During this visit to Paris it was arranged that I should sing for Gailhard, the Director of the Paris Opera, and at this audience were three other notable directors who were destined to figure in my career. There was Maurice Grau, already relinquishing the reins of management in New York, but still hoping, he said, to take me back to America as an operatic star in the near future; there was Heinrich Conried, his successor, whom I then met for the first time; and there was Raoul Gunsberg, the Director of the Opera at Monte Carlo. Gailhard offered me a flattering engagement at the Paris Opera, but I explained that I was under contract for at least one more year in Berlin. Gunsberg was very enthusiastic in his praise; Conried was quiet and formal. If I made any impression on him, he gave no indication of it. My third season in Berlin opened November 14, 1905, in "Traviata," when I had my usual charming partner in Franz Naval. I now sang all of my roles in German save "Traviata," and, in deference to me, all the company sang "Traviata" in Italian, which I thought a pretty compliment. The Berlin _premiere_ of "Manon" took place on December 1, 1903, and was a wild riot of enthusiasm, but my best reward was a large photo of Lilli with half a yard of dedication written underneath. By this time--the middle of my third season in Berlin--I had become quite well known in certain operatic circles; I had sung in Paris for four big directors; I had won the real affection and regard of the opera-goers of Berlin; I was now _Die Farrar aus Berlin_, and the Berlin public owned me. Herr Gunsberg, at Monte Carlo, always on the lookout for novelty, decided he must have the American prima donna who was attracting so much attention in Berlin. One morning in midwinter I received this characteristic telegram from him:-- Offer you debut Boheme or Pagliacci. If you accept this telegram serves as contract. Four thousand francs a night. Eight hundred dollars a night! It was indeed a fine offer. I replied at once:-- Boheme. When shall I come? I had visions already of international triumphs. Monte Carlo, the show-place of the world! From there it was only a step to the leading capitals of Europe. Yet I had no wish to leave my beloved Berlin permanently. Therefore, in renewing my contract with the Intendant of the Berlin Opera (a contract, by the way, which is still in force), it was stipulated that I was to sing so many performances each season in Berlin unless excused by special arrangement; that I should have leave of absence whenever requested under certain conditions; but that at all times I should be subject to the rules and regulations of the Royal Opera in Berlin. [Illustration: SIGNED PHOTO OF GUGLIELMO MARCONI Alla Signorina Geraldina Farrar Con devota amicizia e sincera ammirazione Guglielmo Marconi 6 maggio 1912]