Adelaide Phillipps, a record

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BEQUEATHED TO CORNELL UNIVERSITY

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Adelaide Phillipps,a record

III

by Mrs. R. C

3 1924 022 451 144

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ADELAIDE PHILLIPPS

A RECORD

BY

MRS. R. C. WATERSTON

* The echo of her voice enwrought
A human sweetness with her thought.*

SECOND EDITION

BOSTON

CUPPLES, UPHAM AND COMPANY
©Xa Cotner iSookstote
L U \x 1883

Copyright, hy ^^i_^

A. WILLIAMS AND COMPANY,

ELECTROTYPED BY BOSTON STEREOTYPE FOUNDRY.

PRESS OF WRIGHT AND' ^dxTE'li POINTING CO.

MBtiltit anil ^r&illa ^^Ijillippa,

ADELAIDE PHILLIPPS..

CHAPTER I.

The current of Adelaide Phillipps' pro-
fessional life was bending towards a new
channel when I first saw her. That mo-
ment is vividly before me now. She was
standing beside Madame Arnpult's piano,
havings just finished her singing-lesson.
Madame Arnoult presented her to me,
saying: "Miss Phillipps is studying with
me the songs in Cinderella; she is to
appear in that part at her benefit." She
was then about seventeen years of age,
and seemed to me the brightest, health-
iest, happiest young woman I had ever
seen. I remember her showing me with
girlish pleasure the play-bill, printed on

2 ADELAIDE PHILLIPPS.

white satin, for her benefit, and won my
interest by her cheerful simplicity.

Madame Arnoult, a woman of fine
musical qualities and education, was then
the best instructress in vocal culture
in Boston. Her husband, Dr. Arnoult, is
still remembered as a man of fine presence
and refined manners, whose instructions in
the French language were very much
sought and appreciated. They were both
persons of good position in France, and
made many friends in America. Madame
Arnoult knew the world, and especially
the musical world, and when she recog-
nized the very remarkable gift Miss Phil-
lipps possessed, in a grand contralto voice,
she advised her to study for the Italian
Opera. Thus the lively and talented
young actress became a prima donna of
the lyric stage, a change not quite so
great as that of Cinderella, but something
like it.

Madame Arnoult took a truly mater-

ADELAIDE PHILLIPPS. 3

nal interest in her young pupil, who be-
came the companion and friend of the
charming Claire Arnoult, the daughter of
the house. At that time Madame Arnoult
resided near us, and we often attended her
musical evenings. She was surrounded
by a rare company of talented young
people, some of them her pupils: Ade-
laide and Claire, Theron Dale, Edward
Sumner, Harrison Millard, and others.
Sometimes these musical meetings were
held at our house, and thus began my
interest in Adelaide, which grew into
an unchanging affection. Miss Phillipps
had become well known and a great
favorite in Boston from the time when, a
mere child, she appeared on the stage
of the Museum; and when the change in
her career was proposed many were ready
to assist her in pursuing studies for a dif-
ferent branch of her profession. At that
time Jenny Lind was in Boston, — Jenny
Lind, who seems as remote to the present

4 ADELAIDE PHILLIPPS.

generation as those mythical personages
Una or Chriemhild. Miss Phillipps was
introduced and sang to her. Jenny Lind
had a heart as well as a voice, and sent
her a check for a thousand dollars and a
letter in her own handwriting, recom-
mending Emanuel Garcia, who had been
her own teacher, as the best instructor,
adding most sisterly advice concerning
the career of an artiste on the lyric stage.
Many other friends came forward to show
their willingness to aid Miss Phillipps,
especially Mr. Jonas Chickering, the ever-
generous friend to all who appealed to his
sympathy, " especially to those who were
of the household" of music.

Miss Phillipps never wished to acknowl-
edge that she was not an American by
birth, and even the fact that at Stratford-
on-Avon she first saw the light, was rarely
mentioned. Perhaps the very air of
Shakespeare's birthplace stimulated the
development of her infant dramatic powers.

ADELAIDE PHILLIPPS. 5

Adelaide often said she did not know what
circumstances led her parents to place her
on the stage, but, at all events, she had no
recollection of her first appearance, unless
it was in a play where she was obliged to
jump out of a window into somebody's
arms. She was afraid to do it, until one
of the actors standing in the wings held an
orange towards her. She took the leap,
and thus won her first prize.

Mr. Phillipps brought his family to
America when Adelaide was seven years
old. They went first to Canada, and
afterwards came to Boston, where they
remained. From her mother, who was
Welsh by birth, Adelaide inherited many
of her finest traits of character. The ten-
der affection and unselfish devotion which
marked Mrs. Phillipps' daily life in her
family was an example her daughter faith-
fully followed.

Her father was a man of strong char-
acter, and watched over his children with

6 ADELAIDE PHILLIPPS.

a severe authority. Especially was this
care extended to Adelaide. Placing her
so early on the stage, he certainly per-
formed his duty by guarding her from
every danger through her early career.
Very few young girls are so simple in
manner and pure in mind as was this child,
whose vocation brought her before the
public. Through her long career she ac-
knowledged that the stern protection of
her father had always shielded her. But
in her own nature there was a natural
aversion to evil, which was a yet more
powerful protection.

Mr. Phillipps' family were brought up
in the habit of unquestioning obedience to
their parents, which never seemed to
cause any abatement of filial affection.
The union between the members of the
household was very strong, and continues
unbroken, except where death has, from
time to time, lessened their number, but
never their affection.

ADELAIDE PHILLIPPS. 7

It was in January, 1842, that she made
her debut at the Tremont Theatre in the
comedy of " Old and Young," personating
five characters, and introducing songs and
dances. On the 25th of September, 1843,
she first appeared on the boards of the
Boston Museum, which then stood at the
corner of Tremont and Bromfield streets,
and had began to include dramatic per-
formances among its attractions. The
character which she assumed was " Little
Pickle" in "The Spoiled Child." The
song of " Since then I'm Doomed " is
introduced into this play, and was given
by her with much effect, being among her
earliest lyric efforts. The exhibition of
her budding histrionic powers were of
course confined to juvenile parts, while
her graceful dancing was a chief attrac-
tion at that early age. She was not satis-
fied with the position of a dancer, and
thanks to the acuteness of the late Thomas
Comer, then leader of the orchestra at the

8 ADELAIDE PHILLIPPS.

Museum, she was soon promoted to show
her capacity in such fairy spectacles as
the children of Cypress, Cherry, and Fair
Star, and later as Cinderella. For many of
these the music was arranged by Mr.
Comer. Her versatility of talent, readi-
ness of wit, and obliging nature made
her as much of a favorite behind the
scenes as on the stage. " They were so
kind to me," she would say, when speak-
ing of those days, " they took such care
of me, for I was but a child when I first
appeared there, — so much of a child that
I used to drive my hoop back and forth to
the rehearsals. The work was play to
me; I learned my parts easily, and was
petted and praised, which was very pleas-
ant." Besides the watchfulness of her
father, she was much indebted at that
time to her aunt, Miss Anne Reese, who
was also connected with the Museum.
She was devoted to Adelaide (her sister's
child), and no memorial of the niece would

ADELAIDE PHILLIPPS. 9

be complete without some tribute to so
excellent a friend and guardian. Her
aunt continued to reside with the family
until a late period, and Adelaide did not
fail to repay in every way her obligations
to this relative.

At the time of her early life in Boston,
her parents resided in Tremont street,
from whence one day, while driving her
hoop to the Museum, she saw a beautiful
doll looking out of a shop window. To
possess this doll became the ardent desire
of her heart, for which she determined to
save every penny. Each day she looked
at the doll, and each day seemed nearer
to the purchase. But, alas! one morning
the doll was not there, some one else had
bought it. This was a terrible disappoint-
ment; the little girl ran to the Museum
weeping bitterly, and reached the re-
hearsal in no feigned sorrow. Mr. W-
H. Sedley Smith, then the stage mana-
ger, kindly inquired the cause of her

lO ADELAIDE PHILLIPPS.

tears, and the child's story touched his
heart. He comforted her, not only with
sympathy, but soon brought to her another
doll as beautiful as the one she longed for.
This kind gift was remembered with grati-
tude all her life. Beside her doll, the
little brothers and sisters claimed her
attention and were her pets. " I always
remember mamma with a baby in long
clothes on her lap, which she held so
nicely; my youngest brother, George,
was my special charge." She continued
her care for him until she gave him a
thorough education in the School of
Technology. From Boston they removed
to Neponset, to a house near the bay.
Here they owned a boat which the broth-
ers managed. On moonlight nights in
summer the few residents near them used
to listen to the beautiful voices that came
from the little yacht floating over the
water.

As Miss Phillipps grew up towards

ADELAIDE PHILLIPPS. II

womanhood she had many characters as-
signed to her. In those days there was
always a play and a farce at every theatre.
She often appeared in both. Mr. William
Warren was then, as now, the unrivalled
comedian, whose wit and pathos we all
know so well. In speaking of her experi-
ences, Adelaide said, " I never lost the
command of my countenance but once on
the stage, and that was at the Museum, in
some farce where Mr. Warren was shut
up in a pantry closet, while I, apparently
unconscious of the fact, was playing the
piano accompaniment to a song. He
suddenly opened the door and looked out,
his face revealing the fact that he had
been solacing his imprisonment by help-
ing himself to some of the sweetmeats
on the shelves, assuming a look such
as only Mr. Warren could call up. It
was all over with me and my song; for-
tunately with the audience also, who were
too much convulsed with laughter to no-

12 ADELAIDE PHILLIPPS.

tice my inability to proceed with my song
until it was possible for the play to go
on."

At the Museum Miss Phillipps continued
a general favorite until, as has already
been stated, a change came in her dra-
matic life. After many years had passed
she came home one day and said with
a good deal of feeling, "I have been
to the Museum to-day, and there I saw
the sword and shield with which I acted
a Fairy Prince hung up as trophies. It
is pleasant to be remembered." With
much regret, although she did not swerve
from the conviction that it was for the best,
Miss Phillipps took leave of the Museum
stage and the corps dramatigue with
which she had been so pleasantly as-
sociated. But the time had come.

In 1852, after a concert given as a trib-
ute to her, at which she sang with other
artists, she left home for England, ac-
companied by her father. They arrived

ADELAIDE PHILLIPPS. 1 3

safely in London, and took lodgings
in Golden Square, a spot remarkable in
the history of London as the residence
of renowned people. Bolingbroke, the
" St. John " of " Pope's Essay on Man,"
lived in Golden Square; also Mrs. Gibber,
the singer of George II.'s time. Here also
Miss Thackeray has made us all acquainted
with the home of Angelica Kauffman in
her delightful story of " Miss Angel."
And now there came to Golden Square
this young girl from America, to begin
professional studies for a career on the
lyric stage.

Miss Phillipps remained in London
nearly two years, pursuing her studies
with Garcia, and making good progress
in the Italian language. It was a happy
period of her life. Her master, Emanuel
Garcia, took much interest in his pupil.
He was one of those rare instructors who
rouse all their pupils' energies. A brother
of the immortal Malibran, he seems to

14 ADELAIDE PHILLIPPS.

have shared the magnetic charm of his
sister, and, although a severe master, held
a firm hold on all who came near his life.
After spending some time in London,
Mr. Phillipps left Adelaide there and re-
turned to America for a short visit. When
he joined his daughter again in England,
he brought with him the adopted child of
the family, whose name, Arvilla, will often
appear in this narrative. She was the
daughter of a friend of Mrs. Phillipps, to
whom she was entrusted. It should be
stated here that, growing up into woman-
hood, it was a foregone conclusion that
she should become the wife of Adrian
Phillipps. At the time of her joining
Adelaide she was a mere child, but so
cheerful and happy that her companion-
ship was a comfort to her sister, who, as
will be seen in a few extracts from a jour-
nal kept during their stay in Italy, had her
share of the varied experiences of a young
artist at the beginning of her career.

ADELAIDE PHILLIPPS. 1 5

In following the professional life of
Miss Phillipps the record inevitably takes
the form of a chronicle, being principally
drawn from reports of the daily press in
the various countries she visited. She
never consented to any means being used
by her agents to gain favor in regard to
these reports of performances, and this fact
gives force to the universal praise received
from the press. Her letters contain little
information except on personal or family
concerns. The romance of stage life
which may exist in the imagination of
those who attend theatres does not form
a part generally of the thoughts of the
performers. To describe the effect of the
lyrical dramas after the evening closes
cannot be added to other exertions, and a
sentence, " very successful," or " we are
doing a good business," often is all that is
written home by the weary Leonora or
the martyred Azucena, although the ap-
plause of crowded houses yet sounds in

1 6 ADELAIDE PHILLIPPS.

her ear, and she is surrounded by beauti-
ful flowers as witnesses of the admiration
she had received.

In the autumn of 1853 Miss Phillipps,
accompanied by Arvilla and her father,
went to Italy, as a residence in that
country was thought best for her improve-
ment in the Italian language, and afforded
an opportunity for receiving the training
of Signor Profondo in operatic acting.
This last study was less necessary from
her previous knowledge of the stage.
The grace and ease of every movement
of her perfectly modelled form, and the
light, firm tread of her small feet, must
be remembered by all who recall her ap-
pearance on the stage. A distinguished
clergyman of Boston (Dr. Bartol) says
in an essay recently published : " How
largely unconscious is all our best knowl-
edge and lore of life. I said of a dis-
tinguished actress, Adelaide Phillipps, she
knew how to pose on the stage j and my

ADELAIDE PHILLIPPS. 1 7

friend answered, ' She did it from in-
stinctive grace, not knowing anything
about it.' Was she less knowing because
for the moment she was inattentive or
unaware ? "

Her grace was certainly instinctive,
but she was seldom inattentive on the
stage. One of the members of the Ideal
Opera Company (Mr. Barnabee) illus-
trates this fact when he writes: "Among
a large number of distinguished character-
istics of her dramatic excellence was her
absolute identification with the charac-
ter she assumed, and her attention to the
smallest details, to attain which she availed
herself of any suggestions. I remember
standing in the wings and observing the
military correctness and precision with
which she performed the operation of
sheathing her sword in the role she was
performing, and learned on inquiry that
she had taken lessons from an army
officer. Her presence of mind and ready

1 8 ADELAIDE PHILLIPPS.

wit often extricated herself and her asso-
ciates from unpleasant predicaments. On
one occasion the last lines of her song es-
caped her memory (in Pinafore) and quick
as a flash, without lapse of time or rhythm
she supplied the words which set the au-
dience in a roar, — ' The rest — I have —
forgotten.' It would be superfluous for
me to comment upon her musical acquire-
ments or to write of her private worth."

Of the residence in Italy there is a
record in the diary alluded to, written by
Adelaide from time to time. The little
cahier lies before me in its blue paper
cover, the handwriting is that of a 3'oung
girl, and the record is touching from its
simplicity and truth : —

" Florence, October, 1853.

" Commenced my diary for mamma.
Mr. Guerini said he had two new American

scholars, Mr. and Mrs. A . We called

to see them and found them very agree-
able; they went with us to some place,

ADELAIDE PHILLIPPS. I9

I forget its name. The next day they
called and wanted me to go with them to
see Michael Angelo's house, and also to
see the making of mosaics, but I could
not go on account of my Italian lesson.
It rained this afternoon, and the thunder
and lightning was dreadful.

" Mr. Biandi came and asked me if I
wanted an engagement j he had spoken of
me to one of the agents who wanted a
contralto. The agent came accordingly.
I sang to him ' Pensa alia Patria? He
seemed very much pleased with my voice.
The place is Brescia, in Lombardy. They
offer four hundred dollars a month for
four months. The first part to appear in
Arsace. Papa will give an answer in a
few days. Mr. Biandi brought me the opera
of Semiramide and gave me some good
ideas. I commenced studying Arsace.

14th. Mr. A called and went with

Arvilla and myself to the Pitti Palace. We
were delighted. The pictures are superb.

20 ADELAIDE PHILLIPPS.

Met Signer M , who said it was an

excellent chance for me to go to Brescia.
An American artist (Mr. Jackson) asked,
through Mr. Guerini, my Italian master,
if I would sit for my bust to him, I said
yes, and to-day he called, and I made
an arrangement to go to his studio next
Tuesday. Tuesday Mr. Biandi brought
the engagement for me to sign, and told me
I was to appear in // Vastale instead of
Arsace. He brought the opera and we
read it over. Went to Mr. Jackson's
studio in the afternoon. Evening, studied
my part.

" Saturday, sth of November, 1853.

Got up at four, left Florence at six
o'clock, arrived at Pestoria, had breakfast,
and arrived safe at Brescia; delighted with
the place; made my debut at Theatre
Grande; had great success; opera Sem-
iramideP

The little diary breaks off, and for the
story which follows, I am indebted to Ar-

ADELAIDE PHILLIPPS. 21

villa's recollections, who was the constant
companion of her sister. It was the cus-
tom of the place for the directors and
musical critics to assemble at the theatre
on the evening previous to the first repre-
sentation, and expected a full-dress re-
hearsal. Signorina Fillippi did not wish
to appear in the armor of Arsace, and
with girlish obstinacy, persisted in coming
on the stage in her black skirt and white
overdress. The judges were displeased,
and showed it. This put her on the defen-
sive, and she sang through the part demi-
voice to the despair of the manager. She
certainly was not right to go against his
interests and the custom of the place.
The next evening the house was crowded.
Semiramide was given and Arsace en-
tered in full armor, but was received in
silence. Not a hand was raised. She sang
through the recitative and andante with-
out applause, the directors and critics
being determined to punish her for dis-

22 ADELAIDE PHILLIPPS.

obeying their edicts the evening before.
But when she burst forth in the caballetta
and threw into it all the passionate fire of
her soul and wealth of her voice, she con-
quered her audience, and a storm of ap-
plause followed and continued during her
whole engagement. A band of music
awakened her early the next morning,
coming, as they professed, to congratulate
her on her success, continuing to disturb
her rest until they were -paid, and then
they went away !

The following is one of the many no-
tices written in " La Fama," Brescia,
December, 1853: —

" La Signorina Fillippi ('Arsace ') por giovane
e bella, ricca di forte e ad un tempo dolcissima
voce, intuonata, flessibile, estesa, di vero con-
tralto, educata al bel canto dal sommo institu-
tore Enianuele Garcia dest6 un tempo piacene e
marviglia. Lodossi pure il suo distinto ed ele-
gante modo di porgene e I'anima di cui si mostra
dotata e divenne in breve la deliza del publico,
che le fece le piu clamoroso applausi."

ADELAIDE PHILLIPPS. 23

Which may be translated : —

" Miss Phillipps is young and attractive, with
a genuine contralto voice, rich and strong, at the
same time of true intonation, sweet and flexible.
The clear and distinct method of delivery, the
soul with which she seems gifted, surprised and
delighted us. She at once became the favorite
of the public, who greeted her with clamorous
applause. She is a pupil of the great master
Emanuel Garcia."

" February, 1854.

" We remained at Brescia about four
weeks, and then left for Crema, where we
were to sing for the carnival. I had a let-
ter from Signor Bottesini, the father of
the great contra-basso player. He pro-
cured us apartments in the house of a
friend, a Signor Freri. We were very
comfortable there, and I had an oppor-
tunity of speaking Italian with the daugh-
ter, as she spoke pure Italian.

" It was very cold weather, the snow as
deep as in America. The Impresario of
the Milan Scala came down to hear me.

24 ADELAIDE PHILLIPPS.

and wished to engage me for three years;
this I could not do, but was willing for
one year. Signor Mangiameli also made
an offer for the .Carcano spring season.
The last three weeks I was at Crema I
enjoyed myself — walked with Signorina
Freri every day; in the evening the
theatre. Signor Buratti could not pay us
at all; that rather threw us back. I was
sorry to leave Crema."

Although there is no statement of the
fact in the Journal, the same success at-
tended her performances.

"Milan, March.

" As soon as we arrived in Milan we
made an engagement for the Carcano.
We were short of money, but thought we
could get on with the pay I should have
at the Carcano, but, unfortunately, we
did not get it, and consequently we are
not in a flourishing condition. I suppose
it is all for the best. If I allowed myself
the privilege I could sit down and have a

ADELAIDE PHILLIPPS. 25

good cry, but it would do no good.
Mangiameli does not open the theatre, and
I have no chance of singing. I expected
Signor Mangiameli to-day at two o'clock,
but of course he did not come. Well, he
is thinking of me; that's one comfort ! He
told me last Saturday that he would open
the Carcano on the 6th of June, and I
should sing Romeo. ' Chi sa ? ' "

" March 25.

" Signor Profondo, who wrote wishing to
make an engagement for April and May,
does not yet appear. Three years ago
yesterday papa and I left Boston. The
weather is fine, and I sit with my window
open. It is very discouraging to have no
chance for singing and making some
money. Well, I suppose it is all right,
and this is a good lesson to me, so that if
ever I am well off I may know what it is
to suffer, and so help others,"

This lesson, so trying to young or old,
was learned and remembered, and in after

26 ADELAIDE PHILLIPPS.

years, when success came, her heart and
her hand were ever open on every oc-
casion where her sympathies were
enlisted.

To have made a successful debut, and
then to be kept waiting for an opportunity
to reappear, is one of the trials of the pro-
fession, often caused by the jealousy of
rivals. After weary waiting, each week
promised an appearance, and nothing being
done, on Friday, i8th, the Journal goes
on: —

" Signor Mangiameli came. We went
with him to see the prima donna. She
asked me to sing at her benefit. I con-
sented to sing the cavatina of Arsace,

'■Ecco mi al fine^ La Signora M was

very kind to me. In the evening went

to the theatre; Signora M in a passion

about something broke a beautiful fan.

" The night had come in which I was
to sing to a Milanese audience. A very
good house; at the commencement of

ADELAIDE PHILLIPPS. 27

the evening I sat in a box. At last I was
on the stage. They all looked at me.
Not a hand! I sang the recitativo with-
out any applause; a faint brava once or
twice, and that they seemed afraid to do.
At the end, however, of the recitativo, I
had a good round of applause; then
several times in the adagio, at the end
of which I felt I had the audience with
me entirely. The applause was so
great I almost forgot that I had any more
to sing. During the cabaletta I could
scarcely utter a phrase but what they
would cry out and applaud me so that I
was in a perfect delirium, and sang as I
never sang before. I was called out seven
times, and was obliged to repeat the caba-
letta. It was such a triumph as I did not
dream of having, much less hope for. I
felt very much like crying. Signora

M was very kind. She really seemed

pleased with my success. I could not go
to sleep until after four o'clock.

28 ADELAIDE PHILLIPPS.

" Signer Mangiameli called before ten
o'clock. I could not see him. We went
to his office. There was a gentleman in
the office talking about my singing. He
said he had heard all the great singers
sing the Cavatina di Arsace, but never as
I sang it. ^ I do not make compliments,
but you have everything beautiful, — voice,
execution, knowledge of the stage, soul,
etc' I thought that quite enough, and
begged him to say no more. ' I do not
flatter,' he said; ^all Milan is speaking
of you.' On Tuesday I sang for the or-
chestra."

Although the entries in the Journal
show much discouragement and waiting,
yet that Miss Phillipps appeared in the
Carcano Theatre is thus reported in " La
Fama": —

"It is needless to say that the first honors
were carried off by Miss Phillipps, who sang so
beautifully the aria from Semiramide, better
still the rondo from Cinderella, and exquisitely

ADELAIDE PHILLIPPS. 29

in the last scene from Romeo and Juliet. A
shower of sonnets flooded the theatre after the
rondo from Cinderella. We can truly say that
Miss Phillipps has made a success in four short
performances which would cost most artists a
lifetime to acquire."

The little Journal records a wearisome
waiting for the payments due and vari-
ous engagements offered and not ar-
ranged. At last she writes, in March,
1856: "I made an engagement for Ro-
vereto to-day. We are to be there a
month. I cannot say I regret leaving
Milan,

Monday, April, 1856. Several people
came to see us off. We found the boat
did not leave for Riva that day because it
was festa, so we had to hire a carriage
to take us to Peschiera, as the boat leaves
there every day, festa or no festa. We
met Signor and Signora Profondo at Pes-
chiera. Signer Profondo sa3'^s I ought to
remain three years in Italy. At eleven

30 ADELAIDE PHILLIPPS.

o'clock went up Lago di Garda, and ar-
rived at Rovereto about seven in the
evening.

In Rovereto Miss Phillipps' success
w^as so great that it naturally excited the
jealousy of the soprano and tenor. On
the occasion of the tenor's benefit she had
no part assigned her, but w^as asked to
appear, extended on a couch, in one scene
where a lay-figure was needed. Of course
this proposal was declined. The tenor
and his friends spread the report that
Signorina Fillippi had refused to sing at
his benefit. Entirely unaware that any
adverse feeling had been excited against
her, Miss Phillipps came on the stage as
"Rosine" in the "Barber," a role in which
she had been received with much ap-
plause. Great was her astonishment on
being greeted with silence, and not only
silence, she heard that terrible sound
equally appalling to the traveller in South
American forests, or the prima donna on

ADET^AIDE PHILLIPPS. 3 1

the stage. She had self-command enough
to go through with her song, but when
she turned to leave the stage she burst
into tears, such genuine tears as touched
the emotional Italians. They repented the
rebuke, convinced it was not deserved,
giving her a round of applause which was
renewed at every possible moment dur-
ing the performance. It was the first and
last time Miss Phillipps ever heard the
voice of the serpent.

The following notice, translated * from
a Rovereto paper, shows the place she held
in the estimation of the audience: —

" Notwithstanding the bad weather the
theatre was crowded with happy people.
Great is the power which this young
artist, with her superb voice and fine
method of singing, has over the public.
The applause which greeted her was im-
mense. The flowers converted the theatre

*I am indebted to Mrs. Adrian Phillipps for these
translations.

32 ADELAIDE PHILLIPPS.

into a garden, and sonnets were showered
upon her from over the house. It may
be said in a few words that it was truly a
festival,"

One of these sonnets is selected from
many others, and flows sweetly on the ear
in that most musical language : —

All' Estimata Cantante
Adelaide Phillipps,

Prima Donna Contralto
Al' Teatro Sociale di Rovereto,

Nella sua serata di beneficio.

SONETTO.

Adelaide, tu canti ! — E i mesti detti,

Che 1' angoscia d' amor strappa a' Elmireno.

Eco destan gentile in ogni seno,

Ricordo forse dei perduti affetti.
Adelaide, deh canta ! Benedetti.

Sono i soavi tuoi concenti — Meno

Non verra bella fama, e ognor, sereno

Tu a te stessa cosi avienir prometti.
Canta Adelaide ! — Che un' ebbreza pia

La grazia dell' accento al cor apprende.

E son gemelle, il sai, bellS. e armonia.

Canta ! — Che il canto pih sentiti rende

Gioia, amore, dolor, malinconia

In chi del canto la virtii comprende.

ADELAIDE PHILLIPPS. 33

If the young prima donna could have
fed upon sonnets, flowers, and applause
her stay in Italy had been longer, and
after patient waiting the success already
achieved might have opened her way to
a European career. The inducements to
remain were many, — a delightful climate,
the beautiful language, which she spoke
and sang with ease and correctness, to-
gether with the demonstrative nature of
the musical Italians, offered great attrac-
tions. But the Italian managers were
unable to offer any salary worthy the
name, and even that small payment was
seldom made, and as we have read in the
preceding pages, an opportunity to appear
even after an engagement had been signed
was hedged about with briers. Miss Phil-
lipps possessed no means by which ex-
penses could be met unless her engage-
ments were remunerative. Under all
these adverse circumstances it was de-
cided best to return to America. At the

34 ADELAIDE PHILLIPPS.

time we in America regretted this de-
cision, considering it a great mistake.
The reports of her success reached us, but
not the records contained in the young
girl's Journal. We judged of what we
knew only in part. Another reason for
withdrawing his daughter from Italy ex-
isted in her father's opinion of the music
of Verdi just then becoming fashionable,
and which was of a nature too trying for
her voice, not having reached its full
power, and requiring careful treatment.
Whatever visions of her operatic fame
floated in the minds of her friends the
delight of going home was a reality that
balanced all other considerations in her
true and affectionate heart.

The public welcome on her return to
Boston was handsome. An extract from
one of the many tributes to her first ap-
pearance after her return, will show the
sincere welcome she received: —

ADELAIDE PHILLIPPS. 35

" Monday Evening, October 8, 1855.
" Miss Adelaide Phillipps was warmly wel-
comed. She has evidently profited much by
diligent study under good masters, and will no
doubt make a sensation in opera. The pro-
gramme this evening gave the public five oppor-
tunities for judgment on Miss Phillipps' merits,
and upon a most imperative encore she added
her own pianoforte accompaniment, a sixth,
which, in a new version of ' Home, Sweet
Home,' expressed most feelingly her emotions
on receiving the welcome home Boston ex-
tended to her."

A lively girlish letter written to her
father w^hile on a visit at Mr. W. H.
Sedley Smith's house, vi^ho retained the
interest she had aw^akened when a child
at the Boston Museum, is full of her
natural buoyancy. It is from West
Groton, but there is no date of year or
month, probably soon after her return
from Italy: —

" Dear Papa, — Thinking you might like to
receive a few lines from your unworthy, yet
dearly-beloved daughter, and that you might be

36 ADELAIDE PHILLIPPS.

alarmed and slightly agitated (enough to pre-
vent your hair from growing) at my non-appear-
ance at 'the dearest spot on earth,' I send
this letter to let you know that I am in excel-
lent health and enjoying myself very much, and,
to be polite, I hope you are following my ex-
ample. They wish me to remain here a few
days longer, and if you have no objection, and
are not, all of you, very unhappy at my absence,
I should be pleased to remain. Mr. Smith has
a very pretty place here ; farm, I should say,
about fifty — what do you call them — of land
(acres .? ) and a pretty little cottage ; four mag-
nificent elms round the house, and a pretty lawn
before the ditto (is that the way to say it .■').
Now I am sure after such a graphic description,
Rockwood (the name of the estate) must arise
before your sight in all its primeval beauty !
We rise about half-past six, and begin the day
by breaking our fast. We then walk through
the grounds an hour, read, make preserves,
walk on the lawn, dine at half-past twelve.
Then it begins to be rather warm ; thereupon
we each retire to the place we like best and pass
the afternoon in reading or sleeping. Tea at
five o'clock, after which we wander on the banks

ADELAIDE PHILLIPPS. 37

of the Squmicook, one of the most romantic
rivers I have ever seen ; sometimes we take a
boat and row upon its placid bosom. If you
passed through the adjacent woods you might
see two or three lovely girls refreshing them-
selves in its liqtiid -wdX&rs ! What a fine thought !
At another time you might see a young girl
standing as one entranced gazing upon the beau-
ties that were around her, when suddenly you
would see her eyes — and graceful form — and
then her rosy mouth would open, and then such
a peal of celestial melody would break upon
your ear, that you would say it must be Orfeo
come to earth and goes seeking, in disguise, his
beloved Euridice.

"I have some idea of publishing my letters !
I feel it would do a great deal of good and be a
great acquisition to the literary world in form-
ing style and raising the tone of society, but I
do not wish it known at present, therefore you
will oblige me by not mentioning to the literati
that you have received this letter. I would say
more, but it is time to send to the post-office.
The people are all talking round me, so that if
I had not been very much interested in my sub-
ject I should not have been able to express

38 ADELAIDE PHILLIPPS.

myself so elegantly. Mr. Smith, Mr. and Mrs.
Bigelow, and Miss Bellows, all desire to be re-
membered. My love to Nanny and the chil-
dren.

" I must now say adieu, and believe me your
affectionate Adelaide."

CHAPTER II.

Miss Phillipps made an engagement
in the spring of 1855 to appear in Italian
opera in Philadelpiiia and New York. A
fair prospect seemed opening for her
debut in America.

A few evenings before she was to leave
town I had invited friends to meet her at
our house. The day the party was to take
place news came of the sudden death of
her mother. My invitations were recalled,
to the great disappointment of my guests
and to my own sorrow. Knowing well
the strength of the affection which united
the mother and daughter, I felt that this
bereavement must prove most unfortunate
for Adelaide's professional future, coming,
as it did, at so important a moment in
the opening of her career.

39

40 ADELAIDE PHILLIPPS.

She came to me in deep affliction. It
was a painful task, and seemed a cruel
one, to urge her to overcome the external
emotions of her grief as far as possible
in order to fulfil her professional engage-
ments. She did so bravely, keeping down
the fresh agony of a young soul's first
great sorrow, to appear self-possessed
before the rigorous public. Miss Phil-
lipps made her first appearance in Italian
opera in Philadelphia as Arsace, in Semi-
ramide. One of the daily prints of that
city thus reports the occasion: —

" Miss Adelaide Phillipps took the public by
surprise last night by the classical purity and
perfection of her execution in Arsace, which is
one of the surest tests to which a contralto of
the present day can be subjected. Miss Phillipps
sustained herself triumphantly, and at once es-
tablished herself as an artist of the first class."

An incident connected with that even-
ing amused her in after years. Our friends,
to whom we had written to insure their

ADELAIDE PHILLIPPS. 4 1

presence at her first appearance, as well
as their sympathy for the trial under which
she came forward, knew nothing of her
previous history, and not much, perhaps,
of the opera of Semiramide, and expected
to see a trembling debutante in white
muslin and blue ribbons. Great was their
surprise when the young warrior, Arsace,
came on the stage in full armor, helmet
and sword, and acted the part with all the
ease and fire of a practised artist. Her
magnificent voice "brought down the
house." Miss Phillipps fulfilled her en-
gagement in Philadelphia, and returned to
New York according to agreement, going
through the representations at the Acad-
emy of Music. The following extract is
from one of Edmund Quincy's letters to
the Ne-w Tork Tribune, of which he was
at that time a Boston correspondent, over
the signature of " Byles " : —

" Miss Adelaide Phillipps' friends here have
heard with great pleasure of the success which

42 ADELAIDE PHILLIPPS.

attended her d^but at the Academy. I am con-
fident that it will increase the more you hear
her. Her appearances in Philadelphia and New
York were made under peculiarly trying circum-
stances. Less than a week before her appear-
ance in Philadelphia her mother, to whom she
was passionately attached, died suddenly, and it
was in the midst of the most cruel affliction that
she had to appear in obedience to the stern
necessities of her profession. I think she cannot
fail to fulfil the favorable impression of her first
appearance after a short interval of calm and
repose."

The severe strain upon her nerves
during these performances brought on an
illness which obliged her to shorten her
engagement. During her stay in New
York many friends were kind, but no one
more devoted to her than Mrs. Sophia
Morton Bullus, who from that time to the
close of her own life ever extended to-
wards Adelaide all the promptings of her
generous and hospitable nature.

The unfavorable circumstances of her
first appearance were such that her debut

ADELAIDE PHILLIPPS. 43

in America can be fairly stated to have
taken place on the 17th of March, 1856,
under the management of Max Maretzek.
The opera was " II Trovatore," — Miss
Phillipps as Azucena. According to one
critic, "this opera was new at the time,
and ' Mile. Fillippi,' as she was called, was
really obliged to create the part. But it
is not extravagant to say that her render-
ing of the character has always remained
a standard."

This opinion is substantiated by in-
numerable tributes to her representation
of Azucena in America and Europe.
Only a few selections can be made from
the mass of newspaper reports accumu-
lated with regard to Miss Phillipps' repre-
sentations of various roles, all filled with
discriminating praise.

The following extract, from a leading
New York paper concerning the inter-
pretation of the character of Azucena, was
written during the season of 1856, and

44 ADELAIDE PHILLIPPS.

may serve as the impression ever made
on the public by the artist in this role : —

" Miss Phillipps, when she appeared as Azu-
cena, raised the Gipsy mother at once from a
melo-dramatic personage to that of a tragic
heroine. The paint and tinsel were eschewed
alike with the artificial and exaggerated action
so generally seen in the part. The vocal inter-
pretation was rich, equable, and artistic, and the
audience were again and again thrilled and in-
spired to irrepressible applause by the dramatic
feeling she infused into the more declamatory
passages, particularly in the Condotta elVera.
Bouquets were showered upon her, and round
after round of applause."

It was in New York that Miss Phillipps
sang for the first time " Leonora " in Don-
izetti's " La Favorita." " Her Leonora,"
writes an able critic, " became famous as
the best that had been seen for many a
day on the stage. Her performance was
marked by noble delivery, able vocalism,
truthful, impressive action, and unaffected
pathos."

ADELAIDE PHILLIPPS. 45

Those who witnessed her performance
of the role of Leonora can never forget
the effect of her graceful attitude when
the curtain rose on the fourth scene of the
third act. The resolution Leonora had
taken of revealing her story to Fernando
before their marriage gave noble elevation
to her figure, as, after the recitative, she
rose and advanced to the front of the
stage, pouring forth, in her richest tones,
the love, anguish, and hope contained in
the cavatina, " Oh, mio Fernando 1 " In the
last scene the lovers suddenly recognized
each other in the court of the convent,
both having determined to hide their sor-
rows in the cloister. Leonora finds that
her letter discovering her story never
reached Fernando. Enlightened now by
her confession, all his feelings change and
his love is restored. For one brief mo-
ment their voices mingle in the exalted
strains of union and happiness which pre-
cede the death of Leonora.

46 ADELAIDE PHILLIPPS.

There is a power of human passion and
pathos in that scene which seems to have
its counterpart in the meeting between
Dimmisdale and Hester in the wood, as
Hawthorne reflected it on the magic
mirror of his wonderful romance.

A party of friends were one evening
discussing the subject of different com-
posers and their merits with Adelaide.
There is always a battle waging between
the adherents of different masters, be it in
music or painting, and few of us are broad
enough in our natures to acknowledge
that though one side of the shield may be
golden, and the other silver, they are both
precious metals. One of the company
said to Miss Phillipps, "you know some
of the virtuosi call Donizetti's " Favorita "
" trashy." Her eyes flashed, and sweeping
to the piano, she struck a few chords,
and then burst forth in a recitative and'
aria of that opera with a power, passion,
and pathos which almost took the listeners

ADELAIDE PHILLIPPS. 47

off their feet. When the aria ended, she
drew herself up with much dignity, and
said, " Do you call that trashy? "

After a very successful first season in
New York, Miss Phillipps was engaged
for Havana by Maretzek. Havana then
cultivated the opera among its tropical
plants, and it was a city where artists
were desirous of securing engagements.
She immediately became the favorite con-
tralto, and was received with unbounded
applause. For three or four successive
years the public demanded her re-engage-
ment. A notice in an Havana paper,
under date November 15, 1857,. says:
" Maretzek has taken the public favor by
storm with his troupe. We have sur-
rendered at discretion. Miss Adelaide
Phillipps comes back to her place in our
affectionate and respectful interest. She
is the contralto favorite of Havana, and has
found her way to our hearts." In speaking
of Havana, in after years, Adelaide said:

48 ADELAIDE PHILLIPPS.

" My greatest artistic success, my true ap-
preciation, was in Havana." There was a
touch of pathos in her voice as she recalled
the friends she had there made and the
experiences of her life during those sea-
sons. She enjoyed the beautiful tropical
regions, made various excursions into the
neighborhood, and especially described a
remarkable cave from which she brought
us a beautiful specimen of stalactite. In
Havana, however, she contracted the yel-
low fever, that serpent hid away among
tropical flowers. She survived, but never
entirely recovered from the effects of that
terrible disease upon her fine constitution.
"The lyric stage," writes a musical
critic, "was not the only one on which
Miss Phillipps was eminent. In oratorio
she was equally great, and in some re-
spects unrivalled." She made her first
appearnce before the Boston Handel and
Haydn Society, December 30, i860, in,
the Oratorio of the Messiah. Her render-

ADELAIDE PHILLIPPS. 49

ing of the impressive Aria, " He was de-
spised," came not only with artistic power
but from a devotional nature, and into
the music she threw her soul, consecrat-
ing her artistic powers to the Source from
whence all great gifts are bestowed.
Equally beautiful was the expression which
she gave to the words, " He shall lead his
flock," as if in vision she saw the tender
Shepherd carrying the lambs in his bosom,
and was telling us the heavenly story in
divine melody. Her next performance
with the Handel and Haydn was in the
"Stabat Mater," March, 1861.

Under the management of Signor Me-
rilli, Miss Phillipps made a professional tour
in Europe in 1861. She was accompanied
by her brother Frederic, and arrived in
Paris at the close of the summer. Paris
was then, even more than at the present
time, the great judgment-seat before which
artists were to appear and receive sen-
tence. Adelaide fully realized what an

50 ADELAIDE PHILLIPPS.

ordeal awaited her in a first appearance
at the Italian Opera House, where Alboni,
the great contralto, reigned supreme.
There were friends in Paris who were
kind in their attention and cheer to the
debutante at this critical moment of her
life. At the rehearsals Signor Mario, the
unrivalled tenor, who took the part of
Manrico in the opera " II Trovatore,"
manifested much interest for her success.
He told the people behind the scenes at
the rehearsals that Miss Phillipps belonged
to an American city of great musical
knowledge and taste. " When Mme. Grisi
and I were there," said he, " so great was
the enthusiasm that the students from a
neighboring university volunteered to
come on the stage as ' Supes,' in order to
give expression to their pleasure in our
performance." " When the evening came
for the opera, I felt," she said, " for the
first time in my life ' stage fright' before
the curtain rose. As I lay on the bank in

ADELAIDE PHILLIPPS. 5 I

the opening of the second act, Signer
Mario (Manrico) encouraged and roused
me and dispelled to a degree the power of
the demon."

The following letter is from the corre-
spondent of the Boston Advertiser, under
the date of Paris, October 25, 1861: —

" The musical portion of your readers will be
glad to learn that Miss Adelaide Phillipps, as
Signorina Fillippi, has passed through the se-
vere trial of a first appearance before a Parisian
public with entire success. The critical audi-
ence of the Salle Ventadour sat in judgment
upon her 'Azucena' last night, and gave it their
unqualified approval. Accustomed as they have
been to Alboni, and no one else in this part, it
was not to be expected that they were to experi-
ence any new sensation in the rendering of the
music. To achieve success it was necessary to
make it a dramatic triumph. Alboni, with her
wealth of voice, is so fat that she can only stand
still while the music gushes from her throat like
a fountain. Miss Phillipps, on the other hand, has
a great deal of dramatic power, and displayed it
to such purpose in her delineation of the fierce,
revengeful, yet loving gipsy mother, that she

52 ADELAIDE PHILLIPPS.

would have made a hit with far less vocal excel-
lence than she possesses, for the French like
acting above all things, and Alboni is one of the
few whom they would tolerate without it. Miss
Phillipps had several difficulties to contend
against ; — a feeling of awe at the proverbially
severe and cultivated character of a Paris audi-
ence, and a sense of the important results their
decision would have on her future career, were
surely not unnatural even to one accustomed to
the stage from her earliest years.

" There is something appalling in the way a
debutante is treated here on a first night. There
is no token of a greeting. The first movement
begins and ends, and then the second, and still
there is a chilling, unsympathetic silence. At
length at the end of the cabaletta there is a
moment of suspense. The applicant for favor
has been heard and judgment pronounced. For
one instant she is doubtful if it is to be a blank
or a prize, the suspense lasted an instant only, for
there followed a burst of applause that must
have satisfied the most anxious friend or most
ardent admirer.

" Some injudicious friend threw a wreath as
large as a horse-collar on the stage before Miss
Phillipps had sung a note. This awarding of
laurels before they were earned puzzled the

ADELAIDE PHILLIPPS. 53

audience and embarrassed all on the stage.
They did not know what to do with it, till at
last Mario picked it up and threw it behind the
scenes.

" Miss Phillipps was called out after the first
act, and at the close of the opera ; a mark of
approbation not often bestowed. This success
is an ' Open Sesame ' to her for every opera-
house in Europe, and she may well congratulate
herself on such an important step in her career.
Mario never sang better in his life.

" Miss Phillipps makes her second appearance
in the " Ballo in Maschera," again taking Alboni's
part. She will also appear with Penco in " Semi-
ramide" as Arsace, where she is quite at home in
a part especially adapted to her, both vocally
and dramatically."

Galignani says of Miss Phillipps' debut,
" she took the public by storm, and the
result was complete success."

The Paris correspondent of the London
Morning Herald thus analyzes her
gifts : — .

" A noble contralto voice, a style remarkable
for its brio and pathos, perfect vocalization and

54 ADELAIDE PHILLIPPS.

powers as an actress, only to be compared with
that of MaUbran and Madame Viradot, are the
recommendations of Mile. Fillippi to the favor
of the public. Her success was immense."

The Paris Patrie of 1861 extols Miss
Adelaide Phillipps as the best contralto
that has been heard in France for a long
time. " Voila un vrai contralto^ " and to
these qualities it adds : —

"She joins a rare energy and spirit as a
comMienne. She is of the very best order, and
must soon eclipse by her magnificent talent cer-
tain artists who now stand high in the public
regard. Miss Phillipps won her first laurels in
America. Her reputation will soon be Eu-
ropean."

Miss Phillipps' season at Paris was so
successful that the impresario of the
Italiens engaged her for the whole season
of the next year. From Paris she went
to Spain, under the direction of Signor
Merilli, with a troupe of which Madame
La Grange was the soprano. She sang

ADELAIDE PHILLIPPS. 55

trough the opera season in Madrid
"vmh distinguished artists, and held the
variols^ contralto roles of the favorite
operas, "sdways sharing the applause which
followed^he representations, and some-
times awakening jealousy by a greater
success man debutantes are generally
'sH&w^'to obtain. She was in the midst
of this gratifying career when news
was received that the impresario of the
Italian opera in Paris had played with
false cards.

Gamblers it seems draw the line at
false cards, and it was a breach of honor
that could not be overlooked. The im-
presario of the opera in Paris is the
servant of the government, and he was
dismissed from office. His successor was
not bound to fulfil previous engagements;
he had other prima donnas on his list, and
Miss Phillipps lost this valuable opportu-
nity in her artistic career. She bore the
great disappointment with the same good

56 ADELAIDE PHILLIPPS.

temper and dignity that she manifested
through all the trials of her professional
life.

The climate of Madrid is very cold and
trying to vocalists, and Miss Phillipps
hardly dared to venture out, or to visit the
picture-galleries, or enjoy any of the pleas-
ures of a traveller. The severe climate
of Madrid made her dread that of Russia,
and she declined offers of engagements in
St. Petersburg, where doubtless she would
have achieved fame and fortune. The
recent death of the charming Madame
Bosio, in that countr}'^, from illness con-
tracted in a journey from Moscow to St.
Petersburg, had a great influence on Miss
Phillipps' decision to avoid Russia.

She was also offered an advantageous
engagement in Brazil, but did not accept
it.

CHAPTER III.

From Madrid she visited Barcelona
and various cities in Spain vi^ith the opera
company, returning to Paris in the spring
of 1862. She was at once re-engaged by
Merilli for an extended professional tour
through the north of France, Belgium,
visiting also Holland, Poland, and other
parts of Europe. She was the star of the
company. Everything seemed to favor
her, and she enjoyed the whole journey,
not only its professional success, but she
felt a vivid interest in the countries she
visited. Her quick eye caught all their
beauty, and she appreciated the history of
the great past which was associated with
many of the places through which she
passed. The old cities of France wel-
comed her; at Lille so great was her

57

58 ADELAIDE PHILLIPPS.

success that the press of the city pre-
sented her with a laurel wreath at her
benefit. Near one of these cities the
leading members of the troupe were
invited to visit a family residing in a
neighboring chateau or castle, of which
Adelaide gave, on her return home, a
graphic description. The building was
very old and picturesque, with a tower
which had stood a siege. "I never un-
derstood," said she, " of any place what
people meant when they said it was like
being in a play, until I looked out of my
window on this old tower, with its moat
and surroundings. The family, who must
have been of rank, were charming and
hospitable. They seemed to live much
of their time in this chateau, but were
great patrons of the opera when any
troupe visited the place, and often invited
the leading artists to their house." This
was a very pleasant incident in the tour.
When performing in one of the cities of

ADELAIDE PHILLIPPS. 59

Poland she was much impressed by the
fact that all the ladies present at the opera
wore black dresses as mourning for their
country ! In Poland" she visited a salt-
mine, one of the noblemen in power hav-
ing ordered it to be illuminated in her
honor. She described it as a fairy scene,
unlike anything out of the Arabian Nights.
At Prague she had immense success, es-
pecially when she performed " Zerlina "
in " Don Giovanni."

That opera was originally written by
Mozart for production at Prague, and its
performance there is always attended by
unusual popular interest. On this occa-
sion of the representation of Don Giovanni
the demand for seats became so great that
the town theatre was abandoned and a
summer theatre beyond the city limits
was utilized. The road to this place
the evening of the representation was
thronged early. When the opera was
to be performed, Miss Phillipps and the

6o ADELAIDE PHILLIPPS.

rest of the troupe dreaded the ordeal, but
her success as Zerlina was indisputable,
and that night has since been memorable
in the musical annals of Prague.

Her visit to Hungary, especially to
Pesth, interested her extremely. If the
pen could only convey Adelaide's brilliant
and vivid descriptions of all she saw and
experienced on this tour, aside from her
success as a prima donna, these pages
would be luminous indeed.

At the close of this engagement Miss
Phillipps returned to America. At home
we were in the midst of the war of the
rebellion, and if not, like the ladies of
Poland, in mourning for our country,
we were sorrowing over many brave
and beloved ones fallen in her defence.
Adelaide had her part also in the anxieties
of the time, as her brother Adrian was on
the staff of Admiral Thatcher through
three years of the war.

While in New York, during an opera

ADELAIDE PHILLIPPS. 6 1

season, she was the guest of Mrs. Sanford.
The following letter addressed to her sis-
ter, is dated —

New York, East Fifteenth Street.

I take a large sheet of paper, for the good reason
I have not a small one at hand. I am getting
on well, the weather is pleasant, and Martha
was a success. I have received congratulations
from many for my great success in it. So I
suppose it is all right. Last evening Adrian
came ; was delighted to see him ; looks well,
though he is home on sick leave. Parepa sang
in a concert last evening before the opera
{Lucrezia), and we had the pleasure of com-
mencing after half-past nine o'clock. I had to
sing my Brindisi three times, although it was
more than half-past eleven o'clock. Mrs. San-
ford's maid goes with me behind the scenes,
I have always two or three young ladies also,
so you see I am well protected. I had a very
pleasant ride on horseback this morning, at
seven o'clock, in the riding-school with Mr.
Stanfield. He wished me to try his horse in
the ring first that I might have no fear. I like
the horse very much. Adrian went with me.
We took a long walk up Fifth avenue, and

62 ADELAIDE PHILLIPPS.

arrived at home in time for breakfast at nine
o'clock. Adrian will leave for Boston to-morrow
night. Adrian has told you all the news, noth-
ing particular has happened since he left us.
Friday morning Mrs. Sanford and I went to
riding-school, and had a very pleasant ride.
In the evening went to the opera. Norma;
a fine house. Saturday had a most lovely
ride in the Park on horseback of course, we
left home at seven o'clock ; the weather was
delicious. Last night we all went to bed early.
I hope Adrian will return to New York; tell
him to be sure and write to me. Remember
me to the Websters. I suppose you will all be
having a good time on Tuesday, as it is Carrie
Webster's birthday. Love to every one ; shall
be most happy to hear from any one who will
take the trouble to write to me. Adieu.
Yours affectionately,

Adelaide.

In the spring of 1864 Miss Phillipps
was re-engaged for Havana, under Signor
Lorini's direction. She was most cor-
dially received there, repeating the roles
in which she had been so great a favorite,
and reviving friendships gained a few

ADELAIDE PHILLIPPS. 63

years before. It was in Havana that she
obtained those charming Cuban songs
which all who heard them will remember,
dropping like the princess' jewels in the
Arabian nights, sparkling and bright from
her lips. These she often introduced in
response to recalls after her grand arias,
the liquid, lustrous tones having the
rhythm of fairy bells.

It was in her earlier visits to Havana
that Adelaide obtained her knowledge of
the Spanish language, which she spoke
with fluency. Mr. Charles F. Bradford,
of Roxbury, himself an able Spanish
scholar, in speaking of Miss Phillipps said:
" To converse with her in Spanish was
a rare pleasure; the ease and grace of
her language, the beauty and vivacity of
her conversation were fascinating. You
know," he added, " how I admired her as
a vocalist, and esteemed her as a woman;
the perfection of her Spanish made the
charm of her society complete."

64 ADELAIDE PHILLIPPS.

Miss Phillipps took the contralto part in
the oratorio of " Elijah " for the first time
in 1864. It was during a visit at our house
that she prepared for the oratorio, and
studied the score carefully. " I must
take it in at my eyes," she said, " before I
go to the piano." The exquisite aria, " Oh
rest in the Lord," impressed her very
deeply, and must ever be associated w^ith
her voice by all who remember its tender
tones and expression. She once said,
"You do not know how much that aria
has been to me; whenever I feel sad or
depressed I go to the piano and sing it to
myself; it always comforts me."

Another association with these sacred
words must find mention here. At the
services given at the Music Hall, in
commemoration of Charles Sumner, June
9, 1874, Adelaide Phillipps sang "Oh
rest in the Lord." Fit expression for a
soul whose " heart's desire " that slavery
should be ended had been granted; whose

ADELAIDE PHILLIPPS. 65

battles were fought, and who after victory
had found " rest."

It was on a professional journey to
California in 1865, while crossing the
Isthmus, that Adelaide made the ac-
quaintance of our friends, Mr, and Mrs.
Charles W. Huntington, of Boston. Mrs.
Huntington's fine musical taste had ap-
preciated the artistic powers of Miss
Phillipps, and the knowledge of her per-
sonal qualities caused a sincere friendship
to be formed which continued through the
following years. On their return to Bos-
ton the hospitable house of Mr. and Mrs.
Huntington became one of Adelaide's
homes.

The opera company with which she was
connected had a successful season in San
Francisco. There are many tributes to
her performances in that city. Here is
one which expresses the general admira-
tion she won, for, unlike the bouquets
showered upon the prima donna, these

6() ADELAIDE PHILLIPPS.

warm-hearted expressions do not lose
their aroma by time : —

" The benefit of Miss Phillipps on Wednesday-
evening was all that lady could expect, as the
Academy was densely crowded. ' The Barber '
was given and accepted with equal zest and
relish by both artists and audience. The last act
of Romeo and Juliet was sung very effectively by
Miss Phillipps and Signorina Sconcia as the con-
clusion of the entertainment of the evening.
Miss Phillipps as Romeo gave the audience a very
strong evidence of her tragic abilities. She was
honored by a bewildering profusion of flowers,
together with a white dove which fluttered down
to her, going through his part very gracefully.
Some very beautiful specimens of California gold
wrought into ornaments were also presented,
while the receipts of the house gave California
gold in another shape — to the amount of over
two thousand dollars."

Through the seasons including 1865 to
1868, she appeared in opera and concerts,
visiting California, the Western States,
Chicago, Philadelphia, New York, Boston,
and many other places, travelling thou-

ADELAIDE PHILLIPPS. 67

sands of miles and giving almost as many
performances. Chicago thus greets her
in October 30, 1857: —

" Miss Phillipps as Rosina gave an artistic and
finished representation of coquettish character.
Light, vivacious, and thoroughly at home on the
stage, her acting may be as warmly commended
as on the preceding evening in a totally different
portraiture. Her versatility is surely evinced in
the perfection with which she equally represents
the passionate gypsy, and the coquettish ward
of a petulant guardian. Certainly Rosina has
never been given us in her twofold character of
what she is and what she appears to be to Dr.
Bartoldo as Miss Phillipps embodied her. For
pure, sympathetic, solid vocalization it has never
been surpassed. In the music-lesson scene she
introduced a Spanish song with a very quaint
and charming orchestral accompaniment, which
was warmly encored."

The family to which Adelaide belonged
was a musical one, and her sister Matilde
had developed a noble contralto voice.
One morning Adelaide came in quite ex-
cited and said, "I have been hearing

68 ADELAIDE PHILLIPPS.

Matiloe sing. Upon my word I must look
to my laurels; she has a grand voice. I
never intended her to be ,a professional
singer, but she has the true artistic tem-
perament, and I must give her every ad-
vantage, and shall go to London and place
her with Garcia next summer." Adelaide
was at that moment studying the parts
she was to take in the great Triennial
Festival of the Boston Handel and Haydn
Society, May 5, 1868. Of the opening of
this Triennial Festival the following re-
port is taken from the Daily Advertiser
of that date : —

" The present festival has been planned on a
larger scale than any kindred undertaking in
this country. . . . The soloists that will appear
from day to day include the best talent procur-
able, headed by Mme. Parepa Rosa and Ade-
laide Phillipps. There was a brilliant audience
at the opening of the festival. The perform-
ance of Mendelsshon's ' Hymn of Praise,' justified
the promise of the rehearsal. Parepa Rosa and
Miss Phillipps were in superb voice. The chorus

♦ By Mr. Howard D. Ticknor.

ADELAIDE PHILLIPPS. 69

and orchestra were very effective and Carl Zer-
rahn as leader deserved great praise on the occa-
sion. The oratorio of Samson was given in the
evening of the opening day, Mme. Rosa in the
soprano, Miss PhiUipps in the contralto roles.
If the soprano's music was rendered with fitness,
so also was Miss Phillipps' in the contralto music
of Micah. One of the first canons laid down to
us by an old master of the genuine classic school
long years ago was that, except where words were
merely added to music as a vehicle for carrying
on vocalization, the spirit of the words should
always be paramount, and the music so tempered
as best to illustrate the text for which it was
composed. Miss Phillipps sings as if this rule
were ever in her mind when she assumes an
oratorio r6le, or indeed any r6le. Her noble
voice, her high culture, and her clear, crisp, real
execution are never forgotten, but she always
sings as if she meant what she is singing, and
only used music as a help to full expression.
Her "Return, O God of Hosts," and "Ye sons of
Israel now lament," were perfect in feeling and
coloring, and in our mind the very gems of the
performance. Her recitatives were also admir-
ably read."

" On Friday afternoon of the week Beet-
hoven's Ninth Symphony was given. There can

70 ADELAIDE PHILLIPPS.

be no more crucial test of singers and orchestra,
and if ever that test was nobly and gloriously
borne it was so yesterday. The three first
movements were splendidly sustained, and when
the great finale began to rise in cumulative
strength and sublimity every individual choris-
ter or instrumentalist seemed imbued with posi-
tive inspiration to meet and triumph over the
tremendous exigency of the time. The solo
passages were worthy of the master and the
hour in their sureness and strength, delivered
as they were by Mme. Rosa, Miss Phillipps, Mr.
Stimpson, and Mr. Rudolphsen."

The festival ended on Sunday evening
with the oratorio of the " Messiah." The
writer already quoted closes his report of
the week as follows : —

" Although the climax of this festival must be
held to be that wonderful presentation of the
Ninth Symphony, yet the Messiah of last night
was worthy to rank with the best versions of
that great work, and worthy to conclude a series
of performances, which, in the entirety of their
scope and rendering, have never — as we think
we may in no boastful spirit assert — been ap-
proached on this continent. With that splendid

ADELAIDE PHILLIPPS. 7 1

orchestra, that mighty sea of organ tone, that
immense chorus, with its enthusiastic, urgent,
yet generous and wise conductor, that quartette
of principals, — with all these elements what
could but result in unqualified success last
night ? With our minds reverting, as we write,
to the emotions and incidents of the last few
days, we cannot enter into details of this last
performance to tell at length how Mme. Rosa
uplifted and swayed all hearers, how Miss
Phillipps' pleading voice gave new pathos to her
touching arias, nor how the smooth sweetness of
Mr. Simpson's tenor, nor how the strong, honest
bass of Mr. Whitney supplemented and sup-
ported them ; and our one general, genial heart-
felt tribute must go on record thus simply and
shortly."

In addition to the oratorios Miss
Phillipps sang at two concerts, in one that
pathetic song from Handel's "Rinaldo,"
Lascia cKio -pianga^ which was ex-
quisitely rendered.

In the summer succeeding the Triennial
she went to London, as has been stated,
and placed her sister satisfactorily with

72 ADELAIDE PHILLIPPS.

Garcia as instructor. She visited Paris,
and made an engagement for the next
winter, which she afterwards cancelled on
account of the illness of her father.

In February, 1869, Matilde Phillipps
was summoned home by the wish of her
father to see her once more. She obeyed,
and crossed the Atlantic alone in the
midst of winter. Adelaide was at our
house awaiting her. By some mistake no
one was on the wharf to receive the soli-
tary traveller, and unable to understand
what this meant, she was kindly attended
by a fellow-passenger to a hotel, from
whence she drove to our house to hear
some intelligence of her family. Adelaide
received her. Matilde was quite worn
out with fatigue and excitement, and, in-
deed, needed a comforting reception.

She had then been nearly a year under
the instruction of Garcia, and, of course,
we looked forward anxiously to hear her
voice. The next day I told her how de-

ADELAIDE PHILLIPPS. 73

sirous Adelaide was to hear her sing; but,
knowing artistic temperaments, she would
not urge her to do so. After much hesi-
tation, Matilde said: " Oh, I would rather
face a thousand strangers than sing to
Adelaide! How should I feel if, after all
she has done for me, I should disappoint
her?" At last she took courage, and
asked her sister to play the accompaniment
of Di tanti ■palpiti. I retired into the
next room in order to leave the sisters to-
gether, taking care to be near enough to
listen, and, as the beautiful voice and fine
rendering of the recitative and aria fell on
my ear, I felt that gratification had come
to us all. As the last notes of the ac-
companiment died away I re-entered the
room. Adelaide turned to her sister, and
said in her emphatic voice, "Matilde, I
am satisfied, more than satisfied." It was
a touching moment. I believe we all
wept. What else could three women do
at such a moment? To Matilde it was

74 ADELAIDE PHILLIPPS.

deeply gratifying, and scarcely less so to
Adelaide.

Some one says that joy is so foreign to
our experiences that we can only express
it by our tears.

Matilde went to Marshfield, where her
father's pleasure in seeing her rewarded
the effort she had made. After a short
visit she returned to London, and con-
tinued her studies, and from thence went
to Italy, where she made her debut, and
continued in Italy and Sardinia several
years with much success.

Whenever Adelaide's public engage-
ments allowed her the pleasure of spend-
ing a few weeks socially among her many
friends she enjoyed their home and their
society life very much. Her buoyant spirit
and many accomplishments rendered her
always a welcome guest. The subjoined
letter, addressed to her sisters, was writ-
ten during a winter visit to Mrs. Dr.
Doremus, in New York: —

ADELAIDE PHILLIPPS. 75

"New York, 70 Union Place.

" My Dear Girls, — Why don't you write to
me. I am really worried, for Adrian promised
to write as soon as he had seen you all, but not
a word have I received. Send me a few words
immediately. You remember, Arvilla, the music
I left in your charge at Marshfield. I want
you to send the orchestra parts (and piano) of
'Orfeo' and the ' Barbiere,' also the 'Bacio.'
Send immediately. I am going to sing at a
concert here, Gosche engaged me ; now remem-
ber. I suppose you wish to know what I have
been doing since I wrote last, I think on Satur-
day ; so here goes !

" That evening we went to see Booth ; had a
private box. After the performance the gentle-
men who went with us came home to supper.
I sang a few little things. Sunday we went to
church, and I dined with Mrs. Sanford. Sev-
eral people there, among others, Kate Field and
her mother ; pleasant evening, music. Monday,
rained all day. I practised a little and wrote
two or three letters, and in the evening we went
to see Owens in Solon Shingle at the Broadway
Theatre, met Guerrabella there. Tuesday went
to see Mrs. Sanford, took a pleasant walk, and
in the evening went to the artists reception;
met everybody I had ever known. Wednesday,

76 ADELAIDE PHILLIPPS.

Mrs. Doremus' reception, great many people.
Sang of course, was in very fine voice. Had
a handsome present of flowers, and a nice

dance. Made Mr. H dance the lancers

with me. Thursday, pleasant day. Evening,
went first to Mrs. Wilson's to hear Hoffman
play, then to a party at Mrs. Mackay's, had a
lovely dance. Friday, went out, made calls.
Evening, had a quiet time at home, that is to
say, only about a dozen people came to see us.
Saturday, went to the Philharmonic. Adrian
came and found me there. I need not tell you
what we did that day. Adrian must have given
a description. Sunday after Adrian left I dined
with Mrs. Stevens and Miss Reed. They have a
magnificent house. It was a regular dinner-
party, and very elegant, which they appeared to
give for me. We had music of course. Mon-
day, went to see Mrs. Moulton. You have heard
me speak of her. She was Miss Greenough, and
married in Paris. While there met Mrs. Hills,
who invited me for the next evening at her
house. Mrs. Moulton was to be there. On
Tuesday I went and had a delightful time. Miss
Reed, Mrs. Moulton, and I sang, also the young
lady of the house. I suppose many of the
nicest people in New York were there. Dr.
Doremus and I took Mrs. Moulton home. Be-

ADELAIDE PHILLIPPS, 77

fore going out Gosche called and I made the
engagement to sing at the concert. Wednes-
day, went to see Mrs. Sanford. Evening, Mrs.
Doremus' reception, music, dancing, etc. Max
Strakosch came to see me, and wants me to go
on a concert tour. Evening, went to a free
school to hear Dr. Doremus give a lecture on
chemistry. I sang an English song to the
children. Friday, went with Mrs. Sanford
and Guerrabella to Fifth Avenue skating-pond.
Lovely, mild day. Very good skaters. Even-
ing at home. The laughing song has made a
' perfect furore here. Why does not Mrs. Ring
send my dress .' I want it particularly for Tues-
day, a dancing-party I am going to. There,
now you know all about me.

Yours, Adelaide."

The allusion in the preceding letter to
her " singing to the children," illustrates
one of Adelaide's characteristics. She
was very fond of children and had a great
charm for them, as they generally have the
power of thought-reading, and recognize
the real friend. A party of young girls,
graduates of the Everett School, who met

78 ADELAIDE PHILLIPPS.

her one afternoon at our house, each
doubtless remembers, through the years
that have intervened, how gayly she en-
tered into their pleasure, and sang for
them bright and lively songs. In her last
evening visit to us she described, with
wonderful vividness, a little girl who was
once a passenger with her in crossing the
Atlantic, — a wilful, unmanagable crea-
ture, full of the very spirit of mischief and
insubordination. Adelaide determined to
subdue her, and through resolution, and
the magnetism of her power, the child be-
come gradually more and more under her
influence, and at last sat quietly at her
feet, and looking up in her face, said,
" You have made me good, though I did
not mean you should." All who as chil-
dren were brought in contact with Ade-
laide in their homes (now perhaps with
children of their own) will recall many
anecdotes of her delightful companion-
ship, and hold those memories among the

ADELAIDE PHILLIPPS. 79

sweetest of their childhood. Hers was a
broad nature, stretching out its sympathies
on every side, touching the electric chain
by which we are bound to each other,
sending the message of cheer and com-
radeship along the line whether in sun-
shine or in storm. The influence of her
song upon untrained natures was shown
one evening at a fashionable house in
New York, where Miss Phillipps sang
Kathleen Mavourneen to a large company.
While the song proceeded the young wait-
ress came into the room with a tray in her
hand; the pathos of the voice and the song
entirely overwhelmed her; and, forgetful
of time and place, the girl sank down on
a seat and burst into tears. It was a
heartfelt homage to the singer.

The great " Peace Jubilee " took place
in Boston in the summer of 1869, an im-
mense building having been erected for
the purpose. It was a time of great ex-
citement. The war of the rebellion was

8o ADELAIDE PHILLIPPS.

victoriously finished, sanctified by the
proclamation of freedom which ended
slavery in the United States. Some pub-
lic demonstration seemed fitting. The
whole affair was arranged with much
care, and was a success. A great chorus
and orchestra was led by Carl Zerrahn,
and the performances were worthy of the
occasion. Mme. Parepa Rosa as soprano,
and Adelaide Phillipps as contralto, were
the leading artistes, but many others
filled the roles needed in so vast an
undertaking. Miss Phillipps spent the
week of the Jubilee with us; and as
we drove every day to the private en-
trance of the building it was interesting
to see the ripple of pleasure pass over
the faces of the crowd as they recognized
her. Few of them could enter the hall,
but their expression of good-will was
more gratifying than the loud applause of
the multitude within. The immense size
of the auditorium raised a doubt if any one

ADELAIDE PHILLIPPS. 8 1

voice could fill it. One of Miss Phillipps'
firiends, at her request, stationed himself
on the upper tier of seats. They agreed
upon a signal to testify if her voice clearly
reached him. The signal was made at
all the doubtful points very satisfactorily.
Mme. Parepa Rosa's voice rose finely,
and her whole appearance seemed in har-
mony with the occasion. The press
speaks most favorably of all the perform-
ers. " On the second day," says the Tran-
script, " Miss Phillipps was the soloist
in ' non piii di fiori,' which, though not
suited to such an immense audience-
room, was faithfully rendered by Miss
Phillipps, and her charming delivery of
the air was recognized by every culti-
vated listener."

On June i8th the attractive programme
was given to the children of the public
schools. Mme. Rosa sang " Hear, oh
Israel," Miss Phillipps, the song from Lu-
cretia Borgia, " II segreto per esser felice,"

82 ADELAIDE PHILLIPPS.

and both prima-donnas joined in the
duet from Stabat Mater, " Qui est Homo."
As memory recalls those two distinguished
women as they stood together on that great
platform, and hear again the echo of their
grand voices, it is hard to believe that
they have passed away from the music of
this world forever.

Of the closing day of the great Jubilee,
June 19, 1869, the same writer gives
this tribute to Miss Phillipps : —

" We are glad to say that her superb artistic
reputation was reached in ' Lascia ch'io Pianga.'
She never sang more nobly and truly. Her
voice was potent in reach and sublime expres-
sion for all quarters of the audience-room,
while the rich, mellow, glowing quality of the
tone made its way to every ear, as well as to
every heart. She was enthusiastically recalled,
and repeated the aria, turning her voice and
person more directly to the chorus part of the
house, where a shower of plaudits had a signifi-
cance which could not be mistaken."

ADELAIDE PHILLIPPS. 83

Thus closed a delightful week, full of
the joy that pervaded the very air with
the assurance of peace and freedom, and
found its best and deepest expression in
the noble voices of the singers.

CHAPTER IV.

During the rest of the year 1869
Adelaide remained at home, in conse-
quence of the increasing illness of her
father, sparing neither strength nor ex-
pense to give him every comfort and lux-
ury. She had indeed devoted assistance
from Arvilla and her brothers, Matilde
being at the time in Europe. Towards
the spring of 1870 Mr. Phillipps revived,
and Adelaide, escorted by her brother
Adrian, took a concert-tour in the West.
By one of those chances, as they are called,
which occur in life, we met her in San
Francisco, and attended several concerts
in which she sang, and she had a very
cordial reception.

In October, 1870, Mr. Phillipps died at

Marshfield. His daughter returned in
84

ADELAIDE PHILLIPPS. 85

time to watch over his last days with more
than filial devotion.

\Jn the ensuing winter she joined another
concert troupe, going South and West.
The foirowing notice from a correspond-
ent of the Evening Transcript (L. B. B.)
gives evidence of her reception in New
Orleans: —

" Miss Phillipps, that sterling artiste, is meet-
ing with almost unprecedented success South
and West, giving concerts in all the cities and
large towns. The press of New Orleans is loud
in praises of her artistic efforts in that city.
One of the largest halls was engaged and filled
on each occasion by that well-known musical
community. Miss Phillipps will return to Bos-
ton in season for the Triennial Festival, which
is to take place in May, having been engaged as
principal contralto for several months. In the
meantime she has other cities to visit and other
conquests to make. Success attend her ! "

The following March, 187 1, Miss Phil-
lipps sang in Brooklyn, New York, with
the Philharmonic Society. She was the

86 ADELAIDE PHILLIPPS.

guest of Mr. and Mrs. Gordon L. Ford,
at whose hospitable mansion Adelaide
was ever welcome. The audience at
Brooklyn was always a sympathetic one
to her, and whether in opera or concerts
she received their cordial reception.

On Easter Monday, 187 1, Carl Rosa
opened a season at the Academy of Music
in New York, the principal artists being
Madame Parepa Rosa, Adelaide Phillipps,
Wachtel, and Santley.* We were present
at the Academy on the opening night,
when the house presented a most brilliant
aspect. The immense crowd was, as one
of the performers afterwards said to me
(Mr. Santley), "almost an oppressive
although very gratifying sight from the
stage." The enthusiasm was contagious.

* The magnificent baritone of Mr. Santley will be
remembered by all who heard the " Dolby Troupe," con-
sisting of Mr. and Mrs. Patey, Miss Wynne, Mr. W. H.
Cummings, and Mr. Santley. Their rendering of the
great oratorios, as well as that of their perfectly-finished
ballads, given with rare excellence, proved them to be fitly
placed as first in rank among English artists.

ADELAIDE PHILLIPPS. 87

The opera was " II Trovatore," and as
Azucena lay apparently sleeping on the
bank, she was not as in Paris, in any dan-
ger of stage fright, but searching with
half shut eyes for our place in the audience
in order to know that we had good seats.
Having ascertained that fact, Azucena
composed herself. The tributes from the
leading New York papers at the time
were strong in their tone of appreciation
of this rare combination, of which Mr.
Rosa was the conductor. The following
extracts will give their general impres-
sion : —

" The opening of the new opera season last
night was attended with all the magrificence
which the combination effected by Mr. Rosa
seemed to require. The fact that the receipts
were about nine thousand two hundred dollars
proves that the Academy was crowded to a de-
gree without parallel in the history of the
Academy of Music. The performance was
worthy of this excitement. Parepa Rosa,
Phillipps, Wachtel, and Santley form a cast

88 ADELAIDE PHILLIPPS.

which cannot be surpassed. The audience
thought so last night, and as each member of
the great quartette appeared on the stage a
hearty round of applause gave a cordial welcome.
The opera was " II Trovatore." Of Madame
Rosa, who has so often sang the part of Leonora>
it is unnecessary to speak at full length, but she
sang with great power and effect. Miss Phillipps,
the Azucena of the evening, was welcomed back
with genuine warmth, and gave a nobly drama-
tic delineation of the gypsy mother. Her
voice throughout was rich and melodious, and
her action far transcended what is usually wit-
nessed on the lyric stage. Wachtel and Santley
gave us two of the most notable personations
which the average opera-goer may ever hope to
witness. One all fire, the other all finish."

The performances which followed were
all equally successful, and the crowded
audiences filled the house through the
season.

Miss Phillipps said that it was almost
the only instance in her experience where
the demand for tickets was so great that
none were at the disposal of the artists.

ADELAIDE PHILLIPPS. 89

At the conclusion of her engagement
with Mr. Rosa's troupe Miss Phillipps
returned to Boston to take her place in
the leading contralto roles of the second
Triennial Festival of the Handel and
Haydn Society. These were in the
oratorios of Elijah, Messiah, and Stern-
dale Bennett's " Woman of Samaria,"
and in the concerts of the week.

The tenor of the second Triennial was
Mr. William H. Cummings, of London.
To a pure tenor voice was added great
culture and style. Mr. Cummings is a
man whose whole nature and training
fits him peculiarly for oratorio music,
and all who listen to his rendering of the
tenor roles in the Elijah and the Messiah
must have acknowledged that their effect
was due to something beyond what was
contained in the scores even of Handel
and Mendelssohn. Mr. Cummings ex-
pressed great admiration of Miss Phillipps'
artistic powers, especially her rendering of

go ADELAIDE PHILLIPPS.

the aria, "He was despised," which he said
he had never heard so effectively given.
This was the only occasion on which her
emotional nature almost overcame her
artistic training. Some chord was touched;
the listeners could not hear. She sang
through the aria perfectly, but she sank
down on her seat in tears.

For the following anecdote, which be-
longs to the time of the " Second Tri-
ennial," I am indebted to Mrs. Gordon
L. Ford, of Brooklyn, N. Y., as well as
for other appreciative expressions growing
out of her long acquaintance with Ade-
laide, which will be added later in the
record : —

" An instance of her sweet temper and quick
tact occurred at a rehearsal of the Handel and
Haydn Society in Boston. Mme. Rudersdorf,
who had come from London to sing at the festi-
val, made some complaints of the inaccuracy of
the singers equal in rank to herself, with whom
she was practising. Some of them were dis-
posed to resent this criticism on the spot by

ADELAIDE PHILLIPPS. 9 1

withdrawing their services ; and, for a moment,
the festival seemed endangered. Miss Phillipps
came to the rescue, and, springing up said, in
her sweet, cordial way, ' I think we all deserve
that reproof ; we certainly do take some of these
passages in a very scrambling fashion ; let us try
if we cannot hit the notes at once without a
scramble,' and harmony was restored by her
assuming the reproof and sharing the blame.

" I never saw her imperious but once, and
then she had much provocation. She was to
sing ' Oh rest in the Lord ! ' at a Philharmonic
concert. There had been no rehearsal. The
audience waited for her appearance ; but when
the music was handed to her it had been altered
from the contralto — in which it was written —
to a soprano pitch, and, of course, was out of
the range of Miss Phillipps' voice. She ex-
plained to the conductor, but he said he had
no other scores for the orchestra. Some sharp
words followed, when Mr. Richard Hoffman,
the pianist, stepped forward and volunteered
to play the accompaniment as Mendelssohn
had written it, which was successfully done.
This was the only time I ever saw her temper
ruffled, and, indeed, in her stage relations with
other singers she was always large-hearted,
kindly, and forbearing in word and deed."

92 ADELAIDE PHILLIPPS.

In the third Triennial of the Boston
Handel and Haydn Society, in 1874, Miss
Phillipps took the contralto roles in J. K.
Paine's oratorio of " St. Peter," and in
Bach's " Passion Music," both works
demanding much study and practice.
Bach's Passion music had been given in
selections in 1871, but was now presented
more fully. Miss Phillipps studied the
difficult scores most earnestly, and her
rendering of it was entirely appreciated
by the critics. In 1881, when the direct-
ors of the Boston Handel and Haydn
Society were obliged to turn, almost at the
last moment, in their utmost need to
Matilde Phillipps for the contralto roles
of the Passion music, Adelaide was very
ill, but she rose at once to her artistic
power; and lying on her couch heard her
sister's rendering of the part. Matilde
had sang the role previously, but several
years had passed, and to recall such diffi-
cult music at so brief a notice required

ADELAIDE PHILLIPPS. 93

both courage and sympathy. Adelaide
was entirely gratified by the favorable re-
port of her sister's performance. Miss
Phillipps' last appearance with the Han-
del and Haydn Society was November
24, 1878, and, as we now know, closed
appropriately with Verdi's " Requiem
Mass."

A quartette company was organized by
Miss Phillipps in 1874, with which she
visited various States in the Union. Per-
haps a letter received during this tour will
give a glimpse of the work of such an
undertaking: —

St. Paul, Nov. 9, 1874.
Dear Mrs. Waterston, — This is such a
beautiful place I wish you were here with me to
enjoy it. We have had a very successful trip
thus far ; very fine weather, and the performances
go well and the public are pleased. The ex-
penses are greater than I expected; sometimes
three hundred dollars more than I thought, but
as yet the payments are all right. My tenor,
Mr. Karl, has a beautiful voice, sings well, and is
handsome, which pleases the ladies. So far so

94 ADELAIDE PHILLIPPS.

good. The baritone, Orlandini, has a fine voice
and is a good artist, as is also the buffo, Barcelli,
We only meet at the theatre and in the cars.
They all seem contented.

Etta Newcomb is with me, and is a great
comfort. We manage to take a walk almost
every day, so I am not tired yet. We have been
through Kansas, out to Omaha, Dubuque,
Winona, and hurried here on Sunday morning.
After the concert of Winona we slept one hour,
leaving the hotel at half-past twelve o'clock.
Poor Etta, I woke her singing, " Oh, an artist's
life for me ! " She understands the pleasures of
it now ! We shall be here two nights ; then into
Michigan and Illinois ; Chicago on Monday and
Tuesday ; St. Catherine's, Canada, Friday ;
Rochester, N. Y., Monday; back to Massachu-
setts and New Hampshire. After that I do not
know where we go ; work back West I suppose.
I gave up Boston in November as too early. I
shall try to arrange for February. I hope your
visit to the mountains was pleasant. Let me
hear from you at Chicago.

Yours, always,

Adelaide.

A scrap from another letter written in
the country, somewhere in New England,

ADELAIDE PHILLIPPS. 95

gives a pretty picture : " I am in a nice
farm-house, sitting in a kitchen with a
great open fire. Its light glances on knit-
ting-needles and gold beads. It is all very
quaint and pleasant. They are such nice
good people. I sang to them, and though
I have had larger audiences, few, I think,
who enjoyed the songs more."

A larger organization, under the title of
the Adelaide Phillipps Opera Company,
of which she was the manager, visited
various parts of the country. It was a
double company, and included among
its members some of those artists men-
tioned in the letter from St. Paul, with
many additions. Miss Colville, Adelaide,
and Matilde Phillipps were the prima
donnas.

With this company she went through
the South and West, and was certainly
very successful according to all the reports
of the newspapers in the various places
visited. But she found the care and

96 ADELAIDE PHILLIPPS.

responsibility too great for a woman who
was also one of the artists. The ex-
penses were very heavy, and the man-
agement of so large a company difficult.
When the season closed it was not a
financial success, for Miss Phillipps paid
all debts, just and unjust, being highly
conscientious, which very few managers
would aspire to be considered.

Matilde Phillipps, who had been singing
in opera in Sardinia, left the favorable
opening there, and returned to America
to aid her sister in this undertaking.
Matilde made her first appearance in New
York. A note from her contains these
heartfelt words : " Do you know that
Adelaide took a small part in the opera
of Ceneratula at my debut. As my
success increased her delight w^as so great
that she forgot to be the cruel sister Tisbie,
and became the noble-hearted Adelaide,
showing all her pleasure in the expression
of her face so beaming and true."

ADELAIDE PHILLIPPS. 97

Singers are not exempt from embar-
rassing accidents, as was told by Adelaide
on her return from a concert in a country
town. " I had packed my dress," said
she, " in a champagne basket, and tied
it up with green ribbons. We arrived in
good season, and after tea I retired to my
room to make my toilet rather leisurely,
as is my wont. By-and-by I thought I
would take out my dress, which was a
very pretty one. So I untied my green
ribbons and opened the champagne bas-
ket. Imagine my feelings on beholding
a pair of high boots, rough coat, and all
the rest of a man's habiliments. My
charming dress, lace, flowers, and all the
rest of the finery had fallen into the hands
of some man, who by a wonderful coin-
cidence, had packed up his clothes in a
champagne basket and tied it with green
ribbons I Neither of us could avail our-
selves of each other's garments. It was
too late to make any other preparation

98 ADELAIDE PHILLIPPS.

than to brush up my travelling dress,
add the few additional ornaments I had
brought in my pocket, and send on word
to the audience that Miss Phillipps regret-
ted extremely that her evening dress had
not arrived in time, which was certainly
true. I really felt for their disappointment,
for, however well we sing, all goes bet-
ter when we are handsomely dressed; and
I fear they felt defrauded of half the
price of their tickets. They were very
good, however, and applauded me and my
black silk." "What became of your dress ?"
was the feminine exclamation. "Oh, it
was found. The man was glad to get his
boots again."

Of the many concerts at which she
appeared it is impossible to make any
record. No one who heard her songs,
whether gay or pathetic, can fail to re-
call the varied chords she touched in
the human soul. Her ringing laugh in
a frolicsome jeu d''esprit, the words of

ADELAIDE PHILLIPPS. 99

which were written by Miss Kate Field,
set to music by Bendalari, contrasted
with songs that stirred our hearts. All
must remember, whether heard at home
or from the concert platform, her ren-
dering of "Auld Robin Gray" and "Kath-
leen Mavourneen." Another charming
chanson, "The Danube River," still
flows like the stream it pictured through
the memory. A western paper, the In-
dianapolis Sentinel, thus graphically de-
scribes some of Miss Phillipps' songs:
"Between the acts of 'Martha,' in
response to the uproarious encore of 'The
Laughing Song,' Miss Phillipps sang the
'Rosebush' (an epitome of woman's life),
a ballad which must have been written
to suit the wonderful pathos, passion, and
sensibility of her ripe and mellow voice.
Her perfect enunciation of every word
made them plain to the remotest auditor,
and were received with breathless silence.
She threw a world of sentiment into every

lOO ADELAIDE PHILLIPPS.

line, but her power was conspicuously dis-
played in rendering the tender couplet —

" ' She pressed her hand to her throbbing breast,
With love's first wonderful rapture blest.'

" And the sadly suggestive refrain —

" ' Withered and dead they fall to the ground,
And silently cover a new-made mound.'

" Miss Phillipps' versatility was displayed
by a quiet transition from tears to smiles
when she responded to a third encore,
with ' Coming through the Rye,' the bloom
of which is perennial."

As these words recall those songs, how
many will catch their echo in their own
hearts out of the silence which now rests
upon her lips. During a summer which
succeeded a fatiguing season. Miss Phil-
lipps, in company with Miss Kate Field,
went to Europe. The voyage was always
a pleasure to Adelaide, and to all her fel-
low-passengers who were able to enjoy
her society.

ADELAIDE PHILLIPPS. lOI

She visited the Pyrenees, and made
various excursions. In London Adelaide
called upon Madame Parepa Rosa at her
pleasant home, surrounded by every com-
fort and elegance. The additional hap-
piness then anticipated w^as, alas! never
realized; and in a few months the mother
and child left the world together. Mme.
Parepa Rosa's death was sincerely mourned
in America, where she had many friends.
The voices of Mme. Rosa and Miss
Phillipps so often had mingled in oratorio
and opera, that to unite their names
together now seems, in memory of all
we owe to their gifts, but a fitting homage
to two grand artistes.

In 1879 Miss Phillipps joined the Ideal
Opera Company, under the direction of
Miss E. H. Ober, and carried into it her
vocal and dramatic culture and her un-
flagging spirit. She continued attached
to that company until December, 1881,
when she made her last appearance on
the stage in Cincinnati.

I02 ADELAIDE PHILLIPPS.

These sketches of Miss Phillipps' pro-
fessional work suggest somewhat of their
variety and extent; but the real experi-
ence of an artist is faintly outlined by any
enumeration of roles, or reports of suc-
cess or applause. In such a career much
is required; serious thought, hard study,
anxious hours; the fatigue from travelling
hundreds of miles before taking a difficult
part, leaving the opera when over at mid-
night for the next city; this is but part of
the regular routine. Added to these trials
come exactions of managers, jealousy of
rivals, uncertainty of remuneration aftel"
the toils of the season are over. There
are many ways by which the prosperous
path of a popular artist may be circum-
vented without the facts appearing openly;
not to mention the varying phases of the
capricious public, and always being at the
mercy of newspaper reporters. Many of
these trials await all artists whose profes-
sion brings them before the public, be it

ADELAIDE PHILLIPPS. IO3

on canvas or in marble; but especially is
it true of the musician, and eminently of
the lyric artist, whose success or defeat
may depend on one supreme moment.
To most people who go to the drama or
opera the actors or singers are mere ap-
pearances who come out to amuse us, and
we think them rewarded b}' applause and
flowers. So they are, in a degree. But
how little do we consider what they have
gone through in a life-long preparation to
give us an evening's amusement. Few
realize what is required of a dramatic, and
yet more of an operatic artist. The mem-
ory, the musical ear, the words of a for-
eign language, the action of the part, be it
tragic or comic, presence of mind to meet
all emergencies without a sign of disturb-
ance, even when painful accidents occur,
or life itself is in danger. Sometimes the
performer is suffering physical pain, or
from recent illness, often in great personal
anxiety or heavy bereavement, yet they

I04 ADELAIDE PHILLIPPS.

must come before the public and play their
part before critics who make no allow-
ances : —

"Watch the part of the player bravely and deftly
done,

See the difficult height attained, the loud applauses
won.

Weep with his passionate sorrow, thrill with his pas-
sionate bliss,

Blending your joyous laughter with that happy laugh
of his.

Well that his marvellous acting, dazzles, wins, refines.

Who thinks of the desperate effort written between
the lines ? "

Miss Phillipps was not one of those who
decried her profession. The stage was as
familiar to her as her home, and she al-
ways maintained that men and women
were not misled by being connected with
it, any further than their characteristic
tendencies would have been shown in the
temptations and trials of life in whatever
sphere they moved.

"The actual work behind the scenes,"
she would say, " leaves no time for those

ADELAIDE PHILLIPPS. I05

sort of things people imagine; we are too
busy, often too anxious, to attend to any-
thing but our parts. The heroes and hero-
ines of the opera are seldom the lovers
they enact, often quite the reverse."

The bare rafters, the coarsely-painted
scenes, the workmen in their shirt-sleeves,
the cold draughts sweeping through the
comfortless passageways, suggest only
work and risk of health to any one who,
stepping across the line, sees the reality
instead of the appearance.

Miss Phillipps was eminently of the Ital-
ian school of vocal music, the school of
nearly all the great singers of the past.
Since she first appeared on the lyric
stage changes have come over the musi-
cal world. The great German composers
are more widely known, and Italian opera
is waning.

Long since Miss Phillipps' career began
the opera bouffe has introduced its demor-
alizing influence on the stage and on soci-

Io6 ADELAIDE PHILLIPPS.

ety. French dramas have instilled their
poisonous atmosphere, all the more dan-
gerous because imbibed through the me-
dium of grace and talent.

As changes await every human inven-
tion, let us hope that this age of sensation-
alism may pass aw^ay, bringing a better
taste to the community.

Had Miss Phillipps first appeared in
America, her talents as an actress and
vocalist duly stamped by European
fame, she would doubtless have received
a greater ovation. The proverb, "A
prophet is not without honor save in
his own country," cannot justly be said
to have been verified in her experience;
yet it is doubtless true she was too
near the daily life of the country, espe-
cially that of the city of her adoption,
to become that mysterious idol, a foreign
prima donna.

If Adelaide Phillipps had thrown her-
self entirely into her profession, without

ADELAIDE PHILLIPPS, I07

regard to any motive but selfish success,
she would doubtless have filled a v^^ider
space in the operatic w^orld, and taken her
place as one of the great artistes of her
time. But she never swerved from the
straight and narrow way in which she
walked as a woman. That she sacrificed
worldly prosperity to principle, and after a
long life of great and generous exertion
left but a modest fortune, is certainly true.
Although a conscientious artiste, and
entering with interest into the duties of
her profession, her heart was in her per-
sonal life, her home, and with those friends
whom she loved.

A sacred voice has said '' no man can
serve two masters; ye cannot serve God
and Mammon." Adelaide made her
choice, and it was not Mammon.

CHAPTER V.

A FARM in Marshfield was pur-
chased in i860 for Mr. Alfred Phillipps,
the eldest brother of the family; there
they removed, and it became their home.
It was a valuable farm, near the sea, and
adjacent to the estate of Daniel Webster.
This home was the centre of Miss Phil-
lipps' thoughts and interests. Here she
returned every summer, when not profes-
sionally engaged, to enjoy country life.
Perhaps the following letter, written to
my sister after a visit to Marshfield, will
best show the life led there: —

"June, '74.

" I met Adelaide at the station in Boston and

arrived safely at Marshfield, where four of the

family dogs received her with great emotion, —

two great Newfoundlanders, 'Caesar' and 'Lyon,'

a beautiful brown setter, and a funny little Es-
108

ADELAIDE PHILLIPPS. I09

quimaux terrier, 'Tasso,' the principal actors.
When we reached the house poor old Rip, the
aged bloodhound, who has figured in many of
Adelaide's dog-stories (since she brought him
in a basket, a young puppy, from Havana), could
only look pathetically in her face and feebly wag
his tail. The house, where we were received
by Arvilla, is very pleasant and homelike, and
seemed gay with young people coming and
going. Altogether it was like a family in a story-
book, with varied histories and prima donnas
among them, and somewhat like living in a
Landseer picture of dogs, with humans thrown
in ; humans, however, who possessed many tal-
ents and musical ability. We walked to the
beach the first day, about a mile from the house,
accompanied by four of the dogs. On our way
an imprudent woodchuck was killed by ' Lyon ' ;
it was an unlucky day for that woodchuck. The
farm is under cultivation, Mr. Alfred and his
brother Edwin having charge of it. Mr. Alfred
Phillipps also has a conservatory, where he raises
flowers for the city as well as home. Near the
house is a statue of a female figure looking
downwards. This was placed there when the
Thomas family, whose ancestors owned the
place, met in commemoration of the first settlers
of Marshfield. The figure holds an inverted

no ADELAIDE PHILLIPPS.

vase in her left hand^ and in her right, which
also clasps her dress, a wreath. The design
idealises the return of their ancestress, Sarah
Pitney Thomas, to the spot where she came as
a bride December 2, 1648. Mrs. Thomas was
an heroic woman, who grew up in the wilder-
ness, bravely facing its dangers and maintaining
through life that unswerving faith which was
the characteristic of the Pilgrim mothers. With
a sincere, but perhaps fanciful, intention, the
wreath in the hand of the figure typifies a gift
and recognition from the spirit of the true
woman of two centuries ago to the true woman
now mistress of the old Thomas homestead.
The depression in the ground which marks the
cellar of the first home of Mrs. Thomas, and
above which she bends, is filled with flowers. I
was, indeed, on the sacred sod first trodden by
our New England fathers. The low-lying hills,
the ocean view, were the same to-day as when
they looked upon them, and must have recalled
their native land, amid the cares, the sufferings
and efforts of which we, with little thought of
them, now reap the harvest.

"The next afternoon we visited the house which
belonged to Daniel Webster. You will remem-
ber our visit there many years ago, with our
mother, when I was a child. That part of the

ADELAIDE PHILLIPPS. Ill

estate then belonged to the Thomas family, al-
though Mr. Webster had already made it his head-
quarters for fishing excursions. The great elm
still lives, and is a magnificent tree. The house
has been entirely altered, and the part added by
Mr. Webster changes its aspect. The propor-
tions of the library are ample and dignified :
here many rare books, pictures, and other gifts
presented to Mr. Webster are gathered. Mrs.
Fletcher Webster kindly showed me every ob-
ject of interest, and took me over the hoiise,
which she has done all in her power to preserve.
It is impressive, for it still seems to hold the
history of a very remarkable man ; but a sphere
of melancholy pervades the whole mansion. The
rain, which began to fall heavily, prevented us
from seeing the grounds or visiting the sea-
shore, where Mr. Thomas first met Mr. Webster
and mistook him for some strange fisherman.
' Why, Mrs. Quincy,' he said to our mother, ' I
never had seen such a fisherman before ; he had
great boots and old clothes, but yet he had such
eyes. He came home with me, and that was
the beginning of his making this house a sort of.
home.'

" The next day, the rain ceasing, Adelaide
drove with me to Duxbury along the pathway of
our Pilgrim fathers. ' The bay where the May-

112 ADELAIDE PHILLIPPS.

flower lay' was in the distance, and we passed
the French Cable Telegraph Station, between
which two points of progress a vast history lies.
It was Sunday afternoon, and as we drove through
Duxbury all was quiet. Here many retired sea-
captains live in supernaturally neat houses, with
cheerful grounds full of flowers, giving one a
pleasant sense of rest after storms. We drove
to " Captain's hill," where a monument to Miles
Standish was commenced in 1872. At the lay-
ing of the corner-stone a large number of ladies
and gentlemen attended. In a manuscript note
to the pamphlet containing an account of the
proceedings, by Mr. Stephen M. Allen, corre-
sponding secretary of the Standish Monument
Association, he writes : ' As a matter of courtesy
General Horace Binney Sargent, president of
the association, handed the spade to the ladies
first, and in their behalf Miss Adelaide Phillipps
took it, and turned the first sod for the founda-
tion of the monument.'

"The evenings of my pleasant visit were
varied by music. Suddenly Adelaide exclaimed,
"You must hear Csesar sing." Accordingly
the black Newfoundlander, of whose vocal pow-
ers I had heard frequently, was led to the
piano, and sat looking up gravely in Adelaide's
face, who began to play an accompaniment.

ADELAIDE PHILLIPPS. II3

" Sing, Caesar, sing," she cried ; and, aided by
her voice, Caesar certainly uttered sounds of
more or less musical effect, somewhat mournful,
it must be confessed, yet greatly to the pleasure
of his affectionate friend, while Caesar took our
applause with great dignity. The close of my
visit was somewhat saddened by the death of
poor old Rip, which took place in the afternoon
on our return from Duxbury. Adelaide had
loved him well for fourteen years, and mourned
over him, though glad that his sufferings from
that incurable disease, old age, were over.
Adelaide superintended his burial in a quiet
spot, which she will tenderly guard. The event
was rather sad ; and, to show the uncertain-
ties of life on a farm, one of Arvilla's favorite
ducklings departed for duckling paradise, at
the same time poor old Rip died.

" My pleasant visit closing, I took leave of
Adelaide, and was escorted home by Mr.
Adrian Phillipps."

In recalling the pleasant excursions we
made together, a few days which Adelaide
and I spent with Mr. and Mrs. Eben Dale,
at their beautiful residence in Gloucester,
Massachusetts, comes back with great

114 ADELAIDE PHILLIPPS.

interest. Mr. and Mrs. Dale had been
for many years her true friends. Their
brother, Mr. Theron Dale, has been al-
ready named as one of the musical com-
pany who met at Mme. Arnoult's house,
when Adelaide was preparing for the lyric
stage. At the time of our Gloucester visit,
Mr. Theron Dale and his sister, Mrs. Swett,
occupied the old homestead in the town,
while his brother's mansion stood near
the sea, where the waves broke upon a
small beach below the cliff on which the
house stood. We were most hospitably
entertained at both houses, enjoyed de-
lightful drives, and the evenings were
filled with music. Mr. Theron Dale was
a very musical man, sang well, and im-
provised gracefully on the piano. He was
much and generously interested in church
music and all connected with the subject.
Few are left who enjoyed those da3'^s
together. The master of the house, his
brother Theron, Mr. Turnbull, the son-in-

ADELAIDE PHILLIPPS. II5

law, his lovely daughter, then a little
child, and now Adelaide, have passed be-
hind the veil which is so thin and yet so
strong.

Adelaide's generous interest in young
people was often manifested among her
neighbors. It was her custom to invite the
young ladies of Diixbury in the summer
to what she called " an orchard party."
A table was placed under the trees,
ornamented with flowers, and on it ar-
ranged the delicacies of a five-o'clock
tea; Adelaide, her sisters and the broth-
ers, waiting upon the company. When
the evening came all adjourned to the
house, and finished the visit with music
and dancing. A new hall having been
built for the Marshfield Agricultural and
Horticultural Society, the expense ex-
ceeded, as is often the case, the calcula-
tions for the enterprise; Miss Phillipps
offered to give a concert in aid of the
fund, and gathered about her a number

Il6 ADELAIDE PHILLIPPS.

of professional friends to aid in the con-
cert. Her sister Matilde having returned
home, was also enlisted. In order to make
it more attractive, a scene from " Cinder-
ella" was introduced, for which the
young ladies of the " orchard-party "
were trained as chorus, Matilde taking
the part of Cinderella. When the time
for the representation came the whole
neighborhood turned out, many of the
older Old Colony people never having
heard a concert or an opera. The suc-
cess was great, both artistically and
financially. So grateful were the recipients
of Miss Phillipps' generosity that the
members of the Agricultural Society
wished to give a concert in her honor.
This offer she decidedly declined for
herself, but finding that her refusal gave
much disappointment, she consented that
the tribute should be transferred to her
sister Matilde, who was commencing
her professional career. This was ac-

ADELAIDE PHILLIPPS. II7

cordingly done. About this time Mrs.
Livermore made a Temperance address
at the Agricultural Hall in Marshfield.
Miss Phillipps went to hear the gifted
speaker. The earnest, graphic address
moved her very much. At the close she
expressed her interest and sympathy.
" Let me ask you," she said, " to go home
with me — all my singers are at my house
to-day arranging concerts for the next
season. I ran away from work and them
to hear you." Mrs. Livermore accepted
the invitation, and enjoyed a concert of
rare sweetness and beauty. " It must be
our best," said Miss Phillips, "for the
woman to whom we sing is not only
' one of a thousand, but is more than a
thousand.'" At the close she said,
"Now, Mrs. Livermore, when I can
serve you for this object with my voice,
command me. There must surely be
occasions on which I can do something to
aid in this ' woman's temperance work.' "

Il8 ADELAIDE PHILLIPPS.

Mrs. Livermore promised to call on
her when free from professional engage-
ments, but the time never came.

Among the friends of Miss Phillipps
residing in the Old Colony were the
Thaxter family, and Mr. John Quincy
Thaxter had become her man of business.
He was often a visitor at Marshfield,
as an intimate friend of the family.
On one occasion he was to spend a few
days with them. The last evening of
his visit closed with a gay tea-party, at
which all seemed especially happy. As
he rose from the table, he said, " do
you know we are thirteen? I wonder
which it will be." The answer soon
came. The next day Mr. Thaxter
went to Boston, and on his return a
severe accident happened to the railroad
car. He had stepped upon the platform
as it neared Hingham, to greet in pass-
ing two relatives, who always looked for
him at that hour. He was thrown from the

ADELAIDE PHILLIPPS. II9

car and instantly killed. This was a very
severe shock to all connected with him,
especially to Miss Phillipps, whose ready
sympathy for Mr. Thaxter's family, as
well as her own loss of a true friend, was
strongly felt. I remember the pathetic
tones in which she related to me what
had happened, and dwelt sorrowfully on
her visit to his parents, whose grief she
shared. " His mother asked me never to
forget how he enjoyed my singing, and
added, 'When you can will you sing
something he loved, in the evening about
the time he died ? ' "

The loss of Mr. Thaxter was serious in
several ways to Miss Phillipps, for, cut off
in a moment as he was, some of her in-
vestments were not entirely arranged;
as usual, however, she had not much
thought for herself. After this event
Miss Phillipps placed her business affairs
in the hands of Mr. Samuel S. Shaw,
who remained a true guardian of all

I20 ADELAIDE PHILLIPPS.

her interests to the close of her life, and
whose sincere attention to her welfare and
that of her family remains unbroken.

From the description given of Miss
Phillipps' home life, it will be clearly un-
derstood how happy it was. Her interest
in the farm and all the arrangements of
her brother Alfred may perhaps be better
told in a few letters written when away
from Marshfield on professional tours.
Mr. Alfred Phillipps was specially inter-
ested in horticulture, and received very
strong tributes from the horticultural
societies of the Old Colony for his taste
and skill in floral designs which orna-
mented their annual agricultural and hor-
ticultural fairs. From the following let-
ters it is evident how her thoughts ever
turned to Marshfield, —

" Dear Alfred, — What is this pretty flower
I send you ? It was in a basket given me last
night. You ought to have some like it. We
are very successful. Do not overwork yourself.

ADELAIDE PHILLIPPS. 121

Be sure and have the asparagus-bed attended
to at once."

In another letter, dated from Chicago,
she writes, —

" I hope all is going well with you. We are
doing finely here. Please have plenty of melon
seeds planted. Have you had the grafts of the
black apple-trees attended to .' I hope so. Do
not forget about the road. If they make it
straight, and take away the curve round our
house, I shall never feel like seeing Marshfield
again. Let me hear about it. How are all the
.flowers .''

" Your affectionate sister,

" Adelaide."

The following note testifies that Miss
Phillipps' interest in young ladies was not
confined to " orchard-parties " at Marsh-
field,—

"Hotel Pelham, Boston, May i8, 1881.
" Dear Alfred, — I intend giving a tea to
the young ladies of our chorus, about twelve or
fourteen. It is to come off after the matinee.
Can you let me have some flowers ? I should
like enough to make little bouquets, putting them
together in the centre of the table in a mass ;

122 ADELAIDE PHILLIPPS.

when the young ladies leave, it can be taken
apart, and each receive a bouquet ; so you under-
stand they must be small. I shall want the bag
of silver, and a table-cloth long enough for ten
or twelve people. Emily will attend to that. Are
you having any lobsters yet down with you .'' If
so, I should like some, quite fresh. I think you
and Edwin had better come up on Saturday, as
I do not like trusting the silver to a stranger.
Let me know if I can depend on you ; also about
the lobsters. We give the ' Chimes of Nor-
mandy ' at the matinee ; so I shall have tea at
half-past five o'clock, as the young ladies sing
again in the evening. I shall run down to
Marshfield on Monday afternoon, and the archi-
tect will come on Tuesday, so I hope the cellar
is in good order. Love to Edwin and yourself.
" From your

"Adelaide."

Those who remember Miss Phillipps'
charming representation that afternoon in
the " Chimes of Normandy," and the ex-
quisite duet between Mr. Karl and herself,
could hardly have believed the heroine of
that tender passage was " on hospitable
thoughts intent."

ADELAIDE PHILLIPPS. 1 23

"Burnett House, Cincinnati, Dec. 30, i88i.

" Dear Alfred, — I wish you all a happy
New Year. Do you know you wrote me a very
good letter ? I enjoyed it much. Write me
again when you have time. I am so glad to
hear about the services at the river. Miss
Devereux has indeed done a good work. What
did you do at Christmas ? Did any one dine
with you ? Do you send flowers to Boston .' Be
sure and remind Mr. Pierce of his promise to go
down to Marshfield, and have the dining-room
chimney made all right. I shall run down to
Marshfield when I am singing in Boston, and
make arrangements about the chimney-piece.
We are doing a fine business here. We shall
be in Pittsburg next week, then in Baltimore,
then in Philadelphia two weeks. I wish you
would ask Edwin to make me two trellises,
rustic work. Miss Cowing is going to give me
a honeysuckle, and I want one for that to put
near the clematis ; it is such a mean thing the
clematis is on now.

" Love to all.

"Adelaide."

The services at the river, mentioned in
the preceding letter, were arranged for
the benefit of a small fishing village

124 ADELAIDE PHILLIPPS,

called Green Harbor, in Marshfield. Miss
Devereaux was principally instrumental in
making this effort for the religious benefit
of the place. Services were first held in
a cottage, but Miss Devereaux's zeal en-
listed others, and a small church has since
been erected, which is now well attended.
Even in Carlsbad, when fatal sickness
was upon her, Marshfield was ever near
her heart. In one of those revivals of
physical strength, which often precede
the close of life, Adelaide writes thus to
Alfred, — the last letter the brother was
ever to receive from her hand: —

" KoNiGS Villa, Carlsbad,

September 14, 1882.

"Dear Alp red, — I am getting on quite
well, and hope to return next summer.

" Now I want you to prepare me a nice piece of
land up near the house, which will be my vegeta-
ble garden — Adelaide's garden. It must be large
enough for a strawberry-bed. Please to plant
plenty of melons, early vegetable, etc., etc. It
must be near the barn, so that I can have the
water turned there if necessary. Now do this

ADELAIDE PHILLIPPS. 1 25

for me, there's a good fellow. Prepare it this
fall, and some time I will fence it in. Have
you got those grapes planted yet, like Dr.
Henry's ? I hope you are not troubling your-
self about the fair ; it takes up too much of
your time when you are attending to your
greenhouse. Now be sure and get in your
plants early; do not leave it late. Save the
geraniums. The people here and all over Eu-
rope are suffering from wet weather ; rain, rain,
rain. I hope you will write me a nice Marsh-
field letter, telling me all the news. Give my
love to Emily. Love to all.

" Yours affectionately,

"Adelaide."

The "Emily" so frequently mentioned
is a faithful domestic, who sometimes ac-
companied Adelaide on her professional
tours, but generally superintended the
household at Marshfield. An invaluable
friend is such a member of any family;
true to their interests and devoted to their
comfort in sickness or in health, and who
in this instance has for twenty years shared
their joys and their sorrows. Such a

126 ADELAIDE PHILLIPPS.

helper and friend the family possessed in
"Emily," who remains to cheer those
who, like herself, have met with an
irreparable loss in their beloved Ade-
laide.

In Miss Phillipps' domestic life, as well
as among her friends, the charm of her
magnetic presence came with light and
warmth. I can even now seem to hear
that light, firm step as she approaches
the door of the favorite room where this
tribute is written, raising gayly a peculiar
note known to us both as heralding her
approach, and her cordial response to the
greeting, " Come rest your weary little
feet at a friend's threshold."

The home at Marshfield was the centre
of Adelaide Phillipps' interests and affec-
tions; to it she dedicated a large pro-
portion of the results of her untiring efforts
in her profession. Her devotion to her
family has often been mentioned as "a
burden "upon her; this idea she always

ADELAIDE PHILLIPPS. 1 27

resented. "What should I do it for if
not for them? " she said, with feeling.

The record of Adelaide's life shows
how the filial and fraternal affections and
duties were its leading motive. It is not
to be supposed that with all her qualities
and attractions she was not sought by
those who would gladly have gained the
prize of such a heart, and limited its affec-
tions to what is called the nearest relation.
But she resolutely turned from such sug-
gestions. " While I am on the stage,"
she said, " I shall never marry. It was a
determination I made early in my life, and
I have seen no reason to regret it."

To make her home all that she wished
it to be for those she loved, as well as for
the reception of her many friends, her
expenditures may be said to have been
lavish. She was never happier than when
keeping open house in the summer; and
those who availed themselves of her cor-
dial invitations — and they were many —

128 ADELAIDE PHILLIPPS.

cannot but retain a grateful recollection
of her hospitalities as a hostess.

Among the enjoyments of Adelaide's life
few were greater than her visits to the fam-
ily of Judge Monell, at their charming res-
idence at Fishkill-on-the-Hudson. Mrs.
Monell in a letter recently received says : —

"Mr. Monell and our daughter made Miss
Phillipps' acquaintance during a journey to Cali-
fornia, and on visiting us after her return she
became at once a cherished guest and friend
whose coming was hailed ever after as an occa-
sion of rejoicing. She went with us one summer
to Lake Placid, in the Adirondacks, where she
seemed to assimilate with the sylvan spirit of
the forests and lakes of that region, saying that
she never found any atmosphere where her voice
flowed with such ease and pleasure to herself as
among those wild scenes of the primeval forest.
She did not wish to sing in any public way at
the- hotel, but one day she was discovered in the
kitchen in the midst of the landlord's family and
the guides, who were all in tears at her touching
musical recital of 'Auld Robin Gray' for their
especial benefit and enjoyment.

" We had the pleasure of passing a few days

ADELAIDE PHILLIPPS. 1 29

at her home at Marshfield, and shall always
remember the spirit and kindness of manner by
which she enhanced our enjoyments there, our
ride to the beach in the country wagon, and our
picnic in a rustic house she had built on the
shore, where she had a curious collection of
china, of a marine and sailor-like description,
kept for that especial purpose."

In Mrs. Monell's letter she also alludes
to what Adelaide called her "sentimental
tea-set," many of her friends having con-
tributed a cup and saucer to itj and I
recall the almost childlike delight with
which she received our donations to this
peculiarly constituted " sentimental" col-
lection.

There was as great a versatility of
power in her private life as in her pro-
fessional work. She threw herself into
the experiences of her friends without any
effort; we never felt she was trying to
love or sympathize with us. In a visit
from her, many years ago, after our return
from Europe, where a great bereavement

130 ADELAIDE PHILLIPPS.

had befallen us, Adelaide's presence was a
soothing one. At the time she was one
of an opera company giving perform-
ances every evening. The newspapers,
and the reports of our friends, were full
of her praises, especially in her gayest
roles. From these she would come home,
pleased to bring me the flowers that the
audience had showered upon her, and
change quietly from the playful character
with which at that moment people were
associating her, to the tender friend.

An extract from a letter written by
Miss Mary G. Monell touches upon the
same quality in Adelaide's character: —

" All her friends must have felt her deep and
intense sympathy in the sorrows of others, and
the quick and beautiful way in which she ex-
pressed it. I remember once, in the earlier days
of our friendship, the sudden death of a dear
friend darkened my life. Adelaide was in Bos-
ton, and seeing a notice of the death in the
papers, started at once and came to us. With-
out warning she walked quietly into my room.

ADELAIDE PHILLIPPS. 131

saying simply, 'My dear, I have come to help,
if I can. Shall I stay ? ' Need I say she did
stay, and then took me with her to Marsh-
field, where her keen sympathy and constant
care did more than all else to keep morbidness
away."

No morbid tendency belonged to her
healthy nature. Times of depression
indeed, came, owing to the circumstances
in which she was placed at the moment,
but she threw off despondency quickly.
Notwithstanding the buoyancy of her
spirits, and the energy she possessed, she
had in her constitution a reluctance to ac-
tion. After a few days of entire rest, she
would say, as she gathered herself up to
plunge into busy life again, " How lazy I
should be if I had not been obliged to
work ! "

Mrs. Gordon L. Ford, at whose home
in Brooklyn, N. Y., Adelaide was a wel-
come guest, recognizes this element in
her nature : —

132 ADELAIDE PHILLIPPS.

" I think her life alternated beween pe-
riods of rest and effort, and she gathered
strength for her severe labors by intervals
of entire passivity. I have even heard
her called indolent, but her energy far
overbalanced any inborn tendency to
lethargy, and was unceasing and untiring
when anything remained to be done. She
had strong social feeling and social talent,
and made the joys and sorrows of her
friends her ownj yet nothing could keep
her from her engagements, and her work-
ing career was characterized by patience,
enthusiasm and conscience, which, added
to her natural gifts, carried her to the top
of her profession. It sometimes seemed
to me that, as she combined many oppo-
site traits of character, she must have had
ancestors of various races, and different
strains of blood must have met in her;
for she had the firmness of purpose, per-
sistenc}' of will, and strong sense of duty
and affection that pervade the northern

ADELAIDE PHILLIPPS. 1 33

nations, and at the same time possessed
the quick emotions and the versatile genius
of the Latin races. The public knew and
appreciated the artist; her friends loved
and trusted the woman, who was essen-
tially what the Italians call sifnpatica.
Her voice showed this sympathetic qual-
ity, and in its natural timbre melted the
soul; for while she excelled in florid exe-
cution, there was a deep undertone in it
of strength, of humanity, which was the
keynote of her character."

The allusion Mrs. Ford makes to Ade-
laide's social talents and tastes is verified
by the experiences of all her friends.
Had her lot been so cast, she would have
been a brilliant " woman of society." As
a raconteur she had a wonderful gift and
much power of mimicry. To these qual-
ities was added the ease with which she
spoke several foreign languages. She
never used her conversational powers to
the disadvantage of others, passing deftly

134 ADELAIDE PHILLIPPS.

over the characters of those whose con-
duct towards herself, personally or pro-
fessionally, merited severe censure.
Sincere in her friendships, forgiving to
her detractors, generous almost to a fault
towards any whom she could aid, her un-
conscious rectitude bore her on through
life, without its ever occurring to her that
such a course was at all remarkable.

CHAPTER VI.

While engaged in professional work
with the Ideal Opera Company, during the
winter of 1880, Miss Phillipps had a
severe attack of illness in New York, at
the house of Mrs. Reed. This kind
friend's tender care doubtless prolonged
her life. In consequence of her illness
her brother, Dr. Frederic Phillipps, was
summoned from San Francisco to attend
her, but on arrival was so ill himself as to
be unable to remain near her. His sister,
urged doubtless by this fact, seemed to
rally all the forces of her nature to meet
the emergency. She soon left New York
and came home to make arrangements for
the comfort of her brother. Marshfield
was too distant for her visits to him; she
therefore took a furnished house, then

13s

136 ADELAIDE PHILLIPPS.

vacant, belonging to her friends, Mr. and
Mrs. J. Henry Sears, and removed her
brother and some members' of the Marsh-
field household to the pleasant mansion in
Dorchester, associated in her mind with
many recollections. Miss Phillipps made
the acquaintance of Mr. Sears on one of
her voyages, and from that time both Mr.
and Mrs. Sears had been true and appre-
ciative friends, w^hose home she often
had shared in her many transits from
one place to another. Dr. Phillipps
had held for several years the appoint-
ment of surgeon at the hospital at
Aspinw^all, Panama; afterwards took the
position of surgeon on board one of the
great steamships plying between San
Francisco, Japan and China. The fre-
quent attacks of Panama fever, contracted
at Aspinwall, undermined his constitution,
and he came home fatally ill. His sister
supplied every comfort. Matilde, Mr. and
Mrs. Adrian Phillipps, together with the

ADELAIDE PHILLIPPS. I37

members of the family from Marshfield,
were devoted nurses, Adelaide returning
whenever it was possible to watch over him.
At last the end came. His sister was on
the stage when the telegram arrived, and
was informed of the event as soon as the
performance was over. The last service
was held in the house at Dorchester, where
many friends assembled. Adelaide showed
me a beautiful wreath of white flowers
sent by the "young ladies of the chorus."
"You see, it is a broken one," said she.
It was typical of the first break among the
brothers and sisters, so long tenderly
united. When all was over I said to
her, "When do you return to your work?"
"To-morrow," was her reply. "To-mor-
row?" I said, looking at her sad counten-
ance and deep mourning dress. "Yes, I
must, and there is a great deal of help in
that word, 'must.'"

She resumed her place in the company
under Miss Ober's direction, and continued

138 ADELAIDE PHILLIPPS.

her work for several months. It must
have been near this period that her last
visit to Fishkill-on-the-Hudson was made,
so tenderly described by her friend, Miss
Monell:

"The last time Adelaide was with us
her illness and the death of her brother,
though happening some months before,
made her very sad. Added to this were
other anxieties, which made work a neces-
sity, so that our long talks were tinged
with sadness that seemed almost prophetic.
She was reluctant to leave us, and as she
stood in the hall waiting for the carriage,
her tears fell fast on the head of a great
dog she was very fond of, and who was
her constant companion when she was
here. She stood talking to him in her
peculiar way, while he eyed her wistfully,
and then she suddenly said, ' Oh, old fel-
low, you understand it all, don't you; but
you can't say it? Shall I sing it for you ? '
Taking him by the ear, she went to the

ADELAIDE PHILLIPPS. 1 39

piano, seated herself, with the dog stand-
ing by her, and sang that beautiful Spanish
'Lament' that all who knew her often
heard her sing. Her voice welled forth
and filled the house with its glorious rich-
ness, expressing all the indefinite sadness
we had felt so keenly, and something
stronger and deeper, that now seems a
foreshadowing of the long parting, for the
' Lament ' was the last song she ever sang
for me; and when it was finished she
drove away through the sunlight, and
never came back again. The picture of
her as she sat at the piano, the deep feel-
ing and sorrow shining in her eyes, and
the great dog watching her with earnest,
questioning looks, is so deeply fixed in my
memory, it rises before me whenever I
enter the room."

A letter from my niece, Mrs. B. A.
Gould, contains a few words which,
although referring to an early period in
Adelaide's life, seem to follow fittingly

140 ADELAIDE PHILLIPPS.

the tender memories of a later date con-
tained in Miss Monell's letter: —

Cordoba, S. A., November 29, 1882.
I cannot tell you how much I have felt in
seeing a day or two ago the announcement of
the death of Adelaide Phillipps. It seems like
a part of my own life and youth gone into ever-
lasting silence. She is one of my earliest recol-
lections, when at eight or nine years of age I went
to see her at the old Museum. Then came the
days when she began to sing in " Aladdin " and
" Cinderella." Afterward we were taking les-
sons of Mme. Arnoult together. Oh, how the
old days rise up before me now ! The first time
she was to sing at a concert in Boston I remem-
ber the intense interest of Madame Arnoult in
her dress, down to the rosettes on her slippers.
There was a bunch of geraniums which had been
made for me, and I think it was for that even-
ing Mme. Arnoult asked for them to give the
one touch needed to her white dress. She sang
Fac ut partem admirably. In her long career
since we have met at intervals, and always, I
think, with a sense of sympathy. I was deeply
pained to see that she is gone. How was it
that she should lose her health in the very vigor
of life .' Though I saw her so seldom the world
seems poorer to me without her."

ADELAIDE PHILLIPPS. I41

The interest of Madame Arnoult in Ade-
laide only ceased with her own life. That
expression, so common, is a very inade-
quate one, for we should look upon life
and love as only entering into higher and
purer realities and growing immortally
truer and stronger. The lovely Claire
Arnoult passed out of this world early in
life, and her mother did not survive her
many years. Her last bequest to Ade-
laide was characteristic of that same
thoughtfulness for her appearance as in
the days of the " geraniums " — it was a
very beautiful lace veil.

In the winter of 1881 Adelaide was
again attacked by illness. It was plain to
see that " the sword was wearing out the
sheath." Yet, after several weeks of suffer-
ing, she rallied and returned to her work.
I was with her the day on which she
left Boston to join the company at Chicago.
The power of will carried her far beyond
her strength, and a sad foreboding was in

142 ADELAIDE PHILLIPPS.

the air as we parted. The foreboding was
soon confirmed. She made a brave strug-
gle to fulfil her engagements, but it was
not to be, and the winter of 1882 she spent
at the Tremont House in Boston, where
she received every attention. Miss Cow-
ing was her constant companion, and her
family and friends were near. Adelaide
frequently drove to see me, as, in conse-
quence of a fall on the ice, I was unable
to leave the house. She could stay, per-
haps, only a few minutes, but would say as
she did of the musical studies, " I must
take you in at my eyes." Later in the
season we were more together, and I took
tea one evening with her at her rooms.
She, indeed, was "given to hospitality."
Although she put a cheerful courage on,
yet the trial she had to bear was a hard
one. The arrangement with Miss Ober
was satisfactory, and every week she
was losing pecuniary reward. She had
undertaken to build a large addition to

ADELAIDE PHILLIPPS. 1 43

the house, and make expensive improve-
ments at Marshfield, which added to her
anxieties. The results of these changes,
which included great conveniences for the
family, and more ample accommodations
for her friends, were anticipated by her
with an interest that never flagged.

Before she left town for New York, and
from thence to return to Marshfield, Ade-
laide and Matilde spent one evening with
us. Although much changed outwardly
by illness, Adelaide retained all her own
depth of affection and magnetic fascination.
Her descriptions of people and places
were as vivid as ever, and her conversation
never more brilliant. The evening had
none of the sadness of a coming separa-
tion: it was full of life and light. She
spoke of the pleasure she anticipated of
visiting us at our summer home among
the mountains, and once more her beauti-
ful voice thrilled through our library,
which had so often been filled by its

144 ADELAIDE PHILLIPPS.

melody. It lifted us beyond the clouds
that had seemed to obscure the present,
and gave us a glimpse of that future of
love and peace into which she w^as so
soon to enter.

On her return to Marshfield she found
the additions to the house, and all the
improvements she had planned, carried
out. She spoke of many happy years to
come, and visits from her friends — dreams
which were pleasant, though not to be
realized. Notwithstanding her extreme
weakness and suffering, her indomitable
spirit was not overcome; yet the fact that
she might not recover was really seldom
absent from her mind. Such fluctuations
are not unfrequent. The human heart
would sink indeed if it had not some
moments in which earthly hope mingled
with heavenly trust. One little anecdote
of these last days at Marshfield gives us
herself "fading in music." Arvilla being
occupied in another room, Adelaide was

ADELAIDE PHILLIPPS. 1 45

left alone for some time. When her sis-
ter hurried back and expressed her regret
at being so long absent, the reply was,
"Oh, do not be troubled; I have had such
a nice sing all to myself, not loud enough
to be heard, but a nice sing. I went over
'Oh, rest in the Lord,' and something else,
and I had such a quiet, pleasant time."

A letter written in August is full
of hope and of trust. As we read the
words there is such teiiderness and pathos
running through them that we are re-
minded of "Bunyan's delightful dream,"
and of the "sure token" the messenger
gave Christiana — " an arrow with a point
sharpened by love, let easily into her
heart, which by degrees wrought so effect-
ually with her that at the appointed time
she must be gone."

Marshfield, July 14, 1882.

Dear Mrs. Waterston, — I trust the air of
Whitefield has done Mr. Waterston good, and
that he has steadily improved.

146 ADELAIDE PHILLIPPS.

I am getting on slowly but surely ; but, oh
dear, I have been very ill. I do not think they
have told you how ill. They had to send for
Dr. Wesselhoeft. He came on Friday, and re-
turned and came again, staying over Sunday. I
thought the end had come. I wished to live ;
but I was able to say, " Thy will, not mine, be
done."

I have much to be thankful for, and I am
thankful. I think, what shall I render unto the
Lord for all his benefits to me ?

I wish you could have seen the devotion of
every one here, — such care, such nursing, and
everything so pleasant around me. I am in my
new room, and it has a charming view. Dear
Alfred laid out flower-beds so that I could en-
joy them at a distance. My bed was rolled each
day close to the window so that I could see
everything. Then the apple-trees were in bloom,
one large tree looking right into my room. I
cannot tell you how I enjoyed everything, though
burning up with fever, and then so weak after-
wards that I could do nothing for myself. I
would exclaim continually. How lovely every-
thing is ! how grateful I am ! I had felt sorry
sometimes this winter that I had gone to the ex-
pense of making changes in the house, as I was
under such heavy expenses, and had lost the

ADELAIDE PHILLIPPS. I47

whole winter. But I am glad now when I see
how comfortable everything is ; we have a real
home. Some four weeks ago I felt rather dis-
couraged that I did not get along as quickly as I
hoped. Dr. Wesselhoeft wrote to Matilde very
encouragingly, but said " everything disagreeable
must be kept from her ; she must make every
effort to cast off care ; in fact, she must be very,
very good." Well, I try to follow his directions,
but it is hard not to feel anxious. The losses
three years ago and this winter have been very
serious, just as I thought everything was getting
easy for me, so that sometimes I am a little low-
spirited, but it does not last long, for I think
how ungrateful I am, and then I pray, and great
peace and comfort comes to me.

I have been obliged to come to a decision,
and that is, it would be folly to think of singing
next winter. I have sent word to Miss Ober,
and I hope she may engage Matilde in my place,
but I cannot help feeling anxious. When I am
troubled it makes me ill, for I am not able to bear
even any little troubles. You see what I mean,
that I must get away at whatever cost. I must
have some one with me. Arvilla has offered to
go, but it is hard to separate her from Adrian.
I am sure leading a quiet life I shall be ready
for work next year. I shall try to sail in a

148 ADELAIDE PHILLIPPS.

French steamer, on the 9th of August, from
New York, go to Paris, where I shall rest a few
days, then to Gastien in Austria. I hope to pass
the winter in Nice or Mentone. Thafis what I
wish to do. I know I could not stand the win-
ter here doing nothing.

And now I have wearied you enough, but I
wanted to tell you all.

With much love, your

Adelaide Phillipps.

Under date of August 4th, 1882, I re-
ceived her last letter: —

Marshfield, August 4, 1882.
Dear Mrs. Waterston, — I hope to sail on
Wednesday, on the Amerique, French line.
My passage is secured. Arvilla goes with me.
I want to remain away a year, but it will depend
upon what my expenses are ; at all events I can
stay six months. I feel it is the only thing to
do. I cannot bear anything, and am very easily
put back. So although I am not strong the
doctor agrees with me it is best to leave at
once. Then I shall have a pleasanter passage
than later. I propose leaving here on Tuesday,
taking the night train to New York, resting a few
hours, and sail at two o'clock p. m. I will let
you hear from me on my arrival. I am going to

ADELAIDE PHILLIPPS. 1 49

Carlsbad first, as the waters are the thing for
me to take. I trust Mr. Waterston is better.
With love to both, I am,

Yours ever,

Adelaide Phillipps.

The voyage seemed to recruit her
strength. She always enjoyed the sea,
and had made several voyages across the
Atlantic merely for rest and recuperation
after a fatiguing season.

Dr. Eckart of Marshfield crossed the
ocean and remained with them until they
left Paris.

After a few days rest Adelaide and Mrs.
Adrian Phillipps reached Carlsbad, and
took apartments at Konigs Villa, a -pension
for invalids. The situation of the house
pleased Adelaide, who was interested in
the views from her room. One day,
standing at the window looking at the
mountain opposite, up whose side wound
a pathway, she said to Arvilla, " I always
think of Linda di Chamouni here, and

150 ADELAIDE PHILLIPPS.

seem to see Pierotto climbing up that
path with his hurdy-gurdy on his back after
leaving Linda." Adelaide took the waters,
and was very much cheered by the hope
of recovery, but the anxious sister watch-
ing her saw there was very little real
improvement, yet no change so serious as
to authorize a telegram to be sent to
America. A few weeks thus passed,
until suddenly, on October 3, 1882, the
change came, and Adelaide Phillipps was
gone. The stab of the telegram struck
many hearts, and some were pierced as
with a sword. To many it was the loss
of a great singer, to others the parting
from a dear friend, with whom much of
their life went quite away. The press
teemed with notices of her gifts, and paid
every tribute to her noble character.

Meanwhile, alone in a far land, Mrs.
Adrian Phillipps, who, as the young Ar-
villa, cheered Adelaide in Italy and was
with her in her first professional triumphs,

ADELAIDE PHILLIPPS. 151

now closed her eyes upon this world.
Like a guardian angel she smoothed the
bed of death until the greater angel re-
ceived the spirit. Those who know what
it is to meet bereavement in a foreign
land can sympathize in the trial Mrs.
Phillipps had to encounter. She was
placed in a very painful position, having
to make all the sad final arrangements for
removing the remains to America.

Friends, however, are always raised up
in our dire need, God never leaving us
without a witness of His care. Two
gentlemen at that time residing at Carls-
bad, Mr. Riley and Mr. Robert Johnson,
recognized the difficulties Mrs. Phillipps
had to encounter, came forward and as-
sisted her through painful duties, and
took the place of brothers. Such an
opportunity of extending kindness does
not often occur in life. Where it is so
faithfully fulfilled the act carries its own
reward, but the gratitude awakened is

152 ADELAIDE PHILLIPPS.

cordially acknowledged. Mr. Johnson
attended Mrs. Phillipps on the sad
journey to Bremen, from whence, after
some delay of the ship, she finally sailed
for America. And now Adelaide was
again on the ocean: —

" Calm on the seas, and silver sleep

The waves that sway themselves to rest,
And dead calm in that noble breast,
Which heaves but with the heaving deep."

At last the ship came to port and the
voyage was over.

The funeral services were held in King's
Chapel, where the Rev. Mr. Foote pre-
ceded the bier covered with flowers,
uttering the uplifting words of the burial
service. Solemn and appropriate music
was heard, heartfelt prayers offered,
the immortal words of the fifteenth chap-
ter of I Corinthians read, and then Mr.
Foote, returning to the desk, made a most
tender and impressive address. Music
again filled the chapel, and with the bene-
diction the crowd dispersed.

ADELAIDE PHILLIPPS. 153

After the services were over, the casket,
which contained all that had been mortal
of Adelaide Phillipps, was carried to
Marshfield, and once more she rested in
the home she so much loved, surrounded
by her brothers and sisters. Once more
they met together.

The next day the weary form was laid
in the quiet " God's acre," at Marshfield,
but the soul that animated it had risen
upward and onward, where a new song
was put into her lips.

APPENDIX.

APPENDIX.

It was the wish of the Phillipps family that the
services at their sister's funeral should be conducted
by the Rev. Mr. Waterston ; as it was impossible for
him to comply with their kind request, his friend, the
Rev. H. W. Foote, pastor of King's Chapel, fulfilled
the duty in the most tender and sympathetic manner.
The following letter expresses the feeling awakened
in his mind on the occasion : —

Boston, February i8, 1883.

My Dear Mrs. Waterston, — I am led by your
preparation of the Memoir of Miss Phillipps to wish
afresh that it had been in your power to be present
at the funeral services, which were held in King's
Chapel, so that you might have felt the atmosphere
of sympathy and sorrow which pervaded the great
throng to a very unusual degree. I have rarely seen
an assembly so moved by a common feeling, or so
evidently touched with a sense of personal loss.
Every variety of social condition was represented
there, and friends ranging from the closest kindred
to those who only knew Miss Phillipps as one who
has stirred their souls by her beautiful and noble gift.

157

158 ADELAIDE PHILLIPPS.

AH seemed to be there simply because they could
not stay away from the last opportunity to show that
they loved her. It was such a tribute of affection
as it is given to few either to deserve or to win.
Faithfully yours,

Henry W. Foote.

FUNERAL SERVICE.

At midday on October 25, 1882, the last rites
were observed at King's Chapel, which was thronged.
Beautiful flowers, gifts from personal and profes-
sional friends, profusely bestowed, were arranged
with great taste in the chancel. The pure white and
green so largely predominated that the decoration
seemed modest and retiring. Preceding the bier
strewed with blossoms, the Rev. Mr. Foote commenced
the solemn service. On entering the desk he read
the thirty-ninth and ninetieth psalms, with the alter-
nate verses given as responses by the choir. After
reading the regular church service, Mr. Foote spoke
as follows : —

" In this solemn presence we listen for a voice that
on earth is forever still, and out of the silence do we
not seem, my friends, to hear that voice bidding us
' rest in the Lord, and wait patiently for him.' It is
well that here in this city, so associated with her
early and later life, — on this spot so close to that
where her pure genius first rose shining as a star, —
this great company of friends who knew and loved

APPENDIX. 159

her should gather for this tender memorial rite ; and
with them are many others of that wider company
who knew and loved her in as true, though not in as
close a way, to whom she had spoken through her
divine gift, to comfort, to uplift, to console, — many
of whom probably associate some of the purest,
most uplifted moments of their lives with the tones
that revealed to them the divine meaning that may
be hidden in human hearts. It is well, I say, that
we should pause, and look to God, and be grateful for
what this life hath given. We do not here recount
the triumphs of an art, whose triumphs at such an
hour as this must turn to bitter ashes unless there is
character behind them ; but we may well rejoice that
art was interpreted to us by one who was pure, faith-
ful, true, noble, and womanly. Her love for her art
was of the highest sort, so that she became an inter-
preter, for those who listened, of the divine secret in
the centre of every human life, the purpose God has
for every human soul.

" Here was one who took God's gift as His own,
reverently, and used it in that spirit, appreciating
the great privilege of having this gift, through which
to speak to other human hearts and help them on
their way. Here is one who, though gone from us,
leaves the world the eternal lesson of an upright and
consecrated life. This is the simple truth, and be-
cause it is so, I repeat the written words of one who
knew her well, and who ought rather as her friend of
many years to express in my stead, in the presence

l6o ADELAIDE PHILLIPPS.

to-day, the emotion of this great company. 'The
thought of her noble character rises before me. I
think of her devotion, her self-sacrifice, always faith-
ful and true. Her voice was a worthy expression of all
that was good, giving utterance to the sacred words
of truth and holy cheer. Do we not hear it even now
as she receives a crown from the Lord's hands in the
midst of heaven.'

" As here we lay upon the bier the wreath of re-
spect — of honor for one who has kept unstained the
pure type of American womanhood, — the wreath of
love and personal tenderness springing strongly and
deeply from many hearts, we hearken for the key-
note of her life ; and let her own words, written a few
months ago in the confidence of friendship, speaking
in the sacred privacy of this hushed and sorrowing
assembly, reveal to us what that keynote was. ' I
thought,' she says, ' the end was near. I wished to live,
but was able to say " Thy will, not mine, be done." I
am sometimes low-spirited, but it does not last long ;
I think how ungrateful I am, and then I pray, and great
peace and comfort come to me.' Great peace and
comfort ! Oh, sorrowing friends, think not that in
vain we wait here for that comfort and peace. This
life ended, as it would seem, prematurely, and, as a
broken harmony here below, is continued in the
higher mansion, where the Great Composer can call
forth at His will what note he pleases from the soul
of His child. Though the divine harmony may die
on earth it is only that the heavenly song may go on
forever and forever."

APPENDIX. l6l

At the conclusion of his remarks prayer was again
oflEered by Mr. Foote, and then Mrs. E. C. Fenderson
sang Mendelssohn's " Oh, rest in the Lord."

Afterwards the quartette, "Their sun shall no
more go down " was sung by Mrs. West, Mrs. Butler,
Mrs. Barry, and Mrs. Sawyer.

LAST TRIBUTE TO THE GREAT ARTIST BY HER
MARSHFIELD FRIENDS AND NEIGHBORS.

[From the Marshfield Mail]

MARSHFIELD, October 28, 1882.

The remains of Adelaide Phillips arrived here last
Wednesday afternoon, after the services at King's
Chapel, Boston. The casket was tenderly conveyed
to her late residence, amid the tears of regret of her
Marshfield admirers and friends, to await the mor-
row, when they pay the last tribute of love and re-
spect to the great artist and kind friend of the Marsh-
field people.

Not since thirty years ago this same month have
the sympathies of the residents of the old historic
town of Marshfield been so awakened by the death
of one of its citizens. An hour previous to the
appointed time of service the friends assembled,
filling all available space in the house, to mingle
their tears with the tears of her immediate relatives.

l62 ADELAIDE PHILLIPPS.

After impressive services, conducted by the Rev.
E. Allen, of Marshfield, the remains were carried to
the old Winslow burying-ground, and interred in a
beautiful lot near the Webster monument. Thus has
Marshfield paid its last tribute of respect, friendship,
and love to one who will be missed from the circle of
public and private life. And deep are the sympathies
felt for the members of a household, who mourn the
loss of a kind friend and a much-beloved sister.

[From the Old Colony Memorial^
IN MEMORIAM.

Oh, pleasant homestead in the dell.
My heart goes out to thee,

And seeks to lay upon thy hearth
A stranger's sympathy.

I mourn the links now rent in twain.
By death's relentless hand ;

Which makes a circle widely known,
A broken-hearted band.

Bend, larches, bend your lordly head
And drop your leaflets sere,

In sad and noiseless showers upon
The solemn, lowly bier.

APPENDIX. 163

Of one to ■whom the whole wide world

Its choicest tribute pays
With tears and sighs and heartfelt grief,

And well-remembered lays.

Ye maples, sheltering the panes

Of that now hallowed room.
Where our sweet singer lies at rest,

Amidst earth's fragrant bloom.

Reach out your arms and keep within.

Stray echoes of some song.
Which will repeat themselves to us,

When life's strange days seem long.

Lift her, ye bearers, tenderly.

And move with reverend tread
Through the worn gates that shut within

The city of the dead.

'Tis but an humble burial,

Yet angels bend to see
The tear-wet eyes, the pale, bared brows.

And sob of sympathy.

Room, Mother Earth, make room for her,

Whose short fair reign is o'er,
We who go with her to the end.

Must leave her at thy door.

164 ADELAIDE PHILLIPPS.

The golden gates are just ajar,

The veil between how thin ;
But we can only stand without,

And watch her pass within.

God's ways are just ; our voices raise,

A Jubilate sweet.
For one who sits as Mary sat.

Close at the Master's feet.

At rest in heaven ! Oh precious boon.

To each and all the same ;
God gave, God took, God will restore.

Thrice blessed be His name.

Marie Oliver.
October 26, i382.

TRIBUTE FROM THE IDEAL OPERA COMPANY.

The death of Miss Phillipps is the first that has
occurred among the principals of the Boston Ideal
Opera Company since it was formed. The following
letter has been forwarded to her family : —

"Boston, Mass., Oct. Si 1882.
To the members of the family of the late
Adelaide Phillipps :

'' In the sudden and grievous loss which you have
sustained in the death of your sister Adelaide, we,
as members of the company of which she was one,

APPENDIX. 165

desire to express our sincere sympathy with you,
and the keen sense of our own sorrow, at this, the
first irrevocable break of our original members.
By what she was, in her dignified, generous, genial,
and inspiring presence, her ever-ready aid, her
never-waning enthusiasm for her profession, her ex-
alted standard of art, her vital dramatic power, and
her glorious voice — by all these fine qualities,
blended with a pure, sympathetic and womanly spirit,
which shone so brightly in friendly intercourse and
daily association, we can estimate what she was to
you in the closer and dearer family relations, and
appreciate what an incalculable loss is that which
you have sustained.

With repeated expressions of heartfelt sympathy
in your affliction, we are.

Yours sincerely,

E. H. Ober. Marie Stone.

W. H. MacDonald. M. W. Whitney.

Tom Karl. George Frothingham.

Mary Beebe. Geraldine Ulmar.

H. C. BARNA3EE. W. H. FeSSENDEN.

Jesse Burton. S. L. Studley."

The following extracts are made from the tributes
to Miss Phillipps which appeared in the newspapers
of the day. They contained accounts of her profes-
sional career, many of which are given in the fore-
going pages, and are therefore omitted here : —

l66 ADELAIDE PHILLIPPS.

[Prom the Brooklyn Eagle^

..." She died early, for she was under fifty years
of age, the time of life called by Victor Hugo ' the
youth of old age,' and in the fulness of a noble
fame. For a quarter of a century she has delighted
audiences in the concert-room and opera. She was
a woman whose public success was a gratification to
her, but her life-work was not confined to her public
career, and the motive behind her was not self-
advancement. . . . This spirit which characterized
her influenced every audience that she appeared be-
fore, and the welcome accorded Miss Phillipps was
something more than applause — it was honest
friendship for the woman."

\_Prom the Boston Home Journal^

"The death of Miss Phillipps has caused wide-
spread grief. For many a year a whole people have
learned to look upon her as exclusively their own.
Her fame was created by a life-work as varied as it
was brilliant, and it was conspicuous as the life of a
pure and noble woman.

She was a great vocalist, and she could not have
been this without ample and well directed culture of
mind. Listening to her rendering of oratorio music,
we were always impressed by the spirit which lived
in every sentence she uttered, for she was above vir-
tuosity, and her conception of art became clear and
elevated to the highest degree."

APPENDIX. 167

[Prom the Boston Daily Advertiser^

..." The lyric stage loses one of its most bril-
liant luminaries by the death of Miss Phillipps. As
a contralto singer she ranked among the first. As an
oratorio singer she had few rivals in England or this
country. Although she has been before the public
for well nigh a quarter of a century, her voice re-
tained to a remarkable degree its original strength
and purity, and her artistic powers up to the last
showed no trace of abatement."

\From the Boston Evening Transcripti\

..." Adelaide Phillipps' career was not unlike
that of many other dramatic artists. But there was
so much in it that was a source of pride to those
who knew her, and, more than all, it included many
incidents that were at once examples and encourage-
ment to others in the profession. . . . The news
of her death will be received by thousands of people
who knew her only on the stage with a feeling akin
to that one experiences in learning the death of a
personal friend. . . . She fought the battle of life
nobly, and all her triumphs were won without a stain
on her womanly reputation. Though not born in
America, we still can claim her as one who repre-
sented in her career the best elements of independ-
ence and self-reliance, which are the genuine char-
acteristics of the women of America."

1 68 ADELAIDE PHILLIPPS.

[From the Boston CommoKwealtA.']

..." In the sweet and wholesome career of this
distinguished woman there is much to encourage all
young singers who are ambitious to attain the summit
of artistic heights. Her private life was as pure and
blameless as her works were grand and ennobling.
Her steady industry, high aspirations, devotion to
duty, and her unselfish efforts in behalf of struggling
brother and sister professionals — all attributes of a
noble nature — will be long remembered by all who
came within the sweet magnetism of her presence.
Although her song is forever stilled, its echoes will
long remain in the hearts of humanity."

EXTRACTS FROM PRIVATE LETTERS.

Many letters have been received while this record
was in preparation. Indeed the expressions quoted
from a few only embody the feeling manifested by
many.

Among the letters from her friends in New York,
are those from Mrs. Dr. Doremus, Mrs. Clarence
Seward, and Mrs. Minna Godwin Goddard, in whose
homes Adelaide was often a welcome guest. A few
words from Mrs. Goddard combine the thoughts of
those who loved her : " Adelaide came to us last
May, very weak from recent illness, but always

APPENDIX. 169

charming, and so constantly interested in others, and
fearful of giving trouble, that it was a pleasure to
care for her, and delightful to have her in the house.
We were more than ever impressed during this visit
with the generosity and truth of her character. Her
death is a great bereavement to us, and we cannot
yet realize how it can be that we shall see her no
more."

From Mrs. Ford : " It grieves one to think of that
noble voice silent, and that loving heart no longer
beating its steady rhythms of devotion and con-
stancy. Yet her memory is very sweet to me, and I
am comforted to believe that she was loved while on
earth and mourned now that she has passed on.
She was taken away before infirmity changed her or
time had enfeebled her powers. Indeed, her life
and death seem fortunate to me, for though she had
much to contend with, and many disappointments,
she conquered circumstances and won many tri-
umphs."

From Miss Monell : " As I think of Adelaide and
her exquisite sense of duty, her justice and sweet
patience, her tender womanliness, and unwavering
loyalty, I wonder if there ever was a lovelier soul on
earth, or one more fitted for heaven."

The record of the public and private life of
Adelaide Phillipps cannot be closed more impres-
sively than by repeating these words of T. W.
Parsons : —

170 ADELAIDE PHILLIPPS.

REALITY.

" Lift me, Lord Jesus, for the time is nigh.
When I must climb unto thy cross at last.
The world fades out, its lengthening shadows fly ;
Earth's pomp is passing, and the music's past !
Phantoms flock round me, multiplying fast ;
Nothing seems tangible; the good I thought
Most permanent hath perished. Come away,
Oh sated spirit, from the vacant scene.
The curtain drops upon the spun-out play ;
The benches are deserted. Let us go.
Forget the foolish clown, the King, the Queen,
The idle story with its love and woe :
I seem to stand before a minster screen.
And hear faint organs in the distance blow."