The Opera Audition

Thoughts from Green Bay

2012-02-03T07:55:00.000-08:00

I did a Masterclass this week at the University of Wisconsin Green Bay, and had a great time talking to the students, and hearing a couple of them sing. I appreciate Sarah Meredith Livingston setting it up, and giving undergraduate students the opportunity to hear more about the business. I thought that I would copy the handout here that I used this week.

“Setting up” the Audition –William Florescu

I. Preparation – Nothing that is mentioned past this point means anything if this is not taken care of – the main areas of preparation are:

a. vocal – your lessons, technical work, etc.

b. musical – coaching, musical accuracy, style, etc.

c. lingual – also coaching – diction, articulation, pronunciation, etc.

d. cosmetic – your resume, head shot, clothes, hair, make up, etc. – this is one that is generally treated as either too important, or not important enough

e. physical – the dramatic delivery of your piece, your entrance into the room, what you do with your hands, what you do between arias, how you address the audience (whether that be a paying audience, adjudicators, vocal jury, etc) – letter e is the category that is most often left to fate or inspiration, and therefore, the area that is most often badly handled in an audition

II. Why is letter e so important?

a. The externals of your auditions either invite the “audience” into the inner kernel of what you have to offer or it keeps them out.

b. Being in control of the externals overcomes a number of the internals:

1. nerves

2. breath control

3. memory

4. confidence

5. there are numerous ones you can add to this list!!

c. As much as most of us want to believe that it is our voice that will linger in the memory of those who hear us, the truth is, that in many cases, it is how we carry ourselves from the moment we come on to the stage to the moment that we leave, that makes the most lasting impression (assuming that you are not the next Pavarotti, Streisand, or Fleming – in that case, all bets are off! – but remember these are the exceptions, and most of us have to plan our lives around NOT being the exception.)

d. We will experience your externals long before we get to your internals, and as they, you don’t get a second chance to make a first impression.

III. What do I do about it? – Most of us know that we need to take voice lessons, need to work with a coach, need to get time on stage, etc. Most of us (and I include myself in this category) do not know how to improve the externals of our auditions, but there are ways!

a. teachers and coaches – this seems redundant since they were mentioned as a separate category, but teachers and coaches have been in your shoes, and a great resource for what to do in your audition when it comes to the externals.

b. Colleagues – your fellow singers, assuming there is an honest bond of trust and support, can give you feedback on how you “come off”. Sing for each other, critique, etc. – it’s amazing how well YOU will improve yourself, when you have to articulate what you think about what a fellow artist is doing.

c. YOU – there are so many ways to self diagnose these days with video, digital recorders, and then, of course, that most advanced instrument of all – the mirror!! Don’t be afraid to analyze the externals of what you do (even to the extent of analyzing how you walk in the room!!

IV. Other resources – As opposed to even twenty years ago, there are a number of resources out there for singers to help find out what you need to do! Some of them are:

a. Classical Singer Magazine, and website http://www.classicalsinger.com/

b. Opera America - www.operaamerica.org/

c. The New Forum for Classical Singers - http://www.nfcs.net/

d. The Opera Audition (this is my audition blog) - http://www.theoperaaudition.blogspot.com/

These just scratch the surface – remember, it is a very competitive field, and you need to put every advantage into your column that you can. And remember the advice of Oscar Wilde – be yourself, everyone else is taken!!

It's your decision

2012-01-27T07:07:00.000-08:00

I was speaking with a singer the other day about whether or not a certain aria that involved props should be completely pantomimed as though the props were being used.
This is an interesting question, and I have seen it done, both successfully and unsuccessfully.
What I think it comes down to is: Are you comfortable doing the aria this way? If you are not, it will transmit, and the very least, distract the person hearing you from focusing on your various strengths.
Whenever you have a question about whether a physical approach you are trying to an aria works, have a trusted coach, teacher, or colleague watch you, and/or video yourself. The feedback you get will help you decide how to proceed.
Again, your best chance of success is always tied to your confidence in what you are doing - vocally and physically.

Show them what you are, not what you aren't

2012-01-19T10:03:00.000-08:00

One of the really great things about hearing the Met auditions in various locales and circumstances, is getting to chat with singers after the auditions. This allows me to verbalize some things that sometimes float around in my head, but don't get "spit out" verbally.
One such conversation took place recently with a talented young soprano. We were talking about repertoire, etc. and she asked some very good questions. During this discussion, we talked about the fact that too many singers show who they are not during an audition, as opposed to who they are. For instance, if you are a lyric mezzo who does not yet have Non piu mesta where you want it, don't sing it (I cannot tell how many times I have experienced this!) Instead, do arias that show your strengths as they now are. If that is Cherubino or Stephano, that is fine!
One of things singers need to remember is that one of the things that will win you points with the people for whom you audition, is having a sense of who you are and where you are as a singer.
I will expand upon this as we go along, but it's a good thing to remember.

Make your intensities match

2012-01-12T21:40:00.000-08:00

An interesting thing I've noticed in auditions is that the intensity and focus a singer may bring to a piece musically may not be matched by what he or he or she is doing dramatically, and then it may switch on the next piece. Be sure you are prepared to perform vocally, physically, and dramatically - consistently from piece to piece. when I do feedback sessions with singers they are generally aware that these inconsistencies occur. Do a checklist of your audition/competition rep to be sure that you are prepared to perform each of your arias completely, to give yourself your best shot.

I am off to judge the Met auditions in Lincoln, Nebraska tomorrow if our midwest weather will cooperate.

A heads up about auditions for our Studio Artist Program

2012-01-05T14:52:00.001-08:00

The Florentine Opera Company is now accepting applications for the 2012-2013 Florentine Opera Studio.

Application can be found at:
https://www.yaptracker.com/applications/florentine-opera-company-2012

You do not need to be a paying subscriber to YAP Tracker to use the
application form, although you will need an account (guest accounts
are available; see the website for details). Registration can be
completed at http://www.yaptracker.com/register.

Application deadline is February 10, 2012.

More information regarding the Florentine Opera Studio can be found at:
http://www.florentineopera.org/opera_studio.html

Happy New Year

2012-01-03T14:25:00.001-08:00

Hard to believe it is 2012.....I hope the audition season in December was a productive one if you were involved in that. I have two weeks of Met Auditions coming up - this week in Salt Lake City, and the next week in Lincoln, Nebraska.
I would love to hear from some or all of you, and see what topics you would like to see addressed during 2012 - I am going to try to be on here more often this year, with more observations ( I guess this qualifies as a sort of New Year's resolution!)
In any case, I hope we can all enjoy some productive music making in 2012!

late in December....

2011-12-19T13:30:00.000-08:00

This has been a busy month - our Studio Artists just finished their first "half" with us - and what a busy December it was - staging our kid's opera, The Three Little Pigs, three carol concerts with our great partner Alterra Coffee, (which we then recorded for later release!), and finally five performances as soloists in Messiah, with the Milwaukee Symphony, and wonderful guest conductor Christopher Seaman - that is quite a month!
I am hearing some auditions tomorrow, and gearing up for 2012! -
How is the "audition season" going for you out there? It remains difficult, but I can't help feeling there is a crack of sunlight in the optimism department in opera.....
what are your thoughts on that?

Off subject, but very exciting....

2011-12-01T12:59:00.000-08:00

We just learned last night that our recording of Aldridge's Elmer Gantry has been nominated for three Grammy Awards! Needless to say, I am very excited.....

A month of auditions

2011-11-30T15:09:00.001-08:00

It has been quite a month.....started with our production of Turandot......after that went to New York for an intense weekend of new opera, plus a few auditions, then followed that with a trip to Detroit for the Met Auditions. Judged with Ben Malensek from the Met - we've done this together several times now, and Patricia Wise - wonderful soprano and voice faculty member at Indiana University - who I had not met before. We all had a grand time together and finished that weekend off with a production of The Marriage of Figaro at Michigan Opera Theatre, where we were graciously hosted by General Director David DiChiera. - No wonder I'm exhausted!!

During this month, I've gotten to hear a wide variety of singers in audition, and it has put me in mind of something that I have said before - You of course have to have the vocal goods, and you have to present professionally - vocally, visually, and dramatically. But, in addition to that, you have to say something with your singing and show us who you are - both who you are in reality, and the character you are portraying. I know that that is a bit of a cypher - how does one concretely do that? The best I can say it in this short post is that I am left with a certain feeling at the end of an audition like that - the feeling that the artist left it all out on the stage. I don't mean that they blew themselves out vocally or that they wildly gesticulated. I mean that the artist auditioning opened up their soul, and gave us a glimpse of the character - made us feel what was happening. It's as though I have experienced an entire opera within the scope of one aria.
Think about the performances that have moved you the most in your life, and I think you will agree that those performances were permeated by that sense of opening up, sharing, and intimacy with the artist.
Thoughts?

Auditions everywhere!

2011-11-17T14:43:00.000-08:00

Well, it has been a month! Turandot here at the Florentine, and then off to New York for the Opera America New Works Forum (where I heard a lot of interesting new opera), preceded by some auditions. Tomorrow, I fly to Detroit to judge the Met Auditions, preceded tonight by our Studio Artists Scenes Program. When I get back next week, I will synthesize all of this into some thoughts relevant to this blog.

Comment on Earlier Post

2011-11-07T14:30:00.000-08:00

I am just getting back here after Turandot wrapping up this past weekend - we had a great capacity run, and it was exhilarating! I have a couple days here, then I am off to Opera America for the New Works Forum in New York.
In the meantime, a question was asked from my earlier post - to expand upon proper attire for auditions, etc....
I won't spend time here on recital attire, which is really a different issue. Instead, I will comment on competition and recital attire.
This is an evolving topic too. When I was auditioning, you rarely saw a male singer not in a coat and tie. Today, I would say that the majority of male auditioners do not wear a tie. Now, this is for general and young artist auditions. At competitions, I still see coat and tie quite a bit. Again, for ladies, things have changed over the years. It seems you used to see a lot of what I would call evening wear for women, which now has become decidedly more eclectic and individual - again, though, competitions, still tend to be a bit more formal.
What I would say as a bottom line statement is this - whatever you wear should fit two criteria:

1. It shows respect for the occasion, the material, the people you are auditioning for, and of course, yourself.

2. Your attire (and this includes hair, eye wear, shoes, as well as clothes) should not distract the auditioner's attention from your audition. We as auditioners, should focus on your vocal, musical, and histrionic skills, and your attire should be a neutral, positive accompaniment to that.

Met Auditions

2011-10-24T08:10:00.001-07:00

Well, there is no shortage of aspiring singers out there, and I find that exciting. Yes, it's even tougher going after a career than ever with a lot of shrinking of seasons, less companies, etc., but all of that cannot kill one's desire to express the deepest of human emotions through singing.
On Saturday, I sat in at the District Met Auditions here in Wisconsin, hearing thirty nine aspiring singers (I will be judging later this season in Detroit and Lincoln, Nebraska). A real pleasure of hearing these auditions is that I get to choose three artists for a Florentine Opera Recital later this season, and also a singer to do a principal role with us in a coming season. This season, our Elder McLean in Susannah came about through this process.
There was some fine singing on Saturday, and some really good things happening across all voice categories - (oddly, there weren't a lot of mezzos).
Some things that stuck out that singers still need to think about were repertoire (choosing appropriate rep, and being consistent with what you choose) and wardrobe (dressing in a way that is appropriate for you, and in a way that keeps people focused on what you are there for - to put across a character and situation through your vocal and physical performance).

As I said, I get the same thrill now hearing singers performing as I did back in high school at solo and ensemble contest....it never gets old!

In the the clutches of Turandot!

2011-10-20T07:34:00.000-07:00

I have not posted for a bit, but we are in the lift off phase of rehearsals for Turandot which opens November 4. What an incredible cast! headed by the amazing Lise Lindstrom in the title role and the wonderful Italian tenor Renzo Zulian as Calaf. Apropos to this blog, one of our principals I hired through an audition, so it does in fact happen!
If you are in traveling distance to Milwaukee, this is worth experiencing!

Head shots!!

2011-10-11T07:37:00.000-07:00

When I was in school, getting new head shots was something of an ordeal - not only getting the photos, but also getting multiple copies at a reasonable price.
(By the way, I used to hate it when professors, or people like me would say, "when I was a student...." and here I am doing it!!)

In any case, even though this is a much easier procedure these days, I am amazed how many bad, or to put it more correctly, inaccurate head shots there are out there, even with managed artists.

While a good head shot won't get you hired, a bad one might keep you from getting an audition.

I don't think it's a risk worth taking.

The Mental Game continued......

2011-09-20T07:46:00.000-07:00

So, to the third part of our Mental Game discussion.......

C. The "aftermath" - how do you deal with those feelings that occur, both good and bad, after an audition, and how do use this to build an even stronger platform for the next audition and the performances that may follow.

In some ways, this is a culmination, or summation of the first two. In any case, when you get done auditioning, assess how you feel - euphoric? Just ok? miserable? Right off the bat, own whatever feelings you may have, and know they are ok. Once you've done that, then realize that anyone of those feelings may be an accurate appraisal of how you think you did, but not how they think you did. And of course, there is all sorts of evidence to support this paradox. A seemingly lousy audition leads to a job or the best audition one has ever done leads nowhere! Since this is a reality, it leads me back to one of my original points - only worry about your assessment of how you did, and let the rest take care of itself. If you don't do that, you may miss the opportunity to grow each time you audition.
Go through your own personal checklist of how you did, and then give yourself a personal report card. You will find that this increased self awareness lets you keep your positive energy moving forward. The jobs will come as they may, and again, remember - the "results" (you getting hired or not) many times have nothing to do with how you sang anyway, so don't let that dictate how you feel about it!
I hope my own "mental" scenario for auditioning has been some help, and as I said, I would love to hear what some of you may do in this regard.

Wonderful day at the Lyric

2011-09-19T06:51:00.000-07:00

The folks at the Lyric Opera were nice enough to include me in a group of people they invite to hear the onstage finals for the Ryan Center there. I had a most enjoyable day hearing some wonderful young singers - both those that were selected and those that weren't. I really enjoy their format for this, and this along with the Santa Fe auditions this summer, afforded me most enjoyable opportunities to hear some of some up and coming young artists.

The Mental Game continued......

2011-09-14T07:58:00.000-07:00

Moving on to the second part of the mental game that I covered:

B. The audition itself - how do you achieve the most focused mental state that will allow you to show your best stuff.
This is somewhat more difficult than the first part we covered. The first part of mental preparation takes place before the audition, and you don't have to feel any outside pressure (i.e. adjudicators staring down your tonsils while you sing!). You can do mental preparation in the quiet of your practice room or bedroom.
Achieving the mental focus and calm that you need during an audition is trickier because you are attempting to, in some ways, trick yourself, into having the right type of mental focus and energy. Nonetheless, I think it's doable!!
So, how?
When I was "coming up" the stock answer to "how do I make my self less self conscious, and more confident in an audition?" was - Picture the auditioners in their underwear!! Well, maybe it's because I'm the auditioner now, but I think there are better ways to get your mind focused in the right way during an audition!
First, the assumption here is that you are completely prepared for the audition under consideration - technique, memorization, dramatic intent and execution, all must be there - if you are nervous because any one of these is not ready, no mental trickery will fix the problem, and you probably shouldn't be in the audition in the first place.
Assuming all of your ducks are in a row, I think the key to having the right mental focus during your audition comes down to one word - intent. What is your intention during this audition? Start with communication - text and character - moving your listener. Since you can only control what leaves you, and not how it is received (and this is of course true in any circumstance), this can free you up considerably. A general director or other person in a position to hire you, or give you money, is really just another version of your Aunt Jinny, who might be just as hard on you or harder as any GD anyway!!
Humor aside, the point is, you can't control others perceptions of what you do, and wasting mental energy on worrying about it will undoubtedly detract from what you do.
When you sing the Habanera, only worry about being Carmen and focus on what you as that character are thinking and being. This will create a successful audition for you. You getting hired or winning $10,000 was never in your hands anyway, so concentrate on being successful on your terms.

The Mental Game continued......

2011-09-12T07:16:00.000-07:00

So, to pick up where we were on the last post....the first part of the mental game I referred to was:

A. The preparation of the audition - (those aspects outside of technique, languages, memorization, etc.) - in other words, getting yourself to the best state of mind for your audition or auditions.

I am sure that you can point out things that you do to prepare yourself for auditions, competitions, etc. and I would love to hear from you what some of those might be. In the meantime, here are some of mine:

1. Think of the audition as a performance, an end result in itself, not the means to an end. Too often, we treat auditions like sporting events, as though we're being judged in a diving competition. While to some extent this is true, the reality is that most of us do much better performing than auditioning (I know I did!) Therefore, get yourself to a frame of mind that equates to performance, and as an adjunct, think about preparing to please yourself, first and foremost.
2. Make a mental checklist of things that you want to accomplish in the upcoming audition. Often, all we think about in an audition is "am going to win/am I going to get hired? While, of course, this is true on one level, it is also true that you should have a list of things you want to do better each time you audition. Sing a particular phrase more expressively, have better breath control on a certain aria, use your body better to express character, etc. If you can leave an audition having checked some of those things off, you will feel successful, and feel mentally prepared for the next challenge.
3. Think like a baseball player. OK, I know this one sounds strange, but I always found it useful. A baseball player is considered highly successful if he bats .300. There are a number of players who have nicely successful careers who bat .250. What this means is that for every time ten times they go to home plate to bat they are only successful between 2 and 3 times. Imagine if it was defined the other way around - that they were defined by the 7 times they weren't successful. Yet, this is what we as singers do - feel like failures every time we don't succeed! Try this as you look at your next group of upcoming auditions - the average success rate for opera auditions is probably closer to 1 or 2 per 10 auditions. Think of your auditions in groups and realize that there will be some misses, but the successes will come, and that a .200 average is pretty darn good!

The Mental Game

2011-09-07T07:07:00.000-07:00

I am just getting back to this after the holiday weekend. It's hard to believe the Fall season is here, and with it, new ideas and opportunities.
I want to take some time over the next several posts to delve in to the mental aspect of auditioning.
In my mind, the mental aspects of auditioning, break down into the following components (I have been pondering this since I have been rereading A Soprano on her head, the book I referenced in an earlier post):

A. The preparation of the audition - (those aspects outside of technique, languages, memorization, etc.) - in other words, getting yourself to the best state of mind for your audition or auditions.

B. The audition itself - how do you achieve the most focused mental state that will allow you to show your best stuff.

C. The "aftermath" - how do you deal with those feelings that occur, both good and bad, after an audition, and how do use this to build an even stronger platform for the next audition and the performances that may follow.

I will deal with each of these in separate posts, but feel free to weigh in with your own thoughts on this.

Almost September!

2011-08-31T14:42:00.000-07:00

And you know what that means.....
Auditions
Competitions
Performances to sing
Performances to attend
lessons back on a regular schedule
coachings back on a regular schedule

A lot to talk about.....and looking forward to it!!

The Bookshelf

2011-08-30T06:38:00.000-07:00

I have only occasionally talked about books on singing, etc. on this blog, but I am starting to reread one that is excellent, and is particularly germane to the purpose of this blog.
A soprano on her head by Eloise Ristad is really good. Unfortunately, I believe the author passed away some years ago, and I frankly don't know if its still in print, but if you can find a copy, snatch it.
It is all about throwing out the box you might find yourself in to find a new way to approach performing - of course, this is doubly appropriate for auditioning, where the nervousness can be kicked up a notch from a public performance. The title of the book refers to a soprano who was having a mental block on a Mozart aria, and the author's way of opening things up, was to have her sing it while standing on her head. The very bizarre nature of that act caused her to look at the aria in a completely different way - literally and figuratively!
I hope you can find this little book, but even if you can't, try breaking the mold you may find yourself in on any given aria.
For instance -
Sing a slow aria quickly
Sing loud passages quietly
sing a static piece walking backward
sing a passage where you have a mental block on text with the stereo blaring to focus your concentration in a different way

You see my point...none of the above deals with technique or diction, or staging, but it does have to do with shaking up your viewpoint, which can aid mightily with technique, etc....

Try it....and look for that book!

the eyes have it.......

2011-08-26T06:59:00.000-07:00

There are various viewpoints on this, but especially for an audition, be very clear what you want to do with your eyes......
many singers do a lot of eye closing for dramatic effect, and there is no doubt that this can be a very effective tool, but......
at the same time, in an audition, you want to make sure that you have the maximum amount of time to connect with the people hearing your audition - too much eye closing can cut you off from the people you want to have hire you.
As your preparing your audition arias, make sure that you have a clear idea of what you're doing in this area.

Plans are in the works......

2011-08-25T09:15:00.000-07:00

for some audition workshop(s) here in Milwaukee at our Opera Center - I will keep you apprised of developments!

Checklist time

2011-08-23T08:09:00.000-07:00

So, summer is coming to an end, and the audition season is going to unfold......grad school, main stage, young artist, Met auditions, various competitions, artist manager auditions....etc. etc.

So, are you taking an inventory of where you are at this point?

a. Is your rep list updated, refreshed and ready to go (vocally, musically, languages, physical presentation)?
b. Do you have contacts, or the means to make those contacts lined up?
c. Wardrobe??
d. Resume?
e. Headshot{s)?

That's a good starting list....I'm sure there is a bit more to make it truly comprehensive....if you have additions that you think make this even more solid.....please write!

Watch this!!

2011-08-22T06:51:00.000-07:00

OK, be honest in answering this question.....Do you know how you look when you audition??
I know, by this time many of you have had to make an audition dvd, which you probably stole a glance at, winced, and sent out. Or, you've seen video of a live recital or operatic performance. But...have you used these clips as tools to improve??
Recording one's voice for study purposes is common, and I daresay most of use that resource on a regular basis (though, back in the good old days of cassette recorders, it may have been a little more common than with the digital recorders of today). Nevertheless, critiquing one's sound is fairly standard practice.
But, how often do you use a mirror to see if you are really selling your pieces (there's a lot to be learned on the technical end of things with a mirror as well). Also, with flip video and all manner of digital video recording devices, video recording yourself as part of your audition preparation is something that you should consider doing.
I think we all have experienced that moment watching ourselves when we say "I do that when I sing that aria??"
As I have mentioned many times, the one thing that seems to be left to chance or inspiration in auditions, is the physicality, the staging, etc........
In a world where there can be a paper thin margin between voices being considered, you owe it to yourself to use every tool in your toolbox to make your sure you have the very best shot at that job.

Your audition arias have to inhabit a "world"

2011-08-19T12:00:00.000-07:00

I have been getting back to my audition coaching lately, and speaking with singers, I am reminded again that one of the important things you have to do is actively "create" the world in which each of your arias resides.
This of course is easier if it is a role you have done, but even if you haven't done that, work on mentally creating the context for the aria, and then staging it as part of your preparation - this can prove to be as important as diction, pronunciation, technique, etc. As a matter of fact by having your physical presence in your audition take center stage (sorry for the pun!), you won't be thinking of your voice all of the time, which, at least for me, was one of the pitfalls of most of my auditions.
As I have said before, even though you will stage the aria, that doesn't mean you have to use all of that staging in the audition - but the "residue" from that staging work is going to make you more physically aware and comfortable in the audition itself.

Back from Santa Fe

2011-08-12T13:40:00.000-07:00

Hello again!
Just getting caught back up after some time at Santa Fe Opera, where I heard some really nice singing from their Apprentice Artists over two days of auditions.
I will have some late summer thoughts to share as I get back into the swing of things!

Thought for the day......

2011-07-13T11:59:00.000-07:00

Achieving your goals should entail being the best that you can be.
The rest to a large extent is fate, and one should neither take credit for the positives, nor curse fate for the negatives.

A diversion

2011-07-08T09:45:00.001-07:00

I have to take a moment and share some exciting news: The Florentine Opera has just had its first commercial recording released on the Naxos label (also available on iTunes): Aldridge's Elmer Gantry, recorded at our performances in March of 2010. This is a fantastic opera, that premiered at Nashville Opera in 2007. I think it is destined to be a part of the standard repertoire. Note to mezzos: Sharon Falconer's 1st act aria is quite beautiful. There is a recording with piano on Youtube with Lorraine Hunt Lieberson doing it from the early 90's when the piece was still being workshopped.
In any case, we are quite excited and honored that the project came to fruition.

A response:

2011-07-06T12:53:00.000-07:00

I had this query to my recent post:

This blog is very interesting and helpful, I'm glad I found it! But I'm curious about a couple of things - if you were a featured/solo member of the chorus, should that be noted or left off? and why do you suggest leaving off "in preparation" roles? i've always been told it is important to put them on. i understand it's subjective, but i can't help but wonder! i look forward to your response and future posts!

Answer:
To the first question: Your hunch here is correct in my opinion - being a featured/solo member of the chorus should most certainly be listed.
To the second question: I admit this is only my opinion - I've never understood the importance of listing roles worked on, and here's why: At most, they show you are working on appropriate stuff. But, if I want you for a role, the fact that you have or have not studied it will play no part in my deliberation - if I want you for it, and I hire you, I'm assuming you'll learn it. If I don't want you for it, the fact that you're studying it, won't change my mind.
On balance, it hurts nothing to put this down, as long as it is not at the expense of listing more important things!
Thanks for the question.

Resume info

2011-06-30T10:20:00.000-07:00

When I see resumes at auditions, there tends to be a wide range of information provided. I will say up front that what I might like to see (or not see) on a resume, may vary from what my colleagues like, so please take that into account.....

Some random things I prefer.

1. Most recent events first
2. Please list where and when you performed the role.
3. Make sure that your listed covers, were official covers with the company, not personal study covers (I've seen this on numerous occasions).
4. Be reasonable about how far back you go. The more you've done, the less far back you will go, unless it's a very important gig that you want your auditioners to see.
5. List teachers, coaches, and institutions where you have studied.
6. List important concert work and competition wins or places.
7. Height and hair color are fine
8. A recent photo that is reasonably close to what I see when I hear you.

Some random things I don't:

1. Listing roles "in preparation".
2. Listing college roles, unless you are at the Young Artist stage in your career (or, if that's all you've done).
3. Listing semi-finalist finishes. Really, I think you should only list placing, but certainly nothing less impressive than finalist.
4. Photos that look nothing like you do now.
5. Listing chorus work (unless you're auditioning for a chorus).
6. Listing your age and weight - if you look 30 why tell me you're 50, when that may affect how I think about you? Also, if you carry weight really well, there is no sense in letting me know that you're 40 punds heavier than that - when I go back and look at your resume, that will affect how I remember you.
In today's world, the ease of word processing, etc. should make it easy for you to customize resumes for concert work, chorus work, academic positions, etc.

My list above really refers to auditioning as a solo opera singer.

Make sure you pack the right things for the trip......

2011-06-29T07:23:00.000-07:00

I often think back to when I was doing auditions, and try to recall what I was thinking about during those auditions. And in a related way, what should I have been thinking about?
When I really break it down, and if I'm honest with myself, my brain was crowded with a bunch of not particularly helpful stuff, which didn't leave much room for what I should have been thinking about!
So, here's a partial list of what I remember thinking about (in no particular order):

1. Am I going to hit the high notes in this piece?
2. Am I going to hit the low notes in this piece?
3. Am I going to forget the words?
4. Are they going to criticize my pronunciation of foreign languages?
5. Will they ask for a second piece?
6. Are my clothes alright?
7. Am I going to feel lousy after this audition?
8. Are there singers outside the room criticizing my singing?

As you can see, there is not a worthwhile thought to be had above.

Now, what should I have been thinking about?
1. I am this character.
2. I am living these words.
3. I am filled with joy and confidence at being able to express myself like this
4. I am focused on communicating with my audience (after all, auditioners are just another type of audience).
5. I am feeling the connection of my breath to my body.

I only occasionally lived in the second list (mostly in performances, not auditions or competitions). I wish I had spent more time that way, because it obviously creates a better chance for success. If you've truly prepared, there is no reason to waste brain cells on things that are either irrelevant or out of your control. The other thing you will note (and this is very important), the first list is all questions, the second list is all statements.

So, what's in your brain during an audition? I'd love to hear.......

Returning to a topic I've long harped on......Individuality

2011-06-14T11:34:00.000-07:00

As this is summer, you may be sifting through your audition "stuff", deciding what needs to stay (repertoire, a great outfit, your confidence, your network), and what needs to go (jaw tension, whining, an aria that just doesn't work). Please, please, please make sure you keep the following - the unique you - no matter how much technique you gain, how much confidence, how many connections, etc, etc..... the one thing you should keep is the thing that got you into this - who you are and what you have to say. Take a moment and think of the great opera singers, past and present; then think about what they have in common - great talent and that certain something that immediately identifies them. It doesn't matter if you're talking about Pavarotti, Hunt Lieberson, Bartoli, Callas, Christoff, Bjoerling, or Warren - all of these people were immensely talented, and also immediately recognizable. Of course, all of them will also usually start a heated discussion between advocates and detractors, and that's ok, and as it should be.
At the end of the day, if you practice and technique your way out of losing your original "voice" (in every sense of the term), you will have won the battle, but lost the war.

I'm back!!

2011-06-06T06:57:00.000-07:00

Sorry I have been away for a while - we recently closed a double bill of Blow's Venus & Adonis and Purcell's Dido & Aeneas, that I directed, so I'm afraid I was a bit distracted!
However, I am back, and will be adding some posts in short order!

Should the present climate scare you off?

2011-05-04T08:56:00.000-07:00

I have been giving this a lot of thought. I'm sure that you are aware of what is happening in the world of the arts today.
Whenever the economy is in trouble (perceived or real), the arts are seen as the most expendable thing out there. In addition, even though arts funding from public sources in this country make up only a tiny fraction of our budgets, they are an easy trophy to take out. Cutting arts funding can make it seem that frivolous fat is being excised. Never mind, that dollars spent on the arts generate revenue dollars far in excess of those spent. We live in a world where perception is at least equal to reality.
So, against that backdrop, should you still jump into this field, and do the auditions that we discuss here?
Of course, a career decision that has profound financial implications is ultimately personal, but be sure of the reason you decide to forego it.
What I am referring to here is the fear that we all have that somewhow what we do is "going away". While it is true that many companies have scaled back, and others have closed, the art form has been with us for 400 years, and the people that produce it will adapt to changing economic and social realities. How you prepare, how you are hired, and even what that means, may change, but I feel confident that opera will persevere.
In the meantime, you as a performer, are the best ambassador our art form has. Every recital, benefit concert, church gig, and other event you do, helps keep what we do in front of the public.
Talking about the intrinsic value of art seems to be a discussion that has gone underground, but I believe it is true, and together we will move things forward.

Favorite arias have changed over the years

2011-04-25T09:59:00.000-07:00

As I was listening to our Studio Artist Auditions this Spring (excellent again this year), I was struck again how certain arias have their heydays as favorites, and then drop off, and then come back.
For instance, in recent years, Be Kind and Courteous from A Midsummer Night's Dream has become quite the favorite with sopranos, while mezzos seem to have replaced Must the Winter Come So Soon from Vanessa with Things Change Jo from Little Women.

In any case, the breadth of style and language that we hear in auditions has grown so much, and certainly outstrips what we were doing when I started auditioning......

Comment on recent comments

2011-04-14T13:43:00.000-07:00

I very much appreciate the comments to my last post. The last poster mentioned that it is perhaps too disheartening in today's world for singers to get out there and try to make it.
Two points:

1. People will never follow their dreams based on the practicalities of those dreams. They may adapt them based on the realities they encounter, but that doesn't change the need to follow the impulse.

2. As frustrating as I know this profession can be, and as limited as opportunities may be, keep in mind that there are more opera companies and more Young Artist programs today than there were 50 years ago. I don't think even with increased numbers of people trying, the odds are worse than they used to be.

Keep those comments coming!

A look back, and a rare editorial on the arts in society

2011-03-29T09:33:00.000-07:00

Last week was an interesting week - auditions for our Studio Artist Program, and then a Masterclass with high school students this past Sunday.

I am going to digress from talking about auditions per se, and instead talk about the wild disconnect that I believe exists today between"society's" perception of the arts, and the reality of it (the arts).

I had the opportunity of hearing some very talented young people, who are between conservatory training and a career. Meanwhile, I also heard some talented young high school students, most of whom are planning on pursuing careers in music, or some other branch of the performing arts.

What I find remarkable in this, is the fact that in today's world, these young people are fully aware of the fact that the arts are being devalued on many fronts - everything from the National Endowment for the Arts to Arts in the Schools are being seriously defunded. And if that weren't enough, anyone involved in the arts is, at worst, accused of having a political agenda, and at best, accused of being a non-productive leech on society.

Even if all of those factors weren't at play, there is no guarantee of riches and fame, by following this career path - indeed, it is sometimes quite the opposite.

BUT, in spite of all of that, these young people are still pursuing the dream of devoting their lives to artistic expression - because, as all of us who are involved in this know, when the spark is there, you have to follow it.

No amount of defunding, politicizing or devaluing will ever quench the need for humans to express the artistic impulse. And, if the rest of society is honest with itself, they know that.

How can I say this?

When we excavate ancient cultures, what do we look for? What do we display? What do we try to analyze? Beyond knowing how they survived, we look to know how they expressed themselves - everything from cave paintings to drums and flutes to earthen bowls - these are all the footprint of a society. And you cannot legislate that out of anyone!

Instead of being derided for following a path that doesn't offer a large financial portfolio, these young people deserve praise for the courage to pursue the dream of artistic expression. In a world where we spend a lot of time blowing each other up, attacking each other, poisoning the atmosphere, etc. etc., the last thing that should have to be defended is adding even a small phrase of beauty to the world.

And that, for today, is more important than any comment on posture, bad vowel formation, or publicity photos I could possibly make.

Upcoming!

2011-03-21T09:13:00.000-07:00

I have not posted for a bit, since we just closed The Italian Girl in Algiers, which went splendidly!

I'll be hearing two types of auditions this week:

First, we have auditions coming up for our Studio Artist program this week, and then on Sunday, we have our annual High School Masterclass, where I will work with some talented high school students on vocal and audition matters.

I look forward to reporting on my experiences this week!!

Will "obscure" rep help you or hurt you?

2011-03-09T12:02:00.000-08:00

This is a fascinating question, and one that has been debated since my student days (though interestingly, some of what was considered obscure when I first started auditioning, is now quite standard!!)

Here are the two opposing arguments:

Arguing for less known rep in an audition:

You will not be compared to well known singers who sing the particular arias you are doing; you will show musical, vocal, and linguistic range and skill; you will knock the cobwebs out of the ears of your auditioners who have listened to fifty Deh vieni non tardars that day.

Arguing against less known rep in audition:

What are you hiding? (this is the classic - your choice is based on trying to cover up a vocal, musical, dramatic, or linguistic deficiency; you will be perceived as not being grounded in the core rep of the operatic tradition; some less well versed auditioners will not have a point of reference for your performance, thus weakening your chances;

As with many things about auditioning, the answer is individual, but a couple of suggestions (based purely on my own biases, and those of some colleagues I've spoken with):

1. Mix it up - If you want to do a number from a fairly obscure work, pair it with something better known, so that you can show your "chops" on the standard canvas.
2. If you have audition rep that is more obscure, have an accompanying resume that explains that - in other words, if you have a number of credits doing off the beaten path rep, your audition choices will make sense.
3. Make sure that you are not choosing this rep to cover a weakness - make sure that it is a proactive choice.
4. Vett it - with colleagues, coaches and other professionals you respect - don't rely purely on your own judgement for this one!

The secret of what you share

2011-03-04T14:44:00.000-08:00

We have begun rehearsals for L'Italiana in Algeri, and we are blessed with a cast boasts many examples of "that certain something" that makes them riveting as performers.

As always, I am trying to translate what I see and hear in my own experiences into tangibles that you may perhaps use on your own journey.

One way to try to get to the core of what gives certain performers an x factor that makes them successful is to try to break down their component parts objectively.

For instance: he/she sings with tonal intensity, and moves on stage with great fluidity, and always maintains eye contact with colleagues. While all of that may be true, I don't know if you really get to the answer of what makes a performer irresistible by breaking it down like this.

At the end of the day, I think really successful performers give the impression of showing you (audience, artistic director, etc.) just enough, so that you are pulled into wanting to know more.

Of course, every one has a different way of creating this allure, but I think however it is achieved, this quality plays a big part in being a successful performer.

I, of course, am not suggesting that this "quality" takes the place of technique, work ethic, musicality, etc, but when all is said and done, all of these things are purely the platform to put across what the artist wants to share.

In our coachings and lessons, I think we sometimes pursue the tools and forget the message!
The "message" is that unique spark that made you choose this art form in the first place.

Please, please, please, hold onto that, because it will play an important factor in doing successful auditions, and indeed, performances.

It's times like this when it feels worth it.

2011-03-01T08:20:00.000-08:00

We had our first music read through for our production of L'Italiana in Algeri yesterday, and hearing our wonderful cast, including three of our Studio Artists in important supporting roles, reminded me that these moments make it all worth it. But more importantly to our discussion here, I noted that two of our leading artists had gotten their starts in Young Artist Programs. While there are no guarantees, in a world where we are inundated by a lot of negative news, in a lot of different contexts, artists combining their talents to create something of beauty is something to be celebrated.

Networking

2011-02-25T11:26:00.000-08:00

A question that is often asked is:
What produces more jobs, auditions or networking?

Well, I don't think there is a cut and dried answer to this, but I do believe that keeping contacts active, "connecting dots" as it were, and generally letting people know what you're up to, undoubtedly helps your chances.

A caveat I would add to this, is that you need to know what is considered proactive and positive, and what is considered obtrusive. Making that distinction can be difficult because what is considered proactive by some is considered obtrusive by others.

My next posts will go into this in more detail, but I think this is a good place to begin thinking about this subject.

Follow up to your audition

2011-02-18T13:12:00.000-08:00

I start this by saying that I know there are a number of different forms of feedback that general/artistic directors like and don't like.

I will also emphasize that good follow up doesn't guarantee a job, or make up for a bad audition.

However.....thoughtfulness is always noted, and I interpret it as a harbinger of good collegiality, punctuality, and preparedness.

So..how do you demonstrate thoughtfulness after an audition?

A note thanking your auditioner(s) for hearing you makes a positive impression.

While you certainly can do this by e-mail, I am of the opinion that a hand written note sent the old fashioned way will help cement a positive impression (assuming you have made that with your audition)

Why mail over e-mail?

It shows more thought and creativity - an e-mail can be whipped off quickly, and certainly is not a negative, but it can also be perceived as intrusive and pushy (I don't interpret it that way, but I know some people do).

A hand written note shows decorum, thought, creativity (your actual handwriting!!!), and professionalism.

I would be interested in hearing any one's experience with feedback......

Outside the audition....

2011-02-17T10:14:00.001-08:00

I am going to post over the next couple of weeks some ideas about those things outside the audition proper that nonetheless play apart on being hired, hired again, or hired in the future.

I will start with Follow-up after an audition.

Stay tuned......

An audition run down for the day......

2011-02-11T14:37:00.000-08:00

Quick, without analyzing, what operatic aria do you enjoy singing more than any other?

Why?

Do you feel it's good for auditions?

Can you take what feels right about that aria and carry it over into other pieces you sing?

If yes - why?

If no - why not?

If you can answer these bullet points, without singing a note, you will have made progress in your audition life today.....

Florentine Opera Studio Artist Program

2011-02-08T09:38:00.001-08:00

Just a reminder for any of you who might be interested, we are in the last week of accepting applications for our 2011-12 program.
Information is available here:

http://www.florentineopera.org/opera_studio.html

WARNING - OFF TOPIC!!

2011-01-31T14:53:00.000-08:00

OK, here is the deal - I am appealing to any of you who might not be Pittsburgh Steelers fans to go to the Florentine Opera's facebook page, and become a new friend and help us support the Green Bay Packers. We have a little wager going with our friends at Pittsburgh Opera, and the company that has fewer new friends by Friday has to take a group photo in the opposing team's jerseys.
Can you imagine the humiliation????????

If you are a Steelers fan, I do understand..........

Who are you singing to?

2011-01-31T08:19:00.000-08:00

I know, I know, it's to the 1 to 3 people on the panel who are there to perhaps hire you or award you money, but that's not what I mean.

I mean, in the specific aria who are you singing to?

Depending on the aria, it could be yourself, your lover, your sibling, the crowd (onstage), the crowd (in the audience), or some combination of the above.

The point is to remember where your character's is when you are auditioning - it will make it feel more like the performance you want it to be, and less like a gymnastics competition, which you definitely don't want it to be!!

What you do matters

2011-01-28T10:11:00.001-08:00

I am well aware that our profession is one that can that can be soul and ego defeating at times. I have lived through those moments where I have asked myself "why do I keep trying to do this?"

All of us at various times experience the following:

1. Explaining to relatives, family, and friends what it is you do (i.e. no, Josh Groban is not an opera singer Aunt Mildred, what I do is different).
2. You scratch your head and say, how did I live on that much money last year?
3. An adjudicator or artistic director makes you feel two inches tall after hearing you sing, thus rendering, with a single phrase, the last 10 years of your life, futile.

I could go and on, but I'm sure you get the idea.

I completely support when someone says to me that they are getting out, because they can't live through that anymore. There is no shame in having fought the good fight and moving on.

However..........
If you decide to stick with it, and continue to try to make a living with your voice, that is also OK.

No, as singers we don't cure disease, end war, or feed the hungry......

but.....

Opera Singers do add a glittering bit of light to the world as we know it. That is a noble endeavor - we visit museums today to view the creativity of human kind over the centuries - there is no more cherished footprint of any civilization than its creativity. Luckily, since the invention of the phonograph, the human voice can now be captured in the same way a Renoir is captured.

So, when you are in that practice room trying to spin out a phrase of Mozart, Monteverdi, Rorem or Puccini, know that perhaps you will end up inspiring one person or millions....and that's a good thing.

Ask yourself this question....

2011-01-27T12:59:00.000-08:00

When you are in the midst of auditioning, do you feel like you are in a performance or in some hybrid situation that isn't really the same as being on stage in an opera, concert or recital?

I think many of us feel the latter.

When I think back to my most successful auditions that I sang (and alas, there were not enough!!), they were the ones that felt the closest to a stage performance. Perhaps you have had that same experience.

The question of course, is how to capture that feeling so that you can unleash it in every audition and competition.

I will try to lay out some ideas over the next several days, and I would love to hear any ideas that some of you may have come up with in this regard.

Remember......

2011-01-26T07:47:00.000-08:00

The next time you are getting ready to audition, and you are nervous, and you are asking yourself why you are putting yourself out there to be judged, picked apart, and potentially humiliated, remember:

you are singing because at some point back in high school or before, there was something inside of you that had to come out, and your vocal chords let you do that.
the first time you heard an opera or an opera singer live, and how you felt transported and changed by the experience.
the person at a free concert or a retirement home who came up to you and told you that hearing that much beloved aria or song again made their day (or perhaps week or month).
that success in this business is all about the journey, not the destination. Every recital, supporting role, church gig, chorus part, leading role, etc. is a moment in time that you have been given to share the very special gift that is singing. Whether it's the Met or an outdoor free park concert, it is a special privilege to share what we do.

If you can keep at least a couple of those bullet points in your head before you go out there to be picked apart by someone like me, perhaps it will make it just a touch easier.......

A busy January

2011-01-25T08:40:00.001-08:00

It has been a busy January of hearing auditions in a variety of circumstances:
Auditions for my own company in New York City (40)
District Met Auditions in Buffalo (56)
Shreveport Opera Singer of the Year Competition (36)

It is one of the real pleasures of my job to hear young singers, and I heard some wonderful voices this month.

Hearing these auditions has produced a lot of food for thought, but before I post any of those thoughts, I just want to say that I am reminded each time I hear an audition, how much perseverance and drive it takes to pursue this career! But if previous generations hadn't produced young artists who went after their dream, we wouldn't have the Pavarottis, Sills, Merrills, Flemings, and others.

It is heartening to know that it is still happening.

Driving home a previous point - and a new one!!

2011-01-19T12:10:00.000-08:00

I've just heard a number of auditions (somewhere around 100 total), and the first thing I would say, is that I heard some wonderful singing and performances.
The other thing I would say is that for me a piece that is still often missing is inhabiting the character that is being portrayed. This doesn't mean a completely staged out performance, but what it does mean is: singing with intent, and knowing what you want to do with your body throughout the audition.
As I mentioned to one singer this means spending as much time physically rehearsing your entrance into the room, your exit out of the room, and everything else in between.

My new point is, rehearse pronouncing the names of your arias and the operas they come from!
I heard some mistakes on that front, and that is part of the impression you are making.

Carve out the pie

2010-12-20T08:00:00.000-08:00

No, this isn't a holiday greeting, though of course, I do send those as well!
I'm talking about strategically putting together your rep for your auditions, that gives an AD or GD an easy way to "sample" your repertoire. I want to preface this by saying that your first criteria must always remain singing what suits you best and what you feel most comfortable singing. But assuming you have multiple choices in that regard, it might be good to think strategically about how to "help" your listener out.
I will give some examples of what I mean.
Stephano's aria from Romeo et Juliette is great because it's strophic, and if time is an issue, I can ask for the second verse, and you will be able to show everything in one that you could in two.
Figaro's fourth act aria from Figaro is great, because even if I don't have time to hear you sing the aria, the recit is fantastic, has a wide emotional range, and allows me to hear you handle that very important part of that rep.
Beppe's aria from Pagliacci is great because even if you are moving toward character tenor territory it allows me to hear that your singing chops are there as well.

These are just three examples of pieces that are either short or are segmentable that gives an interested listener the opportunity to quickly choose something, even if your first selection is longer, and the company's time is limited.

Another way of saying this is that presenting five arias for audition is a strategic process, not just a case of finding five arias in three or four languages and hoping for the best.

Mapping it out!

2010-11-24T07:30:00.001-08:00

I mentioned in my previous post that no matter where you end up in terms of presenting your audition repertoire, you need to stage it out in preparation for your auditions.
A simple test you can give yourself to prove this: Think about the comfort level you have in presenting arias in audition that come from operas where you have either performed the complete role, or scenes from that opera that contain that aria. I think you will agree that when you sing those arias, you feel more physically connected than you do with arias where you have not done this.
The way to create the same effect for those arias that you have not performed on stage, is to stage them completely, either with a coach/director, or perhaps in a swap with a colleague where you do the same for them. After staging the aria, you will find that you will keep elements of the staging for the "audition version" of it, but perhaps more importantly, you will have locked in mental intent, which will allow your body energy to be connected to your voice.
In addition to allowing you to feel more comfortable in the audition, you will also undoubtedly sing better because of this connection.

What do I do?

2010-11-18T14:39:00.000-08:00

Working with our Studio Artists this week has produced some interesting questions around knowing "how much to do" in an audition dramatically.
The question, arises of course, from the notion that some artistic/general directors like a very acted out, active audition, while others prefer a more low key, purely vocally based presentation.
This is a somewhat tough question to answer, but as I've said in a different context, your best chance for being hired lies in you being true to who you are as a performer, as opposed to chasing down what a particular director might like.
Regardless of how much actually histrionics you do in an audition, you must absolutely have the dramatic arc of your aria mapped out, so that there is a dramatic through line that matches the vocal through line.
I believe this begins by doing a full blown staging while preparing the aria for audition.
I will expand on this in my next post.

Erie Mills

2010-11-04T10:42:00.000-07:00

Last weekend, we were lucky enough to have Erie Mills, renowned soprano, and now renowned master teacher, with us for a masterclass with our Studio Artists. She had wonderful insights on so many aspects of singing and presentation, and she was able to walk the thin line of focusing on the singers, while also engaging the audience. Her energy, insight, and enthusiasm was infectious. Often in masterclasses, you get either one or the other!
What was really great was to have some high school singers, who are just starting out, there to hear Ms. Mills' insights. Gosh, I wish I had had an opportunity like that when I was starting out!

If you get an opportunity to either work with Erie, or hear one of her masterclasses, do not miss it!

Question about Apprentince Auditions

2010-10-15T15:03:00.001-07:00

I got this question just the other day - "What do you think I should sing for Company X - what do you think they want to hear?"
I have said this before, but it bears repeating - Unless an audition or competition asks for specific repertoire, sing what you best! In a world where you can't control how people perceive you, the odds will most definitely improve for you, if you sing repertoire that you sing best and most comfortably. In addition to sounding your best, you will probably be more relaxed and sell your piece better.
Sing within your comfort zone, and let the person hearing you make the jump in his or her mind about where you can be stretched.

Rio de Sangre

2010-09-29T08:56:00.001-07:00

We have just started rehearsals for the company's first world premiere, Don Davis' Rio de Sangre. What I was struck by, at the first day of music rehearsal, is how prepared all of the artists (including our Studio Artists) were for this tough, but rewarding, score.
It is an obvious reminder, of course, but when you have a successful audition, two very important steps that need to be followed once you get the job are:

1. Be prepared when rehearsals commence
2. Be a great colleague

Follow these two obvious, but all too often not followed, rules, and you will find yourself not having to worry about auditioning for that particular company again - believe me - they will want you back!!

Alright then!

2010-08-30T12:24:00.000-07:00

Well, no suggestions for topics yet (you must all still be in end of summer mode!)

So, the first topic I want to tackle for the Fall audition season is:

Knowing when I am ready.

This is a broad topic, but generally what I want to cover is:

What criteria do I use, and wo can give me the best advice on when to audition for the following various categories:

A. Apprentice Programs

B. Competitions

C. Graduate School

D. Pay to Sing programs
1. domestic
2. abroad

E. Other

In the days ahead, I will start to break this down, but in the meantime, I invite you to weigh in with your own thoughts.

That old "school's about to start" feeling

2010-08-19T11:16:00.000-07:00

I taught in higher ed. for 12+ years, and whenever August rolls around, I still feel that anticipation of the new school year beginning. I can almost smell the eraser shavings!

Our new season beginning has me feeling that same anticipation, particularly this year-
Our season is beginning earlier, in October, so our Studio Artists are arriving earlier, and chorus rehearsals have already begun! It is particularly exciting, as this will be the company's first world premiere in its 77 year history - Don Davis' Rio de Sangre (Mr. Davis is best known for writing the music for all three of The Matrix films).

Many of you, I'm sure, are also feeling the anticipation of a "new" season, whether it's returning to undergraduate or graduate school, joining a year long apprentice program, or getting your ducks in a row for the upcoming audition season.

Whatever it is you are getting ready for, please feel free to post ideas for us to tackle here on the Blog. I have some ideas lined up, but I would love to hear what's on your mind for the season ahead!

Good addition!

2010-07-30T10:23:00.001-07:00

There was an excellent suggestion made below about making connections for coachings, feedback, etc. with music staff, artistic or general directors of companies you are wanting to sing for - this is an excellent way to "help" them remember you - of course, make sure you are well prepared for it, so that the memory they have is a good one!

How to make the connection?

2010-07-27T08:02:00.000-07:00

This is a topic I'm still formulating, so I will just put it out there right now, and then expand upon it as we move forward.

Here it is: How do you concretely make the connection between your studio lessons/coaching/practice and the actual audition?

Do you:

A. Hope that it happens "organically" - in other words - practice, take lessons, coaching, etc. and then go into the audition, and hope that it translates into the audition you want?

B. Do you take what you have gathered from the preliminary activities, and in fact, "dress rehearse" your audition? - and by this, I don't mean just the singing part, but also the walking into the room, staging, testing how you will introduce yourself, etc.....

I will be curious to hear what some of you are doing.....

Taking inventory

2010-07-22T14:55:00.000-07:00

You may be right now doing one of the following things:

a: taking part in a summer vocal program/apprenticeship

b: getting ready to start an undergraduate/graduate/performer diploma program

c: taking lessons or coaching and contemplating what comes next

d: some combination of the above

While you are taking part in any of the above activities, I would suggest taking an inventory of all parts of that which will make up your "audition arsenal".

Some suggestions to consider:

a: head shot - is it up to date? enough copies?

b: music in your audition folder - marked correctly for accompanists? any worn pages need to be replaced?

c: wardrobe - do you have appropriate outfits ready for auditions that will be coming up this fall?

d: list of contacts - this is connected to my last post - do you have a plan and the contact information you will need for upcoming auditions?

e: is newer repertoire on the way to being ready in all phases? - technique, memorization, language, translation, and dramatic presentation (try finding a time to try out new rep on a small group of friends or family - this will help get it ready)

This is just a short list - you may have other ideas about an audition inventory that you would like to add here - please do!!

Get a Plan!

2010-07-09T10:23:00.001-07:00

Something that I have been meaning to say here for a while has been driven to the front burner by a recent conversation - GET A PLAN!

As always, that may sound obvious and simplistic, but it is nonetheless true. Whether or not you have representation, you need to map out a strategy (in writing) for where you are headed, even if you don't think you have tangible results yet to support it.

What I mean is, if you have an idea of what roles, what operas, etc. you want to do (and you have that written down), that will allow you (and your agent) to think in ways that you may not now be thinking. In addition, make use of things like google alerts to keep you apprised of things that can be germane to your plan.

While part of this may seem like a futile exercise if you're not getting the auditions you want, the fact is every activity you commit to in support of your goal will give you a better shot at achieving it.

It has undoubtedly always been true, but in this environment, taking voice lessons, coaching, and hoping for the best is a recipe for no result!

And, the tools at your disposal, Classical Singer, NFCS, Yap Tracker, are so far beyond what we had in "my day", that there is no excuse for not thinking strategically every day!

What next?

2010-06-29T12:16:00.000-07:00

Stop!! Think about where you are right this second in your career plan (hopefully you have a "plan" - if not, this is a good time to think about that).
Once you've assessed where you are, ask yourself if you have the next right audition for that timeline.
Two scenarios:
1. You've got some good Young Artist Program experience under your belt, a few regional roles, but no management - is this the time to contact or recontact a manager to hear you?
Perhaps so - if you don't have that audition lined up, look into it.

2. You've hit a bit of a wall with auditions, and you feel like some technical work out of the pressure of the professional audition circuit makes sense, and you've considered looking into an artist diploma program to help make that next step happen. Have you explored this? If not, now is the time to do it!

You see my point - don't let too much time elapse between taking "snapshots" of where you are, so that you can take the proactive steps that are needed.

Know when to say yes....

2010-06-24T11:47:00.000-07:00

I know it's been a while, and I have a backlog of things to say purely audition related, but I've come across a couple of situations lately, that move me to write on this now.
I know that many people reading this will say, "gee, I'd love to have the possibility of knowing when to say yes".
But the scenario I've run into in a couple different contexts is, generally, this:

A singer is offered a contract, either YAP or main stage, that either on their own counsel or others, he or she turns down, because:
a. doesn't pay enough
b. keeps them out of the mainstream
c. something better might come along while he or she is doing the particular job being offered.

While I understand that sometimes money is absolutely the bottom line, I would encourage you to consider the following before turning down an offer that may, on the surface, look underpowered.

a. Will the offer give you main stage experience and a role for your resume that will be remembered long after the perceived paltry paycheck is forgotten?
b. Will performing the small part of chorus role create a connection with the company or director that will lead to more lucrative and satisfying employment in the future?
c. Is turning down this offer in effect a bridge burning?
d. Does the person offering you employment have connections with other companies that can open doors that you probably cannot open yourself?

Please answer the above questions for yourself before you make any decision on a job offer, whatever its attraction at first sight.

Back at last!

2010-06-07T09:49:00.000-07:00

Well, Rigoletto is over, my masterclass at the Classical Singer Convention went very well, and added some ideas to my head, and now I'm headed out to LA in two days for the Opera America Convention!
However, by tomorrow, I will be adding some food for thought here!

Rigoletto

2010-05-11T09:47:00.000-07:00

I haven't been able to post for a while - I'm in the middle of directing Rigoletto for the Florentine with a wonderful cast - Luis Ledesma and Peter Castaldi sharing the title role, Arturo Chacon-Cruz as the Duke, Georgia Jarman as Gilda, Stephen Morscheck as Sparafucile, Audrey Babcock as Maddalena, and Kelly Anderson as Monterone. They have made the process a real joy, and are all fine singing actors. If you're in this neck of the woods the weekend of May 21, I invite you to see the show.
Some more post ideas are percolating, particularly since I will be presenting a Masterclass at the Classical Singer Convention in New York City the end of May! I look forward to adding more posts over the next week.

It's been busy

2010-04-29T07:41:00.000-07:00

I have not been on for a while, but I have been busy doing things that will bear fruit for this blog. Over the last couple of weeks:

I conducted a masterclass for our High School Masterclass program. 6 Young singers presented a variety of repertoire. I am amazed at how fearless these young singers are, and how poised they are already! I think back to me at that age doing something similar, and all I think is - No Way!
Our Scenes Program with our Studio Artists - I directed 14 Scenes from a variety of repertoire, including selections from our upcoming world premiere, Rio de Sangre.
We held auditions for our 2010-2011 Opera Studio program.
Maestro Joe Mechavich, newly named music director for Kentucky Opera did a wonderful masterclass and private coachings with our Studio Artists.
Next week, I start rehearsals on our Rigoletto, which I'm directing. I'm sure all of this activity will generate some posts!!

Musings

2010-04-16T12:14:00.000-07:00

Here at the Florentine, we just completed our Studio Artist auditions, and I have to say we heard some really fine auditions - I am always rejuvenated by hearing the next generation of artists. It helps remind me why we do this.
I am also looking forward to presenting a masterclass and serving on a couple of different panels at the Classical Singer Convention at the end of May - perhaps I will see some of you who follow this blog there.

Another earlier question

2010-04-09T10:46:00.000-07:00

Question:
As far as requests go, I'd love to see a list of arias that you never want to hear in an audition again (overdone, too long, whatever), and a list of arias that are deal makers or breakers (i.e., if you can sing the pants off of Ach, ich fuhls, you've got the job.) Obviously, this would be subjective, but informative, nonetheless.

This is a tough question, because truly, the audition is not about me. So, for instance, I don't love Nun eilt herbei from Merry Wives, but if that's what you sing best, you should sing it!! I will still listen in the same way, and I've certainly hired people, or awarded prize money after hearing it - I hope that makes sense.
What I do think is important is to say that if you put certain arias on your list, there's a good chance we're going to ask for it - so make sure you can sing it!
Examples:
Soprano - Queen of the Night, (at least a portion of) Zerbinetta
mezzo - Non piu mesta, Komponist
tenor - Tonio - Daughter of the Regiment, Boheme, Faust
baritone - Largo, Il Balen, Credo
bass-baritone - Blitch, Basilio
bass - a pretty wide open field, but certainly Filippo, Osmin

This is my own list, but you see where I'm going with this - if you have these on your list, make sure that you not only can get through them, but that you can shine. This is a case of no points for effort. Keep in mind that people who audition you want to know that you make good choices too - that's part of the audition.
For instance, if you're working on Cenerentola, but you're not quite ready to sing it, sing your Dorabella instead - I won't judge on what you DON'T sing, only what you DO sing.

But, whatever else you worry about, don't worry about whether I like the aria, or I'm tired of it, etc.

Expansion on earlier question

2010-04-09T10:37:00.000-07:00

Question:
Yes I do, in Canada. But I moved to Paris a few months ago, and although I've improved technically through lessons and coachings, made a contacts and auditioned for a few directors, I haven't make significant professional steps. I've ruled out the YAP's, and have accepted that I might have to gain my experience through professional gigs, which is fine, but how do I get there? I have tried to contact ensembles and directors and proposed to sing for them, but haven't had many responses. Maybe I should be more persistent. But might there be another way? I should mention that I have a strong interest in contemporary and baroque music, although I don't restrict myself to these styles. I'm not interested in the Germany fest circuit; I really think Paris is exciting, and it's where I want to be right now. Your response will be helpful to many, as I've encountered many "expat" singers in my situation, here in Paris.

Persistence is always good - it will depend on the company, either here or in Europe, what kind of result you get. Your comment about Baroque and contemporary might also yield results, whether you approach a specialist company, a standard company who is incorporating that rep (like ours for instance), or even an agent who specializes in niche artists. In the meantime, trying to sign up for masterclasses or courses that are being led by people who have a significant level of decision making is also a good course to take. For instance, while a masterclass with a teacher or working artist will undoubtedly add to your artistry and technique, a class or course with stage director, conductor or coach who has the ability to hire or make recommendation to those who do can pay more pragmatic dividends.
I hope this at least gives some ideas to work with.

A response to the mezzo vs. soprano question!

2010-04-09T10:26:00.000-07:00

Another question:
Hi - I have a difficult situation...I have been told by my voice teachers that I am a high mezzo-soprano, yet when i've been auditioning around for mezzo roles in small, local opera companies, I have been given feedback regarding my voice as a soprano. (I'm 27.) My teachers are professionals and scoff at this feedback. I feel that I am "in-between"...what types of roles (if any?) should I be auditioning for? It seems I should sing what shows my voice off...and maybe wait for the lower range to keep developing? My low range is fairly solid, but I always get comments on how clear and high the top is. Any advice would be appreciated!

This is always a problem for lyric mezzos - at this point, since your teachers and coaches are hearing you every day, I would stick to your guns. Here's the reality that a lot of people do not want to admit: "Voice type" is not really a physiological reality but rather a label designator that isn't written in stone. Sometimes it's determined by comfort level with tessitura, sometimes it is color, sometimes it's choice and sometimes it changes. But there is plenty of zwischenfach (in between) rep out there - so, if you're singing Cherubino, Stephano, Siebel, etc. you are certainly not hurting yourself even if you ultimately move up.
If you continue to sing a lot of auditions where the feedback is always that folks think you're more of a soprano than a mezzo, it might be worth revisiting at that point.

A response to another question

2010-04-08T08:48:00.000-07:00

Here is the question:
One more request: I get this question from singers all the time: "Should I sing something from the company's upcoming season, or will they be tired of hearing these particular arias? Will they know to consider me for a particular role if I don't sing something from that show?"

My answer to this question is: Unless you have been requested to sing something specifically from an upcoming show that the company is doing, you should sing what you sing best!
The reasons for this are twofold:

1. Those who hear you have the ability to extrapolate what they need to know from the rep you have, and you should always show the best of you - it gives you the most realistic shot at getting hired.
2. Most companies have their seasons nailed down and cast at least a couple of years ahead.

The conundrum

2010-04-08T08:44:00.000-07:00

Here is a reader's note copied:
I'm one of "those": I started seriously studying voice when I was 26, after many years of studying piano and completing an undergraduate degree in music performance. I certainly do not look my age: most people would give me 25 or 26 instead of my 32. Yet, I'm a bit stuck; I'm too old for YAPs and most competitions (and frankly, I don't feel like the competition-type... and most of them do not cater to my musical tastes and abilities), but I have limited operatic experience. I've been wondering a lot these days about the best course of action for someone in my situation; I look forward to your comments.

My answer (the beginning of an answer, anyway): First, I don't think 32 is necessarily too old. Before saying too much more, I would ask: Do you have any pre-existing professional relationships with conductors, directors, or opera companies that can serve as some sort of entree for you? If you do, that is an important avenue to exploit (indeed it is for all level of singer). If you don't, that requires a different type of action. Let me know, and I will expand this post!

More Responses

2010-04-07T06:55:00.000-07:00

Mr. Johns has requested a compilation of Milwaukee area voice teachers - I will look into that - that will of course, be of use to a small radius of people, but nevertheless....
In the meantime, I'm compiling my list of never want to hear arias and my "home run" arias - I will get back pronto with that!

Responses

2010-04-06T14:17:00.000-07:00

Well, I've had two comments so far - I will answer the easier one first - there are many fine teachers for all voice types in Milwaukee, but in this setting in particular, I prefer to not make recommendations for something such as that.
The other question is a little tougher - what is the maximum age to undertake a singing career - any time one makes a blanket statement about something like that, many exceptions to the rule pop up. If you start later than your 20's, you will probably not find many young artist programs that will be available to you. In addition, big competitions like the Met Auditions, have age limits that top out in the low 30s. So, if you do start late you are going to be in a position of creating your own opportunities, and that can be difficult. I will give this some more thought, and comment further in another post.

Taking Requests!

2010-04-01T14:30:00.000-07:00

I would like to hear from some of you who are reading this blog.....
what topic would you like to see addressed???

Let me know, and we'll see how we can tackle it.

Does it really make all that much difference?

2010-03-25T07:34:00.000-07:00

To end this "series", we have the summation question - does it make a difference? The easy answer is yes. Of course, every person you sing for will have different priorities in their listening, but I think being physically and dramatically involved will never be a negative. And, as I've said in other posts, being involved in your character keeps you from being "too" involved with your voice. In other words, you can get out of your own way!!
I will explore this idea of getting out of your own way some more in upcoming posts.

Should I stay fairly close to a "concert presentation"?

2010-03-24T08:33:00.000-07:00

I know that there are some people who hear auditions who like a very neutral presentation so that they can concentrate on the voice, but I, and I think many of my colleagues, prefer to see how you inhabit your character, not just vocally, but also dramatically. Of course, some of my previous posts deal with what I think you should consider as far as limiting your histrionics. In addition, you will probably learn over time whether you are one of the lucky few who is so vocally gifted, that success is almost assured just by the vocal performance. The reality for most of us is that a "complete package" needs to be presented for the best chance at success - and how you physically present your audition is an important part of that.

Should I sit, lie down, or stay standing the whole time?

2010-03-23T07:34:00.000-07:00

You might think I'm kidding on this one, but I'm not. I've had people lie down in auditions - let's just say, I don't recommend it. I suppose using a chair and using a combination of standing and sitting is appropriate, and does not become distracting, but if you get to the point of lying down, I think the person hearing you may become distracted to the point of not actually listening to you! Any aria that is sometimes done lying down in performance (i.e. Vissi d'Arte) can be done very successfully standing up in an audition.

Should I use props?

2010-03-17T12:12:00.000-07:00

I am a big non-fan of props in auditions. I want to see that you can create a character just by the use of your voice, face and body. If you can do that, I have no fear of how you will do in costume with props and a set. If you are doing an aria that calls for a book, or a sword, or a flower, either pantomime it, or create a staging that works around it. I know that some people don't mind the use of small hand props in auditions. but I don't think you can go wrong if you learn to be a very effective and convincing auditionee without them.

Should I use a personal director?

2010-03-15T11:12:00.000-07:00

I addressed this to some extent in the previous post. I think this is an excellent idea - one that many people don't put on the same plane as a voice teacher or musical coach. A dramatic coach or personal director can help you flesh out what you want to do presentationally. However, you should use the work you do with that person as a basis for trusting yourself moving forward for both auditions and performances. You need to become secure in your dramatic presentation to truly grow. As a side note, this will undoubtedly be useful down the road when you find yourself in a role, where either time or the director's inclination leave you in a situation of having to do blocking and staging on your own!!

Should I stage it on my own?

2010-03-09T09:07:00.000-08:00

So, to the first point of my previous post - should you?
Indeed you should, but that doesn't mean it has to be you alone. In other words, having a dramatic coach or stage director work with you on staging is a great idea. However, it's important to develop a trust in yourself that will allow you come up with action that suits the character. This will also help ensure that you can still deliver vocally and musically. As with other parts of the audition, good preparation translates into confident performance. The more experience you have, the more you will trust your own instincts (particularly with arias where you have had the chance to sing the entire role on stage).
So, yes - stage it on your own, but also have people you trust critique and fine tune, just as you do with a voice teacher and coach.

How do you practice "staging" your audition arias?

2010-02-28T08:56:00.000-08:00

I have been thinking about a number of points about staging auditions:

Should I stage it on my own?
Should I use a personal director?
Should I use props?
Should I sit, lie down, or stay standing the whole time?
Should I stay fairly close to a "concert presentation"?
Does it really make all that much difference?

I will be addressing each of these points over the next several days, but in the meantime, feel free to weigh in on any or all of the above points.

Fish

2010-02-11T11:36:00.001-08:00

I saw this and had to add it - no earthly connection to auditions (except you might find it fairly zen!! Click or place your cursor in the "fish tank", and they will "feed".

Social Media

2010-02-11T08:08:00.000-08:00

We live in an exploding time of having lots of different ways to publicly state how you feel about any subject - (this blog for instance??)
Almost all of us now have the ability to instantly post what we feel about anything!!
So, as an aspiring singer, if you facebook, twitter, or blog, or if you post to NFCS or Classical Singer, it is very easy to immediately let your friends and colleagues know how you feel about any of your auditions, concerts, or opera performances.
It is also quite easy to vent your frustration with any part of those events.
To bring this to bear on the subject at hand - if you have an audition, you can share what you feel about the whole experience - good or bad.
The interesting thing about this is, that while it may be intended only for your friends and colleagues, the fact is that it often becomes possible for anyone to read it.
So, the moral dilemna I am putting out there is (and please respond, I'd love to know your thoughts):

Is it a good idea to comment on an audition (how you did, how the person hearing you reacted, etc.) on any or all of the social media platforms?
Is it right/wrong for someone who may be commented on in these media to react either directly or indirectly to those posts?
Has this been discussed enough in any forum for any of us to wrap our minds around the subject?

I look forward to discussing this more!!

Continuing Thoughts

2010-02-07T13:15:00.001-08:00

I've just finished writing an article for the April issue of Classical Singer magazine, which has brought some new topics to mind to post here. After giving my fingers some un-cramp time, I will do so.

Find the Moment

2010-02-03T09:12:00.000-08:00

Not to be overly esoteric about what you need to accomplish in an audition, but having just directed a show (Aida), I notice that what is often missing in a singer's audition vs. a singer's performance is something one could describe as organic - the focus of "the moment" - that point in a scene or aria or ensemble that clarifies for the audience what that scene is. It is not always the high note, or the coloratura passage, or the death scene - sometimes it is a moment of silence. The point I am thinking of in Aida is in the Aida/Amonasro duet, right before he says "you are not my daughter" and then flings her to the floor. The power of that scene was the moment of silence before that phrase. Our conductor, Joe Mechavich, our Aida Kristin Lewis, and our Amonasro Kevin Short, all worked beautifully on making that moment pivotal.
I am aware that sometimes "the moment" is spontaneous, and not planned - but in the case I just mentioned, that moment was worked out ahead of time, and was very powerful.
To get us back to the subject of auditions, I think it is worth your time to discover what those "moments" are in your audition repertoire. I think this goes beyond staging, singing and languages. I think it has more to do with you finding that point of utter focus within a piece that will cause those listening to stop writing, and fully enter your world. Believe me, that's what those of us hearing you want to experience!
There of course, may be more than one moment in a piece that constitutes "the moment", but certainly it is worth exploring to find at least one. You may find that it's not the e flat in Traviata, or the repeated Figaro phrase in Barber, but instead a place that resonates deeply within you that will speak profoundly to us.
Something to think about.......

Inside out, outside in, or a combination?

2010-01-26T07:18:00.000-08:00

One of the fascinating things about auditioning (and indeed performing) is whether you build the physical (dramatic) side of your performance internally or externally or through a combination of the two.
Here's what I mean: Does your arm go up in measure 32 of an aria because you staged it that way, or by contrast, does it go up as a result of building your character internally, and that movement is a natural extension of that character's thought process.
I think there could be general agreement that it can be both. In addition, in the world of opera, we have an element that the world of straight theatre, and to some extent, musical theatre don't have: difficult singing passages. This element can sometimes trump all other considerations, though one could argue that being internally and externally connected to the character will make that difficult passage easier, because you won't be focusing on it so much vocally.
I think at the end of the day, you will have to decide how you want to build a "real" character for any performance or audition you do. Some people need to have the tangible first, and that outward manifestation seeps inward creating the character. Some people will argue that this is safer for opera singing, because the danger of letting emotion becoming too strong and disrupting the singing process is eliminated. On the other hand, other people do better with an "organic" process because it mimics real life. For instance, in real life you raise your hand due to an internal message to your arm, not the other way around.
As you can see, there are arguments for both sides, and I think you will find that, over time, you will access both ways as a performer.
Perhaps the real point that I want to make here is that the danger is not in choosing outside/in or inside/out, but rather in making no choice at all. This happens all too often - a singer is well prepared vocally, musically, linguistically, but the character part of the performance/audition is left to the inspiration of the moment. This results in meaningless gestures, a general feeling of discomfort physically, and a performance that leaves the audience/auditoner unsatisfied.
Make a point of deciding how you will approach this part of your performance - it will help your cause, and I think you will find, it makes the singing easier too!

Take risks!!

2010-01-23T07:30:00.000-08:00

I have been musing on this for a while, and it is perhaps a repetition of things said in the past, but is worth saying again. When I say take risks in your audition, what I actually mean is - allow yourself to actually express yourself - the reason (I believe) anyone does this is singing thing is because at some distant (or not so distant) point in the past, he/she felt a desire to express themselves through the use of the voice. This is a very basic, primordial instinct, and is a completely individual expression. One of the unfortunate side effects of voice lessons, coaching, diction classes, staging classes, etc. is a certain homogenizing of this very unique urge. Of course, that is not the intent of any these things. Rather, they are intended to refine and bring out in the most beautiful way, the voice that is inside (rather like the way a diamond is processed),
It seems to me the most successful auditions and performances I hear are those where training has not blurred the very personal expression and talent of the singer, but rather the opposite - it is enhanced and highlighted.
I think this is an important thing to hold onto as you plan any audition - and performance.

Greetings from Birmingham

2010-01-11T20:33:00.000-08:00

I have not posted for a while, but am working on some thoughts to share. I am in Birmingham, Alabama, directing Aida. In addition to a fine cast, I'm getting to work with an old friend, conductor Joe Mechavich. Opera Birmingham is run by General Director John Jones.

It's that time of year

2009-12-14T14:58:00.000-08:00

We are now in December, that time of year when audition anxiety can be at its height (particularly since so many Young Artist Programs have auditions during this time)
Whether you are main stage auditioning or doing Young Artist Auditions, it's important to remember that you are in a business where success percentages are not high - this being the case, you have to take a serious look at what constitutes success - this will help you get through it a lot better.
To use an analogy, in baseball, players get multi year contracts when they are successful getting base hits 3 out of every ten times at bat. If you think of an audition as an at bat, realize that in the opera/classical music business, "success" may be more accurately portrayed as 1 or 2 times out of ten.
If you allow yourself to look at it in this way, you will feel less angst over each and every audition - you'll be able to take a "big picture" approach.
In the long run, I believe this makes for better individual auditions, because the weight of expectation will not be squarely sitting on each one.

Looking back on the fall audition season

2009-11-23T16:54:00.000-08:00

Well, it has been a busy season of auditions and masterclasses so far, and having just finished up our production of Tosca, it's good to take a bit of a break. I have to say I have heard some wonderful singing this fall - no, let me rephrase that - some wonderful performances. What has been particularly exciting is hearing some singers who have grown, not just in their vocalism, but also their presentations.
I truly believe that integrating your physicality and connection with character will add more vibrancy and energy to the sound you make.
As I have mentioned before, the auditions I find most engaging, be it competition, masterclass, or general audition, are those that make me feel that I am encountering a character, not just hearing a vocal performance.

Good question!

2009-11-10T08:31:00.000-08:00

The commenter to my previous post asked what I would ask for as a follow up to a coloratura aria. I would tend to ask for something that showed tempo and style contrast, as well as a different language if possible. I would worry less about trying to hit a different "era". By the end of your audition (if I'm interested), I want as complete a picture of you as I can get.

Can I jump outside my fach in auditions?

2009-11-06T09:20:00.000-08:00

What I'm really enjoying is having post topics being driven by questions I'm asked at auditions or by e-mail. The question of who you are as a voice type being set in stone is an interesting one, and certainly a question that has implications for auditions.
To give a quick (and probably predictable) response to this topic heading: it depends.
If you look at any number of operas, you will see that there is a colorful history of different types of voices singing various roles.
Examples (with some well known singers):
Don Giovanni: Bass: Samuel Ramey, Baritone: Thomas Allen
Leonore in Fidelio: Soprano: Karita Mattila, mezzo Christa Ludwig
Figaro (in Marriage): Bass Baritone: Jose Van Dam, baritone: (again) Thomas Allen
Susanna (in Marriage): Soprano (take your pick) Mezzo: Cecilia Bartoli

Anyway, you get the idea - and this doesn't even cover the different weights of voices within these categories doing some of the same roles.

In any case, the dilemma is - how much of a limb can you go out on at an audition? If I'm a soprano, will anyone want to hear me do Rosina? If I'm a lyric baritone with solid low notes, is Se vuol ballare ok? You get the picture.

So, what should you do? My opinion on this is that the less established you are, the smarter it is to stay "between the lines". As you become more established, people who hire you are going to be more willing to take a "not obvious" chance with rep when it comes to you (they may even wind up using this as a marketing hook). As with anything I am saying here, there are exceptions.

I will say more about this in another post, but feel free to weigh in on this.

More about "How much should I do?"

2009-11-03T15:17:00.000-08:00

This is my Fall for hearing a lot of auditions. I've just finished my third set of Met Auditions (the Chicago Regionals), and next week I hear the Minnesota Districts, and also do a Masterclass the day after, so I'm looking forward to that. One of the continuing themes I encounter seems to be about how much movement is appropriate in a given audition. I've been asked this particularly regarding competitions vs. main stage or young artist auditions.
There are, of course, varying opinions, but I continue to believe that over the course of a number of auditions of varying types, your best bet is to perform your repertoire in a way that best gives any auditioner the most complete snapshot of who you are as a performer. In other words, don't change who you are to suit a particular audition. Does this mean that you may displease a particular panel because of your dramatic intensity and physicality? Perhaps. But, again, over the course of many auditions, if you constantly try to figure "us" out(meaning the people who hire or give prizes), and change your approach to fit that situation, the more you run the risk of losing sight of who you are as a performer. And being who you are (assuming you have the talent, technique, etc.) when you audition, allows you the best chance to succeed.

Opera Center

2009-10-30T14:42:00.000-07:00

Here's the loading dock side of the new Wayne and Kristine Lueders Florentine Opera Center which I referred to in my previous post.