Garcia the Centenarian And His Times Part 4

_Bartolo_ Signor Graziani.

_Basilio_ Signor de Begnis.

_Almaviva_ Signor Garcia.

In addition to appearing at the opera Garcia _pere_ continued to compose prolifically. "La Mort du Ta.s.se" and "Florestan" were produced at the Grand Opera, "Fazzoletto" at the Theatre Italien, and "La Meuniere" at the Gymnase, while three others were finished but never performed.

Moreover, he devoted a good deal of attention to teaching singing, his fame attracting a number of pupils, while at the close of the year 1819 he published a book on his 'Method of Singing.'

In the spring of the following year, in which took place the accession of George IV. to the throne of England, Manuel Garcia paid a flying visit to Spain. It was destined to be the last time he ever saw his native country. The fact is a curious one when we remember his intense love for Spain, which was so strong that, in spite of his spending the last fifty-eight years of his life in England, nothing would have induced him to become a naturalised British subject.

On his return from Madrid he commenced the study of harmony, for, as has been already stated, his father was a firm believer in the necessity of every singer being a musician in the broadest sense of the word. For this work he was placed under Francois Joseph Fetis, who had just succeeded Elen as professor of counterpoint and fugue at the Conservatoire. This was six years before Fetis became librarian of the inst.i.tution--a position in which he was enabled to prepare his famous 'Biographie Universelle des Musiciens,' which is one of the greatest monuments to the achievements of musical genius ever reared. He was indeed a remarkable man, who displayed talent not only as teacher, but composer, historian, critic, and author of various theoretical works.

In 1821, the year of Napoleon's death, Manuel's youngest sister was born--Mich.e.l.le Ferdinande Pauline,--who was in after years to become no less famous than Maria. The second and third names were given her in honour of her sponsors, Ferdinand Paer and Princess Pauline Galitzin.

In the spring of 1823 the elder Garcia was again appearing at the King's Theatre, and during the season he founded his famous school of singing in London. It was at this time, too, that he first began seriously to take Maria's musical training in hand, since she was now approaching her fifteenth birthday. His daughter soon showed the individuality of her genius, in spite of a certain fear inspired by her father's somewhat violent disposition.

He made his reappearance at the King's Theatre in May in Rossini's "Otello," given with the following cast:--

_Otello_ Signor Garcia.

_Desdemona_ Mme. Camporese.

_Elmiro_ Signor Porto.

_Roderigo_ Signor Curioni.

_Iago_ Signor Reina.

_Emilia_ Signora Caradori.

_Doge_ Signor Righi.

In speaking of his return to London, the 'Harmonicon' tells us: "Garcia's voice has an extensive compa.s.s and considerable power, and is round and clear. Its flexibility is remarkable."

On June 5 we find the tenor taking part in the first performance of Rossini's semi-serious opera, "Ricciardo e Zoraide," with this cast:--

_Agorante_ Signor Garcia.

_Ricciardo_ Signor Curioni.

_Ernesto_ Signor Reina.

_Ircano_ Signor Porto.

_Zoraide_ Mme. Camporese.

_Zomira_ Mme. Vestris.

_Fatima_ Mme. Graziani.

Four weeks later he is appearing at the _premiere_ of another of Rossini's works with the strange t.i.tle, "Matilde di Shabran e Corradino, ossia Il Trionfa della Belta," with the princ.i.p.al parts distributed thus:--

_Matilde di Shabran_ Mme. Ronzi di Begnis.

_Corradino_ Signor Garcia.

_Isidoro_ Signor di Begnis.

_Raimondo_ Signor Reina.

_Edvardo_ Mme. Vestris.

_Contessa d'Arca_ Signora Caradori.

From all this, it will be seen that Manuel Garcia lived in a musical world day and night. Awake or asleep, music and musicians surrounded the boy.

At the close of the London season his father returned to Paris.

An exceptional insight into the musical and artistic circles of the French capital at this time, when Manuel was a young man of eighteen, is given by the following paragraph from a paper of that day:--

"On November 15 some of the princ.i.p.al musical composers and theatrical performers of Paris united to give a dinner to Signor Rossini, in the great room of M. Martin, Place du Chatelet.

"Signor Rossini was seated between Mdlle. Mars and Mme. Pasta. M.

Lesueur, placed exactly opposite to him, had Mme. Colbran Rossini on his right and Mdlle. Georges on his left; Mmes. Gra.s.sari, Cinti, and Denuri sat next to these. MM. Talma, Boieldieu, Garcia, and Martin were in the midst of this group of elegance and beauty. All the arts, all the talents, were represented by MM. Auber, Herold, Ciceri Panseron, Casimir Bonjour, Mimaut, Horace Vernet, &c.

"When the dessert was served, M. Lesueur rose and gave the following toast--'To Rossini! whose ardent Genius has opened a new path and formed an epoch in the art of music.'

"Signor Rossini replied by this toast--'To the French School, and to the prosperity of the Conservatoire.'

"M. Lesueur then gave--'Gluck.'

"Signor Garcia proposed--'Gretry! the most sensible and one of the most melodious of French musicians.'

"Signor Rossini then gave--'Mozart.'

"M. Boieldieu offered his toast in the following words--'Mehul! I see Rossini and the shade of Mozart applaud this toast.'

"M. Herold proposed--'Paisiello! Full of ingenuity and pa.s.sion, he rendered popular in all parts of Europe the Italian School.'

"Finally M. Panseron (for M. Auber) gave--'Cimarosa! the precursor of Rossini.'"

With this the proceedings were brought to an official close and an unofficial commencement of others, which were doubtless continued into "the sma' wee hours."

In the January of 1824 the Garcias returned to England once more, for we find the following announcement made in one of the London musical papers--

"The Italian Opera (King's Theatre) is to open towards the end of the present month. Signor Rossini is engaged as composer and director of the music: he is to superintend the performance of his own operas, and to produce a new one. The engagements both for the opera and the ballet are upon a liberal scale. Among these are--

_Mesdames_--Ronzi di Begnis, Colbran Rossini, Pasta, Vestris, &c.

_Signors_--Garcia, Curioni, Franceschi, Remorini, di Begnis, Porto, &c.

_Conductor_--Signor Coccia.

_Leader_--Signor Spagnoletti.

_Poet_--Signor Vestris.

_In the Ballet will appear_--Mme. Ronzi Vestris; Mdlle.

Legras, Mdlle. Idalise Grener, Mdlle. n.o.blet; M.

Albert, M. Charles Vestris, M. Ferdinand, &c.

_Princ.i.p.al Ballet-master_--Mons. Aumer."

The season opened on January 24 with "Zelmira," a new opera conducted by "the universally fas.h.i.+onable composer of the day, Signor Gioacchiso Rossini."

How strangely reads the repertoire of the representations given at the King's Theatre during the next months! Two only are heard at Covent Garden nowadays, and those but rarely--"Don Giovanni" and "II Barbiere,"

which latter was given with Mme. Vestris as Rosina, di Begnis as Bartolo, Benetti as Figaro, and Garcia in his old part of the Count. One may perhaps add to the number of those still heard occasionally the "Nozze di Figaro"; but this is only given at the most attenuated intervals.

As for the rest, what can we say of Zingarelli's "Romeo e Giulietta"

and Rossini's "Otello," in which Mme. Pasta makes her _rentree_? Add to these "Ricciardo e Zoraide," "Semiramide," "Turco in Italia," "La Donna del Lago," and "Il Fanatico per la Musica" which Catalani chooses for her reappearance.

But there are other musical events worthy of attention during these months.