In the case of a poor artist this is often a very good plan, since it is to the interest of the impresario to assist in making a name and a position for the artist as well as in seeing that he has a proper training. And the latter may easily find himself the gainer by the arrangement therefore.

Speaking generally, however, I am not very much in favour of such contracts, for the simple reason that, the career of an artist being so short, he ought not to be placed in the position of expending his powers for the benefit of another person. I have known artists drawing £100 a performance who were receiving a mere £10 a week under such an agreement as I have described; and this is, of course, a very unsatisfactory and even heartbreaking state of things.

Caruso was one, it will be remembered, who entered into such a contract as a student which, however, he finally succeeded in getting rescinded, though not before he had had recourse to the law courts for this purpose.

As to contracts made later, when a proper position has been secured, the artist will not usually need much advice regarding these, since he is generally quite able to look after himself. “Too well, indeed,” it is sometimes said, by directors and managers.

Yet it must be remembered that, as noted above, the vocalist’s career is usually very brief. The years of gain may be from five to twenty, but are rarely much more than ten. I have known great artists who have lasted for but a few seasons. On the other hand, I can recall some like Battistini who have had over forty years of lucrative employment. But this is very rare.

Are they not justified, therefore, in requiring generous payment while they can obtain it? Also it must be remembered that great singers are exceptionally endowed, and as such are entitled to demand exceptional rewards. In which connection one may recall the famous reply of the dancer Gabrielli to the Empress Catherine of Russia. The Empress was staggered by the terms which she demanded and declared that not even her Field-Marshals received so much. Whereupon Gabrielli recommended the Empress to get her Marshals to dance for her.

Some of the most exacting contracts ever made by a singer were, I suppose, those of Catalani. In her agreements when she was singing in London she used to stipulate for half of the receipts throughout the entire season, while she inserted further such conditions as the following: “Madame Catalani shall choose and direct the operas which she is to sing; she shall likewise have the choice of the performers in them; and she will have no orders to receive from anyone.”

Madame Patti in turn received as much as £1000 a performance from Mapleson in America. But then Patti was—Patti! Most artists are content with less! And to such I would say as my final word on this point: “Do not forget during the days of your necessarily brief prosperity to make provision at all costs for the future.”

Chapter XXIX
CONCERT WORK

IF I have spoken largely about opera in these pages, this is because with my experience it comes most naturally to me to do this. But concert work—of which also I have done my share—is of course equally important, and a few words on this subject, therefore, may not come amiss.