A Song for Summer (27 page)

And as he listened to her, Marek was suddenly

overwhelmed. He was back in the fourth gallery, shaken by the sheer beauty of the voice that God had placed so capriciously inside the body of this tiresome woman. Brigitta was trying, in spite of Feuerbach's dragging beat. She did not want to cancel; this was her role.

And all at once there came into Marek's head with the force of an explosion, a vision of the whole glorious masterpiece that was Rosenkavalier, with its riotous waltzes, its soaring invocation of young love and the sense of sublimity and honour that was at its heart. Rosenkavalier as it should sound and could sound even now.

For it could still be done. Brigitta would have to be coaxed and bullied, forbidden to scoop and sentimentalise. Feuerbach, though one longed to throttle him, would have to be appeased, the orchestra schooled to heed him. It would take every moment of the day and night, every ounce of energy, but it could still be done.

Only not by me, thought Marek. Absolutely not by me. I'm sailing on the Risorgimento. This is goodbye.

"Very well," said the director. "We'll break there."

The conductor left the rostrum but the musicians did not follow him. Marek, without realising it, had moved closer as Brigitta sang. Now one of the double bass players leant forward and whispered something to a cellist, who passed on the word and spread it back to the woodwind, the brass, and forward to the violas, till it reached the violins ...

The leader turned his head.

"Are you sure?"' he said quietly. "Positive," said his neighbour. "I played for him in Berlin."

The leader nodded. Then he rose to his feet and as he did so the orchestra, to a man, rose with him. And as the violins tapped their bows against the music stands, he said: "Welcome back to Vienna, Herr Altenburg."

The homage was not for his political stance, Marek knew that. It was not for him personally at all: it was for what he and these men shared and served. It was for music.

But now Brigitta had moved towards the footlights, shading her eyes. Then she gave a theatrical shriek, disappeared into the wings, and reappeared again in the stalls to hurl herself into his arms.

"Marcus!" she cried. "I knew you would come! I knew you would help me. Now everything's going to be all right."

"If you want me to help you, you can start by not sentimentalising "Where are the Snows of Yesteryear".

You held that B flat far too long. I've told you, you must not be maudlin. Pity and self-pity are mutually exclusive."

"It's not my fault. It's Feuerbach's.

I have no help from--"'

"I take it you're not complaining about the way the oboe followed you?"' said Marek icily.

"No, but--"'

"Good. I suggest you look to your own performance and the rest will sort itself out. I'll be back in an hour.

We'll start with Baron Ochs' exit and go on to the rest of the act."

"You're limping, Kendrick," said Ellen. "Would you like to sit down for a while? We could have a cup of coffee over there." She pointed to a beguiling cafè with pavement tables across the square, but Kendrick shook his head.

"I'll be all right. We've still got the Hofburg to see, and the cathedral. We can't afford to waste a minute."

But actually his foot was hurting quite badly. He had a big blister on the heel and a corn developing on the left toe and this was because he had already spent three days in Vienna sightseeing before Ellen arrived. Kendrick had visited the Central Cemetery to see the graves of Beethoven, Schubert and Brahms, paying particular attention to Beethoven's grave because it was said to contain the pince-nez of Anton Bruckner, who had dropped them into the open coffin by mistake when the composer's relics were transferred from the cemetery in Wahring. He had taken a tram to St Marc's, which turned out to be a long way away, to look at the place where Mozart had possibly been interred, and another to another suburb to pay homage to the tomb of Gustav Mahler.

And that was only the graves: there were still all the places where composers had been born or died or simply done things: hammered pianos to death or quarrelled with their landladies or thrown chamber pots out of the windows, often in houses which were surprisingly far apart.

All this had made his feet very sore, and then there had been the Art: the Secessionist building which was near a rather messy food market and the Kunsthistorisches Museum which was deeply inspiring, but the marble floors were surprisingly hard and the lavatories difficult to find.

But he had kept the best-known sights for Ellen, who had arrived that morning and was standing patiently beside him, looking cool in her cream linen dress, as they waited to go into the crypt of the Capuchin church where the Hapsburg Emperors were buried. Or rather their bodies were buried--their hearts and organs were elsewhere, as he had

explained to Ellen, and fitting them in was going to be a problem. Peering at his Baedeker, worrying, Kendrick felt Ellen's cool touch on his arm and realised that the guide had come and they were moving down into the vaults with their heavy, ornate marble sarcophagi.

The Emperor Franz Joseph ... his unfortunate wife, the lovely Sissi, assassinated by an anarchist on Lake Geneva ... their son, the Crown Prince Rudoll, dead by his own hand at Mayerling ...

Moving past the gloomy opulence of the tombs, Ellen found one she liked.

"Look, Kendrick! This one isn't an emperor or an empress! It's a governess-- Maria Theresa's governess.

The Empress loved her so much she was allowed to be buried here even though she wasn't royal. So if a governess, why not a cook? Perhaps I shall end up in the vaults at Windsor!"

Ellen had not wanted to come to Vienna, but now she was here she was determined to enjoy herself.

The weather was glorious, the city was beautiful--there could be no better place to forget Marek, who would be sailing away now to a new life. She had been foolish, attaching so much importance to a flirtation and the courtesy of a kiss, but she did not intend to become a victim. "One has a choice," she had told herself--and she had chosen healing and happiness, if not immediately, then soon.

Their next tour, that of the Private Apartments in the Hofburg, revealed the Royal Treasure Chest containing a number of priceless objects of surprising ugliness and a suite of claustrophobic apartments characterised by a total lack of bathrooms. As they came out into the Michaeler Platz, Kendrick, peering at his guide book, said that they just had time to make their way to the house where Hugo Wolf had written the Mòrike Lieder.

"Look--it's in this little street here--we take the first left and then the first right--"'

"Kendrick, you go and see the house where Hugo Wolf wrote the Mòrike Lieder, but I'm going to Demels to have a large coffee and eat Indiancrkrapftn and study their patisserie."

A terrible conflict raged in Kendrick's breast. To leave Ellen whom he loved so much even for half an hour was hard--but to miss Hugo

Wolf's house which the guide book particularly recommended was hard too.

"Remember you've got a whole day after I've gone. I have to go back tomorrow."

"Very well, I'll come with you," said Kendrick and limped with her towards Demels, where he was rewarded by Ellen's face as she gazed at the counter, her eyes moving from the intricate lattice of the Linzertorte, to the baroque magnificence of the layered chocolate cakes, and back to the Schaumrollen, fat and soft as puppies. And even Kendrick took pleasure in seeing the eclairs they had chosen wheeled away by attendents, as if to a select nursing home, to be injected with fresh whipped cream.

It was as she poured a second cup of the marvellous coffee that Ellen said: "Don't you think we ought to call at a chemist's and see if we can get a proper dressing for your foot? It's going to be really painful for you trying to dance with that blister."

She was looking forward to the ball--the orchestra was sure to be good and even if she and Kendrick danced very little she would enjoy watching the other people.

But to her surprise, Kendrick coloured up and put down his cup. He had not meant to reveal his delightful surprise till they were back in the hotel, but this was as good a moment as any.

"Ellen, we're not going to a ball," he said, leaning across to her. "We're going somewhere much more exciting. Somewhere absolutely special."

"And where is that?"' A slight foreboding touched Ellen.

"The opera!" said Kendrick happily.

"The Vienna State Opera! We're going to see Rosenkavalier--and guess who is singing the leading role."

"Who?"' asked Ellen obediently--but the foreboding had, so to speak, settled in.

"Brigitta Seefeld! Her interpretation is absolutely legendary. She's marvellous; remember I wrote to you about her, about the songs Altenburg wrote for her. I can't tell you what a miracle it was getting the tickets. Everyone in Vienna will be there." And suddenly seeing something in her face: "You're pleased, aren't you? You wouldn't rather have gone to a ball?"'

She lifted her head. "No, no,

Kendrick. Of course I'm pleased. It'll be lovely." There was no point in spoiling his pleasure, and if she wanted to watch that overweight cow sing about as much as she wanted to spend the night in a sewage farm, she would keep it to herself. With Marek on the ocean and Isaac safely out of the country, Seefeld posed no threat. All the same she felt entitled to some consolation, and: "I'm going to have another Indianerkrapfrn," she said.

"Another one?"' asked Kendrick, shocked.

"Yes." I need cheering up, she could have said, but didn't because of the wet house and the camel and the fact that Kendrick looked so very pleased.

"Oh Ellen!" said Kendrick as she floated down the stairs dressed for the opera. "You look--"'

But what did she look like? The Primavera certainly--that Botticelli--like floating as if she was weightless--

though the way her lustrous hair curved and coiled around her brow was more like Venus rising from the waves ... except that Venus wasn't wearing anything at all, whereas Ellen was dressed in a marvellous white concoction that frothed and foamed and swirled like sea spray, like gossamer, like flakes of snow.

Stumbling from painter to painter, from woodland nymphs and enchanted swans and back again, Kendrick tried to bring his erudition to bear on Ellen, en grande tenue, and failed.

But if he was confounded he had a right to be, for Ellen and the Gorgon needlework professor at the Lucy Hatton College of Household Management had wrought a masterpiece.

"You can't use tulle, like that," Miss Ellis had said sniffily. "Not if you want the finest denier. You'll be up all night setting the ruffles."

"Then I'll be up all night," Ellen had said, and almost was for several nights, by which time Miss Ellis had caught the infection. The dress had won first prize at the graduation ceremony, but it had done considerably more than that.

As the taxi dropped them on the steps of the opera house and Ellen got out, a little girl held aloft on her father's shoulder said, "Is she a princess?"' and was as instantly put right by someone in the watching crowd who said dismissively, "Not her--she's far too pretty."

For they knew all about the aristocracy, the

bystanders that had come to watch, and they thirsted for them. Having deposed the last Hapsburg some twenty years ago, they had become specialists in those kings and queens who had hung on to their thrones. The Austrian President was greeted by the smallest of cheers, but King Carol of Rumania, with his dubious personal life, got an ovation.

Inside the foyer, the excitement of a gala seemed to Ellen to be augmented by something else. The dowagers in ropes of pearls, the men with their decorations, the clusters of beautiful women, appeared to be buzzing with news of some kind of scandal or calamity. Their faces as they repeated, "Are you sure?"'

or "I can't believe it," reflected the kind of salacious glee, masking as concern, that is devoted to disasters which do not affect one personally.

From the general hum of words, Ellen repeatedly caught one name.

"Who's Feuerbach?"' she asked Kendrick as they made their way up the magnificent staircase.

"The conductor." He had noticed nothing; his German was poor and he was busy bringing out his pocket score, his magnifying glass, and the notes on the opera he had copied in the London Library.

"Kendrick, what marvellous seats!" "They are, aren't they," said Kendrick and couldn't resist telling her what they cost.

In the box on their right, two men were talking, their voices perfectly audible to Ellen.

"It's all right!" said a small dark man who had just joined his friend. "They've talked him round, but it was a struggle. He chased Feuerbach all over town trying to get him to change his mind, but it was no good."

"What did he do to make Feuerbach walk out--defenestrate him or something?"'

"Not a bit of it. He kept his temper all the way through. It was the orchestra. They made life impossible for Feuerbach. But this is it, Staub--there can't be any doubt about it now--she's got him back and Stallenbach's away. Your opera's in the bag."

Staub nodded. "I showed him the libretto and he was definitely interested."

The last of the Kings and Queens had arrived; tired-looking persons weighed down by their jewels

--and then a lone elderly man who attracted rather more attention as he appeared in the stage box.

Richard Strauss, the opera's composer, the most famous musician in the world, who had travelled up from Garmisch.

The lights were going down now, but the whispers of rumour and speculation had not yet died away.

Then the curtains parted and the manager appeared. "Your Majesties, your Royal Highnesses, Herr President, Ladies and Gentlemen--I have an announcement to make. Owing to the indisposition of Herr Feuerbach, tonight's performance of Rosenkavalier will be conducted by Marcus Altenburg."

The audience behaved badly. They clapped, they cheered, they hugged each other. The gossip had been known for days--that Brigitta Seefeld's lover had returned to coach her, that their famous affaire had been resumed, that the unpopular Feuerbach had made scene after scene ...