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'œuvre 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 ESPUTAMusical Director.

Mrs. AGNES GRAY SMALLWOODSoprano.

Miss LENA MILLERContralto.

Miss MARY A.C. COAKLEYContralto.

Mr. HENRY F. GRANTTenor.

Mr. RICHARD TOMPKINSTenor.

Mr. WILLIAM T. BENJAMINBaritone.

Mr. GEORGE JACKSONBaritone.

Mr. THOMAS H. WILLIAMSBasso 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."

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 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.