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Updated: June 28, 2025
"'Twas but a meteor that the sun exhaled, To be to him that night a torch-bearer, And light him on his way to Mantua." Then, with head dizzy from its gladness, with heart unduly elate, has the Strada Teatro seen us, imperiously calling for the submissive caleche. Arrived in our chamber, how gravely did we close its shutters!
All the whistlers of Italy, says Castil-Blaze, seemed to have made a rendezvous at the Teatro Argentina on the night set down for the first production. Their malicious intentions were helped along by accidents at the outset of the performance. Details of the story have been preserved for us in an account written by Signora Giorgi-Righetti, who sang the part of Rosina on the memorable occasion.
At Milan she only sang in private concerts, and pressed on to Rome, where she engaged for a short season at the Teatro Valle, and succeeded in offending the amour propre of the Romans by singing French romances of her own composition in the lesson-scene of "Il Barbiere."
No doubt, it held together better in 1868, when it was ridiculed, whistled, howled, and hissed off the stage of the Teatro la Scala, than it did when it won the admiration of the Italians in Bologna twelve years later.
"Well then, come to the Teatro Real with me. They're going to give the divine Bizet's Carmen, and Nasi and Pacteschi are going to sing. Enough said!" Candelas accepted. "And now," said Alicia, "I want to go home, to see if any important message has come. Then I'll take you home, dear. You can change your dress and we'll go get Manuel, so he'll invite us out to supper."
The selection published by De la Huerta in sixteen small volumes, under the title of Teatro Hespanol, with introductions giving an account of the authors of the pieces and the different species, will not afford, even to one conversant with the language, a very extensive acquaintance with the Spanish theatre.
"Don't you take that flute, my boy," persisted Argyle. "Don't think of such a thing. If they want a concert, let them buy their tickets and go to the Teatro Diana. Or to Marchesa del Torre's Saturday morning. She can afford to treat them." Algy looked at Argyle, and blinked. "Well," he said. "I hope you'll get home all right, Argyle." "Thank you for your courtesy, Algy.
With this explanation the old gentleman was satisfied, so when at last we arrived in the Spanish capital I saw them safely to the Ritz, then went on alone to the Puerta del Sol. That night we dined together, and afterwards we went to the opera at the Teatro Real. Next day we met again, and on several days that followed.
At a little distance, with only a house or two between, was a theatre in full action, the Teatro Goldoni, which is an open amphitheatre, in the ancient fashion, without any roof. We could see the upper part of the proscenium, and, had we been a little nearer, might have seen the whole performance, as did several boys who crept along the tops of the surrounding houses.
This play was first produced at the Teatro Español on March 19, 1881, and achieved a triumph that soon diffused the fame of its author, which till then had been but local, beyond the Pyrenees. It is now generally recognised as one of the standard monuments of the modern social drama. It owes its eminence mainly to the unflinching emphasis which it casts upon a single great idea.
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