CHAPTER IX
ON TOUR: MONTE CARLO AND STOCKHOLM
In discussing the plans for my third season at the Berlin Opera, it had been decided that I should create Massenet's "Manon." I determined to meet Massenet, if possible, in order to get all possible suggestions for the rôle. This was accomplished through the Baroness de Hegermann-Lindencrone, formerly Lillie Greenough, of Boston, who was the wife of the Danish Ambassador to Berlin. I went to Paris, and on May 26, 1903, I called on the composer at his suburban home near the French capital, where I found him in tears. It was the day after the funeral of Sybil Sanderson, the American singer who had won such success abroad, and Massenet wept at the loss of such a delightful artist and friend, who had created so many of his rôles. Several days later, when he was more composed, I saw him again. He was kind and sympathetic, and I studied with him with enthusiasm. He was most interested in the Berlin production, and quite amused at the German translation of the French text which Lilli and I had revised.
During this visit to Paris it was arranged that I should sing for Gailhard, the Director of the Paris Opera, and at this audience were three other notable directors who were destined to figure in my career. There was Maurice Grau, already relinquishing the reins of management in New York, but still hoping, he said, to take me back to America as an operatic star in the near future; there was Heinrich Conried, his successor, whom I then met for the first time; and there was Raoul Gunsberg, the Director of the Opera at Monte Carlo. Gailhard offered me a flattering engagement at the Paris Opera, but I explained that I was under contract for at least one more year in Berlin. Gunsberg was very enthusiastic in his praise; Conried was quiet and formal. If I made any impression on him, he gave no indication of it.
My third season in Berlin opened November 14, 1905, in "Traviata," when I had my usual charming partner in Franz Naval. I now sang all of my rôles in German save "Traviata," and, in deference to me, all the company sang "Traviata" in Italian, which I thought a pretty compliment.
The Berlin première of "Manon" took place on December 1, 1903, and was a wild riot of enthusiasm, but my best reward was a large photo of Lilli with half a yard of dedication written underneath. By this time—the middle of my third season in Berlin—I had become quite well known in certain operatic circles; I had sung in Paris for four big directors; I had won the real affection and regard of the opera-goers of Berlin; I was now Die Farrar aus Berlin, and the Berlin public owned me.
Herr Gunsberg, at Monte Carlo, always on the lookout for novelty, decided he must have the American prima donna who was attracting so much attention in Berlin. One morning in midwinter I received this characteristic telegram from him:—
Offer you début Bohème or Pagliacci. If you accept this telegram serves as contract. Four thousand francs a night.