S—— afterwards made a trip round the world. Goodness knows how he found out whether I was singing or not, but some night after singing one of my big rôles I would receive a monstrous basket of red roses, or an armful of orchids, cabled for from Honolulu or China. He even remembered my Dachshund's birthday, and cabled the baker to send Peter a wonderful Torte with birthday candles.
CHAPTER XX
THE GRANDMOTHERS' BALLET
ALL this time I was working very hard at the opera. Our repertoire was very large, including nearly all the Italian operas, from Verdi to Wolf-Ferrari, and the German operas from the time of Weber and Mozart up to Humperdinck. Everything was given in German, some of the translations good and some poor. At first it had seemed terribly difficult to accustom myself to the German sounds in Dalila or Carmen, after the sonorous French, but latterly German came to seem quite as natural, though never so beautiful nor singable. Every one in the audience, however, understood the text, and surely this is the important thing. How can they enter into the spirit of an opera when they are guessing whether that is a love phrase or an insult that the tenor is singing? The prejudice against translating into the vernacular has had to be overcome in nearly all European countries and will, I suppose, be only a question of time with us. In Russia, operatic composers flowered and reached their world prominence only after the Russian language was used for the libretto. In Germany Italian was discarded for the language of the singers only after a long struggle, but the great abundance of German operas came after it was adopted, not before. In France also Italian libretti were used for generations, but can any one imagine a Debussy composing a "Pelléas et Mélisande" to an Italian libretto? Each school must find itself in its own tongue, and I question whether these matters can be hurried.
I have always thought a good English translation would contribute more to the general pleasure of the audience than a misunderstood gabble of words, even though English is perhaps lacking in the subtle charm worked upon us by foreign speech.
My colleagues by this time accepted me almost as a German, and I did the routine work as though I were a German. Surely this experience is more profitable than an occasional appearance on a more famous stage, such as many of my own country-women aimed at. I often heard of their struggles against intrigue, and long pauses between rôles, while they waited hoping for a chance. We all worked steadily through the season and rehearsed every day. The scheme of rehearsals was worked out and given to us every two weeks on a printed Spielplan. This showed us exactly which operas and plays were scheduled for the next fortnight, and all the rehearsals we should have to attend, beginning with the room rehearsals for the soloists alone, then the stage rehearsals without chorus, the stage rehearsal with chorus and piano, and finally the General Probe, or last orchestra rehearsal on the stage, with everything as at a performance. At the side of the Spielplan was a tentative list of works in preparation with their probable dates of appearance. All this made the work very systematic, and I knew exactly what time I should have for study and what for myself. If a rare week passed without my singing at least once I grew restless and unhappy. My constant aim was to learn and develop, and every rôle taught me something. Versatility is a most useful attribute on the operatic stage, and if you play all the way from Fides to soubrette parts in operetta, and the audience sticks to you, you may be considered fairly versatile.
I remember one strenuous week in particular. I had to sing Dalila in Prague on Wednesday evening. "Zauberfloete" was scheduled for Tuesday in Darmstadt, and by taking a late train I could arrive in Prague in time to dress for Dalila. I had to sing the last bit of the Third Lady in "Zauberfloete" in travelling dress with a black cloak thrown over me and then rush straight to the train. We travelled all night, changing at Dresden in the middle of the night, and waiting at the noisy station for some time. Arrived at Prague I went straight to the theatre, the old one with gas lamps for footlights. "Don Giovanni" of Mozart was given for the first time in this very theatre they told me, and was, I believe, directed by Mozart himself. I duly sang my Dalila and sped back to Darmstadt, where I had to sing Frau Reich Thursday night; and this tiring lady has to have a certain lightness of touch no matter how much train smoke you have swallowed. My troubles were not over yet as I had to take the train that night for Edinboro, Scotland, where I was to appear with the orchestra, and on the following night in Glasgow. The journey was long and tedious, and the only bright spot I can remember was while we crossed a bit of Belgium. We had had a lunch basket handed in with the typical bottle of vin rouge, and neither Marjorie nor I wanted it. The next time our train slowed down we happened to have an engine beside us, and I handed the wine through the window to the driver, who received it with true Belgian imperturbability.
I was very tired and very sick crossing the channel. We arrived in London in a terrible storm, feeling absolutely exhausted. Marjorie said, "The only thing that hasn't happened is, that we have not yet lost our baggage." We waited on the cold platform—it was November,—till all the luggage had been taken out of the vans—no familiar trunks for us. I went worn out to the hotel, leaving poor Marjorie to struggle. She made the round of the stations where possible trains from the coast might be met—all of no avail. The next day was Sunday and we could not possibly have found a gown for me to use at the concert. We slept that night in towels and underclothes, and if you've ever done it you know what sort of an all-night funeral that is. The next morning early the missing trunks were found and we continued our journey. We were much amused when we found that no trains left for Scotland during the day on Sunday, and that they had to wait for the friendly cover of the night before they dared nefariously to slip out and break the Sabbath calm. Monday night I almost broke down on the platform during the concert, in one of the hugest halls in the world. Marjorie comforted me and sent for some whiskey which I gulped down between songs. Gradually the chilled blood in me thawed, and my voice with it, my nerve came back and I scored a success, as I did the following night in Glasgow. We then went back to Darmstadt the quickest possible way, having been in six countries in as many days.
We walked a great deal in the beautiful country round Darmstadt, and I sometimes rode over the miles of charming bridle paths. We made expeditions into the beautiful Taunus country, all gold and scarlet in autumn. The delightful custom of having Wald Haeuse at convenient distances in every direction round the city, makes these expeditions a great pleasure. The coffee is usually good, and the cakes always so.
Darmstadt is on the Bergstrasse, almost a highway through that part of Germany, and we were pestered one year with a constant stream of beggars. They were usually ex-theatre people they said, and I found they only came to me and not to my colleagues, so word must have been passed round that an "easy" and extremely rich American lived in the town, who was good for at least a mark.