On the close of my London season of 1873 I had considerable difficulty in obtaining a renewal of Mdme. Nilsson's contract for the ensuing year; in fact, she declined altogether to discuss the matter with me. I was fully aware that she was very jealous of the firm position which Mdlle. Titiens enjoyed in the good opinion of the British public. This had manifested itself on the occasion of Titiens's benefit, when _Nozze di Figaro_ had been selected for the closing night of the season. Much correspondence took place, in the course of which it was asserted that M. Rouzand would not allow his wife to put on "Cherubino's" trunks, he having decided that her legs should never again be seen by the public. I, therefore, had to substitute Mdme. Trebelli, who, as an experienced contralto, could make no objection on such points. Mdme. Nilsson's agent, Mr. Jarrett, succeeded at last in inducing her to sign a contract, and he then explained to me that Mr. Gye had been repeatedly making offers to her during the previous week, which, in spite of his notorious friendship for Mr. Gye, he had the greatest difficulty in making her refuse. Ultimately an engagement had been prepared, and Jarrett asked me to sign it at the station just as Mdme. Nilsson was about to start for Paris. Before doing so I requested permission at all events to glance it over, when Mdme. Nilsson replied-- "The train is going. Either sign or leave it alone. I can make no possible alteration." I mechanically appended my signature; the train started. On perusing the engagement I discovered that she had reserved for herself the exclusive right of playing "Norma," "Lucrezia," "Fidelio," "Donna Anna," "Semiramide," and "Valentine" in _Les Huguenots_. But having omitted the words "during the season," and inasmuch as her engagement for 1874 did not commence until the 29th day of May, I had a clear period of eleven weeks during which another prima donna could play the parts Mdme. Nilsson claimed without overstepping her stringent condition. I, moreover, felt placed in great difficulty with regard to Mdlle. Titiens, who was then at the Worcester Festival, and to whom it was, of course, necessary to mention the matter. I decided to go to Worcester at once and unbosom myself. The great prima donna, on hearing what I had to tell her, smiled and said-- "By all means let her play the parts she wants; and, if the public prefers her rendering of them to mine, by all means let her keep them. But during the first eleven weeks they are open to other singers, and I will repeat them one by one so that the public may have a fair opportunity of judging between us." The great artist was, therefore, on her mettle during the early performances of 1874, prior to Nilsson's arrival.