‘Not only pleased,’ said his mother, ‘but rich. There is no longer anything to wait for. You must act, Maxi. Act!’
Maxi’s blue, poached eyes bulged with a certain apprehension; his vestigial forehead creased into furrows. He was in fact a man of action, having shot a large number of people during the war, and, with the cessation of hostilities, an infinitely larger number of snipe, mallard, teal, godwall, pochard and geese which he pursued virtually from dawn to dusk in punts, rowing boats and waders. Even now his feet, under the table, rested on a huddle of soaking wet pointers, retrievers and setters who had been out with him since sunrise.
But action as understood by his mother was a different thing.
That the prince had been dropped on his head as a baby was unlikely. Kaiser Wilhelm II had attended his christening; a series of starched and iron-willed nurses had handed him from room to room in the gargantuan palace in Schleswig-Holstein, now confiscated by the Allies, in which he had been born. His lack of cerebral matter seemed rather to be inborn, the price he had paid for being related to both Joan the Mad who brought Castile and Aragon to the House of Austria, and to the Emperor Charles II whose Habsburg chin and Bourbon nose had locked in a manner that made the ingestion of food almost impossible. But though his intellectual activity was limited to weekly visits to the village hall in Neusiedl where they showed the latest films from Hollywood, there was nothing unattractive about Maxi. True, his duelling scar had gone awry a little, but enough of it was visible above his left eye to give him a slightly rakish look; his blond moustache waved pleasantly and except when he was dealing with his mother, his expression was amiable and relaxed.
‘I have been very patient with you, Maxi,’ continued his mother, whose nickname ‘The Swan Princess’ referred rather to her beady eye and savage beak than to any grace or beauty, ‘and so have Putzerl’s aunts. But enough is enough. There is going to be a house party at Pfaffenstein in June. Putzerl is sure to be there for that, so you must propose to her formally then and announce your engagement on the spot.’
‘But, Mother, I have proposed to Putzerl three times. When you told me to, on her eighteenth birthday, and then again that spring. And only three months ago, when I was in Vienna, I invited her out for lunch and proposed again. Without you telling me! She doesn’t,’ said Maxi, a trace of pardonable puzzlement in his voice, ‘love me.’
‘Don’t talk like a waiter,’ snapped the princess. ‘Putzerl knows perfectly well that she must marry you. I must say she isn’t quite what I had hoped for from the point of view of character, but her lineage is impeccable, and with the money she brings in from Pfaffenstein we will be able to shore up the east wing and mend the roof. Anyway, no one not bred to the life would fit in at Spittau.’
This was certainly true. Schloss Spittau, almost afloat on water, was not for the faint-hearted. In winter, mist enshrouded it; frozen birds honked drearily on the ice. The coughing of retainers bent double with rheumatism mingled, as spring advanced, with the plopping of evil-eyed pike in the moat. Pieces of stucco fell suddenly into the lake, and in the summer enormous, muscular mosquitoes moved in like the Grande Armée.
Maxi continued to look depressed. He was perfectly aware of the advantages of marrying Putzerl. He liked her. When you took Putzerl out on to the lake there was no need to take a call duck. She could imitate, like no one he had ever met, the cry of a mallard ready to mate. There was no girl who was a better sport than the Princess of Pfaffenstein. But all this proposing got at a man’s pride…
Then suddenly he brightened and pulled at the soft ears of the dog nearest to him, a German pointer with beseeching amber eyes. ‘If I could take the dogs to Pfaffenstein?’ he suggested. ‘To the house party? Don’t you think Putzerl might agree to marry me then? You know how she is about the dogs.’
The princess looked at the five dogs now thumping their wet tails on the floor and trembling with anticipation. She opened her mouth to tell Maxi not to be silly — and closed it again.
For it seemed to her that, for once, Maxi had a point. Whatever her feelings about her intended bridegroom, the Princess of Pfaffenstein really did love the dogs.
‘I cannot zink in French!’ declared Raisa Romola the morning after Jacob’s announcement.
‘There are no tunes in Debussy,’ declared Pino. ‘It is not what my public expects.’
‘I shall go to Schalk!’ stated Raisa — and Jacob blenched. Schalk was the director of Vienna’s most prestigious institution, the heavily subsidized State Opera. Saying ‘Schalk’ to Jacob was like saying ‘Boots’ to a struggling British retail chemist.
Rallying, he launched into an impassioned speech in praise of Debussy’s subtle, impressionistic score, its contrapuntal texture, its throbbing beauty…
The idea of throbbing beautifully had a slightly calming effect on Raisa, who narrowed her greedy almond eyes and said that if Jacob was prepared to consider a bonus, ‘zinking’ in French might just be possible.
To all this Tessa, busy repainting a flat for Tosca in the wings, listened with eager interest. True, there were strange things in Pelleas and Melisande. One never knew, for example, who exactly Melisande was. Was she a mortal or a being from another world? Had she in fact deceived her husband, Gollaud, with his handsome younger brother Pelleas? And why did she keep losing quite so many things down wells — her crown, her golden ball, her wedding ring? But the whole opera, played largely behind a gauze and subtly and romantically lit, was the very stuff of poetry — and modern too.
She was therefore a little disappointed when Boris, spooning yoghurt on to his plate at lunchtime, said gloomily, ‘You know what Pelleas means, don’t you? It means hair. And hair, right now, spells trouble.’
Boris was right. For the outstanding feature of Melisande which makes her mysterious, haunting beauty unforgettable, is her knee-length shimmering, streaming, golden hair. With this hair, as she lets it fall from her window, the lovesick Pelleas besottedly toys; with this hair Gollaud, her jealous husband, humiliates her, pulling her by it back and forth across the stage. The same hair surrounds her, an incandescent aureole, as she lies dying.
Hair for wigs comes traditionally from nuns. Italian nuns, mostly, since the Italians are noted for being both hirsute and religious, and postulants by the hundred are shorn to become brides of Christ. But her Italian possessions had been wrested from Austria, as had Moravia, Czechoslovakia, Hungary, Yugoslavia and all the other countries which had once humbly supplied the capital with everything from paprika to the tresses of their young girls. Of late, Boris had been driven to do business with the local convents, which had been anything but easy — with the fall of the monarchy and the urgings of the new republic, the religious vocation of Vienna’s jeunes filles had declined disastrously.
Any hope that they would get away with horsehair dipped in peroxide, or an old wig from Meistersinger, was dispelled at the first rehearsal. Max Regensburg, the young director called in for the production, was a realist through and through. ‘This Melisande must be flesh and blood,’ he declared, and the company, envisaging Raisa’s bulk, felt he had a point.
On a cold morning during the second week of rehearsals, Tessa accordingly set off on the long tram ride which took her to the lower slopes of the Leopolds-berg and trudged up a steep, tree-lined avenue to the Convent of the Sacred Heart — only to be met at the gate by a distraught Mother Superior.
‘My dear, I’m so sorry but I’m afraid the girl I spoke of has turned out to be quite unfit to take her final vows!’ She lowered her voice. ‘We found her with the carpenter who came to fix one of the prie-dieux. Such a scandal! We had to send her straight home!’