Читать книгу Great Singers on the Art of Singing - James Francis Cooke - Страница 15

While the head musical director is engaged with the principals and the orchestra, the Chorus-master spends his time training the chorus. If his work is not efficiently done, the entire production is greatly impeded. The assistant conductors undertake the work of rehearsing the soloists prior to their appearance in connection with the orchestra. They must know the Head Director's ideas perfectly, and see that the soloists do not introduce interpretations which are too much at variance with his ideas and the accepted traditions. In all about ten rehearsals are given to a work in a room set aside for that purpose, then there are five stage rehearsals, and finally four full ensemble rehearsals with orchestra. In putting on an old work, such as those in the standard repertoire, no rehearsals are demanded.

The musical forces of the Metropolitan Opera House, for instance, make a company of at least two leading conductors, twelve assistant conductors, about ninety soloists, a chorus numbering at least one hundred and twenty-five singers, thirty musicians for stage music, about twenty stage attendants and an orchestra of from eighty to one hundred performers, to say nothing of the costume, scenic and business staff, making a little industry all in itself.

The General Director, the Stage Manager, and often the Musical Director make innumerable suggestions to the singers regarding the proper histrionic presentation of their rôles. As a rule singers give too little attention to the dramatic side of their work and demand too much of the stage manager. In recent years there has been a great improvement in this. Prior to the time of Gluck, Weber and Wagner, acting in opera was a matter of ridicule.