The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1864-08-05
TROUBLES OF AN OPERA MANAGER.

"Reminiscences of Great Singers and |
Dancers.
A number Of years ago, Max Maretzek pub
lshed very spicy and entertaining volume of |
personal "reminiscences, under the title Of "Cr1t-
chefs and ouavers" In this work, he told the
experience Of an inpresayio in the United States
and Mexico Lumley, the well-known London
manager, has followed his example, and book
has lately appeared at the English capital enti-
tied "reminiscences Of the Opera, by Benjamin
| Lumley."
| His career is contemporancous with that Of
! Grisi, Frezzolini, SontAg and Jenny Lind, who
are now beginning TO be looked upon as singers
| Of the past, though most Of them yet alive ap-
| pear in public when they can.
According to Mr.. Lumley, the task of an opera
manager is thanl<less enough. Hero is what he
fnysof
| AN ENGLISH lMrREsARGo's POSITION.
4 II has been already observed that no assistance
| is afforded to our theatres by government. Any
| one designing to enter upon the management of
one especially Of the Italian OPERA has to provide
capital, to make advances, and TO defray his OK
| penseg beforehand trusting to overtake all by
successful season, OF rather by series OF such
The man himself should possess the sort Of talent
and knowledge adapted to the enterprise, and
ought likewise TO be endowed with fOrtitude,
hopefuness, patience, and power of self.conrol,
coupled with strong health and ability 20 endure
| 10 igues now buppOhlDB u courageous Nuu tJul-
petCnt person to present himself in the position Of
director, uniting the requisites sketched above,
with what feelings do we find him regarded by
the theatrical section OF the public
The answer will suggest itself TO most OF those
who have had experience of the habits of London
society. From the noble patron and patroness
down to the subscribing bookseller; from the
, wealthy citizen down % the D0diste--au fre-
quenters, or would be frequenters of the opera,
entertain common sentiment of hostility tow
. ards "the manager" Most Of them grudge giving
their money. Each seeks to obtain his amuse-
! ment by the least possible outlay. Admissions
4 "gratis" are sought with importantly by those
who can set forth the slightest claim to the favor
Artists themselves show no consideration for the
directors purse, but clamOr for boxes and tickets
4 for friends without limit. Such Is the wide
D spreading feeling among the Opera-going public
on the opening of a new season.
a No one thinks OF the outlay, but every one cal
culates the gains Whoever expresses pleasure
., at the thought that the manager is making
q profit He is, to speak openly, the common
;. enemy" in the eyes of both public and artists.
The latter feel injured if he reaps the harvest of
their labOrs, and think he ought to pay them
. higher; the public feel displeasure Rt the prices
: required for admission, and argue that II the
/ | theatre pays the tariff ought 20 be lower.
Lastly, the difficulties of the director when they
: become notorious, excite no compassion
. A few rich nobemen tender certain amount
3 of support, on the understood condition OF being
n allowed to influence the administration; and
when, induced by these iiatering hopes OF friendly
20 assistance, the manager parts with his independ
ence, he be- ONES pOWerleSS 10 recover MS lOSseSj
i and finally meets his ruin at the hands of the
aristOcratc ally, who relentlessy presses for re-
II payment out of an empty treasury. Indeed, when
j. the enormous expenditure involved in the carry
ing on of the theatre, its high rent, the heavy
j, rate OF insurance against fire, the army of func-
a tionaries in its pay, the wear and tear of the
"propeTties the losses by non payment OF boxes,
n the vast sums absorbed by the artists--singcrs,
l. dancers, and orchestra-are all taken into con-
d sderation, it is easy to imagine how large must
Is be the receipts which should balance such out
e goings. And be it always borne in mind, that in
the case of Italian OPERA the season, properly so
d called, lasts no more than four or hvo months
% ont OF the twelve.
a It was under Mr.. Lumley's management that
a a Jenny Lind appeared before an English audi
ence and this is the way 1t was brought about -
g now JENNY LIND GAME TO LONDON.
:, In the autumn of 1915 the now widely cele-
y brated cantatrice was delghting the pupils oi
Frankfort by her talent, when accident threw her
q in the way of an English lady, closely allied TO
Swedish family with whom she had been init
% mate at Stockholm. In the course of conversa-
y | ton Mademoisele Lind became aware that the
a. | true ana fitting arena for her talent in London
3, was the stage of Her Majesty's Theatre.
o Although far from sanguine as 10 her own sue
dt cess in England, she was at least anxious tc
~ libeTatc herself from an engagement contracted
"a hastily and under an erroneous impression; anc
u her newly acquired friend was shortly afterward
invested by her with null powers to treat witt
80 Mr.. Bum for a release from her contract. Nego
on tatiOns were consequently opened with Mr.
re Bum, who, far from showing himself at al
rs unreasonable proposed at first the apparently
moderate condition that MademOiselle Linz
rt- should pay him either the sum of $500 as for
Ter felt for breach Of contract $500, coupled will
for the promise to sing for him one night at hi
o., theatre gratis.
ia, These terms were considered 50 acceptable b,
las the friend of the fair singer, that their ratihca
tly ton by Mademoiselle Lind was confidently eX
es pected. Unfortunately the young lady, Ignorant
it may be presumed, of the ways of the worl
ou and Of her own real position, replied only by
ay letter addressed to the manager OF Dury Liant
Is in which she appealed to his generosity"
sh. grant her unconditional surrender of the cor
lee tract, urging that in an ungusrded moment a
'on engagement had been extortcd frem her OF whc
be she now saw the imprudence, and putting 1t I
not him as man of honor and feeling to release h(
'rs, from her bond.
Mt, Such proposition was mnnifestly untenablt
iy- and by this iIl-advised step the part of Mad
10 mosee Lind, the negotiations which had bee
the conducted in so amicable and promising maj
son on behalf of the prla donna necessarily te
at minated. The period fixed by Mademoisel
md Iind's engagement with Mr.. Bum having passe
IN away, the affair had become only question
'dt damages. In October, 1896 made more this
one attempt 10 secure the services of the eel
ing brated Swedish Nightingale; but these attemp
so were made in vain. The young singer h:
way conceived so inordinate dread of Mr.. Bum
Ito vengeance, and of his intentions to pers
oes cute her with newspaper attacks and 9th
ler- means Of annoyance, on account Of the "brea'
Ts- OF PROMISE" that she could not overcome h
But rcpugnanCe 70 visit the shores of England. ST
am l did not despair, and, following Mademoisel
'nu, Lind from Frankfort 70 Stuttgardt and thence
ink Dalnstadt, / at last succeeded in prevailing
'oy- the coy eongstress 10 contract an eHgageme
oal- at my theatre. Here l had to employ all u
n. best ability. Besides holding out to her the mC
Ike brilliant prospects both Of fame and fortune
and went so far as TO undertake bear any loss h
Ana might fall upon her in the event Of lawsuit vi
Mr.. Bum, The terms of this engagement Wa
ad- far superior TO any hitherto offered to the &C
the brated singer.
She was offered one hundred and twenty the
did sand francs four thousand eight hundred pouuC
sur for the season, reckoning from the l4th Of Ap
enl to the Goth OF August, besides house free
tue charge and carriage and pair Of horses 70 be att
get disposal further sum of eight hundred pouu
should she be inclined 20 pass a month in lta
lent for study or repose, prior TO her debut at
any Mpjestys Theatre; lastly, the liberty to can
heat her engagement il, after her first appearance
ope the boards, and her success falling short Of
sug- expectations, she felt dsinolned to continue
men performances.
Ihs Mr.. Lumley also knew the great buffo
~ LABLAOHB.
and There was a greatness about this genuine ART
v in to which no parallel can be offered; and rec
,pen lect q person Of distinction saying that he ne
and / thOupht Of him without recalling TO mind