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Theatrically, the end of the Second Act sounds true; but it will not bear rehearing. The opening of the Third Act, again, is false; and the ending of the whole business is tawdry stuff such as Meyerbeer might have been proud to sign.
About ten o'clock a few men dropped in: a sculptor, artists, and Meyerbeer, an American newspaper correspondent who, however, was not known as such to Gaston. This evening Ian determined to make Gaston talk. To deepen a man's love for a thing, get him to talk of it to the eager listener he passes from the narrator to the advocate unconsciously.
Over on Slow Down Ranch there lived a curious old lady who wore a bonnet of Sweet Sixteen of the time of the Crimea, and with a sense of colour which would wreck the reputation of a kaleidoscope. She it was who had taught her son Orlando the tunefulness of Meyerbeer and Balfe and Offenbach, and the operatic jingles of that type of composer.
It is a question of manner rather than matter. He is even a greater virtuoso than Hector Berlioz, and infinitely more tender; he is Meyerbeer in his opportunism, but there the comparison may be dropped, for old Meyerbeer could shake tunes out of his sleeve with more facility than does Strauss and that is saying a lot.
A few moments afterwards she retired, and the performance was in other and less remarkable hands. Presently the manager himself came, and said that Mademoiselle Victorine would be glad to see Monsieur Belward if he so wished. Gaston left Jacques, and went. Meyerbeer noticed the move, and determined to see the meeting if possible. There was something in it, he was sure.
Meyerbeer himself had to bear much of the expense of preparing the stage-appointments, though not to such an extent as on the production of his "Romilda" in Italy, when he bought the libretto, gave the music gratis, paid the singers, and provided the costumes. Dr. Véron, in his Memoirs, gives an amusing account of the accidents which attended the first production of "Robert."
No contract, however, was then entered into, Jenny Lind going to Dresden instead, where her friend Meyerbeer was engaged in composing his "Feldlager in Schliesen," the first part of which, Vielka, was offered to her and accepted. She acquired the German language sufficiently well in two months to sing in it, but it is rather a strange fact that, though Mlle.
This fury, however, assumed more the character of slander and malice, for our movement had meantime been reduced by a great connoisseur in such things, Meyerbeer, to a clearly defined system, which he maintained and practised with a sure hand until his lamented death. Uhlig had come across my book, Oper und Drama, during the early stages of the furious uproar against me.
The influence of the compositions of Rubinstein and Glinka can hardly be regarded as Russian since they were so saturated with European models that they might be ranked with Gluck, Mendelssohn, Liszt and Meyerbeer far better than with their fellow-countrymen who have expressed the idiom of Russia with greater veracity." Is music a part of the daily life of the child in the Russian home?
And, sure enough, as I walked across to the desk Meyerbeer came out, covered with confusion. He smiled and made some excuse about pressing proof-sheets. He had been hiding there quietly for over ten minutes since first hearing my voice. I had had enough after my strange encounter with this apparition.
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