Part 50

I was asked to sing, and was delighted to do it. The Rothschilds' ballroom was a glorious place in which to make a debut.

Michael Costa, the well-known musician, came after dinner and accompanied me in the "Cavatina" from "Rigoletto," and the waltz from the "Pardon de Ploërmel."

Lady Sherbourne, a charming lady whom I fell in love with at first sight, sang also. She has a beautiful, rich contralto voice, and sang with a great deal of expression an English song called, "Out on the rocks when the tide is low."

In your last letter you wrote, "I am afraid that you are on the way to become conceited." I am afraid myself I am, still I cannot resist telling you, this once, that my audience was very enthusiastic and Mr. Costa said --well, I won't tell you what he said; it might sound conceited. The last thing I sang was "Beware!" which was immensely appreciated.

The Prince of Wales said: "That is a bewitching song. I never heard it before. Who composed it?"

I told him that it was written for me by my husband, and Longfellow had written the words.

The Princess, before leaving, said, "I cannot tell you how much pleasure you have given us this evening; we hope to see you often while you are in London." She is very beautiful, even handsomer than when I saw her last. Baroness Rothschild kissed me, and thanked me for having sung for her.

Call me vain and conceited if you will, my head is turned, and there is nothing more to be said about it!

A luncheon at "Caroline, Duchess of Montrose's," at two o'clock upset me for the whole day. I am not accustomed to those big déjeuners- dinatoires. I was sleepy and felt good for nothing the rest of the day; and when we dined at Lady Molesworth's that evening, "to meet their Royal Highnesses the Prince and Princess of Wales," and wanted to be extra up-to-the-mark, I felt just the contrary. However, after dinner the Prince of Wales asked me to sing, and I did not refuse, and even sang most of the evening. There was a charming Baron Hochschild, the Swedish Minister, who sang delightfully. He is a thorough musician, and accompanied himself perfectly with all the aplomb of an artist. He has a deep, rich barytone, and his répertoire consisted of all the well-known old Italian songs. Lady Molesworth is a beautiful old lady, who must have been a great beauty in her youth. She wears curls just like yours, dear mama, which made me love her. I met here Arthur Sullivan; he was full of compliments.

The next day we were invited to a matinée musicale at Lady Dudley's, preceded by a luncheon, which Mr. Osbourne called "a snare," because, he said, I could not refuse to sing. I did not want to refuse, either. The piano was in the beautiful picture-gallery, all full of Greuze's pictures bought from the Vatican; it has the most wonderful acoustics, and the voice sounded splendidly in it. Lady Dudley is a celebrated beauty. Lord Dudley--before he succeeded to the title--was Lord Ward. The Duke and Duchess of Sutherland asked us to dine. This was a very imposing affair; the Duke of Cambridge was at the dinner as the grosse pièce, and there were many diplomats. After dinner several artists came from Covent Garden, and among them Madame Patti, who sang the "Cavatina" of "Lucia," with flute accompaniment, and how beautifully!

When I was introduced to her I said, "The first time I heard you sing was years ago when I was a little girl and you were in short dresses."

"In Rochester," I replied. "I shall never forget how exquisitely you sang 'Ah! non giunge' and 'Ernani.'"

"Yes, I remember quite well. I was singing in concerts with Ole Bull; but that was a long time ago."

"It was indeed," I said; "but I have never forgotten your voice, nor a lovely song you sang which I have never heard since, called 'Happy Birdling of the Forest.' And your trill! Just like the bird itself!"

We became quite good friends, and she made me promise to come to see her. She is charming. Every one was most enthusiastic. Some one said she gets a thousand pounds for an evening. The Marquis de Caux (her husband) looked rather out of place. It seemed queer to see him again, not as the brilliant Marquis of the Tuileries (the "beau" par excellence), but simply as the husband of Patti. He did not find a chance to speak to me.

Some days later Lady Anglesey gave a luncheon for me. On the invitations were, "To meet Mrs. Moulton." I read between the lines: to hear Mrs. Moulton sing. They always put on their invitations, "To meet" so and so.

Mr. Quimby said to me, "I liked you from the first moment I saw you, but I had no idea you were going to be such a beast." "Beast!" I echoed. "That is not very complimentary." "A lion is a beast, isn't it?" he jokingly replied.

"Am I going to be a lion? I did not know it."

"Well, you are a lioness, which is better."

He is considered the wit of London, and this is a specimen of his wit. What do you think?

At the luncheon there were Jacques Blumenthal, the famous pianist and composer, and Arthur Sullivan, who asked me to sing in his little operetta, which some amateurs are rehearsing for a soirée at Lady Harrington's; and on my acceptance he brought the music for me to try over with him the next morning. The soirée was to be three days later. The music is nothing remarkable; in fact, the whole thing (it is called "The Prodigal Son") is not worthy of him. I have not met any of my fellow- performers yet. Forgive this jerky letter; I have been interrupted a thousand times. Charles thinks it is time to go back to Paris; but we have just received an invitation from Baron Alfred Rothschild to spend Ascot week--a séjour de sept jours--with a party at a house he has hired for the race-week there, and I could not resist.

ASCOT, LONDON, June, 1870.

DEAR M.,--Viscount Sydney thought that we ought to ask for an audience of the Princess of Wales, and we did it. The audience was accorded, and we presented ourselves at the appointed hour and were received by the lady of honor and shown into the beautifully arranged drawing-room. The Princess was most gracious; she certainly is the loveliest lady I have ever seen. I told her we were going to Ascot for the week, and she said that they were also going there and hoped they would see us. Our interview came to an end, as such interviews do, without anything very interesting happening, and, finally, we backed ourselves out of the royal presence.

That evening there was a ball at Lady Waldegrave's, who lives at Strawberry Hill, a mile or so out of London. Baron Alfred Rothschild offered to take us out there in his coach and-four. We dined first with the Baron Meyer Rothschild, and afterward drove out to Strawberry Hill. It is the most beautiful place you can imagine. I never saw anything so grand as the cedar-trees.

The cotillon lasted very late; the Duke of Saxe-Weimar talked a long time with me, mostly about music. He is very musical, and knows Liszt intimately, and told me a quantity of anecdotes about him. He was interested in what I told him about Liszt's going to the Conservatoire with Auber and me, and about the "Tannhäuser" overture incident. It was six o'clock when we drove back to London. We saw the milk-carts on their morning rounds and the street-sweepers at work. One felt ashamed of oneself at being in ball-dress and jewels at this early hour, galloping through the streets in a fine carriage, making such a dreadful contrast to the poor working-people.

I had great fun at Lady Harrington's musical soirée, where Arthur Sullivan's "Prodigal Son" was to be sung.

We had been dining at Lady Londonderry's, and arrived rather late at Lady Harrington's. The whole staircase was crowded with people, and even down in the hall it was so full of ladies and gentlemen that there was no question of moving about. However, I made my way as far as the stairs, every one wondering at my audacity, and I murmured gently:

"May I pass?" There was a chorus of "Quite impossible!" "Perfectly useless!" and other such discouraging remarks. I said to a gentleman who sat stolidly on his step: