I knew someone who was a professional cellist. She once remarked that if a performer made a mistake, she would be expecting another mistake during the performance. (It's like a figure skater falling down at the beginning of a routine.)

Relating this feeling to the attitudes of a reader is hypothetical of course. Not all readers are the same. But I still think the general principles would apply.

Suppose you took a good script and substituted a bad first page for the original first page.

Someone reading the script would have a bad taste even though the remaining pages worked. Now it's possible that pages 2-1xx would be good enough to overcome the original impression, but the impression would still be there, and would probably be strong enough to sink borderline storytelling.

It's not just enough to avoid mistakes. The writer has to convince readers that they are securely in the hands of a professional storyteller. That, I think, is where voice comes in (plus other positive attributes). You have to convince your readers that they are in for a pleasurable journey, that you know what you're doing.