_No date_: Today she said: “I attended a symphony concert, last night, with some friends. In the box with us was Gabrilowitsch. I thought of what the music meant to him that it did not mean to me. What he heard that missed me entirely. Musicians have an entire world of their own. No other art has that in the same degree. Science has it, I suppose. But music seems different,—of a world still farther removed.” _April 15_: How does she find time for all the things she does? She has no secretary, now, yet somehow keeps up conscientiously with her letter answering—of itself a heavy task. Then, home duties, social demands, this posing every day for Sorine; also, for a young German girl, Fräulein von Bismarck; reading plays; this work of ours, which takes no end of time, and thought. I don’t see how she manages it all—but she does. I suppose things trouble her, but she remains serene. There is about her a detachment from the worries of life that suggests Karma Yoga, and is that, I have no doubt, for she is versed in Eastern Philosophy. Whether she “suffers fools gladly,” or not, I do not know. I only know that she suffers them—without complaint. She reads omnivorously, but always, as I think, seeking the best, and apparently reading with care and reflection. A few days ago I lent her Brand Whitlock’s latest book, “Narcissus,” which tells a Belgian legend of Van Dyck. Today she said: “I read it twice—for the story, first, then for the beauty of it—the style. It has great charm. I want to read it again.” Then she told me a story of Van Dyck and Frans Hals, which somewhere she had read, or heard. * * * * * _April, 1932._ Something has happened, or is in the process of happening. Since the conclusion of “Uncle Vanya” Lillian has given little serious consideration to theatrical matters, putting aside as unsuitable a variety of offered parts. A new prospect now presents itself—one that appeals to her taste and imagination: a group of influential citizens of Denver, Colorado, headed by Mr. Delos Chappell, propose to refurbish and reopen the ancient Opera House of the little “ghost mining town” of Central City, with a week’s presentation of “Camille,” at fancy prices, for the benefit of the University of Denver. Robert Edmond Jones is to stage and direct the production, with Lillian as Casting Director, herself in the title rôle. She is deeply interested—has secured Raymond Hackett for the part of Armand, the rehearsing to begin at once. From a special to THE NEW YORK TIMES. Denver, Col., July 16.—In an impressive ceremony, amid the merry laughter of “pioneer” belles and gay young men, and at a cost of $250,000, the famous Central City Opera House was brought to life tonight after a silence of fifty years.