Social Media

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

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

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?

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!!

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

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

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.