I agree. That is why I asked the question. Thank you.
Having attended many rehearsals where the number of fermata differed from one part to another (and the score) I discourage this unless you have unlimited rehearsal time. Everyone should have the same number of fermata for a new work.
If it is a beloved classic that is different.
Ummm.. no?
Sorry, Iāll go on putting in recits and cadenzas as I always have, thanksā¦
Thank you all for your kind words. You are correct in terms of principle. I asked the question because I was wondering how to handle sheet music like this. I will keep it in mind. Thank you.
Could you tell me how you made it invisible? Thank you.
Itās not hard - you just need to join the ā1 percenters clubāā¦ 
No, seriously though - if you want to keep it there for playback purposes, and since you canāt truly hide it, set a custom size of 1 percent for the fermata. Presto! Then, go back and add it to the one or two staves that actually need it as staff-attached text (music symbol). Move it into place in engrave mode - done!
I see. Understood. I will do that. Thank you all.
I should know better than taking obvious troll bait, butā¦
Iām somewhat doubtful that this:
is by some of those:
You get my point.
Or you donāt.
I do! And to step away from facetiousness for a second, your point, whilst technically correct, is irrelevant, for the following reasons:
1: pauses in some parts but not others is, and always has been, a thing, including by basically every composer ever
2: Dorico wishes to be known as the very best music scoring software out there, and it largely is. However, it is missing an extremely common feature which should be there, isnāt, and is there in its competitors
3: finding one example where the missing pause doesnāt - to your eyes, and in the absence of any explanatory notes of what the composer meant - make sense, doesnāt mean that it is invalid; it means that either the composer isnāt composing the way you would, or you are missing context which would explain it.
4: the arbiter of which composers ādeserveā to have their needs met by Dorico isnāt your call, my call, or Doricoās call! If composers do it (and they do, in their millions), it should be a feature. Dorico ā The ABRSM!
I hid them by setting the color to 0. I used Musglyphs instead of fermatas. How can I select the hidden fermatas again when editing later? Thank you.
If you select the area, you should find them:
I guess you kept them for playback purposes?
Ask a simple questionā¦. 
This, of course, generously assumes the infallibility of the composer with regards to notation. As one, Iād love to agree, but I know Iād be wrong.
I think that in these troubled times, itās not a good idea to argue over a fermata, is it?
I reckon it would be easy for the development team to add a tick box in the Properties menu to hide a particular fermata; that way, everyone will be happy.
Yes, for exemple, in Mozartās Opera, or some scores where a soloist must realise a short leading cadenza. But modern editions, like BƤrenreiter for exemple, generally extend the fermata to all parts.
Iām going to go ahead and stake my claim to be a composing fundamentalist. My position is: by definition, a composer cannot be wrong with regards to notation. They wrote it = you perform it.
They can, however, be a crap composer. Thatās a different metric!
I reckon that if it were easy to do, they either would have done it already, or the dev team are all sitting about eating chocolate biscuits and doing no actual work.
Now, of all the criticisms which have ever been levelled at Mr Spreadbury and his team, I think the very last thing you could say would be ālazyā!
Therefore, I posit that it is difficult to do. But I entirely agree with you that a tick box in properties would be wonderful. Just so long as they could avoid also giving it an entirely unnecessary radio button, drop down menu and āSpot The Traffic Lightsā Captcha as wellā¦.
Thank you always for explaining things with kind videos. Thanks to you, I understood it well.
As is a fundamentalistās wont. But I will confess that I simply adore the idea that performers will perform everything that I heard and only what I heard when writing a piece. Itās such a lovely thought.
That aside, I feel compelled to point out (at the risk of drawing out further an unfortunate OT, and with apologies to @Nohoodorico) for your and our mutual benefit that the culture of this forum is intentionally a very positive one, @vintagekmco (which of course includes constructive criticism of things, though not criticisms of people). I encourage you to approach it in that spirit. It would be a shame if you squandered the good will of your fellow members who might otherwise voluntarily assist you when thereās something youāre stuck on.
I mostly do. Iām just allergic to people being told that they are not allowed to want to compose in a certain way, and that happens on this forum really quite a lot. Also, I find it tiresome when people (regularly) claim that Dorico is head and shoulders above the rest, and all the rest are total rubbish, especially when it clearly aināt so.
Sorry to sound grumpy. I know most people on here are lovely and helpful, and I appreciate that the thread above was mostly not telling people how to compose, but there are occasions when it feels like a forum for fans of a PS4, or of Tottenham United football club, and Iām too old for that nonsense.
Clarification: I believe Dorico to be, on balance, the best available software. This does not mean that I am prepared to pretend that itās missing features and occasionally poor UI are some sort of deliberate choice I should be grateful for!
From my experience, itās much more the case that users share strong opinions about how composers notate what they write, and very rarely are broad-strokes dismissals of the actual music offered. (And what more or less would one expect from a forum of users devoted to notating music! 
.)
I also know that as composer I can sometimes overlook a small detail because āI know what it sounds like,ā but there may be a tweak I didnāt think of that will communicate that much more clearly to performers, and their fresh-eyed perception is helpful.
And I personally find the practical suggestions regarding how notational practices can play out in the all-too-often unfortunately limited timeframe of rehearsal and/or recording, such as @rawmuseās above, very valuable.
To be very clear: I, along with everyone else here āincluding the dev team, are perfectly happy to hear ideas about how Dorico could be improved or extended. I donāt recall anywhere in this thread that suggested otherwise.
The simple fact of the musical matter in the OPās example is that there will be no audible difference in the result if it contains fermatas over bar rests in the final measure or not. So the choice wonāt affect the composerās intentions. It simply comes down to a choice between textual fidelity (whether advised in this instance or not) and pragmatic considerations such as avoiding a small bit of confusion.