14.VI.1913

My dear Giacomo,

   I would have preferred to respond immediately to your letter, while you were in Paris — but as always, the deluge of multiple office affairs prevented me from doing so.

   Maxwell telegraphed me before leaving to say that Gatti-Casazza had agreed to include "Fanciulla" in the upcoming season at the Metropolitan. Unfortunate misunderstanding indeed!! It's a truly humiliating surrender, after having received your letter — so much the better.

   What's new with Tristan Bernard? and with Gabriele? could it be even remotely possible that he would be disposed to share his rights with two other authors? I don't believe it, and you'll see that it comes to nothing.

   It was my hope that the Kutznezoff affair was settled and done, although I struggled to contain my anger when I read that she had accepted the tenor she originally didn't want!! This morning Gentien writes: Kutznezoff behaved shamefully, I'll tell you all about it (Gentien will be here Wednesday morning) — he'll have nothing to do with her, I fear.

   And so, dear Giacomo, since Signora Kutznezoff is a perfect scoundrel, as I had long imagined, does that mean we shouldn't mount "Manon Lescaut" in Paris?

It seems to me that would be entirely too generous of us. Did you know that Astruc planned to have Cavalieri with Muratore? If Lina were to be as good as she was four years ago at Covent Garden, and with a Des Grieux like Muratore, would that not suit you? Why don't you stop in Paris on your way back from London and have her sing the entire part for you?

   The decision is yours, but — without compromising the outcome of "Manon Lescaut" — I would be more than happy to teach that Kutznezoff a thing or two.

   Gentien wrote after hearing Julien and totally concurred with your observations — I think the thing was dead on arrival.

   Let me know how well, indeed I hope splendidly you and Signora Elvira are doing. When will you be returning to Italy?

   An embrace in haste from

yours warmly

Tito Ricordi