We sealed our differences in a joint curtain call, that same evening,
before a jammed house that was fully aware of the significance of our
unusual appearance together, and gave way to tumultuous and approving
applause.

It would be difficult to estimate justly the influence Mr. Toscanini has
had in the musical development of our opera, the artistic direction of
which he rightly controls. Personally I am, as in the case of Lilli
Lehmann, far more indebted to him than I can properly place in words,
certainly more than he, with a morbid dislike for any public attention
to himself, would perhaps allow me to admit.

Lehmann--Bernhardt--Toscanini! These are names to conjure with in the
career of a young artist!

* * * * *

Events in the operatic aviary were now destined to proceed more or less
smoothly for me--for a while at least. In the spring of 1909 I was urged
to give some special performances of "La Tosca" at the Opera Comique in
Paris, with Antonio Scotti in his admirable characterization of Scarpia.
The success of the opera was most gratifying, and was in no wise
overshadowed by the presence of the Metropolitan Company, which had come
from the United States to sing in Paris at the same time.

That same spring, before sailing, Toscanini had asked me to sing
Puccini's "Manon" with the Metropolitan Company during its Paris season.
But the role was unfamiliar to me, and as I had monopolized the more
popular Massenet's "Manon," I felt I could not undertake its preparation
in six days of ocean travel, together with my promised performances of
Tosca at another theater. Toscanini quite understood this, made no
further insistence, and the charming Lucretia Bori was introduced to
the Parisian public and later came to delight her New York admirers.

[Illustration: KATE DOUGLAS WIGGIN]

What transpired to offend Puccini I never knew, but the trivial question
of my not singing his "Manon" provoked our first argument relative to
"The Girl of the Golden West." The production of this long-awaited opera
from the popular composer was the one topic of discussion and
speculation in musical circles, its _premiere_ being scheduled for the
following autumn in New York.

While I had never had the promise of the role, the very subject and its
appeal to the American public would seem to have indicated the choice of
a native prima donna. Not only I, but a large majority of an interested
public expect