A Woman-Hater [16]
"What would you think of them, if they applauded?" said Ashmead.
"I should say they were good, charitable souls, and the very audience I shall want in five minutes."
"No, no," said Ashmead, "all you want is a discriminating audience; and this is one. Remember they have all seen Patti in Marguerite. Is it likely they would applaud this tin stick?"
Ina turned the conversation with feminine quickness. "Mr. Ashmead, have you kept your promise; my name is not in the programme?"
"It is not; and a great mistake too."
"I have not been announced by name in any way?"
"No. But, of course, I have nursed you a bit."
"Nursed me? What is that? Oh, what have you been doing? No _charlatanerie,_ I hope."
"Nothing of the kind," said Ashmead, stoutly; "only the regular business."
"And pray what is the regular business?" inquired Ina, distrustfully.
"Why, of course, I sent on the manager to say that Mademoiselle Schwaub had been taken seriously ill; that we had been fearing we must break faith with the public for the first time; but that a cantatrice, who had left the stage, appreciating our difficulty, had, with rare kindness, come to our aid for this one night: we felt sure a Humbug audience--what am I saying?--a Homburg audience would appreciate this, and make due allowance for a performance undertaken in such a spirit, and with imperfect rehearsals, etc.--in short, the usual patter; and the usual effect, great applause. Indeed, the only applause that I have heard in this theater to-night. Ashmead ahead of Gounod, so far."
Ina Klosking put both hands before her face, and uttered a little moan. She had really a soul above these artifices. "So, then," said she, "if they do receive me, it will be out of charity."
"No, no; but on your first night you must have two strings to your bow."
"But I have only one. These cajoling speeches are a waste of breath. A singer can sing, or she can _not_ sing, and they find out which it is as soon as she opens her mouth."
"Well, then, you open your mouth--that is just what half the singers can't do--and they will soon find out you can sing."
"I hope they may. I do not know. I am discouraged. I'm terrified. I think it is stage-fright," and she began to tremble visibly, for the time drew near.
Ashmead ran off and brought her some brandy-and-water. She put up her hand against it with royal scorn. "No, sir! If the theater, and the lights, and the people, the mind of Goethe, and the music of Gounod, can't excite me without _that,_ put me at the counter of a cafe', for I have no business here."
The power, without violence, and the grandeur with which she said this would have brought down the house had she spoken it in a play without a note of music; and Ashmead drew back respectfully, but chuckled internally at the idea of this Minerva giving change in a cafe'.
And now her cue was coming. She ordered everybody out of the entrance not very ceremoniously, and drew well back. Then, at her cue, she made a stately rush, and so, being in full swing before she cleared the wing, she swept into the center of the stage with great rapidity and resolution; no trace either of her sorrowful heart or her quaking limbs was visible from the front.
There was a little applause, all due to Ashmead's preliminary apology, but there was no real reception; for Germany is large and musical, and she was not immediately recognized at Homburg. But there was that indescribable flutter which marks a good impression and keen expectation suddenly aroused. She was beautiful on the stage for one thing; her figure rather tall and stately, and her face full of power: and then the very way she came on showed the step and carriage of an artist at home upon the boards.
She cast a rapid glance round the house, observed its size, and felt her way. She sung her first song evenly, but not tamely, yet with restrained power; but the tones were so full and flexible, the expression so easy yet exact, that the judges saw there was no effort, and suspected something big might be yet in store to-night.