Part 45

The whole word PANTALON was a combination of Columbines, Harlequins, and Louis-Quinze cavaliers dancing in a circle, and all talking nonsense at once.

The statue of Pan in knickerbockers, his wreaths still on his head and shoulders, joined in the dance.

The Empress led the vociferous applause, and Prince Metternich came forward on the stage and said, "Ladies and gentlemen, we are deeply flattered at your approval. There will be a second performance before his Majesty, the Emperor of the French, and I hope you will accord us your patronage."

There was great laughter at this.

Count Pourtales took me in to dinner. We were very glad to be neighbors. He was resting on his laurels, and I wanted to rest before getting mine (if I got any) this evening. We exchanged views on nervousness. He said he had been dreadfully nervous in the afternoon. I told him I was always nervous when I had to sing, and when I sang the first song I was hot and cold all over.

"Like Alboni," he said; "she has had to give up singing in opera, she had such stage-frights."

We thanked each other after finishing dinner for having been kind enough to have let the other alone.

The rain was still pouring in torrents when we returned to the salon. In spite of the many voices, we could still hear it pattering against the windows of the terrace. It was lucky there were some stars among us, as Monsieur de Lareinty had said, otherwise we would have seen none to-night.

At ten o'clock the "galaxy" went into the salle de musique, and the planets began to shine. First came Baroness Gourgaud, who attacked the "Mi-bémol Polonaise," of Chopin. Their Majesties settled themselves in their chairs with a look of heavenly resignation on their faces, which was reflected on those of most of the guests.

However, she played beautifully, more like an artiste than an amateur. The Empress went forward to her, holding out her hand, which the Baroness, bowing to the ground, kissed gratefully, feeling that she had covered herself with glory, as she really had.

Then Monsieur de V---- (our basso) sang "O Marguerite," from Faust, without the slightest voice, but with excellent intentions. Next, having the music under his hand, he continued and sang "Braga's Serenade," which he thought was more suited to his voice, though it is written, as you know, for a soprano. He sang the girl's part in a mysterious, husky, and sepulchral voice, and the angel's part weaker and feebler than any angel ever dreamed of.

I looked at the beautiful ceiling painted by Girodet, and to keep myself from going to sleep counted the legs of the angels, and tried to calculate how many legs belonged to each. Monsieur de V---- said his idea was to make the contrast very strong between the girl and the angel; he certainly succeeded!

Monsieur Dué played some of what he calls his "Sketches." "Il est si doué (gifted)," exclaimed Princess Metternich.

Every one was pleased; so was he.

I sang "Le Rossignol," of Alabieff, in which is the cadenza Auber wrote for me. Princess Metternich played the accompaniment.

Madame C---- (our contralto) sang "Lascia che pianga," which suited her beautiful voice better than it did the audience's taste. Then she sang "Ah! Mon Fils," of "Le Prophète," with great effect, accompanying herself.

But this was not the kind of music to please our audience.

Count E---- (our tenor) was asked to add his Milky Way tenor to the rest of the planets, but begged to be excused on the plea of a sore throat. No one questioned this, and he was allowed to remain unheard.

Later I sang "Oh! that We Two were Maying," by Gounod, a much too serious song; but the Empress said she thought it was the most beautiful one she had ever heard. I think so, too. I also sang one of Massenet's, "Poème d'Avril." They asked for "Beware!" which I sang. The Emperor came up to me (each time he gets up from his chair every one gets up and stands until he sits down again), and said, "Won't you sing the song about the shoe?"

What did he mean? I had no idea.

"The one you sang the other night," said the Emperor.

What do you think he meant?

Well, he meant "Shoo-fly!" I sang it, as he desired. I don't believe he knows yet what its true meaning is. There is an end to all things, and our concert came to an end at last. Their Majesties, with gracious smiles and repeated thanks, retired, the Milky Way faded from view, and the planets went to bed.

I know I deserved mine, and I appreciated it when I got it.

December 3d.

The chasse à courre is generally fixed for the last day of the série; but their Majesties, at the suggestion of the thoughtful Vicomte Walsh, ordered it to be changed to this afternoon, in order that the operetta should arrive at a riper stage of perfection. Would it ever be near enough? We had never had a moment yet when we could rehearse all together. Vicomte de V----'s costume had not come from Paris, and he was bordering on brain-fever, in a state of expectancy and impatience. Neither he nor d'Espeuilles knew their songs, and the chorus needed much drilling. The Princess Metternich put her salon at the Marquis's disposal, and he spent half his time teaching some of his pupils.

The days of the chasse à courre the gentlemen appear in red coats and the ladies in green-cloth dresses. Those that had le bouton put it in their buttonhole. You may be sure I wore mine!

All the carriages, the horses, and grooms were before the terrace at two o'clock, and after the usual delay we drove off to the forest. Their Majesties and the Prince Imperial were on horseback. The Duchess de Sesto invited me to drive with her, and in the same char-à-banc with us were Baronne de la Poeze, Comtesse Pourtales, and four or five others. The Duchess looked very dainty, wrapped in her chinchilla furs. I had had so little time to learn the talking part of my rôle that I took it with me in the carriage, hoping to be able to study it. They all sympathized with me, as they knew the operetta was to be given to-morrow evening.