The audience had to keep consulting their programs to find out who was singing the female lead todayâthey certainly couldnât tell by looking at the stage. The chorus blocked me out every chance they got.â
âOh, RosaâIâm sorry. Really, Setti must not allow this to continue.â
âSetti canât control them. Gerry, today one of them tried to trip me! They hate me.â
âOh, thatâs inexcusable! Do you know which one? You can have him dismissed ⦠or âherâ?â
âThatâs just the problemâI donât know which one it was! And itâs happened before ⦠I couldnât be sure then, but there was no mistaking it this time. They really hate me. Theyâre even spreading rumors about me nowâtheyâre saying Iâm having an affair with Caruso!â
Gerry had heard that nasty little story. âYou must go over Settiâs head. See Gatti.â
âIâve already done that. All he did was sit me down and give me a lot of fatherly advice I didnât want.â Rosa was angry. âDonât you see, Gerry? Mr. Gatti doesnât dare crack the whip now, not with all these terrible things happening to them. Heâs afraid more of them will quit. And they know that. Theyâre just going to keep on and on until one day they pick me up and throw me into the orchestra pit and I end up in the bassoon playerâs lap.â Rosa made a face. âLook at me! Hiding from the chorus! I sang the lead role at the Metropolitan Opera this afternoon! Why should I have to hide from a bunch of second-rank musicians whoâre so jealous they canât see straight?â
âGer-ee!â a baritone voice floated up from below. âDo you stay up there until Christmas?â
âComing!â she sang back. âRosa, listen. Itâs not just you. The chorus has been nothing but trouble this entire season. Theyâre doing the same thing to the new tenorââ
âOh, theyâre just needling Gigli because he thinks heâs the next Caruso. Theyâd do that to anybody who wanted to take Ricoâs place.â Rosaâs anger had died away. âBesides, what they do to him isnât nearly as nasty as what they do to me. Gigliâs paid his dues, you see. He came to the Met the way youâre supposed to come ⦠from other opera houses, from working his way upânot from vaudeville, the way I came. They resent me, Gerry. They resent me because I didnât go through all the lessons and training and work they went through. Gerry, did you know Iâd seen only two operas in my life before I made my début?â
âNo ⦠only two? Ever?â Gerry knew Rosa didnât have the background the rest of them had, but to have seen only two operas in her entire life ⦠Gerry thought what that meant. To have stepped out on that huge Metropolitan stage, to have faced that glittering audience that had heard every great voice of the timesâwhat courage that must have taken! âI didnât realize,â she said faintly.
âDo you know what the first one I saw was?â Rosa mused. â Tosca . You and Caruso and Scotti were singing. Gerry, it was as if Iâd been sleeping all my life up to that night. Then sometime during the second act I woke up to the fact that it was that kind of singing I ought to be doing. I became an opera singer because of you, Gerry.â
That came as a shock. Gerry knew she should feel flattered and did manage to murmur something by way of gracious acknowledgment. But she felt history was repeating itself; and this time around, it hurt. She too had decided to become a singer because of the first performance of an opera sheâd attended as a girl, in her case, Emma Calvéâs Carmen . And now here was ⦠the next generation telling her she had been a similar source of inspiration. Gerry suddenly felt a hundred years