In order to prevent the young pupils from distracting from training, all the windows of the establishment were thickly smeared with chalk, so there was no way to look out onto the street.

Everyone noted that they were the wildest governess, since the presence of the man at the table led the girls into a terrible embarrassment.

Despite the fact that after his father's death in the same year of 1870, Kadmina's family was left without money, he helped the girl not only become a student of the Moscow Conservatory in singing class, but also receive a scholarship.

[2] Among the teachers of Kadmina were such honored artists as Alexandra Alexandrova-Kochetova, Ivan Samarin and Pyotr Ilyich Tchaikovsky.

Later, charmed by her velvety rich mezzo-soprano, Tchaikovsky wrote specially for her music to the spring fairy tale of Alexander Ostrovsky The Snow Maiden.

And will find a frenzy on her it will dissolve worse than a street girl, — theatrical critic Alexander Amfiteatrov wrote about the brilliant student of the Conservatoire.

Cadmina sings in Naples, Turin, Florence and even in Milan, and everywhere she is invariably accompanied by a resounding success.

At some point, Kadmina understands that Italy no matter how enthusiastically she was received here is a career impasse, a trap in which she was driven by life inexperience and ambition.

Twice Eulalia tries to commit suicide: she throws herself into the river, but the police drag her out unscathed, drink poison, but the strong body copes.

Nervous, he gets sick, and then the young doctor Ernesto Falconi comes to the aid of the opera diva, who is able to cure not only her body but her soul, unfortunately, for a short while.

Dangerous experiments did not pass without a trace, and the singer with horror realizes that she begins to lose her voice.

During the interval Kadmina found matches in the latrine, broke off the phosphorus heads, filled them with tea and drank this mixture.

Under the influence of the tragic fate of Eulalia Kadmina, Ivan Turgenev's novel After Death (Klara Milich),[6] Alexander Kuprin's The Last Debut, Nikolai Leskov's Theatrical Character, Aleksey Suvorin's plays Tatiana Repina and its continuation under the same Anton Chekhov's name, Solovtsov-Fedorov's play Eulalia Radmina.

On the grave there is a modest half ruined monument with a short inscription: Eulalia Pavlovna Kadmina is a famous actress.