I don't care whether you like it or not!!

Okay, that's a bit harsh, but to a certain extent that's what you have to do when you audition for someone.  It's a fine line - you want to pull the person hearing you in, just like with any audience member, but at the same time, you can't worry about whether or not they like it.

Of course, you are always walking this line when you sing.  However, when you sing for an audience, this is diffused across a larger number of people, so it is easier to imagine that the crowd is "pulling for you".  When you are just singing for just one or two people, it is easier to feel that "I'm being judged".

When you audition, you are, of course, being judged, but nevertheless, most of the time, those of us hearing you, want you to do well, so try to concentrate on that! That may help that audition feel like a performance, which in turn, will make it a better audition.

The thing is......

....that auditioning in some ways is the least natural thing you have to do as a performer.  Any time you perform, you are, at a certain level asking for acceptance.  But communication is what really comes to the forefront when you are out in front of an audience performing.
Conversely, when we audition, the need to be accepted tends to push to the front.
The problem with that, of course, is that most of us show our best side, when we really communicate with our music and our voices.
I think we all know people who audition very well.  I have quizzed the people I know like that over the years, and what they all seem to have in common is the ability to treat that audition like a performance.
There are various ways to achieve this, some of which include "tricking your brain".
I would like to explore some ways to do this over the next few posts.....

Summer stuff

A lot of things coming up!
This Thursday, I will visit the Steans Institute program at the Ravinia Festival and hear their young artists in audition, and then next week, I will hear four operas at the Santa Fe Opera, along with twenty five of our donors.

It has been a real pleasure hearing so many young singers this summer, and no matter what happens in the world, people with a desire to share to share with the world through the arts does will do so.

Over the past five years, whether one is talking about an arts organization or an individual, it has become even more important to think of news to thrive.  I know that it is already a difficult path if you are a singer, but finding ways to market yourself is now imperative.  This is an audition blog, but in reality, what constitutes "auditioning" has expanded and enlarged, and those people (and organizations) who are thriving, are the ones that have developed ways to make challenging circumstances work in their favor.

I will expand on this as we head into "audition season", but in the meantime, enjoy what's left of summer - and plan!!

Back from Brazil

It has been quite a summer of hearing young singers - I just returned from the Inaugural season of the Festival of International Opera of the Americas, where I directed The Tales of Hoffman with two casts of young singers.  It was great to work with young talent who are eager to grow vocally and dramatically.  Certainly producing that opera in two weeks with two casts is challenging, but we got it up and running and they have three more performances.
Even with all the challenges - particularly having multiple assignments in different shows, the singers really came through.....
More observations to come!!

Masterclasses in interesting locations

I got back last week from doing master classes on auditioning in Novafeltria, Italy at La Musica Lirica.  I did two days there with singers with a wide range of experience, and it was great to hear singers on their various career paths.  It's interesting to see that some of the same issues tend to be universal as challenges -

1.  Having a good grasp of what the "right repertoire" means for auditioning
2.  Being fully ready to present the audition - meaning being comfortable with those presentational elements of an audition that go beyond vocal technique, musicality and correct pronunciation.

This week, I am off to Brazil to direct The Tales of Hoffman for the Festival of International Opera of the Americas.  I will also be doing some master classes there as well, and I hope to report "on location".

An interesting summer

In addition to taking a group of our Opera Company's patrons to the Santa Fe Opera this summer,  I am looking forward to a couple of experiences that have a direct relationship to this blog.
I will be in Italy, conducting master classes at the La Musica Lirica program in Novafeltria, and then soon after, will head off to Brazil to direct The Tales of Hoffman and also conduct master classes at the inaugural season of the Festival of International Opera of the Americas.
I look forward to sharing some thoughts and reflections after my time at both of these programs.

Stay tuned!

Repertoire, repertoire, repertoire

Before you go to do your next audition, you should in conjunction with your coach and teacher, spend time making sure that your audition rep, in addition to being absolutely right for where you are as a singer, shows all of the strengths you have as a performer - not just the voice itself, but what a particular piece allows you to show dramatically and interpretively.

From giving feedback over the past several months, I have learned that this does not happen enough.

Choosing your rep is a very important, strategic part of your audition - it's not just your "current five"
Keep that in mind!