his audience were
three other notable directors who were destined to figure in my career.
There was Maurice Grau, already relinquishing the reins of management in
New York, but still hoping, he said, to take me back to America as an
operatic star in the near future; there was Heinrich Conried, his
successor, whom I then met for the first time; and there was Raoul
Gunsberg, the Director of the Opera at Monte Carlo. Gailhard offered me
a flattering engagement at the Paris Opera, but I explained that I was
under contract for at least one more year in Berlin. Gunsberg was very
enthusiastic in his praise; Conried was quiet and formal. If I made any
impression on him, he gave no indication of it.

My third season in Berlin opened November 14, 1905, in "Traviata," when
I had my usual charming partner in Franz Naval. I now sang all of my
roles in German save "Traviata," and, in deference to me, all the
company sang "Traviata" in Italian, which I thought a pretty compliment.

The Berlin _premiere_ of "Manon" took place on December 1, 1903, and was
a wild riot of enthusiasm, but my best reward was a large photo of
Lilli with half a yard of dedication written underneath. By this
time--the middle of my third season in Berlin--I had become quite well
known in certain operatic circles; I had sung in Paris for four big
directors; I had won the real affection and regard of the opera-goers of
Berlin; I was now _Die Farrar aus Berlin_, and the Berlin public owned
me.

Herr Gunsberg, at Monte Carlo, always on the lookout for novelty,
decided he must have the American prima donna who was attracting so much
attention in Berlin. One morning in midwinter I received this
characteristic telegram from him:--

Offer you debut Boheme or Pagliacci. If you accept this telegram
serves as contract. Four thousand francs a night.

Eight hundred dollars a night! It was indeed a fine offer. I replied at
once:--

Boheme. When shall I come?

I had visions already of international triumphs. Monte Carlo, the
show-place of the world! From there it was only a step to the leading
capitals of Europe. Yet I had no wish to leave my beloved Berlin
permanently. Therefore, in renewing my contract with the Intendant of
the Berlin Opera (a contract, by the way, which is still in force), it
was stipulated that I was to sing so many performances each season in
Berlin unless excused by special arrangement; that I should have leave
of absence wheneve