At this first rehearsal in Monte Carlo an interested listener was Jean de Reszke, who was kind enough to say that he remembered me as the little Boston girl who had sung for him some years previously, and that he was delighted to see that I was meeting with the success he had predicted.
My Monte Carlo début occurred on the night of March 10, 1904. Although I had rehearsed with Caruso, the tenor had never used his voice fully at the rehearsals, and on the night of the actual performance, when I heard those rich and glorious tones rise above the orchestra, I was literally stricken dumb with amazement and admiration. I forgot that I, too, was making a début, that I was on the stage of the Opera House, until the conductor, Vigna, rapped sharply with his baton to bring me back to my senses. Then I put forth every ounce of strength to match if possible that marvelous voice singing opposite to me. I copy the following extract verbatim from my diary of that night:—
Tremendous reception on my début. After the third act, and in full view of the audience, Caruso lifted me bodily and carried me to my dressing-room in the general wave of enthusiasm.
The Monte Carlo engagement was limited, and on March 28, I reappeared in Berlin, being received so cordially that I then and there made up my mind that I would never leave Berlin for good. The reports of the Monte Carlo engagement led directly to a most flattering offer from Stockholm, and on May 6 I arrived in the Swedish capital. My mother, of course, was with me on all my travels.
My début, which took place on the evening of May 9, was as Marguerite in "Faust." It was an enthusiastic, sympathetic audience headed by the venerable and adorable King Oscar. An incident of the performance worth recording is that I sang opposite to Herr Ödman, the tenor, who had sung as a young man with Jenny Lind and Christine Nilsson. He was then almost sixty years old, but he gave a most interesting performance and was extremely vain of his figure in "Romeo" and "Faust." I must say he would put many a younger man to shame in the costume of this romantic period, withal being a sweet singer and excellent artist.
Two days after my début the Royal Intendant of the Opera called to notify me that the King would be glad to receive me at a special audience. The royal carriage was sent to the hotel for us; my mother and I drove first to the Palace in Stockholm, and then, after we had been cordially received by His Majesty, the King invited us to go with him and inspect a beautiful suburban castle just outside of Stockholm, which is one of the show-places of the world. His Majesty had known and admired Lilli Lehmann, and one reason for the personal interest he took in me was because he knew I was Lilli's pupil.
On the last night of the Stockholm season I sang "Traviata" before a packed and enthusiastic house. His Majesty was present as usual. He never missed a performance while I sang in Stockholm. During the performance the Intendant notified me that His Majesty desired to receive me at the Palace after the performance at a special audience. Wondering and surprised, my mother and I drove to the Palace in obedience to the royal command. We were ushered into a small audience chamber, where perhaps two dozen members of the Court were already in waiting.
Presently His Majesty entered and, with a few words, decorated me with the gold cross of the Order of Merit, which he personally pinned upon my gown. He explained at the time that only two other singers had previously received this honor—Melba and Nilsson.