The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1866-05-23
"Reminiscences of Opera Singers.
PASTA, MALIBRAN, soNTAG, JENNY LIND, La
BLACHE. AND COSTA.

PASTA, MALIBRAN, soNTAG, JENNY LIND, La
BLACHB, AND COSTA.
The author OF "The Queens Of Song" IS pub.
lsnlng IN London Society a series OF papers on
ne London Opera Directors abundantly
speed with personal anecdotes. The last mum.
per relates some OF the Incidents VIII ch at
tended the first appearance of Malibran and
Sontag in London, in 1929. Pasta was then in
the zenith of her glory, and looked askance
upon these new tights; but they took the town
by storm, and Pasta's struggles to retain the
supremacy we're in vain. The Kings Theatre
at which Malibran and Sontag appeared was
managed by Messrs Laurent and Laporte-the
former an ex-drector OF the Italian opera in
Paris, the latter q distinguished French actor
They offered Malibran seventy. five guineas Tor
each performance; the offer was accepted, and
her fret appearance was ir the character of
''Desdamona." OF quarrel and a reconcla-
ton between Malibran and Sontag the writer
says:-
"Mademoiselle Sontag was regarded by the
Parisians as the rival of Madame Pasta, of
Madame Plsaroni, and OF Madame Malibran
Nothing was neglected by the manager which
could stimulate public expectation, prior to the
arrival of the distinguished German soprano
Her beauty, her talents, her dramatic powers
her romantic history were dilated upon in ex-
aggerated terms. A thousand and one anec-
dotes were circulated regarding her; Dukes and
royal Princes, it was said, were dying of love
for her, and fought duels with one another for
the privilege of obtaining tickets to hear
her sing; Paris, Berlin, and other great
capitals were at her feet; diamond brace
lets and the most costly gifts we're Of
fered TO her by Emperors. The various devices
put IN action succeeded so well that the
musical and fashionable world was thrown into
ierment, and on the night ot her debut the
'front.' oil the theatre was besieged by an immense
crowd, which was not deferred in the attempt to
glance at the fair songstTess, even by the acutest
torments of heat and crushing, and the loss of
divers articles OF wearing apparel. Before the
season was over Sontag quarrelled with Laporte.
A foolish rivalry had existed between Sontag
and Mallbran, one of those bitter animosites
which dis6gure the history of the opera. NJ
Fetis, who was then in London, brought about
a reconciliation, all the more easily effected as
the two singers admired each other, and had
nothing to do with originating the antagonism
which had been iostered between them by par
usans M. Laporte took advantage OF the newly
cemented friendship to produce pieces In which
they could sing together.
The London opera season of 1880 was chiefly
memorable ior the appearance OF Louis La
bache. M. Laporte, in the following season
(l63l, introduced Rubni, the king OF tenors
and during the same season brought out Michael
Costa.
In 1882 the Kings Theatre passed to the d1rec-
torshlp OF MoncK Mason, by whom German
opera, in its original form. was presented for
the first time in London. The famous Schroeder
Devrient created an extraordinary sensation in
the opera OF Fidei,0. The production of this
work was an event which exercised marked
influence on the history of music in England.
AT the close OF the season Mr.. Mason brought
out Robert te Dldble which was then turning
cost the director six Thousand pounds. The
scenery, which was painted by the Messrs.
Grieye, was exquisite, and exhibited some new
and ingenious effects.
The composer came over for the purpose of
experimenting the production OF the work, but
so many delays and disasters occurred that the
piece tailed, and Mason withdrew ruined man.
Laporte then resumed the dIrectorshIp, and in
two years the music of Bellni began to be
popular, and Grisi was engaged to sing. In
1885, Lumley, a young solicitor, appeared as an
assistant to Laporte and III 1888 the name of
the Kings Theatre was altered by command to
her Majesty's Theatre. With the season of 1912,
Mr.. Lumley became exclusive manager, and
tor twenty years held the most prominent place
among the operate directors. The writer con-
tinues:-
''To enter on a detailed chronicle of Mr.. Lum-
leys management would be superhuous, as he
has told his own story 30 recently and 50 mi
nutely. He introduced TO England for the first
time many distinguished singers and dancers,
and several new operas and ballets. Among the
singers were Jenny Lind, and the Mesdames
Tadolini, FrezZolini, Sophie Cruvelli, Parodi
CASTELAR,, Caroline Duprez, Piccolomini, Tet
iens, Gardoni, Calzolari, Fraschini Ranconi,
Beletti, Fornassari, Standigi Giuglini. The prin
cipal dancers who appeared for the first time in
England during his management were Rosati,
Ferraris, Lucille Grain, Marie Taglioni, Adele
Dumlatre, Guy Stephan, Pocchini and st. Leon
with numerous MINOR stars. He introduced,
after their heightened absence, Madame Sontag
and the ethereal Taglioni. Mr.. Lumley relied
for success, in this season of l847, on the COM
ing OF the Swedish Nightingale' She did come
and created such an excitement that, although
nearly twenty years have elapsed since the April
night when her first notes we're heard, the scene
is vividly remembered by those who had share
in it, and those who simply knew by hearsay Of
the terrors of Jenny Lind crush.'"