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.
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as a student which, however, he finally succeeded in getting rescinded,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.”