g a "Pelleas et Melisande" 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 roles, 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 role 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