My Uncle Oswald Part 19

"Only once," I said. "The year the war broke out, 1914, at the old Palace Theatre in London. He did _Les Sylphides_. Stunning it was. He danced like a G.o.d."

"I'm crazy to meet him," Yasmin said. "When do we leave?"

"Tomorrow," I said. "We have to keep moving."

20.

AT THIS POINT in my narrative, just as I was about to describe our trip to Switzerland to find Nijinsky, my pen suddenly came away from the paper and I found myself hesitating. Was I not perhaps getting into a rut? Becoming repet.i.tious? Yasmin was going to be meeting an awful lot of fascinating people over the next twelve months, no doubt about that. But in nearly every case (there would of course be one or two exceptions) the action was going to be very much the same. There would be the giving of the Beetle powder, the ensuing cataclysm, the escape with the spoils, and all the rest of it, and that, however interesting the men themselves might be, was going to become pretty boring for the reader. Nothing would have been easier than for me to describe in great detail how the two of us met Nijinsky on a path through the pinewoods below his villa, as indeed we did, and how we gave him a chocolate, and how we held him in conversation for nine minutes until the powder hit him, and how he chased Yasmin into the dark wood, leaping from boulder to boulder and rising so high in the air with each leap he seemed to be flying. But if I did that, then it would be fitting also to describe the James Joyce encounter, Joyce in Paris, Joyce in a dark blue serge suit, a black felt hat, old tennis shoes on his feet, twirling an ashplant and talking obscenities. And after Joyce, it would be Monsieur Bonnard and Monsieur Braque and then a quick trip back to Cambridge to unload our precious spoils in The s.e.m.e.n's Home. A very quick trip that was because Yasmin and I were in the rhythm of it now and we wanted to push on until it was finished.

A. R. Woresley was wildly excited when I showed him our haul. We now had King Alfonso, Renoir, Monet, Matisse, Stravinsky, Proust, Nijinsky, Joyce, Bonnard, and Braque. "And you've done a fine job with the freezing," he said to me as he carefully transferred the racks of straws with their labels on them from my suitcase freezer to the big freezer in Dunroamin, our headquarters house. "Keep going, children," he said, rubbing his hands together like a grocer. "Keep going."

We kept going. When Yasmin and I returned the next day to Paris, we collected Clemenceau, Foch, and Maurice Ravel, who was living alone out at Monfort-l'Amaury with a houseful of Siamese cats. After that, and it was the beginning of October now, we drove on south into Italy, looking for D. H. Lawrence. We found him living at the Palazzo Ferraro in Capri with Frieda, and on this occasion I had to distract fat Frieda for two hours out on the rocks while Yasmin went to work on Lawrence. We got a bit of a shock with Lawrence though. When I rushed his s.e.m.e.n back to our Capri hotel and examined it under the microscope, I found that the spermatozoa were all stone dead. There was no movement there at all.

"Jesus," I said to Yasmin. "The man's sterile."

"He didn't act like it," she said. "He was like a goat. Like a randy goat."

"We'll have to cross him off the list."

"Who's next?" she asked.

"Giacomo Puccini."

21.

"PUCCINI IS A BIG ONE," I said. "A giant. We mustn't fail."

"Where does he live?" Yasmin asked.

"Near Lucca, about forty miles west of Florence."

"Tell me about him."

"Puccini is an enormously rich and famous man," I said. "He has built himself a huge house, the Villa Puccini, on the edge of a lake beside the tiny village where he was born, which is called Torre del Lago. Now this is the man, Yasmin, who has written _Manon_, _La Boheme_, _Tosca_, _Madame b.u.t.terfly_, and _The Girl of the Golden West_. Cla.s.sics every one of them. He is probably not a Mozart or a Wagner or even a Verdi, but he's still a genius and a giant. He's a bit of a lad, too."

"In what way?"

"Terrific womanizer."

"Super."

"He is now sixty-one but that hasn't stopped him," I said. "He's a roustabout, a drinker, a crazy car driver, a madkeen fisherman, and an even keener duck shooter. But above all, he's a lecher. Someone once said of him that he hunts women, wild-fowl, and libretti in that order."

"Sounds like a good chap."

"Splendid fellow," I said. "He's got a wife, an old bag called Elvira, and believe it or not, this Elvira was once sentenced to five months in prison for causing the death of one of Puccini's girl friends. The girl was a servant in the house, and the beastly Elvira caught Puccini out in the garden with her late one night. There was a tremendous scene, the girl was sacked, and thereafter Elvira hounded her to such an extent that the poor thing took poison and killed herself. Her family went to court and Elvira was given five months in the clink."

"Did she go?"

"No," I said. "Puccini got her off by paying twelve thousand lire to the girl's family."

"So what's the plan?" Yasmin asked me. "Do I just knock on the door and walk in?"

"That won't work," I said. "He's surrounded by faithful watchdogs and his b.l.o.o.d.y wife. You'd never get near him."

"What do you suggest then?"

"Can you sing?" I asked her.

"I'm not Melba," Yasmin said, "but I have quite a decent little voice."

"Great," I said. "Then that's it. That's what we'll do."

"What?"

"I'll tell you on the way up," I said.

We had just returned to the mainland from Capri and we were in Sorrento now. It was warm October weather in this part of Italy and the sky was blue as we loaded up the trusty Citroen _torpedo_ and headed north for Lucca. We had the hood down and it was a great pleasure to be driving along the lovely coastal road from Sorrento to Naples.

"First of all, let me tell you how Puccini met Caruso," I said, "because this has a bearing on what you're going to be doing. Puccini was world famous. Caruso was virtually unknown, but he desperately wanted to get the part of Rodolfo in a forthcoming production of _La Boheme_ at Livorno. So one day he turned up at the Villa Puccini and asked to see the great man. Almost every day second-rate singers were trying to get in to see Puccini, and it was necessary that he be protected from these people or he would get no peace. 'Tell him I'm busy,' Puccini said. The servant told Puccini that the man absolutely refused to go. 'He says he'll camp in your garden for a year if necessary.' 'What does he look like?' Puccini asked. 'He's a small stubby little chap with a moustache and a bowler hat on his head. He says he's a Neapolitan.' 'What kind of a singer?' Puccini asked. 'He says he's the best tenor in the world,' the servant reported. 'They all say that,' Puccini said, but something prompted him, and to this day he doesn't know what it was, to put down the book he was reading and to go into the hallway. The front door was open and little Caruso was standing just outside in the garden. 'Who the h.e.l.l are you?' Puccini shouted. Caruso lifted up his full-throated magnificent voice and answered with the words of Rodolfo in _La Boheme_, '_Chi son? Sono un poeta_' . . . 'Who am I? I am a poet.' Puccini was absolutely bowled over by the quality of the voice. He'd never heard a tenor like it before. He rushed up to Caruso and embraced him and cried out, 'Rodolfo is yours!' That's a true story, Yasmin. Puccini himself loves to tell it. And now of course Caruso _is_ the greatest tenor in the world, and he and Puccini are the closest of friends. Rather marvellous, don't you agree?"

"What's this got to do with me singing?" Yasmin asked. "My voice is hardly going to bowl Puccini over."

"Of course not. But the general idea is the same. Caruso wanted a part. You want three cubic centimetres of s.e.m.e.n. The latter is easier for Puccini to give than the former, especially to someone as gorgeous as you. The singing is simply a way to attract the man's attention."

"Go on, then."

"Puccini works only at night," I said, "from about ten thirty p.m. to three or four in the morning. At that time the rest of the household will be asleep. At midnight, you and I will creep into the garden of the Villa Puccini and locate his studio, which I believe is on the ground floor. A window will certainly be open because the nights are still warm. So while I hide in the bushes, you will stand outside the open window and sing softly the gentle aria '_Un bel di vedremo_' from _Madame b.u.t.terfly_. If everything goes right, Puccini will rush to the window and will see standing there a girl of surprising beauty--you. The rest should be easy."

"I rather like that," Yasmin said. "Italians are always singing outside each other's windows."

When we got to Lucca, we holed up in a small hotel, and there, beside an ancient piano in the hotel sitting-room, I taught Yasmin to sing the aria. She had almost no Italian but she soon learnt the words by heart, and in the end she was able to sing the complete aria very nicely indeed. Her voice was small but she had perfect pitch. I then taught her to say in Italian, "Maestro, I adore your work. I have travelled all the way from England . . ." etc., etc., and a few other useful phrases, including of course, "All I ask is to have your signature on your own notepaper."

"I don't think you're going to need the Beetle with this chap," I said.

"I don't think I am either," Yasmin said. "Let's skip it for once."

"And no hatpin," I told her. "This man is a hero of mine. I won't have him stuck."

"I won't need the hatpin if we don't use the Beetle," she said. "I'm really looking forward to this one, Oswald."

"Ought to be fun," I said.

When all was ready, we drove out one afternoon to the Villa Puccini to scout the premises. It was a ma.s.sive mansion set on the edge of a large lake and completely surrounded by an eight-foot-high spiked iron fence. Not so good, that. "We'll need a small ladder," I said. So back we drove to Lucca and bought a wooden ladder, which we placed in the open car.

Just before midnight we were once again outside the Villa Puccini. We were ready to go. The night was dark and warm and silent. I placed the ladder up against the railings. I climbed up it and dropped down into the garden. Yasmin followed. I lifted the ladder over onto our side and left it there, ready for the escape.

We saw at once the one room in the entire place that was lit up. It was facing toward the lake. I took Yasmin's hand in mine and we crept closer. Although there was no moon, the light from the two big ground-floor windows reflected onto the water of the lake and cast a pale illumination over the house and garden. The garden was full of trees and bushes and shrubs and flower beds. I was enjoying this. It was what Yasmin called "a bit of a lark." As we came closer to the window, we heard the piano. One window was open. We tiptoed right up to it and peeped in. And there he was, the man himself, sitting in his s.h.i.+rtsleeves at an upright piano with a cigar in his mouth, taptapping away, pausing to write something down and then tapping away again. He was thickset, a bit paunchy, and he had a black moustache. There was a pair of candlesticks in elaborate bra.s.s holders screwed onto either side of the piano, but the candles were not lit. There was a tall stuffed white bird, a crane of some sort, standing on a shelf alongside the piano. And around the walls of the room there were oil paintings of Puccini's celebrated ancestors--his great-great-grandfather, his great-grandfather, his grandfather, and his own father. All these men had been famous musicians. For over two hundred years, the Puccini males had been pa.s.sing on musical gifts of a high order to their children. Puccini straws, if only I could get them, were going to be immensely valuable. I resolved to make one hundred of them instead of the usual fifty.

And now there we stood, Yasmin and I, peering through the open window at the great man. I noticed that he had a fine head of thick black hair brushed straight back from the forehead.

"I'm going out of sight," I whispered to Yasmin. "Wait until he's not playing, then start to sing."

She nodded.

"I'll meet you by the ladder."

She nodded again.

"Good luck," I said, and I tiptoed away and stood behind a bush only five yards from the window. Through the foliage of the bush not only could I still see Yasmin but I could also see into the room where the composer was sitting, because the big window was low to the ground.

The piano tinkled. There was a pause. It tinkled again.

He was working out the melody with one finger only, and it was wonderful to be standing out there somewhere in Italy on the edge of a lake at midnight listening to Giacomo Puccini composing what was almost certainly a graceful aria for a new opera. There was another pause. He had got the phrase right this time and he was writing it down. He was leaning forward with a pen in his hand and writing on the ma.n.u.script paper in front of him. He was jotting his musical notes above the words of the librettist.

Then suddenly, in the absolute stillness that prevailed, Yasmin's small sweet voice began to sing "_Un bel dl vedremo_." The effect was stunning. In that place, in that atmosphere, in the dark night beside the lake outside Puccini's window, I was moved beyond words. I saw the composer freeze. The pen was in his hand against the paper and the hand froze and his whole body became motionless as he sat listening to the voice outside the window. He didn't look around. I don't think he dared to look round for fear of breaking the spell. Outside his window a young maiden was singing one of his favourite arias in a small clear voice in absolutely perfect pitch. His face didn't change expression. His mouth didn't move. Nothing about him moved while the aria was in progress. It was a magic moment. Then Yasmin stopped singing. For a few seconds longer Puccini remained sitting at the piano. He seemed to be waiting for more, or for a sign of some sort from outside. But Yasmin didn't move or speak either. She simply stood there with her face upturned to the window, waiting for the man to come to her.

And come to her he did. I saw him put down his pen and rise slowly from the piano stool. He walked to the window. Then he saw Yasmin. I have spoken many times of her scintillating beauty, and the sight of her standing out there so still and serene must have come as a glorious shock to Puccini. He stared. He gaped. Was this a dream? Then Yasmin smiled at him and that broke the spell. I saw him come suddenly out of his trance and I heard him say, "_Dio mio, come bella!_" Then he jumped clear out of the window and clasped Yasmin in a powerful embrace.

That was more like it, I thought. That was the real Puccini. Yasmin was not slow to respond. Then I heard him say softly to her in Italian, which I'm sure Yasmin didn't understand, "We must go back inside. If the piano stops playing for too long a time, my wife wakes up and becomes suspicious." I saw him smile at this, showing fine white teeth. Then he picked Yasmin up and hoisted her through the window and climbed in after her.

I am not a voyeur. I watched A. R. Woresley's antics with Yasmin for purely professional reasons, but I had no intention of peeping through the window at Yasmin and Puccini. The act of copulation is like that of picking the nose. It's all right to be doing it yourself but it is a singularly unattractive spectacle for the onlooker. I walked away. I climbed the ladder and dropped over the fence and went for a stroll along the edge of the lake. I was away about an hour. When I returned to the ladder there was no sign of Yasmin. When three hours had gone by, I climbed back into the garden to investigate.

I was creeping cautiously between the bushes when suddenly I heard footsteps on the gravel path, and Puccini himself with Yasmin on his arm walked past me not ten feet away. I heard him saying to her in Italian, "No gentleman is going to permit a lady to walk back to Lucca all alone at this time of night."

Was he going to walk her back to the hotel? I followed them to see where they were going. Puccini's motor car was standing in the drive in the front of the house. I saw him help Yasmin into the pa.s.senger seat. Then, with a great deal of fuss and match-striking, he got the acetylene headlamps alight. He cranked the starting handle. The engine fired and ticked over. He unlocked the gates, jumped into the driver's seat, and off they went with the motor roaring and revving.

I ran out to my own car and got the thing started. I drove fast toward Lucca but I never caught up with Puccini. In fact, I was only halfway there when he pa.s.sed me on his way home again, alone this time.

I found Yasmin at the hotel.

"Did you get the stuff?"

"Of course," she said.

"Give it to me quickly."

She handed it over and by dawn I had made one hundred Puccini straws of good quality. While I was working on them, Yasmin sat in an armchair in my room drinking red Chianti and giving her report.

"Great time," she said. "Really marvellous. I wish they were all like him."

"Good."

"He was so _jolly_," she said. "Lots of laughs. And he sang me a bit from the new opera he's doing."

"Did he say what he's calling it?"

"_Turio_," she said. "_Turidot_. Something like that."

"No trouble from the wife upstairs?"

"Not a peep," she said. "But it was so funny because even when we were plunged in pa.s.sion on the sofa, he had to keep reaching out every now and again to bang the piano. Just to let her know he was working hard and not banging some woman."

"A great man, you think?"

"Terrific," Yasmin said. "Stupendous. Find me another like him."

22.

FROM LUCCA we headed north for Vienna, and on the way we called on Sergei Rachmaninoff in his lovely house on Lake Lucerne.

"It's a funny thing," Yasmin said to me when she came back to the car after what had obviously been a fairly energetic session with the great musician, "it's a funny thing, but there's an amazing resemblance between Mr. Rachmaninoff and Mr. Stravinsky."

"You mean facially?"

"I mean everything," she said. "They've both got small bodies and great big lumpy faces. Enormous strawberry noses. Beautiful hands. Tiny feet. Thin legs. And great equipment."

"Is it your experience so far," I asked her, "that geniuses have larger pizzles than ordinary men?"

"Definitely," she said. "Much larger."

"I was afraid you'd say that."

"And they make better use of them," she said, rubbing it in. "Their swordsmans.h.i.+p is superb."