" And Liszt never
gave a finer exhibition of his wit and artistic courage than when, at
an imperial soiree in the Russian capital, he suddenly ceased playing
in the midst of a piece, because the Czar was talking loudly with an
officer. The Czar sent an attendant to inquire of Liszt why he
stopped; whereupon Liszt retorted that it was the first rule of court
etiquette that when the Czar was speaking others must be silent. The
Czar never forgave him this well-merited rebuke.
This anecdote has a moral for those who talk loudly at the opera; for
it calls attention to the fact that they not only annoy those of the
audience who wish to hear the music, but also insult the artists on
the stage.
The establishment of habitual silence during operatic performances is
only one of the beneficial changes introduced into operatic etiquette
through German opera. The method of applauding has been revolutionized
too. It is no longer customary to interrupt the flow of the orchestral
music by applauding a singer. All the applause is now reserved for the
end of the acts. I remember a performance of "Lohengrin," at the
Academy of Music, at which the music was thrice interrupted by some
ill-bred admirers of Campanini, who applauded him when he first
appeared in sight on the swan-boat; again, when he stepped on shore,
and a third time when he came to the front of the stage.
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