"Madame Butterfly" was a triumph for us all, and for me in particular. There were flowers, laurel wreaths (one with a darling little flag of Nippon tucked away in the green leaves), thanks from author, directors, and so on, embraces, applause, excitement—all the usual hubbub of a successful première.
Somehow I got home and sobbed myself to sleep on my mother's shoulder, utterly worn out by the nervous strain and cruel fatigue of the previous weeks.
Ah! Adorable, unforgettable blossom of Japan! Thanks to your gentle ways, that night I placed my foot on the rung of the ladder that leads to the firmament of stars! When I don your silken draperies and voice your sweet faith in the haunting melodies that envelop you, then are all eyes dim and hearts atune to your every appeal for sympathy!
"Butterfly" brought me in touch as well with that past master of stagecraft, David Belasco. To my great delight he was enthusiastic over my portrayal of this little heroine who was the child of his heart and brain in the drama.
I may own that every time we meet and he says, half laughingly, half quizzically, "Well, when are you going to forsake opera and come into the drama?" I am almost tempted to make an experiment of such interest, for the theater has always made a strong appeal to my dramatic instincts.
Who knows? Some day may see me a candidate for such honors if I take his invitation seriously!
Meanwhile, I was wondering just how my artistic status was going to grow under conditions prevailing in our opera house. My repertoire was extensive in my contract, but limited on the actual billboards, owing to a predominance of prima donnas. Patience, with a big P, did not seem to help my ambitions much.
Finally the company went on the annual spring tour, and I have a confused remembrance of much traveling, new audiences and hard work. I loved Chicago from the first, and its enthusiastic support is always reliable, whether I visit there in opera or in concert.
During the winter Gailhard had negotiated and secured my services for a special spring season, so that after the Metropolitan season I was to realize another cherished ambition and appear in the regular repertoire of the Paris Opera.