‘Really!’ I faltered.
And, indeed, as I pondered over it, the politeness of these people appeared to be marvellous, and so perfectly accomplished. Villedo, who has made a European reputation and rejuvenated his theatre in a dozen years, is doubtless, as he said, a professional maker of compliments. In his position a man must be. But, nevertheless, last night’s triumph is officially and very genuinely Villedo’s. While as for Morenita and Diaz, the mere idea of these golden stars waiting on me, the librettist, effacing themselves, rendering themselves subordinate at such a moment, was fantastic. It passed the credible.... A Diaz standing silent and deferential, while an idolized prima donna stepped down from her throne to flatter me in her own temple! All that I had previously achieved of renown seemed provincial, insular.
But Diaz took his own right place in the spacious salon of Villedo afterwards, after all the applause had ceased, and the success had been consecrated, and the enraptured audience had gone, and the lights were extinguished in the silent auditorium. It is a room that seems to be furnished with nothing but a grand piano and a large, flat writing-table and a few chairs. On the walls are numberless signed portraits of singers and composers, and antique playbills of the Opéra Comique, together with strange sinister souvenirs of the great fires which have destroyed the house and its patrons in the past. When Diaz led me in, only Villedo and the principal artists and Pouvillon, the conductor, were present. Pouvillon, astonishingly fat, was sitting on the table, idly swinging the electric pendant over his head; while Morenita occupied Villedo’s armchair, and Villedo talked to Montfériot and another man in a corner. But a crowd of officials of the theatre ventured on Diaz’ heels. And then came Monticelli, the première danseuse, in a coat and skirt, and then some of her rivals. And as the terrible Director did not protest, the room continued to fill until it was full to the doors, where stood a semicircle of soiled, ragged scene-shifters and a few fat old women, who were probably dressers. Who could protest on such a night? The democracy of a concerted triumph reigned. Everybody was joyous, madly happy. Everybody had done something; everybody shared the prestige, and the rank and file might safely take generals by the hand.
Diaz was then the centre of attraction. It was recognised that he had entered that sphere from a wider one, bringing with him a radiance brighter than he found there. He was divine last night. All felt that he was divine. He spoke to everyone with an admirable modesty, gaily, his eyes laughing. Several women kissed him, including Morenita. Not that I minded. In the theatre the code is different, coarser, more banal. He alone raised this crowd above its usual level and gave it distinction.
Someone suggested that, as the piano was there, he should play, and the demand ran from mouth to mouth. Villedo, appreciating its audacity, made a gesture to indicate that such a thing could not be asked. But Diaz instantly said that, if it would give pleasure, he would play with pleasure.
And he sat down to the piano, and looked round, smiling, and the room was hushed in a moment, and each face was turned towards him.
‘What?’ he ejaculated. And then, as no definite recommendation was offered, he said: ‘Do you wish that I improvise?’
The idea was accepted with passionate, noisy enthusiasm.
A cold perspiration broke out over my whole body. I must have turned very pale.
‘You are not ill, madame?’ asked that ridiculous fop, Montfèriot, who had been presented to me, and was whispering the most fatuous compliments.