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I felt as if I should like to know Bottarelli, and begged Goudar to take me to him, and Martinelli, happening to call just then, said he would come with us. We entered a wretched room on the third floor of a wretched house, and there we beheld a picture of the greatest misery.
All at once, as we approached Buckingham House, I saw five or six persons, relieving nature amidst the bushes, with their hinder parts facing the passers-by. I thought this a disgusting piece of indecency, and said as much to Martinelli, adding that the impudent rascals might at least turn their faces towards the path.
I was pleasantly surprised to hear that she was a dancer named Binetti. Four years ago she had done me a great service at Stuttgart, but I did not know she was in London. I took leave of Martinelli to go and see her, and did so all the more eagerly when I heard that she had parted from her husband, though they were obliged to dance together at the Haymarket.
"I have heard of your father's second marriage, mademoiselle, and of this Signor Antonio Martinelli, to whom you allude. Mr. Narkom has told me. But why should you connect these two persons with this inexplicable thing. Does your father do so, too?" "Oh, no! oh, no!" she answered excitedly. "He does not even know that we suspect, Jim and I. He loves her, monsieur. It would kill him to doubt her."
"I feel rather curious about it, and perhaps I may come and keep you company to-day." We parted, and reckoning on seeing him at dinner I, went back to tell my cook that dinner was to be served in the large room. Martinelli had an engagement and could not come to dinner, but he led me out of the park by a door with which I was not acquainted, and sent me on my way.
He is much applauded in the cantabile, which he sings with uncommon precision, and he particularly shines in the counter-parts which charm in the Italian finales. As an actor, MARTINELLI, though inferior to RAFFANELLI, is also remarkable. Paris, January 9, 1802.
Galli-Curci gives a half hour or so to vocalizes and scales every morning. Martinelli practices exercises and vocalizes one hour each morning; then another hour on repertoire. In the afternoon an hour more three hours daily. Easton says: "It seems to me a young singer should not practice more than an hour a day, at most, beginning with two periods of fifteen or twenty minutes each."
The fair philosopher talked for two hours without giving the least sign of knowing who I was, although she answered me with great politeness whenever I ventured to address her. She turned out to be a lady of high birth and of great reputation. Happening to call on Martinelli, I asked him who was the pretty girl who was kissing her hands to me from the house opposite.
But suddenly this indifferent performer, this rider who is, after all, but a poor amateur and not fit to appear with a company of trained artists, suddenly this Signor Martinelli comes to Monsieur van Zant to say that, if he will engage him, he has a rich friend, one Señor Sperati, a Brazilian coffee planter, who will 'back' the show with his money and buy a partnership in it.
"They are deep and wide, Count Sainte-Maure too deep and wide for me to presume to imagine, much less know or discuss with you or any man." "Oh, I know big things are afoot and slimy worms squirming underground," I said. "They told me you were stubborn-necked, but I have obeyed commands." Martinelli arose to leave, and I arose with him. "I said it was useless," he went on.
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