ABSTRACT
If the orchestra plays a prelude, introducing a scene before the action begins we are not content to have the orchestra simply play this, we put it into scenic terms, in the sense of actions, words, phrases. The bond with the music must be so close that the action is played in the same rhythm as the music. Singer must not disregard these preludes and use the time to clear his throat or prepare his entrance; he must already be part of the unbroken pattern, of the unfolding life of a human spirit in his part, in the play. Nevertheless it must also lend harmony, precision and finish to the singer's acting. Since look upon opera as the collective creation of several arts, the words, the text, diction must be as well worked out as possible on the part of the singer. Young artists will not achieve perfection immediately; they must come closer and closer to it all the time.
