It was given at Covent Garden in English, in the October of the same year, with practically the same cast. Madame Alice Esty, from whom I learnt several interesting particulars, not only of the production of the opera, but of the work in general, and some of the past history of the wonderful organisation which is still doing such excellent work in keeping alive the love for opera in English, was the first English Mimi, although she was born in Boston. There were many difficulties in the production, and, strange to say, the part of Mimi was first offered to Mdlle. Zelie de Lussan, the well-known exponent of the part of Carmen, not only in English, but in French as well. The photograph of Mdme. Alice Esty shows her in the last Act of _La Bohème_; and it will be noticed that she wears, not the customary black gown of the little seamstress, but one of some pretensions to magnificence. She followed, she told me, the idea of the composer, who particularly wished to bring out the fact that Mimi, after parting with Rodolfo, had formed an alliance with a rich viscount. This little incident, it will be remembered, is duly referred to by Musetta in the text. [Illustration: PUCCINI'S MANUSCRIPT SCORES. FROM THE LAST ACT OF "LA BOHÈME"] I have also talked with Puccini about this first English performance of _La Bohème_. "I always feel about past performances," he said, "in the same way as dead people. Let us say nothing about them but good. But I shall never forget the shock it was to me on arriving at the theatre to find the disposition of the orchestra in a fashion which I have never seen except at a circus. Out of two boxes at each end the bass brass on the one side and the drum on the other gave forth detached blares and pops which really frightened the life out of me. They did not seem to have anything to do with the general musical scheme. I heard this band rehearsal start, and then I saw that the right idea, simply because of the square-cut idea as to the tempi on the part of the conductor was absolutely away from the spirit of the work. I asked the band to take a rest and then took two rehearsals with the piano myself. It was not long before the artists, all of them sincerely concerned with the proper interpretation of my ideas, and myself got into complete accord. I was very pleased on the whole with the way it eventually went, and although I did not see the subsequent London production, Ricordi told me that the Manchester performance was far more spontaneous."