Meanwhile Mr. Conried's failing health was necessitating a change of management at the Metropolitan, and the choice fell upon Mr. Gatti-Casazza, of La Scala, Milan, in conjunction with Andreas Dippel, the latter a member of our company and very popular with New York audiences. With contracts for Berlin, Paris, and New York, the old cry of "overwork" was dinned into my ears, but less than ever was the moment for immediate rest possible. I was about to make a new contract with the Metropolitan under a different management, new artists were engaged who might reasonably be supposed to share some of the repertoire which I had not yet sung. [Illustration: "AS PRETTY A FLOCK OF BIRDS AS ONE COULD FIND ON ANY FARM"] It behooved me to keep well within the public eye and to make my position as advantageous as I could under the new regime. Not having acquaintance with Mr. Gatti-Casazza, I preferred signing my engagement with Mr. Dippel; but all our arguments came to naught when he found I was firm in my proposals to improve upon the old contract, and I sailed away in May with no more definite answer than "_Au revoir_ in Paris" to him. While singing there at the Opera Comique, we again went over the same ground--futilely; and it was not till the following July in Berlin that I was able to arrange a several years' engagement which, in the light of the last years, I may reasonably conclude has been to nobody's dissatisfaction. My third Metropolitan season started unhappily. I arrived ill and fagged; lamentable altercations took place between the new conductor, Mr. Toscanini, and myself, each having quite opposite ideas as to the merits of conductor and prima donna, respectively. The estrangement was complete after the opening performance of "Madame Butterfly," when we both lost our manners and our tempers in high-handed fashion. Outside influences fanned resentment to a white heat, at least on my part; I was in a fury. The papers gave space to stupid fabrications and stories purporting to emanate from those speaking with authority, whose names, however, one could never discover. Ill in mind and health, I was vexed enough to offer to buy my release from such bondage as I now lived in artistically. I was far from happy, and when I am not happy I cannot sing well. My one idea was to escape from all this turbulence and what seemed to me to be a hotbed of intrigue. I was a rebel, yes; but I was no dissembler, and I hated to come into contact with those in authority under present conditions. Every performance was an occasion of dread; things looked very dark for my peace of mind. [Illustration: THE GOOSE GIRL IN "KOENIGSKINDER"]