exercise an unfavourable influence on the pleasures of the public – which has not been the case, we are happy to say, in the most recent and important instance of disagreement between the lessee of the first London theatre and certain members of his company.
At no period, probably, since London has possessed an Italian Opera, was there more room and a better chance of success for two establishments of that description than just now. Indeed, even if the particular circumstances that have caused a second establishment to be formed had not occurred, it might not improbably have arisen out of the want of remunerative patronage for high musical talent upon the Continent, entailed by the revolutionary convulsions of the last two years. Another circumstance favourable to the Italians is to be found in the depressed state of the native stage – a depression which we maintain is to be attributed to bad management and bad acting, more than to any decline in the public taste for the drama. Second-rate talent, such as now occupies the high places on our principal theatres, will no more permanently attract full houses, than will the burlesque and tinsel that has monopolised the minor stage. It is our conviction that high tragedy and good comedy will still draw together discriminating and desirable audiences; but they must be well acted. Could you bring back Kemble and Siddons, Kean and Young, rely upon it that the taste for the theatre would revive, and Drury Lane might be opened with better than a bare chance of success. And although those masters of their art have disappeared from the scene, there still are actors who, if they would condescend to pull together, might do much to prop the declining national drama. In the provincial towns the Charles Keans, Miss Faucit, or Macready, always draw full houses; and it is our belief they would do so the year through at Drury Lane, if they all belonged to its company, under a judicious management. It is idle to say that the public has lost its taste for theatres, because it will not encourage mediocrity and bad taste; and the best proof of the contrary is, that anything really good in theatricals, no matter in what style, at once draws. We need not go far for examples. About three years ago, the little French theatre in St James's had a good working company, besides a constant flow of still better actors, succeeding each other by twos and threes from Paris. The consequence was, that the house was nightly crowded; not only, be it observed, in its more fashionable divisions, but in those cheaper regions of gallery, pit, and boxes, more accessible to moderate purses and to the general public. In short, the theatre was popular, because the performances were good; although it is, assuredly, but a very limited portion of the English middle classes that can fully enter into and enjoy the spirit of French plays. When the management injudiciously changed the system, which, one would think, must surely have answered its purpose as well as that of the public, and gave indifferently sung comic operas instead of well-acted vaudevilles, dramas, and petites comédies, popularity and audience dwindled. It was no longer good of its kind. People will not be persuaded, for any length of time, that a star and a bundle of sticks compose a theatrical company worth listening to. We may take another instance, still nearer home. Under the management of Vestris and Mathews, and in spite of a deplorable absence of ventilation, the Lyceum Theatre has for many months past been nightly full to the roof, whilst nearly every other London manager has been wofully grumbling at the state of his benches and treasury. It is not that the performances at the Lyceum have been of a very high class; but of their kind they have been good, the company pulls well together, and there is a certain spirit and originality in the conduct of the theatre. And here, whilst avoiding comparisons with any particular theatre to which they might be unfavourable, we are yet led to remark, that an utter want of originality is one of the chief and most lamentable present characteristics of the London stage. Such a monotonous set of imitators was surely never beheld. They all follow each other in a string, like the boors after Dummling's precious goose. Unfortunately the golden feathers become dross in their grasp. If one makes a hit, forthwith the others copy; without pausing to reflect whether the novelty was not the principal charm, which will evaporate on repetition. Thus, last Christmas, at the theatre already referred to, a fairy spectacle of extraordinary beauty was brought out, and "ran," as the phrase is, an unusual number of nights, long outliving most of the very middling pantomimes and holiday entertainments elsewhere produced. Easter came, and behold! half-a-dozen other theatres, taking their cue from the lucky Lyceum, came out in the same line. Ambitious scenery, gorgeous decoration, wholesale glitter, and many-coloured fires, dazzled the eye in all directions. "If your voice were as fine as your feathers," said the crafty fox to the cheese-bearing crow, "what a bird you would be!" Were your taste equal to your tinsel, managers of the London theatres, what an improvement there would be in your receipts! Your dress-boxes and your cash-boxes would alike be replenished; and you would no longer have a pretext to indulge in undignified wailings about want of encouragement to native talent, preference given to foreigners, and the other querulous commonplaces with which the public is periodically bored.
To return, however, to the Opera. As we have already observed, about four years ago its prospects were bad. Discord, the forerunner of dissolution, had squatted itself in the Green-room. With one or two exceptions, the artists who for some years had been the chief pillars of that stage abandoned it for a rival establishment. With the few hands who stuck by the old ship, it seemed scarcely possible to make a fight. But at the most gloomy moment, when all seemed desperate, a good genius came to the rescue. One Swede proved more than an equivalent for half-a-dozen Italians, and impending ruin was replaced by triumphant success. London presented the singular spectacle – unprecedented, we believe, in any capital – of two enormous theatres simultaneously open for the representation of Italian operas. How it fares with the more modern establishment, we have no positive knowledge. Not too well, we fear, judging from the balance-sheet of a recent lessee. Should the experiment succeed, the public will doubtless be the gainers. We shall be glad to learn that all thrive and flourish; but meanwhile we are particularly pleased to find that the more ancient temple of music and dance, endeared to us by long habit, old associations, and much enjoyment, has risen, at the very moment when ill-omened prophets predicted its fall, to as high a pitch of excellence as, within our recollection, it ever attained; and has escaped conversion to an equestrian circus, a shilling concert room, a Radical debating hall, or any other of the profane and degrading purposes to which of late years it has been too much the fashion to apply the large London theatres. When the enthusiasm excited by Jenny Lind, which at one time approached infatuation, began to subside, and that amiable and charitable, but – if rumour lie not – somewhat capricious lady, fluctuating between matrimony and fame, at last took a middle course, and decided to cross the Atlantic, Her Majesty's Theatre had another stroke of good fortune. The Swede disappeared, but Germany came to the rescue. A singer whose name recalls the most glorious days of the Opera, and who, for nearly twenty years, had exchanged the artist's laurel wreath for the coronet of a countess – the plaudits of Europe for the ease and elegance of a court – was induced to return to the profession of which, during the short time she in her youth had exercised it, she had been one of the brightest ornaments.
The double interest excited by her brilliant talent as a vocalist, and by the peculiar circumstances under which she has again sought the scene of her former triumphs, has been so strong, that by this time few can be unacquainted with the leading incidents of the Countess Rossi's career. A humble origin, the precocious development of an exquisite voice and of extraordinary aptitude for music, the conquest with almost unexampled rapidity of a place beside the first singers of the day, a few short years of theatrical triumphs, an advantageous marriage, loss of fortune, return to the stage – and the tale is told. Even in this meagre outline there is no slight savour of the romantic. "The Countess Rossi," it has been truly observed by a French writer, "has scarcely performed in any lyrical drama fuller of incident and romance than her own life. For her the line of flame which in theatres separates the real from the ideal world, has not existed."7 Doubtless the details of this accomplished lady's life would be otherwise interesting than the bare outline of its leading events with which the world is fain to content itself. Twenty-five years, divided between the aristocracy of musical talent, and the aristocracy of diplomacy and high birth, must afford rich materials for autobiography. Nor would the period of her childhood be without its strong attraction, were she able to remember, and pleased to tell, of those days of infantine renown, when Coblenz and the banks of Rhine rang with praises of the seven-year-old songstress, whose parents, although they had the good sense to refuse the solicitations of managers, anxious to produce the prodigy, would yet at times place her on their table, and bid her sing for the gratification of admiring friends. Her first appearance in public was at the age of eleven, on the Darmstadt theatre; and perhaps even now that dullest of German capitals remains in her memory as a place of brightness and beauty, associated as it is with her early and complete success. But little Henrietta was not yet to continue the career she had so auspiciously begun. Hot theatres and unlimited praise composed a dangerous atmosphere for one so young, and her next step was to the Conservatory or great musical school at Prague, to the head of which she speedily made her way. At the age of fourteen or fifteen her proficiency in the various branches of her art was so great, that her cautious parents had scarcely a pretext for withholding her longer from the stage, which she manifestly was destined to adorn. Still they hesitated, when accident cast the die. The prima donna of the Prague opera was taken ill: not of one of those fleeting maladies to which singers and dancers are proverbially liable – and which appear an hour or two after noon, to disappear in time for a late breakfast next morning – but seriously, and without hope of speedy recovery. The despairing manager appealed to the pity of the Sontags. His only hope was in Henrietta, and Henrietta was allowed to appear upon the boards of the Imperial Opera of Prague – a theatre to which immortality is secured by the first performance of the Nozze di Figaro and the Clemenza di Tito having taken place within its walls. From a recently published and authentic sketch of Madame Sontag's professional life,8 we extract an account of her entrance.
"If nothing was wanting in courage, natural gifts of voice, and intellectual power, on the part of the child, as regards the height of her person there was a mancamento of several inches. But the stage-manager was not oblivious of the means by which the Greeks gave altitude to their scenic heroes and heroines; and the little prima donna, to whom was assigned for her début the principal female part in a translation of the favourite French opera Jean de Paris, was supplied with enormous cork heels. There was a time, at the court of Louis XV., when an inch and a half of red heel was the distinctive characteristic of a marquis, or of a lady of sufficient quality to be allowed to sit in the presence of royalty. On the occasion of the début of Henriette Sontag, four inches of vermillion-coloured cork foreshadowed the rank of the little lady, destined to become one of the most absolute mimic queens of the lyrical world, and afterwards a real and much respected countess. When the singer who enacted the pompous seneschal in the opera of Jean de Paris came forward, and said, 'It is no less a personage than the Princess of Navarre whose arrival I announce!' the applause and laughter was universal. When the little prodigy appeared on her cork pedestal, the house re-echoed with acclamations. As the business of the stage proceeded, the auditors found there was no longer any indulgence necessary on the score of age, but that there were claims on their admiration for a voice which, for purity, peculiar flute-like tone, and agility, has never been surpassed. The celebrated tenor, Gerstener, that night surpassed himself, finding he had to cope with the attraction of a new musical power. Many nights successively did she thus sing the Princess of Navarre, with increasing success, to crowded houses. Her next part was one far more difficult – that of the heroine in Paer's fine opera, Sargin. But the capital of Bohemia was not long to retain her. The Imperial court heard of her extraordinary success, and Henriette Sontag was summoned to Vienna, where she appeared, the very next season, at the German Opera."
Fraulein Sontag had not been long in the Austrian capital when the eccentric Domenico Barbaja, then lessee of La Scala, the San Carlo, and of the Italian Opera at Vienna, arrived there, incredulous of the merits of the new prima donna. His incredulity must not be ascribed to mere prejudice, for at that time Italy was generally believed to have the monopoly of melodious throats; and even now the exceptions are only just enough to prove the rule, at least as regards female singers. Of these, Germany and Scandinavia have produced but three who have acquired European reputation. The capricious but wonderfully talented Gertrude Schmeling (La Mara,) who at nine years of age drew large audiences at Vienna by her performance on the violin, who afterwards achieved first-rate excellence on the piano, and then, for nearly forty years, held undisputed sway, as unapproachable prima donna, over the entire musical world – and whose name is almost as celebrated by reason of the strange adventures and vicissitudes of her life as on account of her astonishing voice and genius – is the most ancient of these, and Madame Sontag and Jenny Lind complete the trio. When at length prevailed upon to visit the German Opera, Barbaja was astonished, and he immediately offered the young singer an engagement for the San Carlo. This was declined, her parents having a wholesome, perhaps an exaggerated, dread of the temptations and perils that would await their daughter in the luxurious land of Naples. Nay, so deeply rooted was the aversion of the honest Germans for things Italian, that it was with the greatest difficulty Barbaja could obtain their permission for Henrietta to appear at the Italian Opera at Vienna. There she had colleagues worthy of herself – Rubini, the prince of tenors, and the evergreen Lablache, with whom, after an interval of five-and-twenty years, she is now again singing. There also she heard Madame Mainvielle Fodor, by the study of whose admirable style she greatly improved herself. Leipzig and Berlin next witnessed her triumphs, and there she excited great enthusiasm by her singing in Weber's operas of Der Freischütz and Euryanthe.
"The admirers of the genius of that great composer," says M. P. Scudo, in a lively, but not strictly correct sketch of Madame Sontag's career, inserted in the Revue des Deux Mondes, "consisted of the youth of the universities, and of all the ardent and generous spirits who desired to emancipate Germany intellectually as well as politically from foreign domination… They were grateful to Mademoiselle Sontag for consecrating a magnificent voice, and a method rarely found beyond the Rhine, to the energetic and profound music of Weber, Beethoven, Spohr, and the new race of German composers, who had broken all compact with foreign impiety, and given an impulse to the national genius. Receiving universal homage, celebrated by wits, serenaded by students, and escorted by the huzzas of the German press, Mademoiselle Sontag was called to Berlin, where she made her appearance with immense success at the Koenigstadt Theatre. It was at Berlin, as is well known, that the Freischütz was for the first time performed, in 1821. It was at Berlin, the Protestant and rationalist city, the centre of an intellectual and political movement which sought to absorb the activity of Germany at the expense of Vienna – that catholic capital, where the spirit of tradition, sensuality, the soft breezes and melodies of Italy reigned – it was at Berlin that the new school of dramatic music founded by Weber had taken the firmest hold. With enthusiasm, as the inspired interpreter of the national music, Mademoiselle Sontag was there welcomed. The disciples of Hegel took her for the text of their learned commentaries, and hailed, in her limpid and sonorous voice, the subjective confounded with the objective in an absolute unity! The old King of Prussia received her at his court with paternal goodness. There it was that diplomacy had the opportunity to approach Mademoiselle Sontag, and to make an impression on the heart of the muse."
With all deference to M. Scudo, who is rather smart than accurate, we will remark that the applause of the Berliners was elicited less by the nationality of the music than by the excellence of the singing; and that they were perfectly satisfied to listen to translations of Rossini, and to the music then in vogue in the other chief opera houses of Europe. Doubtless they were proud of their countrywoman; and their jealousy and indignation were highly excited when, after a visit to Paris, she came back to Berlin with the avowed intention of returning to the French capital. This raised a storm, and on her first appearance at the Koenigstadt, she was received, probably for the first and last time in her life, with a storm of groans and hisses. So violent was the tumult that the other actors left the stage in alarm; but the Sontag remained, strong in her right and regardless of the unmerited hurricane of censure, and of the almost menacing adjurations addressed to her by the audience to break off with the French, and remain in her own country. At last, hopeless of making an impression on the resolute young lady, the incensed Prussians calmed themselves, and from that night to the day of her departure she was as popular as ever.
At Paris was fully confirmed the favourable judgment passed upon Mademoiselle Sontag at Prague, Vienna, and Berlin. And, in one respect, her triumph there was more important and complete than any she had previously enjoyed – more important, not so much on account of the superior critical acumen and taste of her hearers, as by reason of the formidable rivals with whom she had to compete. We are far from belonging to that class of persons – a class confined, as we believe, almost exclusively to France – which holds the favourable verdict of the Parisian musical world the most difficult to obtain, and the most flattering to the artist, of any in Europe. This notion has been diligently set abroad by the Parisians themselves, who, with characteristic self-complacency, look upon their tribunal as the court of last appeal in matters of art and music. The only solid ground upon which such a presumption can plausibly be sustained, is the fact that Paris (by its gaiety and central position the European metropolis of pleasure) annually assembles, – or did assemble, before recent disastrous follies closed its saloons and deterred foreign visitors – a very large portion of the intellectual and art-loving of all countries. Upon this basis rests the sole claim of Paris to fastidiousness and infallibility of judgment. This only can give superior value to the laurel wreaths bestowed in the Salle Ventadour, or the Rue Lepelletier, over those that may be acquired in half-a-dozen other European opera houses. As regards the worth of the verdict of an exclusively French audience, we confess that, when we see the crowds that are attracted, and the enthusiasm that is excited, by the usually flimsy and second-rate music given at the Opera Comique, (for many years past unquestionably the most uniformly prosperous and popular of the Paris musical theatres,) we incline to answer in the affirmative the question put by one of the shrewdest and wittiest of Frenchmen, whether the French nation be not rather song-loving than musical?9 But if Mademoiselle Sontag, after conquering the unbounded applause of Vienna and Berlin audiences, and the suffrage of so keen a connoisseur as Barbaja, had no need to dread the ordeal of Parisian criticism, on the other hand she well might feel trepidation at thoughts of the competitors she was about to encounter, foremost amongst whom were the great names of Pasta, Pisaroni, and Malibran. In presence of such a trio, any but a first-rate talent must have succumbed and fallen back into the rear rank. Not so did the Sontag, but at once took and kept her place on a level with those great singers. It was with Malibran, the ardent, warm-hearted, passionate Spaniard, that she was brought into most frequent comparison. But although many tales have been told of the bitterness of their rivalry, these have been suggested by probability or malice, not by fact; for, from a very early period of their acquaintance, a sincere friendship existed between them. The Countess de Merlin, in her memoir of Malibran, gives the following account of its origin: —
"The presence of Mademoiselle Sontag at the Italian Theatre was fresh stimulus for Maria's talent, and contributed to its perfection. Each time that the former obtained a brilliant triumph, Maria wept and exclaimed, 'Mon Dieu! why does she sing so well?' Then from those tears sprang a beauty and sublimity of harmony, of which the public had the benefit. It was the ardent desire of amateurs to hear these two charming artists sing together in the same opera; but they mutually feared each other, and for some time the much-coveted gratification was deferred. One night they met at a concert at my house; a sort of plot had been laid, and towards the middle of the concert they were asked to sing the duet in Tancredi. For a few moments they showed fear, hesitation; but at last they yielded, and approached the piano, amidst the acclamations of all present. They both seemed agitated and disturbed, and observant of each other; but presently the conclusion of the symphony fixed their attention, and the duet begun. The enthusiasm their singing excited was so vivid and so equally divided, that at the end of the duet, and in the midst of the applause, they gazed at each other, bewildered, delighted, astonished; and by a spontaneous movement, an involuntary attraction, their hands and lips met, and a kiss of peace was given and received with all the vivacity and sincerity of youth. The scene was charming, and has assuredly not been forgotten by those who witnessed it."10
The good understanding thus brought about was permanent, and many proofs of it are on record. From that time forward Sontag and Malibran frequently sang together, both in Paris and London, and displayed an amiability very rare amongst operatic celebrities, in respect to distribution of parts, and to other points which often prove a prolific source of strife behind the scenes. In the little English memoir already referred to, we find some anecdotes illustrative of the kindly feeling between the blue-eyed soprano and the dark-browed contralto. Towards the close of the London opera season of 1829, Malibran one day met Donzelli, the celebrated tenor, with discontent stamped upon his features. She asked the cause of his vexation. The time was at hand for his benefit, he said, and he had been unable to fix on an attractive opera.