Part 10 (1/2)
One of the pleasant affairs that came my way that year was Sir Morton Peto's banquet in October. Sir Morton was a distinguished Englishman who represented big railway interests in Great Britain and who was then negotiating some new and important railroading schemes on this side of the water. There were two hundred and fifty guests; practically everybody present, except my mother and myself, standing for some large financial power of the United States. I felt much complimented at being invited, for it was at a period when very great developments were in the making. America was literally teeming with new projects and plans and embryonic interests.
The banquet was given at Delmonico's, then at Fifth Avenue and Fourteenth Street, and the rooms were gorgeous in their drapings of American and English flags. The war was about drawing to its close and patriotism was at white heat. The influential Americans were in the mood to wave their banners and to exchange amenities with foreign potentates.
Sir Morton was a noted capitalist and his banquet was a sort of ”hands across the sea” festival. He used, I recall, to stop at the Clarendon, now torn down and its site occupied by a commercial ”sky sc.r.a.per,” but then the smart hostelry of the town.
I sang that night after dinner. My services had not been engaged professionally, so, when Sir Morton wanted to reward me lavishly, I of course did not care to have him do so. We were still so new to _prime donne_ in New York that we had no social code or precedent to refer to with regard to them; and I preferred, personally, to keep the episode on a purely friendly and social basis. I was an invited guest only who had tried to do her part for the entertainment of the others. I was honoured, too. It was an experience to which anyone could look back with pride and pleasure.
But, being English, Sir Morton Peto had a solution and, within a day or two, sent me an exquisite pearl and diamond bracelet. It is odd how much more delicately and graciously than Americans all foreigners--of whatever nationality indeed--can relieve a situation of awkwardness and do the really considerate and appreciative thing which makes such a situation all right. I later found the same tactful qualities in the Duke of Newcastle who, with his family, were among the closest friends I had in England. Indeed, I was always much impressed with the good taste of English men and women in this connection.
An instance of the American fas.h.i.+on befell me during the winter of '63-'64 on the occasion of a big reception that was given by the father of Brander Matthews. I was invited to go and asked to sing, my host saying that if I would not accept a stipulated price he would be only too glad to make me a handsome present of some kind. The occasion turned out to be very unfortunate and unpleasant altogether, both at the time and with regard to the feeling that grew out of it. I happened to wear a dress that was nearly new, a handsome and expensive gown, and this was completely ruined by a servant upsetting melted ice cream over it. My host and hostess were all concern, saying that, as they were about to go to Paris, they would buy me a new one. I immediately felt that if they did this, they would consider the dress as an equivalent for my singing and that I should never hear anything more of the handsome present. Of course I said nothing of this, however, to anyone. Well--they went to Paris. Days and weeks pa.s.sed. I heard nothing from them about either dress or present. I went to Europe. They called on me in Paris. In the course of time we all came home to America; and the night after my return I received a long letter and a set of Castilian gold jewelry, altogether inadequate as an equivalent. There was nothing to do but to accept it, which I did, and then proceeded to give away the ornaments as I saw fit. The whole affair was uncomfortable and a discredit to my entertainers. Not only had I lost a rich dress through the carelessness of one of their servants, but I received a very tardy and inadequate recompense for my singing. I had refused payment in money because it was the custom to do so. But I was a professional singer, and I had been asked to the reception as a professional entertainer. This, however, I must add, is the most flagrant case that has ever come under my personal notice of an American host or hostess failing to ”make good” at the expense of a professional.
Well--from time to time after Sir Morton's banquet, I sang in concert.
On one occasion I replaced Euphrosyne Parepa--she had not then married Carl Rosa--at one of the Bateman concerts. The Meyerbeer craze was then at its height. Good, sound music it was too, if a little brazen and noisy. _L'etoile du Nord_ (I don't understand why we always speak of it as _L'etoile du Nord_ when we never once sang it in French) had been sung in America by my old idol, Mme. de la Grange, nearly ten years before I essayed Catarina. My _premiere_ in the part was given in Philadelphia; but almost immediately we came back to New York for the spring opera season and I sang _The Star_ as princ.i.p.al attraction. Later on I sang it in Boston.
It was always good fun playing in Boston, for the Harvard boys adored ”suping” and we had our extra men almost without the asking. They were such nice, clean, enthusiastic chaps! The reason why I remember them so clearly is that I never can forget how surprised I was when, in the boat at the end of the first act of _The Star of the North_, I chanced to look down and caught sight of Peter Barlow (now Judge Barlow) grinning up at me from a point almost underneath me on the stage, and how I nearly fell out of the boat!
We had difficulty in finding a satisfactory Prascovia. Prascovia is an important soprano part, and had to be well taken. At last Albites suggested a pupil of his. This was Minnie Hauck. Prascovia was sung at our first performance by Mlle. Bososio who was not equal to the part.
Minnie Hauck came into the theatre and sang a song of Meyerbeer's, and we knew that we had found our Prascovia. Her voice was very light but pleasing and well-trained, for Albites was a good teacher. She undoubtedly would add value to our cast. So she made her _debut_ as Prascovia, although she afterwards became better known to the public as one of the most famous of the early Carmens. Indeed, many people believed that she created that _role_ in America although, as a matter of fact, I sang Carmen several months before she did. As Prascovia she and I had a duet together, very long and elaborate, which we introduced after the tent scene and which made an immense hit. We always received many flowers after it--I, particularly, to be quite candid. By this time I was called The Flower Prima Donna because of the quant.i.ties of wonderful blossoms that were sent to me night after night. When singing _The Star of the North_ there was one bouquet that I was sure of getting regularly from a young man who always sent the same kind of flowers. I never needed a card on them or on the box to know from whom they came.
Miss Hauck used to help me pick up my bouquets. The only trouble was that every one she picked up she kept! As a rule I did not object, and, anyway, I might have had difficulty in proving that she had appropriated my flowers after she had taken the cards off: but one night she included in her general haul my own special, unmistakable bouquet! I recognised it, saw her take it, but, as there was no card, had the greatest difficulty in getting it away from her. I did, though, in the end.
Minnie Hauck was very pus.h.i.+ng and took advantage of everything to forward and help herself. She never had the least apprehension about the outcome of anything in which she was engaged and, in this, she was extremely fortunate, for most persons cursed with the artistic temperament are too sensitive to feel confident. She was clever, too.
This is another exception, for very few big singers are clever. I think it is Mme. Maeterlinck who has made use of the expression ”too clever to sing well.” I am convinced that there is quite a truth in it as well as a sarcasm. Wonderful voices usually are given to people who are, intrinsically, more or less nonent.i.ties. One cannot have everything in this world, and people with brains are not obliged to sing! But Minnie Hauck was a singer and she was also clever. If I remember rightly, she married some scientific foreign baron and lived afterwards in Lucerne.
Once I heard of a soldier who was asked to describe Waterloo and who replied that his whole impression of the battle consisted of a mental picture of the kind of b.u.t.ton that was on the coat of the man in front of him. It is so curiously true that one's view of important events is often a very small one,--especially when it comes to a matter of mere memory. Accordingly, I find my amethysts are almost my most vivid recollection in connection with _L'etoile du Nord_. I wanted a set of really handsome stage jewelry for Catarina. In fact, I had been looking for such a set for some time. There are many _roles_, Violetta for instance, for which rich jewels are needed. My friends were on the lookout for me, also, and it was while I was preparing for _The Star of the North_ that a man I knew came hurrying in with a wonderful tale of a set of imitation amethysts that he had discovered, and that were, he thought, precisely what I was looking for.
”The man who has them,” he told me, ”bought them at a bankrupt sale for ninety-six dollars and they are a regular white elephant to him. Of course, they are suitable only for the stage; and he has been hunting for months for some actress who would buy them. You'd better take a look at them, anyhow.”
I had the set sent to me and, promptly, went wild over it. The stones, that ranged from the size of a bean to that of a large walnut, appeared to be as perfect as genuine amethysts, and the setting--genuine soft, old, worked gold--was really exquisite. There were seventy stones in the whole set, which included a necklace, a bracelet, a large brooch, ear-rings and a most gorgeous tiara. The colour of the gems was very deep and lovely, bordering on a claret tone rather than violet. The crown was apparently symbolic or suggestive of some great house. It was made of roses, shamrocks, and thistles, and every piece in the set was engraved with a small hare's head. I wish I knew heraldry and could tell to whom the lovely ornaments had first belonged. Of course I bought them, paying one hundred and fifty dollars for the set, which the man was glad enough to get. I wore it in _The Star_ and in other operas, and one day I took it down to Tiffany's to have it cleaned and repaired.
The man there, who knew me, examined it with interest.
”It will cost you one hundred and seventy dollars,” he informed me.
”What!” I gasped. ”That is more than the whole set is worth!”
He looked at me as if he thought I must be a little crazy.
”Miss Kellogg,” he said, ”if you think that, I don't believe you know what you've really got. What do you think this jewelry is really worth?”
”I don't know,” I admitted. ”What do you think it is worth?”
”Roughly speaking,” he replied, ”I should say about six thousand dollars. The workmans.h.i.+p is of great value, and every one of the stones is genuine.”
Through all these years, therefore, I have been fearful that some Rip Van Winkle claimant might rise up and take my beloved amethysts away from me!
My general impressions of this period of my life include those of the two great pianists, Thalberg and Gottschalk. They were both wonderful, although I always admired Gottschalk more than the former. Thalberg had the greater technique; Gottschalk the greater charm. Sympathetically, the latter musician was better equipped than the former. The very simplest thing that Gottschalk played became full of fascination.
Thalberg was marvellously perfect as to his method; but it was Gottschalk who could ”play the birds off the trees and the heart out of your breast,” as the Irish say. Thalberg's work was, if I may put it so, mental; Gottschalk's was temperamental.