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!

Good addition!

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?

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?

or

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

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!

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!