Read Online Bella Poldark by Winston Graham - Free Book Online Page B
Authors: Winston Graham
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thing: one's heart beat faster even today at the thought of it. She and Ross had bred a girl of exceptional talent, exceptional courage, exceptional self reliance. She deserved the best. Was this the best?
In the afternoon of the same day they went to see two other experts recommended by a musical friend of Mrs Pelham. The first was a Mr Peter Reumann, who was musical director of the King's Theatre in the Haymarket. They were taken to the back of the theatre to meet him, where a rehearsal room was empty except for half a dozen chairs and a concert grand piano. He was another small man, but slight of build and with an obvious authority. He took Bella to the piano and asked her to accompany him in a few simple tunes. After fifteen minutes he said: 'A quite distinctive voice and noble in one so young. It needs training, of course, and we do not have the teacher or the facilities here for such training. Here you could take small parts very soon but, yes, I understand you are not seeking that - next summer we are considering productions that could offer her an opening. That way she would pick up a great deal; sometimes one can learn so much from others. I know of two young women who have prospered that way. Both of course took private lessons as well. If you change your mind and care to write me in about six months I will be willing to see you again. Can you act, Miss Poldark?'
'I think so,' said Isabella-Rose, all agog at being behind the scenes in one of the great theatres. 'I would want to.'
'Of course, of course. Acting is always an integral part of singing, whether in simple glees or in grand opera. You must appeal to the eye as well as to the ear.' He added to Demelza: 'She has not perhaps got your looks, madame, but she is the right build and already has presence.'
Caroline said: 'You think her voice might be exceptional?'
Reumann hesitated, then decisively: 'Yes, I do.'
'Ideally, where should she go for the best tuition?'
'There is talk of opening a Royal College of Music. At present: Falconer, Fredericks, Alesi, Lotti Schneider. Perhaps those are the best four. If you are aiming merely for operetta, then you could not do better than go to Paris, where there are several excellent people.'
Caroline said: 'We have an appointment with Madame Schneider at five.'
Madame Lotti Schneider, a fair-haired, buxom, handsome woman, said: 'Com' 'ere, meine lebe. Let me look into your mouth. Your throat, my little, it is the instrument on vich
you must play all your life. No? It is 'ere, 'ere and 'ere vence comes the tone, the quality. Come over 'ere to der piano. I see you breathe veil. Now let me 'ear this voice. Gently, gently at first in answer to ze piano, just as if you were soothing a little baby to sleep.'
This was a quiet street, not like the King's Theatre, where even through closed windows one could hear the ramble of carts and carriages. Listening to her daughter's voice following the piano up a note, up an octave, and gradually increasing in volume, Demelza thought: if Ross could hear her now he would realize what an intelligent girl Bella was. She seemed to know exactly what Madame Schneider wanted even though she was being spoken to in a thick German accent. When it was over Lotti Schneider patted one of Bella's hands. 'Dat is very good. Lirico-Spinto is what you may become. You have a daughter of great talent, Lady Poldhu. She should 'ave a splendid future. I would be 'appy to take her - and will do so, but I 'ave to say I am shortly to embark on a concert tour of Europe: Rome, Milan, Vienna, Berlin. When this 'appen my pupils do not 'ave the best attention. Natural, I give exercises to fill up their time with careful study. Do you have foreign languages? French, Italian? I leave London after Christmas and shall contemplate to return at Easter. She could gain much in working with a professional mezzo like me, but dere are drawbacks too.'
Demelza said: 'But you think, madame, dat - that my daughter should go on
In the afternoon of the same day they went to see two other experts recommended by a musical friend of Mrs Pelham. The first was a Mr Peter Reumann, who was musical director of the King's Theatre in the Haymarket. They were taken to the back of the theatre to meet him, where a rehearsal room was empty except for half a dozen chairs and a concert grand piano. He was another small man, but slight of build and with an obvious authority. He took Bella to the piano and asked her to accompany him in a few simple tunes. After fifteen minutes he said: 'A quite distinctive voice and noble in one so young. It needs training, of course, and we do not have the teacher or the facilities here for such training. Here you could take small parts very soon but, yes, I understand you are not seeking that - next summer we are considering productions that could offer her an opening. That way she would pick up a great deal; sometimes one can learn so much from others. I know of two young women who have prospered that way. Both of course took private lessons as well. If you change your mind and care to write me in about six months I will be willing to see you again. Can you act, Miss Poldark?'
'I think so,' said Isabella-Rose, all agog at being behind the scenes in one of the great theatres. 'I would want to.'
'Of course, of course. Acting is always an integral part of singing, whether in simple glees or in grand opera. You must appeal to the eye as well as to the ear.' He added to Demelza: 'She has not perhaps got your looks, madame, but she is the right build and already has presence.'
Caroline said: 'You think her voice might be exceptional?'
Reumann hesitated, then decisively: 'Yes, I do.'
'Ideally, where should she go for the best tuition?'
'There is talk of opening a Royal College of Music. At present: Falconer, Fredericks, Alesi, Lotti Schneider. Perhaps those are the best four. If you are aiming merely for operetta, then you could not do better than go to Paris, where there are several excellent people.'
Caroline said: 'We have an appointment with Madame Schneider at five.'
Madame Lotti Schneider, a fair-haired, buxom, handsome woman, said: 'Com' 'ere, meine lebe. Let me look into your mouth. Your throat, my little, it is the instrument on vich
you must play all your life. No? It is 'ere, 'ere and 'ere vence comes the tone, the quality. Come over 'ere to der piano. I see you breathe veil. Now let me 'ear this voice. Gently, gently at first in answer to ze piano, just as if you were soothing a little baby to sleep.'
This was a quiet street, not like the King's Theatre, where even through closed windows one could hear the ramble of carts and carriages. Listening to her daughter's voice following the piano up a note, up an octave, and gradually increasing in volume, Demelza thought: if Ross could hear her now he would realize what an intelligent girl Bella was. She seemed to know exactly what Madame Schneider wanted even though she was being spoken to in a thick German accent. When it was over Lotti Schneider patted one of Bella's hands. 'Dat is very good. Lirico-Spinto is what you may become. You have a daughter of great talent, Lady Poldhu. She should 'ave a splendid future. I would be 'appy to take her - and will do so, but I 'ave to say I am shortly to embark on a concert tour of Europe: Rome, Milan, Vienna, Berlin. When this 'appen my pupils do not 'ave the best attention. Natural, I give exercises to fill up their time with careful study. Do you have foreign languages? French, Italian? I leave London after Christmas and shall contemplate to return at Easter. She could gain much in working with a professional mezzo like me, but dere are drawbacks too.'
Demelza said: 'But you think, madame, dat - that my daughter should go on
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