'Da capo,' he said, and the bows began to scrape and quiver again.
The tenor only hummed his part now, picking bits of straw out of the plaster tail and examining them with evident interest.
'Is Miss Donne here?' Logotheti inquired of Schreiermeyer.
The impresario nodded indifferently, without looking round.
'I wish you had chosen Rigoletto for her début,' said the Greek. 'The part of Gilda is much better suited to her voice, take my word for it.'
'What do you know about it?' asked Schreiermeyer, smiling faintly, just enough to save the rude question from being almost insulting.
'When Gounod began Faust he was in love with a lady with a deep voice,' answered Logotheti, 'but when he was near the end he was in love with one who had a high voice. The consequence is that Marguerite's part ranges over nearly three octaves, and is frightfully trying, particularly for a beginner.'
'Bosh!' ejaculated the impresario, though he knew it was quite true.
He looked at the stage again, as if Logotheti did not exist.
'Oh, very well,' said the latter carelessly. 'It probably won't matter much, as they say that Miss Donne is going to throw up her engagement, and give up going on the stage.'