e of Frau von Rath's friends, and
then asked me gravely if I had ever sung with an orchestra. I answered
truthfully: "No."

"Would you like to sing with the orchestra of the Royal Opera?" he
inquired.

"I should be delighted," was my prompt response.

"Do you sing in German?"

"I never have--yet," I replied.

[Illustration: THE ROYAL OPERA HOUSE, BERLIN]

"Could you learn to sing in German in ten days?" he urged.

"I can learn something. What shall it be?"

"Will you study 'Elsa's Dream'?"

"Yes--"

"Then in ten days, at the Royal Opera, I will hear you again." He bowed
and took his departure.

Feverishly I began to study German, aided by my dear friend and teacher,
Fraeulein Wilcke, to whose guidance these many years I owe as excellent a
German diction as any foreign or native artist possesses.

When I stepped upon the stage of the great empty Koenigliches Opernhaus
and looked down into the Director's seat, whom should I see but Dr. Karl
Muck, now the Director of the Boston Symphony Orchestra. That was the
beginning of a warm friendship which has endured to this day, for Dr.
Muck was at all times kind and sympathetic during those early days in
Berlin.

I sang the waltz from "Romeo and Juliet," in French, the bird song from
"Pagliacci," in Italian, and "Elsa's Dream," in German. I finished in
absolute silence, as Count von Hochberg was almost alone in the darkened
auditorium. Soon he came back to me and said:--

"In my office I have a contract with you for three years. Do you care to
sign it?"

"But I had no idea of singing in Berlin," I protested. "I want to sing
Italian."

"If I let you sing here in Italian, will you sign it?"

"Here--in Berlin--sing in Italian?" I gasped.

"It will be a novelty," replied Count von Hochberg. "But the people here
want one. You are very much of a novelty, quite different from the stout
ladies who waddle about protesting their operatic fate to spectators who
find it difficult to believe in their cruel lot and youthful innocence.
In you I have discovered a happy combination of voice, figure,
personality, and--eyes." He was something of a cavalier, that nice Count
von Hochberg, as you will see. "To secure you for my patrons I will let
you sing in Italian."

What could I say? It was the greatest compliment yet paid me. I glanced
around the Opernhaus, hesitating. Then--I consented. The legal contract
for three years was signed by my mother and father for me, as I wa