We've just had our Studio Artist Auditions this week, and it was great to hear some very promising young artists again.
If I was going to pick out a couple of things that people might want to think about (and these are not new points), they would be:
1. Having a resume that completely and clearly lays out what you have done. I saw examples of not enough being listed, and too much being listed that didn't really mean very much. Always keep in mind that you want to impress someone with your resume, even if they are only taking a cursory look. If you can imagine someone taking a fifteen second look at your resume, that might give you some clarity in putting your resume together.
2. Headshots. Make sure your headshot looks like you do now, so that whoever you are auditioning for, will have a good visual reference to remember you by!
Thursday, March 28, 2013
Friday, March 22, 2013
Thought for the day
The temptation is to think of your auditions as a means to an end, and there is no denying that this is true.
However, another way of viewing auditions is to think of them as another performance. You never know how many times you will get to sing in your life, and every opportunity you get to sing is a part of that finite number. The audition is indeed a means to an end, but it is also another opportunity to perform - looking at it that way can take some pressure off!
However, another way of viewing auditions is to think of them as another performance. You never know how many times you will get to sing in your life, and every opportunity you get to sing is a part of that finite number. The audition is indeed a means to an end, but it is also another opportunity to perform - looking at it that way can take some pressure off!
Thursday, March 21, 2013
Upcoming auditions
We will be having our live auditions for our Studio Artist Program next week, and as always, I am excited to hear young singers at the start of their journeys.
This puts me in mind of a point that I try to make when I present master classes - those of us who hear you want you to do well.
This may seem like an overly obvious point, but the reality is, when I talk to young singers, or if I think back to my own audition experiences, I find that there is a fear in auditions, that the people hearing the auditions are a negative force.
I am not being naive, and I know that there are negative auditioning experiences, but the reality is, that in the vast majority of cases, your auditoners are pulling for you to do well. Many of us have been in your shoes, and know what you're going through.
A recognition of this on your part, can take away at least one stress factor in your audition!
For those of you auditioning for us, and for those auditioning elsewhere, I send you all good wishes for an audition that you will feel great about.
This puts me in mind of a point that I try to make when I present master classes - those of us who hear you want you to do well.
This may seem like an overly obvious point, but the reality is, when I talk to young singers, or if I think back to my own audition experiences, I find that there is a fear in auditions, that the people hearing the auditions are a negative force.
I am not being naive, and I know that there are negative auditioning experiences, but the reality is, that in the vast majority of cases, your auditoners are pulling for you to do well. Many of us have been in your shoes, and know what you're going through.
A recognition of this on your part, can take away at least one stress factor in your audition!
For those of you auditioning for us, and for those auditioning elsewhere, I send you all good wishes for an audition that you will feel great about.
Tuesday, March 12, 2013
Albert Herring....and auditions!
We are now about to have our third performance of Albert Herring, which has been exciting for many reasons, not least of which is the fact that all four of our Studio Artists are singing leading principal roles in this production!
Right on the heels of that we will be holding our live auditions for next year's program. We had a wonderful response this year - over 180 applicants from 29 states and Canada!!
I look forward to hearing these auditions, which never fail to get me excited about the next generation of singers.....
Right on the heels of that we will be holding our live auditions for next year's program. We had a wonderful response this year - over 180 applicants from 29 states and Canada!!
I look forward to hearing these auditions, which never fail to get me excited about the next generation of singers.....
Wednesday, February 27, 2013
Follow-up
After doing a spate of auditions over the winter, I have been impressed by singers following up when I have asked them to do so. In the past, this was not always the case, and not doing it (when requested to do so), results in missed opportunities more often than not.
So, to reiterate, if you sing an audition, and you have feedback sessions with a judge or adjudicator, and they ask you to follow up with them by e-mail or phone - do so!
If you are asked to do that, it means there is interest. And that is when possible employment gets cultivated!!
So, to reiterate, if you sing an audition, and you have feedback sessions with a judge or adjudicator, and they ask you to follow up with them by e-mail or phone - do so!
If you are asked to do that, it means there is interest. And that is when possible employment gets cultivated!!
Monday, February 25, 2013
Response
My previous post produced this question:
I'd love to hear your thoughts on the quality of recordings...what things you listen for, if overly compressed recordings go right in the waste bin, how much the sound quality itself affects your ability to judge a recording, etc. This is a topic that I feel pretty hazy about when giving advice to young singers. What do people who cast hear in recordings? What should young singers avoid? How much is too much to spend? Thanks!
This is an excellent question.
First, yes, overly compressed recordings are not a good idea.
Second, the sound quality plays a HUGE part. If volume, distortion levels, etc. are bad, you will have undoubtedly hurt your chances.
Third, make sure that each selection presents you as you are now. Acoustics, recording quality, when the recording was made all make a difference.
Fourth, having a recording with orchestra is not an advantage, and it becomes a disadvantage if the recording quality is not good.
Fifth, I don't know what all people hear, or listen for, but I would say that I am listening for a great sounding instrument, for excitement to come through the recording, and also, for all the mundane things, like diction, musical accuracy, etc.
Sixth, avoid anything that will not give the first impression that you want to make!
I'd love to hear your thoughts on the quality of recordings...what things you listen for, if overly compressed recordings go right in the waste bin, how much the sound quality itself affects your ability to judge a recording, etc. This is a topic that I feel pretty hazy about when giving advice to young singers. What do people who cast hear in recordings? What should young singers avoid? How much is too much to spend? Thanks!
This is an excellent question.
First, yes, overly compressed recordings are not a good idea.
Second, the sound quality plays a HUGE part. If volume, distortion levels, etc. are bad, you will have undoubtedly hurt your chances.
Third, make sure that each selection presents you as you are now. Acoustics, recording quality, when the recording was made all make a difference.
Fourth, having a recording with orchestra is not an advantage, and it becomes a disadvantage if the recording quality is not good.
Fifth, I don't know what all people hear, or listen for, but I would say that I am listening for a great sounding instrument, for excitement to come through the recording, and also, for all the mundane things, like diction, musical accuracy, etc.
Sixth, avoid anything that will not give the first impression that you want to make!
Friday, February 15, 2013
Some post audition and listening to recording thoughts
I have just recently heard a lot of auditions and competitions, including regional Met Auditions, as well as listening to a lot of recordings for our Studio Artist program. In no particular order of importance, I thought I would share some thoughts, both positive...and less so. Some of these thoughts I have shared before, so I apologize for repeating myself.
The good......
1. There is a lot of talent out there!! This may seem pandering, but it truly is not. As I get further away in age from the "starting out" demographic, I am heartened by what we have to look forward to in our art form. While our "business" has all sorts of challenges - some artistic, most financial - the young performers who will give us a reason to meet those challenges are still out there, working to express themselves through the art of singing.
2. Singers have not let the challenges of our business deter them from pursuing the thing they love. To me this is most heartening, because young singers will not only populate the stage in the years ahead, but they will also be organizational leaders.
The "still need to be worked on".......
1. Some singers still don't play to their strengths in competitions. I still hear a fair amount of singers "trying out" arias in high pressure situations, which is not the time to do that! A variation on this is doing aspirational repertoire. In my view, a singer should audition with repertoire that shows where he or she is now, not where they want to be in five years.
2. Singers sometimes don't realize that they can't ease into making a great first impression. When you audition, hit the listener between the eyes with your best stuff......assume that you won't have that much time to make an impression. Imagine that you are a musical singer, and that you only have sixteen bars to make your point. That may give you a better sense of urgency!
3. make sure your recording is the quality it needs to be. I am am amazed how often that doesn't happen.
The good......
1. There is a lot of talent out there!! This may seem pandering, but it truly is not. As I get further away in age from the "starting out" demographic, I am heartened by what we have to look forward to in our art form. While our "business" has all sorts of challenges - some artistic, most financial - the young performers who will give us a reason to meet those challenges are still out there, working to express themselves through the art of singing.
2. Singers have not let the challenges of our business deter them from pursuing the thing they love. To me this is most heartening, because young singers will not only populate the stage in the years ahead, but they will also be organizational leaders.
The "still need to be worked on".......
1. Some singers still don't play to their strengths in competitions. I still hear a fair amount of singers "trying out" arias in high pressure situations, which is not the time to do that! A variation on this is doing aspirational repertoire. In my view, a singer should audition with repertoire that shows where he or she is now, not where they want to be in five years.
2. Singers sometimes don't realize that they can't ease into making a great first impression. When you audition, hit the listener between the eyes with your best stuff......assume that you won't have that much time to make an impression. Imagine that you are a musical singer, and that you only have sixteen bars to make your point. That may give you a better sense of urgency!
3. make sure your recording is the quality it needs to be. I am am amazed how often that doesn't happen.
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