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.