What next?

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....

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!

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

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

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

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

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.