The famous director had one mania. He wanted to collaborate in every
work he staged. Even a work hallowed by time and success had to bear
his mark; much greater were his reasons for interpolating in a new work.
He would announce brusquely that the period or the country in which the
action of the work took place must be changed. He tormented us for a
long time to make the dancer into a singer on his wife's account. Later,
he wanted to introduce a second dancer. With the exception of the
prologue and epilogue the action of the piece takes place in a dream,
and he took upon himself the invention of the most bizarre combinations.
He even proposed to me one day to introduce wild animals. Another time
he wanted to cut out all the music with the exception of the choruses
and the dancer's part, and have the rest played by a dramatic company.
Later, as they were rehearsing Hamlet at the Opéra and it was rumored
that Mlle. Nilsson was going to play a water scene, he wanted Madame
Carvalho to go to the bottom of a pool to find the fatal bell.

Foolishness of this kind took up two years.

Finally, we gave up the idea of Mme. Carvalho's coöperation. The part of
Hélène was given to beautiful Mlle. Schroeder and the rehearsals began.
They were interrupted by the failure of the Théâtre-Lyrique.

Shortly afterwards Perrin asked for _Le Timbre d'Argent_ for the Opéra.
The adaptation of the work for the large stage at the Opéra necessitated
important modifications. The whole of the dialogue had to be set to
music and the authors went to work on it. Perrin gave us Madame Carvalho
for Hélène and Faure for Spiridion, but he wanted to burlesque the part
for the tenor and give it to Mlle. Wertheimber. He wanted to engage her
and had no other part for her. This was impossible. After several
discussions Perrin yielded to the obstinate refusals of the authors, but