The chairs in the front rows were ticketed with the names of the houseguests and some of the new arrivals who evidently qualified as V.I.P.s. Troy and Alleyn were placed on the left of Mr. Reece’s empty chair, Sir David and Signor Lattienzo on its right, with Ben Ruby beyond them. The rest of the élite comprised the conductor of the New Zealand Philharmonic Orchestra and his wife, three professors of music from as many universities, an Australian newspaper magnate, and four representatives of the press — which press exactly had not been defined. The remainder of an audience of about fifty chose their own seats, while at the back the household staff was feudally accommodated.

The collective voice was loud and animated and the atmosphere of expectancy fully established. “If only they keep it up,” Troy whispered to Alleyn. She glanced along the row to Signor Lattienzo. His arms were folded and his head inclined toward Sir David, who was full of animation and bonhomie. Lattienzo looked up from under his brows, saw Troy, and crossed the fingers of his right hand.

The players came in and tuned their instruments, a sound that always caught Troy under the diaphragm. The lights in the auditorium went out. The stage curtain glowed. Mr. Reece slipped into his seat beside Troy. Rupert Bartholomew came in from behind the stage so inconspicuously that the had raised his baton before he had been noticed. The overture began.

Troy always wished she knew more about music and could understand why one sound moved her and another left her disengaged. Tonight she was too apprehensive to listen properly. She tried to catch the response of the audience, watched Rupert’s back and wondered if he was able to distill any magic from his players, wondered, even, how long the ephemeral good nature induced by champagne could be expected to last with listeners who knew what music was about. She was so distracted by these speculations that the opening of the curtain caught her by surprise.

She had dreamed up all sorts of awful possibilities: Rupert breaking down and walking out, leaving the show to crawl to disaster; Rupert stopping the proceedings and addressing the audience; or the audience itself growing more and more restless or apathetic and the performance ending on the scantiest show of applause, and the audience being harangued by an infuriated Sommita.

None of these things took place. True, as the opera developed, the boisterous good humor of the audience seemed to grow tepid, but the shock of that Golden Voice, the astonishment it engendered note by note, was so extraordinary that no room was left for criticism. And there was, or so it seemed to Troy, a passage in the duet with Hilda Dancy — “Whither thou goest” — when suddenly the music came true. She thought: That’s one of the bits Signor Lattienzo meant. She looked along the row and he caught her glance and nodded.

Sir David Baumgartner, whose chin was sunk in his shirt frill in what passed for profound absorption, raised his head. Mr. Reece, sitting bolt upright in his chair, inconspicuously consulted his watch.

The duet came to its end and Troy’s attention wandered. The show was well dressed, the supporting artists being clad in low-profile biblical gear hired from a New Zealand company who had recently revived the York Cycle. The Sommita’s costume, created for the occasion, was white and virginal and, if it was designed to make Ruth look like a startling social misfit amidst the alien corn, succeeded wonderfully in achieving this end.

The quartet came and went and left no mark. Sir David looked irritated. The Sommita, alone on stage, sailed into a recitative and thence to her big aria. Troy now saw her purely in terms of paint, fixing her in the memory, translating her into a new idiom. The diva had arrived at the concluding fioritura, she moved toward her audience, she lifted her head, she spread her arms and rewarded them with her trump card — A above high C.

No doubt she would have been very cross if they had observed the rule about not applauding until the final curtain. They did not observe it. They broke into a little storm of clapping. She raised a monitory hand. The performance entered into its penultimate phase: a lachrymose parting between Ruth and Signor Rodolfo, plump in kilted smock and leg strappings and looking like a late photograph of Caruso. Enter Boaz, discovering them and ordering the gleaner to be beaten. Ruth and Naomi pleading with Boaz to relent, which he did, and the opera ended with a rather cursory reconciliation of all hands in chorus.

The sense of relief when the curtains closed was so overwhelming that Troy found herself clapping wildly. After all, it had not been so bad. None of the horrors she had imagined had come to pass, it was over, and they were in the clear.

Afterward, she wondered if the obligatory response from the audience could have been evoked by the same emotion.

Three rapid curtain calls were taken, the first by the company, the second by the Sommita, who was thinly cheered by back-benchers, and the third again by the Sommita, who went through her customary routine of extended arms, kissed hands, and deep curtseys.

And then she turned to the orchestra, advanced upon it with outstretched hand and beckoning smile, only to find that her quarry had vanished. Rupert Bartholomew was gone. The violinist stood up and said something inaudible but seemed to suggest that Rupert was backstage. The Sommita’s smile had become fixed. She swept to an upstage entrance and vanished through it. The audience, nonplussed, kept up a desultory clapping which had all but died out when she reentered, bringing, almost dragging, Rupert after her.

He was sheet-white and disheveled. When she exhibited him, retaining her grasp of his hand, he made no acknowledgment of the applause she exacted. It petered out into a dead silence. She whispered something and the sound was caught up in a giant enlargement: the northwest wind sighing round the Island.

The discomfiture of the audience was extreme. Someone, a woman, behind Troy said: “He’s not well; he’s going to faint,” and there was a murmur of agreement. But Rupert did not faint. He stood bolt upright, looked at nothing, and suddenly freed his hand.

“Ladies and gentlemen,” he said loudly.

Mr. Reece began to clap and was followed by the audience. Rupert shouted, “Don’t do that,” and they stopped. He then made his curtain speech.

“I expect I ought to thank you. Your applause is for a Voice. It’s a wonderful Voice, insulted by the stuff it has been given to sing tonight. For that I am responsible. I should have withdrawn it at the beginning when I realized — when I first realized — when I knew—”

He swayed a little and raised his hand to his forehead.

“When I knew,” he said. And then he did faint. The curtains closed.

iii

Mr. Reece handled the catastrophe with expertise. He stood up, faced his guests, and said that Rupert Bartholomew had been unwell for some days and no doubt the strain of the production had been a little too much for him. He (Mr. Reece) knew that they would all appreciate this and he asked them to reassemble in the drawing room. Dinner would be served as soon as the performers were ready to join them.

So out they all trooped and Mr. Reece, followed by Signor Lattienzo, went backstage.

As they passed through the hall the guests became more aware of what was going on outside: irregular onslaughts of wind, rain, and behind these immediate sounds, a vague ground swell of turbulence. Those guests who were to travel through the night by way of launch, bus, and car began to exchange glances. One of them, a woman, who was near the windows, parted the heavy curtains and looked out, releasing the drumming sound of rain against glass and a momentary glimpse of the blinded pane. She let the curtain fall and pulled an anxious grimace. A hearty male voice said loudly: “Not to worry. She’ll be right.”