THE FRENCH word 'encore' means 'again' in English. However it has been used to suggest a request for a repeat performance, usually of the same piece.
'Encore' is often used as a call for the artiste to return to the stage to give additional performance(s). An encore should be a request from the audience, when a performance is of an extraordinary high standard.
According to the Oxford Dictionary of Music, the word was used in early centuries by the audiences of Italian opera, in London, with the words altra volta, which means another time.
In those days the word was spelt 'ancore' or 'anchore'. However, the French use the word 'bis' - the Latin for twice - which takes the verb 'bisser'.
The practice of encore often becomes one of the trials of concert-going. Oftentimes, this practice is a selfish exercise, where many performers decided beforehand, that there should be an encore. And this is supported by a few fans in the audience, who are able to manipulate the rest and influence gullible emcees to respond to their call.
A trend has been developed where producers and emcees 'set up', or arrange encores. I was told by an emcee of an incident where a young man came on stage, performed for about two minutes, instead of his alloted seven-minutes stint, then ran off stage. Backstage he remained in full view of the emcee, so he could beckon to her a desire to be recalled, which in this instance was ignored.
Faulty programming
There are occasions too when producers, through faulty programming, or bad production practices, arrange for an artiste to be detained on stage (hold the stage) until late arriving performers are in sight. And, there is yet another popular Jamaican habit to have fans of the performers seated or standing in front of the stage. These supporters get vociferous and uncontrollable whenever the artiste is to leave the stage, to force the emcee to have the performer back.
According to a show-goer, "There are times when the audience is asked if they want an 'encore' and they shout 'No!', but the emcee pretends to have heard 'Yes!'"
However, encores in opera or other classical performances usually destroy dramatic quality. According to a report, at the first performance of Lohengrin (1875) in London, England, the audience requested an encore of the chorus, which is sung during the arrival of the Swan. And a performance of works by Gilbert and Sullivan can also be adversely affected by encores.
It is said that in Latin countries in the 1930s, opera producers displayed much tolerance and acceded to irrelevant interpolations. The Spanish tenor, Fleta, would respond to a bis, with encore after encore of popular songs, which had nothing to do with the opera.
It is also said that since then the phrase 'No Encores' is clearly written on programme notes and billboards relating to classical works performed in Europe.
The Musical Times of June 1844 records, that during the singing of Handel's Sweet Bird by a soloist at a concert of the York Choral Society, there was such immense applause that the performers could not proceed with the next piece. And, seeing that it was a standing rule that no encore be given on such occasions, the concert ended at that point.
It is tiring for a performer who has endured a demanding performance to be expected to give an additional performance.
