Graham and Vocalisters:
Your points are well made. However, I was speaking of singers who
are unable to know their entrances from the music itself. This, of
course, assumes that they can hear the music on stage. Few American
stages have this difficulty because most venues are very willing to
provide sound monitors on stage for the singers.
I made the important point that in works in which the orchestra parts
are played against the singers line, entrance cues are necessary.
The singer's request to have a cue given is an example of this need
but the conductor's writing it in the score will not, necessarily,
ensure that the cue will be given. In such cases the singer and
conductor will usually have to come to some agreed system to
eliminate the problem. Sorry if I should not have called this a
training for the singer.
As for the complaint that operas are assembled rather than rehearsed
it is a valid criticism of an art form that is notorious for this
very fault. Audiences are very forgiving of this major flaw in the
art. Cost is, no doubt, a primary factor in its cause but it is not
the only factor. I know of managers, directors, and singers who have
no interest in substantial rehearsal time even if it is available for
them and, in many newer houses and with newer works, more rehearsal
time often IS available. The complaint then becomes why are we
wasting time to achieve what other opera creates in less time and
with less investment, financially as well as artistically.
None of the above is meant to suggest that well established houses do
poor or shoddy performance. But I find it most interesting that when
an opera is well rehearsed and performed with the security and singer
interaction that does not rely on standardized gesture, the audience
responds and often increases in size. There is room for improvement
and only with suggestions that encourage a growth in performance
standards will any changes likely happen.
Good to hear from you.
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