Chapter XVIII: The Colored American Opera Company

"Who, as they sang, would take the prisoned soul,
And lap it in Elysium."

MILTON.

"For, wheresoe'er I turn my ravished eyes,
Gay gilded scenes and shining prospects rise;
Poetic fields encompass me around,
And still I seem to tread on classic ground."

ADDISON.

The opera, or music drama, in which, in lieu of the ordinary forms of speech, music and song are used to give elevated expression to thought, is the most extensive, and, to nearly all lovers of melody, the most charming, of musical compositions. In its construction several of the other forms of music are most pleasingly united.

In the opera, with the language of poetry, music is associated, giving increased ornamentation; and it is used also to bridge over, so to speak, the places where mere language, either common or poetical, could never pass. That is to say, there are some phases of feeling of such fineness and depth, that only the soulful tones of music can call them into exercise, or give them expression.

The requirements for operatic construction are of course very great,--so great, that none may hope to succeed in the same save those endowed, if not with genius, at least with very superior talents. They must possess both marked originality, and power for continuity of thought; in fact, must form in their capabilities a very "Ariel," a fountain-head of music, from which must constantly flow melody after melody, harmony after harmony, ever new, ever pleasing, the whole presenting an artistically-woven story of the vicissitudes of human life. In the composition of an opera, two persons are usually associated; the one creating the words of the drama (the song), and the other composing its music.

In this field of musical creation, men of great genius find a more varied, a wider scope for the employment of their powers; and but a few of the world's most eminent composers of music have failed to avail themselves of its opportunities for grand achievements, success in it being generally considered as necessary for a rounding-out of their inventive harmonic capacities; while, for the establishment of their titles to greatness, they have sought to make some grand opera the _chef-d'oeuvre_ of their life-work.

I would not imply, however, that all the great composers of opera worked simply for fame. To assert that they did, would, no doubt, be unjust, as it would be denying that they possessed the "sacred fire of genius," and that deep and pure affection for art, which, judging from the noble beauty, the grandeur, of their works, they must have possessed. It does not seem allowable, for instance, to believe that Beethoven created the charming and exalted beauties found in the opera of "Fidelio" while inspired by no higher feelings than those which fill the breast of him who labors mainly for renown. No: we think of Beethoven, and of others like him, as those, who, while they were favored with extraordinary native powers, were also imbued with a pure love for music,--a love of such strength, that it formed a part of their very natures. To such minds and hearts elevated artistic work was as natural as life itself; in truth, we might almost say, was necessary to life.

But, if great powers are required by the composer of an opera, so also is it necessary that those who are to make known its meanings fully--especially those who are to interpret its leading parts--should possess, as singers and actors, more, to say the least, than ordinary abilities; and those who, in their capability for complete, soulful sympathy with the author's aims, who form, in fine, the very embodiment of the latter's ideals, certainly deserve to stand next to him in greatness.

Generally the brightest vocal stars have shed their effulgence upon the operatic stage: here these singers have found the widest range for their extensive powers of voice and dramatic action. The part of a performer in opera (and here I refer not alone to one who acts the leading _rôle_) is a most exacting one; for the artist must unite in himself the qualities of both the singer and the actor. While called upon to demonstrate with proper melody of voice and expression the meaning of the music of the opera, he is also required to portray by suitable dramatic movements its corresponding meaning as found in the libretto. These remarks apply more particularly to those who constitute the _dramatis personæ_ in operatic presentation. Of course we do not forget the very important aid afforded by those who are included in the pleasing chorus, nor those who by instrumental accompaniment add to the charm of--in fact, give indispensable support to--the whole performance.

It would perhaps be superfluous to here dwell, at least more than incidentally, upon the deep pleasure enjoyed by the lovers of music and of dramatic art when witnessing the performance of a good opera. At such a time their truly musical souls enjoy a delicious, a sumptuous feast of melody; while the kaleidoscopic prospect, formed by richly-costumed actors, and appropriate, beautiful scenery, fills them with delight. The harsh realities of every-day life are so much relieved by the poetic charms of the ideal, that they live amidst a scene of fairy-like enchantment. Nor does all that belongs to the bewitching occasion end with the regretted close of the performance; for

"Music, when soft voices die,
Vibrates in the memory;"

And for days and days, nay, often throughout life, do the best melodies, the "gems of the opera," delightfully "haunt the memory," and awaken in the heart the most pleasing emotions. In all this, no more than a just tribute is paid to the noble genius of the composer, and the fascinating power of his faithful coadjutor, the lyric actor.

These few thoughts, which, it may be, present nothing new to the student of the various forms of musical expression, fall very short of doing justice to a subject of most delightful interest, and one which, for its proper treatment, requires far more of elaboration than can here be given. They are among such as come to me while reflecting upon an achievement, that, although not in a general way extraordinary, was nevertheless, in some important respects, exceedingly remarkable and noteworthy. I refer to a series of performances given at Washington and Philadelphia in the month of February, 1873, by an organization called "_The Colored American Opera Company_."

This troupe, formed in Washington, was composed of some of the most talented amateur musical people residing in that city. The following-named ladies and gentlemen were the principal members and performers:--

MR. JOHN ESPUTA _Musical Director._ MRS. AGNES GRAY SMALLWOOD _Soprano._ MISS LENA MILLER _Contralto._ MISS MARY A.C. COAKLEY _Contralto._ MR. HENRY F. GRANT _Tenor._ MR. RICHARD TOMPKINS _Tenor._ MR. WILLIAM T. BENJAMIN _Baritone._ MR. GEORGE JACKSON _Baritone._ MR. THOMAS H. WILLIAMS _Basso profundo._

Mr. Henry Donohoe acted as business manager.

Around these, the central figures, were grouped a large, well-balanced chorus, and a fine orchestra; nor was appropriate _mise en scène_, nor were any of the various accessories of a well-equipped opera, wanting in the presentation.

The opera chosen for these performances was Julius Eichberg's excellent "Doctor of Alcantara."

The first performances were given in Lincoln Hall, Washington, on the evenings of Feb. 3 and 4, 1873; the next at Philadelphia, in Agricultural Hall, Feb. 21, 22, and 23. Returning to Washington, the two last performances of the series were given in Ford's Theatre.

Of the highly meritorious character of these presentations of opera there exists abundant evidence, emanating from disinterested, trustworthy sources, from which I quote the following.

From "The Daily Washington Chronicle," Feb. 4, 1873:--

"THE AMERICAN OPERA-COMPANY.

"The first colored opera-troupe of any merit ever organized
in this country appeared at Lincoln Hall last night in
Eichberg's opera, 'The Doctor of Alcantara.'

"Lincoln Hall was literally packed. Of course the majority
of the audience was colored, and included a host of the
personal friends of the singers. Glancing over the house,
the full opera-dresses scattered liberally through the
audience reminded one not a little of the scene at a concert
by Carlotti Patti or the Theodore Thomas orchestra. Quite a
third of the audience was composed of white ladies and
gentlemen, largely attracted, perhaps, by the novelty of the
affair; and among them were many representatives of the
musical circles of the city, somewhat curious to hear and
compare the performance with those they have been accustomed
to hear.

"The criticisms, as a whole, were favorable. It was evident
that the voices of two or three of the singers will be
bettered by cultivation. The choruses were effective. In
dramatic ability there was little lacking, and the singers
were quite as natural as many who appear in German and
French opera."

From "The Daily National Republican," Washington, Feb. 5, 1873:--

"The second representation of 'The Doctor of Alcantara' at
Lincoln Hall last night was an improvement upon the first.
The natural nervousness of the singers was better overcome,
and they made a better use of their fine voices.

"For the sake of making some just reflections and
comparisons, we select the name of Miss Lena Miller, who
sang the _rôle_ of 'Isabella.' Here is a young lady, really
pretty in form and features, graceful in stage-presence,
modest in manner, and imbued with true affection and
spirit for art. At present she is not a great singer; but
her voice is sweet and clear, and at times sympathetic. In
this simple statement high but judicious praise is included;
and here we might stop. But Miss Miller's presence in opera
has a significance and a promise infinitely pleasing to all
candid and well-judging minds concerning the race to which
she belongs.

"Neither Miss Miller nor Mrs. Smallwood, nor any of the
company, have had the advantage of musical training in
European or American conservatories. They have to depend
alone upon their natural gifts and personal acquirements.
This fact is one which makes vastly in their favor, and
protects them from the standard by which Adeline Patti or
Louise Kellogg would be judged as artists. Under all the
circumstances, they sing and perform extraordinarily well;
and as for the chorus, it is superior to that of any German
or Italian opera heard in this city for years.

"Mr. Benjamin's impersonation of 'Dr. Paracelsus' was really
a good bit of acting, and Mr. Grant's 'Carlos' won for him
deserved applause.

"The _rôle_ of 'Don Pomposa' by Mr. Williams, the _basso
profundo_, was finely rendered. His acting was good, and his
voice full of richest melody.

"The opera last evening was largely patronized by
distinguished people, among them being Senator and Mrs.
Sprague, Gen. Holt, and many others.

"The experiment, doubtful at first, has proved a genuine
success."

From "The All-Day City Item," Philadelphia, Feb. 22, 1873:--

"'The Doctor of Alcantara' has at last attracted a number of
colored amateurs of Washington; and they have lately
appeared in that city, with such success that they are
induced to present it in Philadelphia.

"It must be remembered that this troupe is composed entirely
of amateurs, and is the first colored opera-troupe in
existence. We have had the 'Colored Mario' [Thomas J.
Bowers], the 'Black Swan' [Miss Greenfield], &c.; but never
until now have we had a complete organization trained for
_ensembles_.

"The audience attracted to Horticultural Hall last evening
was therefore prepared to make all sorts of allowances for
the shortcomings of the amateurs; but it was hardly
necessary, as the troupe--really excellent, well
trained--possesses agreeable voices, sings intelligently,
and with experience will, we are confident, attract a great
deal of attention, and receive high praise.

"The principal success was achieved by Mrs. A.G. Smallwood,
who sang the music of 'Lucrezia' remarkably well. Her voice
is full and pleasing. Miss Lena Miller, however, sang
'Isabella' very prettily; her romance, 'He still was there,'
being rendered with excellent taste. Miss Mary A.C. Coakley,
as 'Inez,' acted and sang with considerable spirit. Her
arietta, 'When a lover is poor,' was quite neatly sung.

"Mr. W.T. Benjamin, as the 'Doctor,' acted and sang with
spirit; so did Mr. T.H. Williams as 'Don Pomposo.' Mr. H.F.
Grant, the tenor, has a powerful voice, which, with
cultivation, will become excellent. He sang 'Love's cruel
dart' judiciously, and was effective in the opening serenade
with chorus, 'Wake, lady, wake.' Mr. Grant is not yet at
home on the stage, but acted and sang the duet, 'I love, I
love,' with 'Lucrezia,' remarkably well.

"The chorus, numbering nearly forty, was worthy of warm
praise. The serenade that opens the opera was charmingly
sung by the male voices; and the finale to Act 3 was so
spirited and effective, that it was encored. We do not
exaggerate when we say that this is one of the best choruses
we have heard for some time."

From "The Philadelphia Inquirer," Feb. 22, 1873:--

"THE COLORED OPERA-COMPANY.

"This opera-company made its first appearance in this city
last evening at Horticultural Hall, and was most favorably
received. The performance, which was given to quite a large
and intelligent audience, was Julius Eichberg's opera
entitled 'The Doctor of Alcantara,' which was excellently
rendered.

"Miss Lena Miller, who sang the _rôle_ of 'Isabella,' is
young and graceful, with a pleasing voice; and her part was
well given. Mrs. A.G. Smallwood was cast as 'Donna
Lucrezia,' and had considerable to do. She sings well, and
her acting far exceeds that of any other member of the
company. 'Inez,' a maid represented by Miss Coakley, and a
difficult part, was given with great accuracy. 'Carlos,' by
Mr. H.F. Grant, was fairly rendered.... W.T. Benjamin as
'Dr. Paracelsus,' although a little stiff, fairly performed
his part.

"The chorus, composed of probably thirty voices, male and
female, was a feature; and their singing is really
unsurpassed by the finest chorus in the best companies."

From "The Philadelphia Evening Star," Feb. 22, 1873:--

"COLORED AMERICAN OPERA-COMPANY.

"This company made its first appearance last evening at
Horticultural Hall to an audience, which, though not large,
was attentive and sympathetic. The attendance would, no
doubt, have been larger, but for an unfortunate mistake....
As it was, the performance was an agreeable surprise to all
who were present; not only being a decided success, but in
the matter of choruses surpassing any performances of the
same opera ever given in this city by any of the foreign or
'grand English' opera-troupes.[16] The cast of the colored
troupe included Mrs. Smallwood, who has a beautiful ringing
soprano-voice, a very easy lyric and dramatic method, and a
carriage of unusual grace; Miss Lena Miller, whose voice,
though less powerful, is very pleasant, and whose acting was
notable for its unaffected style; Miss M.A.C. Coakley, a
mezzo-soprano of very fair capacities; Mr. H.F. Grant, whose
tenor-voice has good power, range, and quality; Mr. T.H.
Williams, who possesses a deep bass-voice, controlled with a
fair degree of culture; and Messrs. W.T. Benjamin and
Smallwood, who filled their parts not unacceptably."

[Footnote 16: The same opera was performed here a few days before with the following cast: Miss Howson, Mrs. Seguin, and Miss Phillips, and Messrs. Seguin and Chatterson.]

From "The Age," Philadelphia, Feb. 22, 1873:--

"The colored opera-troupe gave their first performance in
Philadelphia last night in Horticultural Hall. The selection
for their _début_ was 'The Doctor of Alcantara,' by Julius
Eichberg, which has frequently been given previously by
various English companies, but, we venture to say, never so
perfectly in its _ensemble_ as by this company.

"There was a great deal of enthusiasm; and several numbers
of the opera were vociferously re-demanded, including the
_finale_ of the first act, which revealed to us a choral
effect which has never been heard upon the operatic stage in
our country since the palmy days of Ullman's management. The
chorus was large and efficient, every member doing his and
her part; and, to all appearances, there was no 'dead wood'
among them. It must be understood, besides, that _all_ the
music was sung; every part in harmony being taken with
exactness and precision, whether as to time or intonation.

"Indeed, so admirably did the chorus sing, that we hope to
hear them in a mass or an oratorio at some future time,
being satisfied that they will make a most favorable
impression."

From "The Philadelphia Evening Bulletin," Feb. 22, 1873:--

"A company of colored persons appeared at Horticultural Hall
last night in Eichberg's opera, 'The Doctor of Alcantara.'
The opera was given in a really admirable manner by singers
who understand their business, and have vocal gifts of no
mean description. The leading soprano, Mrs. Smallwood, has a
full, round, clear, resonant voice of remarkable power; and
she uses it with very great effect. She sang the music with
correctness and precision, and played her part capitally.

"The tenor and bass are both excellent; but, while they
display fine voices, they show a want of high training. This
is also the single defect of the two subordinate female
voices of the company.

"The chorus was very fine indeed; and its performance, like
that of the principal singers, proceeded without a flaw or
blunder from first to last."

From the Washington correspondent of "The Vineland (N.J.) Weekly," February, 1873:--

"On Tuesday evening it was the good fortune of your
correspondent to attend the opera rendered by the 'Colored
American Opera Company,' of which I spoke in my last.

"To say that every thing passed off well, simply, would be
but faint praise. We all know that the colored race are
_natural_ musicians; and that they are susceptible of a high
degree of cultivation is evinced by their rendition of the
opera on the occasion of which I speak.

"As for the chorus, it is not saying any thing extravagant
when I make the assertion, that it has never been excelled
by that of any of the professional opera-troupes which have
visited this city."

The comments just given, taken, as it may be seen they are, from the principal journals of Washington and Philadelphia, without regard to party bias, would be of little value here, were it not for the vein of candor that runs through them all. In them the writers have tempered very high praise with the faithful pointing-out of such defects as to them appeared in the performances. This is the spirit of true criticism, which, while it ever eagerly seeks to discover all the merits of a performance, fails not also to note, in the interest of true progress, all its errors. Praise, then, from such a source, is praise indeed. Moreover, it is not pretended that our little troupe of amateurs presented a _perfect_ performance. Others of longer experience and of far more pretentious character had not done this. Nor was or is such a thing possible; for, as Pope says in his "Essay on Criticism,"

"Whoever thinks a faultless piece to see
Thinks what ne'er was, nor is, nor e'er shall be."

But, allowing for such errors as caught the sharp eye and ear of the critic (it is seen that these errors were but trifling in number and character), the series of operatic representations under consideration was a fine, a brilliant success.

For the happy conception and successful carrying-out of the idea of presenting to the public a rendition of opera by musicians of the colored race, words too high in praise of these ambitious _pioneers_ of Washington cannot be spoken. Never before had there been an attempt by persons of their race to enter, as the equals of others, the exacting domain of the music drama. The performances, although few in number, were of such a highly-pleasing description, and the movement was withal so entirely novel, as to render it a somewhat startling and a most delightful _revelation_.

Mingled with the feelings of just pride that many persons experience when reflecting upon the grand musical and dramatic success achieved by these artists, ever and anon arise those of regret,--regret that they did not longer continue their charming performances, extending the same to other cities besides those mentioned. It is therefore earnestly hoped that ere long they will again appear. It is hoped that even now they are devoting themselves to rigid study, and to the arrangement of matters of detail; and that, guided by past valuable experience, they will soon give representations of opera in a style even exceeding in finish that which characterized those which they formerly gave.

As the _avants-courrières_ [Transcriber's Note: avants-courriers] in art of those of their race, whom, let us hope, a fast-approaching day of better opportunities shall make plentiful enough; holding as they do their torches in the remaining darkness, to light the pathway of those that shall follow them into the bright, the delightful realms of the operatic Muse,--theirs is therefore a beneficent, a noble mission, the continuance of which promises the happiest results for all concerned.