Piano rehearsal. When I entered I was presented to the cast, who all rose to their feet, and I bowed acknowledgement. They sing with great vigour, and the chorus punch out their rhythms with admirably accentuated precision. Here and there I did not agree with Szenkár's tempi, and cautiously made some observations on this, but he revealed a streak of obstinacy. At this I gave way, because I do not in principle like interfering in an artist's interpretation provided he means it and it is the result of thorough consideration.

During this rehearsal a scenery and lighting rehearsal was proceeding on stage. The sets are less opulent than Anisfield's, but they are wittier. I would add that they are also more schematic, in order to cut down on the time for scene changes: there is only one interval, after Act Two, thus dividing the opera exactly into two halves of fifty minutes each.