In October, 1880, she was engaged at Genoa for fifteen performances of "Faust," in which she took the part of Marguerite. She next sang at Novara, where she took the part of Alice in "Roberto," and was afterwards engaged for thirty-five performances at Aquila in "Faust," "Rigoletto," and "Lucia."
Her next engagement was in St. Petersburg, where she sang in "L'Africaine," taking the rôle of Inez, in "The Marriage of Figaro" as Cherubino, in "Mignon" as Filina, in "Ugonotti" as Queen Marguerite, in "Don Giovanni" as Zerlina, and in "Il Propheto" as Berta, besides other operas. Thus she acquired in a comparatively short time, and by dint of extremely hard work, quite an extensive repertoire.
In 1882 she endured the crucial test of the Grand Opera House in Paris, where, in spite of the "Claque," which is so frequently organized to kill off new singers, she made[{223}] a grand success, and an engagement for three years ensued. Some years later, however, in spite of the renown which she had gained, fickle Paris grew cold, and critics were laconic. At this time Nordica did not need the approval of Paris, for she was well established among the great singers of the period, and it is recognized that, while a success in Paris is considered an important conquest, a failure counts for little. The firm establishment of the "Claque," which is so well described by Mr. Sutherland Edwards, and the proverbial caprice of Parisian audiences, are sufficient to take the edge off of defeat. At the termination of her engagement in Paris, in 1883, Nordica married Mr. Frederick A. Gower, who shortly afterwards was supposed to have lost his life while attempting to cross the English Channel in a balloon. This matter remained a mystery for many years, for, while there was no doubt that he started on the perilous[{224}] journey, nothing was ever after seen or heard of him or of the balloon. The question of his death, therefore, remained in doubt, and when, after a lapse of more than a dozen years, it was announced that Madame Nordica was about to enter the bonds of matrimony a second time, she suffered much annoyance from the rumors which were spread about to the effect that Mr. Gower was in various parts of the world. These rumors never proved to have any foundation, and, except for the annoyance, must have been somewhat flattering as evidence of the interest taken in the prima donna by the public.
In 1887 Nordica sang in Berlin, and made a complete capture of the Berlinese, a most unusual achievement for an American prima donna. She also appeared in London at Drury Lane, and by the sweetness and freshness of her voice, and by the alternating charm and intensity of her style as an[{225}] actress, she won a firm and lasting hold on the British public. She now enjoyed the most marked social attentions, and sang at a state concert at Buckingham Palace before an audience composed of princes, princesses, dukes, Indian royalties, etc. The Princess of Wales came forward and thanked her, the prince added his word, and her triumph was complete. The climax was reached, however, when she was commanded by the queen to sing in Westminster Abbey. She sang "Let the bright Seraphim," which selection has for years been the standard for state occasions. Indeed, it may be said that when a prima donna has been commanded to sing "Let the bright Seraphim," in Westminster Abbey, she has achieved the highest honor possible in England. Madame Albani has exceeded this in having had the honor of lunching with the queen, but this latter was more a tribute to her worth as a woman than as an artist.[{226}]
One of Nordica's greatest assumptions has been that of the rôle of Elsa in "Lohengrin." She has the feeling, the artistic understanding, which, combined with beautiful vocal gifts, brings out the most delicate shading of the part. It is doubtful whether any greater representations of "Lohengrin" have been given than when Nordica sang Elsa, and Jean de Reszke the title rôle.
Her success in such parts led her to devote her attention more particularly to Wagnerian rôles, and in 1894 she sang with great success at Bayreuth.
Nordica has for several seasons visited the United States as a member of the Abbey and Grau Opera Company, which contained such singers as Emma Eames, Melba, Calvé, Scalchi, the De Reszkes, Plançon, and Lassalle. In 1897, when Abbey and Grau failed, Madame Nordica was a creditor to the extent of $5,000. When the affairs of the company were arranged, an agreement[{227}] was reached with Madame Nordica, by which she was to receive $1,000 a night. To her surprise, she afterwards discovered that Melba was to receive $1,200, Calvé $1,400, Jean de Reszke $1,200, with an additional percentage of the receipts. To add to her humiliation, the part of Brunhilde was given to Madame Melba, whose health, by the way, collapsed suddenly after her first performance of that part, and necessitated a speedy departure for Paris. Nordica left the company, and in doing so had the moral support of the public, for, while there were many complaints about the excessive salaries demanded by opera singers, there seemed to be no reason why Madame Nordica should not insist upon her share. Statements were also made to the effect that Jean de Reszke would never again sing with Nordica.
The years 1896 and 1897 were years of much financial depression in the United States, a fact which does not seem to have[{228}] been fully appreciated by opera singers, for the collapse of the season seems to have given rise to considerable bitterness of feeling.
Madame Nordica took unto herself Madame Scalchi, the contralto, and Barron Berthald, a young tenor, who in a night achieved fame, and toured the country giving concerts, but with little success. Whatever truth there may have been in the reported coolness between Madame Nordica and Jean de Reszke, either diplomacy or the exigencies of the opera singer's hard lot brought about an ostensible reconciliation; for in London, during the opera season of 1898, Jean de Reszke sang Tristan with Madame Nordica as Isolde, when a critic wrote, "We have so often been told that this music cannot be sung, and we have so often heard it shouted and declaimed by Tristans who could not sing, and by Isoldes without a voice, that it was a double joy, not only to hear it sung, but to hear it superbly sung,[{229}] with all the confidence and apparent ease one is accustomed to in a Schubert song, or a Massenet romance."
Madame Nordica is now in her prime. What new honors she may win we cannot foresee, but she now stands high in the front rank of the great singers of the day. In 1896 she married Mr. Zoltan Doehme. The engagement, which had been once broken off, came to a sudden climax while Nordica was in Indianapolis. Mr. Doehme suddenly appeared, having travelled from Germany, and in a few hours they were married without any display or previous announcement.