My custom, as I have said, is never to speak of a work until it is entirely finished, and the materials which are always important are engraved and corrected. It is a considerable task, for which I want to thank my dear publishers, Henri Heugel and Paul-Émile Chevalier, as well as my rigid correctors at the head of whom I love to place Ed. Laurens, a master musician. If I insist on this, it is because up to now, nothing has been able to prevent the persistence of this formula, "M. Massenet is hurrying to finish his score in order to be ready for the first performance." Let us record it and get on!
It was not until December, 1911, that the rehearsals of the artists in Roma began at Raoul Gunsbourg's, Rue de Rivoli.
It was fine to see our great artists enamored of the teachings of Gunsbourg who lived the rôles and put his life into it in putting them on the stage.
Alas for me! An accident put me in bed at the beginning of those impassioned studies. However, every evening from five to seven I followed from my bed, thanks to the telephone, the progress of the rehearsals of Roma.
The idea of not being able, perhaps, to go to Monte Carlo bothered me, but finally my excellent friend, the eminent Dr. Richardière, authorized my departure. On January 29 my wife and I started for that country of dreams.
At the station in Lyons, an excellent dinner! A good sign. Things look well.
The night, always fatiguing in a train, was endured by means of the joy of the future rehearsals. Things looked better!
The arrival in my beloved room at the Prince de Galles. An intoxication. Things look better still!
What an incomparable health bulletin, is it not?
Finally, the reading of Roma, in Italian with the orchestra, artists and chorus. There were so many fine, kindly manifestations, that I paid for my warm emotions by catching cold.