Chapters (84)
- Cover
- Dedication
- The Lost Daughter
- Prologue
- Chapter 1
- Chapter 2
- Chapter 3
- Chapter 4
- Chapter 5
- Chapter 6
- Chapter 7
- Chapter 8
- Chapter 9
- Chapter 10
- Chapter 11
- Chapter 12
- Chapter 13
- Chapter 14
- Chapter 15
- Chapter 16
- Chapter 17
- Chapter 18
- Chapter 19
- Chapter 20
- Chapter 21
- Chapter 22
- Chapter 23
- Chapter 24
- Chapter 25
- Chapter 26
- Chapter 27
- Chapter 28
- Chapter 29
- Chapter 30
- Chapter 31
- Chapter 32
- Chapter 33
- Chapter 34
- Chapter 35
- Chapter 36
- Chapter 37
- Chapter 38
- Chapter 39
- Chapter 40
- Chapter 41
- Chapter 42
- Chapter 43
- Chapter 44
- Chapter 45
- Chapter 46
- Chapter 47
- Chapter 48
- Chapter 49
- Chapter 50
- Chapter 51
- Chapter 52
- Chapter 53
- Chapter 54
- Chapter 55
- Chapter 56
- Chapter 57
- Chapter 58
- Chapter 59
- Chapter 60
- Chapter 61
- Chapter 62
- Chapter 63
- Chapter 64
- Chapter 65
- Epilogue
- Acknowledgments
- An Excerpt from JACKIE AND MARIA
- Chapter 1
- Chapter 2
- P.S. Insights, Interviews & More . . .*
- About the Author
- About the Book
- Historical Afterword
- Sources
- The Love Lives of the Romanov Daughters
- Reading Group Questions
- Praise for The Lost Daughter
- By Gill Paul
- About the Publisher
She interrupted. “You have no idea how terrifying it was. Battista pretended I already knew the part, which is one of the most difficult in opera. I had to audition a week later, sight-reading for Tullio Serafin, the great guru who had conducted me in La Gioconda. Fortunately he thought I was capable of the role and arranged two months of intensive coaching to get me ready.”
She would never forget the blind panic of that time: the technical difficulties of the part of Isolde, the wild, passionate Irish princess; the immense pressure of stepping out onto the glittering stage where Rossini’s and Bellini’s works had premièred; the grandeur of La Fenice, with its rows of golden boxes, the ceiling mural of flying Graces, the ornate putti, the plush red-velvet seats. All of it combined to make her feel unworthy.
On opening night Tullio had given her a gift of a Madonna icon—a pretty one in jewel tones with a gilt frame. She remembered trembling as she prayed to the compassionate face of the Holy Mother that she would not let everyone down.
The prayer must have worked, because the production was an astounding success. She couldn’t see beyond the proscenium arch without her glasses but could hear that many were getting to their feet, cheering and whistling as well as clapping, and she was called back to the stage a dozen times before she could finally retreat to her dressing room. It felt like a dream.
“You should have seen the reviews.” Battista beamed. “I’ve never read anything like it. The critics were unanimous that a new star had appeared in the firmament. After that, every director in Italy wanted to work with her, and Tullio became her cheerleader.”
They had told this story before, and she smiled at him as she delivered the punch line. “Battista waited till the third night after the opening, when he was sure his investment had paid off, before asking me to marry him.”
They all laughed. In fact, Maria had been stunned by his proposal. She had so little confidence in those years that she couldn’t believe anyone would want her for anything other than her voice. How could he think of making love to a woman so large that no chairs were big enough for her? A woman with thighs the circumference of the average woman’s waist? She had been reluctant to remove her tent of a nightgown on their wedding night, but Battista seduced her slowly, awakening sensations she adored. Right from the start, she loved sex, couldn’t get enough of it. She loved him too; he was the first person ever to make her feel cherished.