Arias in a Scenes Program

We have a scenes program coming this week with our Studio Artists, and in the past, I have shied away from putting arias on a program like this, opting instead for duets, trios, and quartets.
I am really glad each singer is doing a solo scene on this program, and I have really enjoyed directing them.
It gets me back to a point I have made before about preparing arias for auditions.  Staging them out ahead of time makes the performance (or audition) much richer.

This program will have four interesting, contrasting arias:

Da tempeste from Giulio Cesare
Augusta's aria from the Ballad of Baby Doe
Lensky's aria from Eugene Onegin
The Count's aria from Le Nozze di Figaro

Each of these presents unique vocal and dramatic challenges- but each also represents an opportunity for a singer to grow as a singing actor.

Remember to take each of your audition arias and stage them - even if you don't use all of that staging in your audition, you will find that the "residue" of that staging exercise will leave you with a stronger audition aria!

New York

I just got back from almost a week in New York for the Opera America New Works Forum, and I also heard some auditions, and caught the Met's The Tempest.
As a board member of Opera America, this was my first opportunity to visit the new Narional Opera Center, which I can tell you is really stunning!
Hearing auditions in the new Audition Hall was great, and gave a great perspective on hearing singers in audition.  I hope that you get an opportunity to sing there (there are some wondeful studios for rent there as well).

So, before you do an audition......

make sure that everything you do on stage, is something you intend to do.
As I mentioned in my previous post, I recently sat in on some auditions, and made note of the following things, that I'm sure the singer involved, did NOT intend to do.

• very frenetic movement, seemingly unrelated to the dramatic content of the aria
• While it is good to have personality when addressing the judges, don't overdo it to the point of parody or caricature - you risk being remembered more for that than your performance
• don't walk out of your light when performing - take stock of the lighting on the stage, and stay within its confines - it does you no good, if we lose contact with your face and body
• unconsciously pulling on your clothing is distracting, whether it be skirt, jacket or shirt - this happens a lot, and will cause your listener/judge/potential hirer to focus on that instead of your performance
• awkward bows - make sure to learn how to bow in a comfortable, professional manner
• arm movements that get "stuck" - if you are going to make a gesture, know how to transition to your next position
• too much fist clenching - this is one of the most obvious signs of nerves that show up onstage - work on this ahead of time, so that that you don't have to try to deal with it when you are nervous

One other thing I think is worth mentioning - the use of props in an audition.  I personally don't mind them, but I have colleagues who do not like it, so be aware that you are taking a bit of a risk by using them.  A good compromise is "miming" the prop - doing all of the same gestures with an empty hand or hands.  

Sitting in on some auditions

I had the opportunity to sit in on some auditions on Saturday, where I was not the main adjudicator.  This gave me the opportunity to make notes on some things that singers do in an audition setting that I think are worth mentioning.
I, of course, will only mention the activity and not the specific singer. 
I actually heard some very good singing, so I hope you will find this helpful.
We are deep into Carmen right now, but I nonetheless hope to get this posted this week.

Been a little while - odds and ends....

I was on vacation, and we are now into rehearsals for Carmen (with a fantastic cast!).
Classical Singer magazine asked me to expand some of my notes from my presentation at their convention in June.  The result of that expansion is an article that appears in this month's issue.
I hope you can check it out.
Over the next several days, I will touch on some of the points in that article.
In the meantime, if you are in the Milwaukee/Chicago/Madison area, our performances are October 26 and 28.

Recommendations

An important part of the auditioning process is the initial application, which almost always requires recommendations from professionals with whom you have worked.  Sites like Yaptracker have made this an easier process for both recommender and recommendee.  It is not always possible to give the person whom you are asking to write a recommendation a lot of lead time, but when you can, do!!
The longer the lead time, the more in depth and thought out recommendation you will probably get. and as I have mentioned in other contexts, each thing that you do, is usually considered an indicator of how you do everything by those considering hiring you. 

A new year about to begin!

I am excited about the fact that next week we begin a new season with our Studio Artists - it's hard to believe this will be the fifth year of our program, and this promises to be an exciting year, with great roles for each of them in all of the operas, plus solo parts in Messiah with the Milwaukee Symphony, and a number of other projects.
The older I get, the faster time seems to go!