Mapping it out!

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?

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

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

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

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!

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

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!