In cases where there really are voice and merit such methods should be quite unnecessary, since managers are only too eager to secure fresh talent and to offer suitable opportunities for appearing before the public to those who possess it.
Just another suggestion. Don’t be induced to accept a dramatic rôle if your voice is purely lyric. Don’t even be tempted. Certain maestri are always looking for voices that can be heard above their orchestras. They never find one, because it doesn’t exist; but the path of their search is strewn with wrecked voices.
Chapter XXVII
REHEARSALS
REHEARSALS are a necessary evil and the sensible artist will try to make the best of them. Undoubtedly they are very tedious and trying, but they are quite unavoidable unless you happen to have attained sufficient eminence to be dispensed attendance at them. And even then it is not always wise to avoid them if you wish to procure the best results.
Patti, throughout the greater part of her career, never attended any rehearsals. But then she always sang in the best-known operas with thoroughly experienced fellow-artists who were carefully instructed as to her requirements. But it is hardly necessary to say that her case was exceptional.
Some artists are very trying at rehearsals by coming with their parts imperfectly prepared, by arriving late, and so on, and in such cases the company in general is fortunate if the manager is sufficiently firm to insist on proper discipline being observed.
A strict conductor who allows no trifling of this kind is, indeed, the truest friend of the artists, and his authority should be recognised accordingly by one and all. It is of the utmost importance that artists should be thoroughly acquainted with their parts, and they should take advantage of rehearsals to master every detail of their action, business, and so on, leaving absolutely nothing to chance.
There is, however, no need to sing with full voice at rehearsals; indeed, this is not desirable. But one should naturally sing loud enough to indicate quite clearly one’s intentions. Nor should the inexperienced artist show any reluctance to take advice from the stage manager when it is given. For his judgment will probably be better than yours, and in any case it is your business to do as he directs.
Chapter XXVIII
CONTRACTS
IN the case of young singers with very promising voices, impresarios are often found who are willing to finance the period of instruction for a term of say five years. Their calculations are that in the last few years of this period the artist will become a profitable investment for them.