Last night I went with Lady Northcote to the Opera; it was "Lohengrin" with Miss Eames and the Reszkes. The girl looked beautiful, quite the patrician maiden, and sang very well; a little cold, but that was of less importance in that opera than in "Romeo and Juliet," which needs more passion. The house was very full and she was much applauded. Jean de Reszke looked magnificent and sang divinely. What a voice it is, and how well he knows how to use it. I fancy Covent Garden is a much better salle to sing in than our great Paris Opéra. The voices seem so far off there, and all the singers complain and get soon tired. W. came in late just as I did. He had had a delightful dinner at Mr. Murray's (the publisher) with Mr. Gladstone. He said Mr. G. was in great form, talking about everything: books, politics, theories, and always with a perfect knowledge of each subject expressed in beautiful English. He must have a marvellous memory.
To H. L. K.
French Embassy,
June 6, 1891.
You will be amused, Dear, to hear that after all we have decided to have the children's comedy. The moment is not exactly propitious in the height of the London season when every instant is taken, but I think we can make something pretty, and Mdme. Thénard is very keen about it. We shall take the "Reine des Fées"—but very much changed, and parts added for every child—also a gavotte and a chorus. I saw some of the mammas, Countess Deym; Mdme. de Bille; Ladies Londonderry, Clanwilliam, etc., yesterday, and they will let me have their daughters. Thénard will direct the whole thing, with Count de St. Genys (Secretary of the French Embassy in London) as régisseur and also décorateur, as he has begun painting a charming décor (the interior of the bailiff's cottage). Mdme. de Langhe will undertake the chœurs and leçons de diction, and I don't quite know yet whom we shall get for the gavotte, or how many children we must have. The dresses will be pretty—two sets—Marie Antoinette and all her ladies in powder—Trianon costumes—and peasants, market women, etc. Of course the boys are a difficulty. There are so few who are here of Francis's old friends—they are all at school. Thénard has a little friend (girl) whom she will dress as a Marquis—she says she will look the part very well. Francis is much excited—he is to be the cruel bailiff who takes all the money and everything else he can get from the poor peasants. St. Genys will see about his costume, and make a croquis from some picture of the period.
June 12, 1891.
We are all (except the Ambassador) perfectly taken up with the comédie—and to-day we had our first répétition of the gavotte in the drawing-room. I hadn't thought of saying anything about the dancing to the young men, and it seems the "chancellerie" went nearly mad; their rooms being directly under the salons, they heard everything—the music beginning the same thing over and over again—and the heavy little feet that couldn't stay long on the tips of their toes. I had some trouble in finding a dancing-mistress—I thought first of the American who had that dancing class here where all the children went, but she didn't seem to understand exactly what I wanted. Finally some one told me I had much better send for Mrs. Roffy—ballet-mistress at the Alhambra—who has sometimes arranged menuets and gavottes for "les femmes du monde"; so I wrote to her to come and see me. She knew exactly what I wanted, would undertake the whole thing—how many children—what sort of a dance—was most business-like—and we fixed the first répétition at once. There were about 20 children, of all ages and sizes, varying from 3 years to 14—Muriel White, Gay Edwardes and her brother, a little de Breunen, Elsa Deichmann, etc. Mrs. Roffy looked very nice. She is very tall, but rather graceful—she had a little black bag in which were her black silk stockings and pointed slippers, and asked if she might have a room to arrange herself—so Clarisse took charge of her. I took the piano—and most distracting it was—as no two of the children ever began their steps at the same time. It was amusing to see Mrs. Roffy. She moved extraordinarily gracefully for such a tall woman, and was so patient—holding up her dress, pointing her toes, and talking to them all the time—"Heads up, Dears—Heads up! Look at me—very proud, please." I should have given up in despair after a quarter of an hour. All the little arms and legs went at wrong times in wrong directions, and no one seemed to have the slightest idea of time. She will give one or two private lessons to some of the very small ones.
Madame de Langhe, too, has her hands full with the chorus, "Vive la Reine"—but I think she must have some one behind the scenes to sing the solo, and then the children will come out strong in the chorus. The rôles are all distributed—Bianca Deym—a tall handsome girl—is to be Marie Antoinette; and the various other Court ladies are Lady Helen Stewart (Lady Londonderry's daughter), Lady J. Meade (Lady Clanwilliam's daughter), Marguerite Phelps, Anna Lawrence, Elsa de Bille, etc. I think it will be pretty.
June 15, 1891.
Hilda and I have been half over London to-day for our stage scenes. We must have real ones representing a sort of wood where the market people have their stands, and the Queen and the ladies come to buy flowers—also sufficient space for the gavotte. The man promises to send it all the day before, as the children must rehearse at least once with the real scenes—for their entrées—that is always a little difficulty. The bigger girls do all right, but the little ones rush in—speak very quickly—and always to Thénard, who stands at one side—looking hard at her to see if they are doing right—and paying no attention whatever to Her Gracious Majesty Queen Marie Antoinette. Muriel White is very good, very deliberate, very careful, and taking all the French nuances and intonations very well. Gay Edwardes, too, is very good—her French is pretty and easy, she learnt it so young in Paris. One of the others (I forget which one) was having a private lesson in a corner with Francis, who was trying to make her roll her Rs in a proper French fashion. She had a complaint to make of her garden—all about "carottes" et "giroflées," and the sentences had a true British ring. Francis is very important, takes himself quite "au sérieux," and is most interested in the proper diction of all the young ladies. I sat some time in the drawing-room while St. Genys was painting his scenes. We had various visitors (even W., who was very complimentary over the décor), tea, and Thénard to settle about a rampe of flowers and tapestry curtain.
Saturday, June 20, 1891.