Juan and Olga pursued their musical careers, performing in and around Switzerland. There survive short reviews of recitals at the Conservatoire de Musique de Genève, where Juan performed Italian arias on a mixed programme in January of 1904. According to a paragraph in Le Journal de Genève, he capably interpreted songs by Paolo Tosti, an Italian-English composer still active at the time and very much in demand in drawing rooms and salons. (5) Olga also performed, and attracted her admirers. (6) One of them made a profound impression on Lina and, thanks to his connections, became a crucial contact for her in adulthood. This was Serge M. Persky, a prominent Russian-to-French translator who worked for a dozen years as secretary to the Prime Minister of France, Georges Clemenceau. His admiration for Olga and her mother Caroline (Lina's grandmother) was long-standing. Having arranged several concerts for Olga in Europe, he expressed piquant frustration that she had not achieved the fame that, in his estimation, she deserved. Nor could he quite understand her decision to curtail her musical activities in order to raise her daughter. Lina benefitted from his chivalrous largesse, and looked forward to his visits and the tins of chocolate-covered biscuits he presented to her in an effort to sweeten his relationship with Olga. When, in 1920, Persky learned that Lina was living in France, he sought her out, lavishing truffles on her as if she still had ribbons in her hair and asking, "Avez-vous une aussi belle voix que votre mère?" (7) (Do you have as beautiful a voice as your mother?). Deaf to Lina's protests, he imagined marrying her off to one of his millionaire friends.