ed it. However, Puccini himself dispelled any such illusion
by opening an argument, while I was singing in a drawing-room, to the
effect that I had refused to sing his "Manon" because I had not been
asked to create "The Girl." This was really a little too much, and I
retorted that such was not the case, but that it might be well for him
to consider the eventual popularity of his work with an American singer
as the heroine, and that I was not aware he had changed his usual suave
style of composition to such an extent that the most popular "Madame
Butterfly" could not cope with its difficulties. With this I sailed out
of the room.

Possibly the crowded aspect of the house at some performances at which I
sang the following autumn, and which he attended, modified his opinion,
for he was effusive in compliments and photographs, and the slight cloud
blew over without further parley.

Afterward I was to be consoled by as gratifying a success as my heart
could wish as the "Goose Girl." December 28, 1910, saw the _premiere_ of
the charming "Koenigskinder," which enchanted the audience by reason of
its lovely simplicity and the introduction of live geese--no less!

[Illustration: MISS FARRAR AND CARUSO IN "JULIAN"]

Professor Humperdinck was not a little taken aback when I first
mentioned that I intended having these live geese which were, according
to my plan, to move naturally and unconfined about the stage. Mr. Hertz,
the conductor, was much perturbed and objected to the noise and
confusion they might create; but Mr. Gatti was resigned to my whim and
gave assent. So with the help of our technical director and the "boys"
behind the stage I had as pretty a flock of birds as one could find on
any farm. When the curtain rose upon that idyllic forest scene, with the
goose girl in the grass, the geese unconcernedly picking their way
about, now and again spreading snowy wings, unafraid, the house was
simply delighted and applauded long and vigorously. Not to be overlooked
was the sympathetic appeal of the children's beloved Fiddler, in the
person of Goritz. This operatic fairy-tale held an enviable place in the
regular repertoire for three years, and was one of my happiest
successes.

Following this I was to create a work of a type quite different from any
other I had ever essayed. Had it not been for Toscanini's urging I
should hardly have chosen "Ariane et Barbe Bleue" as a medium for my
ambitions. While the production was hig