Jumps-ins play a significant role in the singer’s career. If someone is a good at them, the news quickly spreads in the theatre circles. From my own experience, a phone ringing suddenly can mean pretty much anything. Of course, the most common one a request to do a role I sing a lot (say, Traviata) on the very same evening (sometimes in another country, in an unfamiliar production). There was a time when I had to sing both morning and evening performance as Melinda on the same day to help a dear colleague. And then there are some exciting challenges like ten years ago when I had to master a completely new role, Fauno, in five days. How do I approach it? How to distribute our strength, our brain capacity, how do we “survive” successfully? What are the tools to learn new music material quickly and confidently?