Even in New York the World of Art was still our only recreation.  We heard Kreisler, whose tours, like ours, were managed by Sol Hurok.  I couldn’t help wondering why such a brilliant violinist at the height of his career still played works like Liebeslied, which seemed so hackneyed.

                “You have no soul,” was the only answer I had from Muriel Stuart when I protested.  I suppose he played it for the same reason that Madame [Pavlova] danced the Swan, far more often than he wanted to, simply because the audiences demanded it.

                I also went with Dabrowski and Cieplinski to the opera and stood at the back of the gallery.  At the end of Carmen, although I had heard Geraldine Farrar I decided that the next show I was going to see was a good musical at the Winter Garden when I arrived in London.  Six months of ballet, with only art galleries and good music for relaxation had been too much for me and several of the others.  As it was, before we left New York I just had time to see Sally at the New Amsterdam.  It was wonderful.