Audition Repertoire
November 13, 2008 - Well it seems that an innocuous Facebook status report has once again provoked a firestorm of reaction both on my Wall and in my Inbox. So, here's a few thoughts with regards to some of the feedback that I've gotten from singers.
1) No time to learn new audition repertoire - something that should be addressed, because no company (mine included) wants to hear you audition with the same 5 arias year after year after year.
2) I don't sing anything from the repertoire - okay, so I know that I said last year that my preference is for hearing something from the actual show being cast (and indeed I still think that's the ideal situation). However, let me flesh that out a little bit by saying that if you don't sing an aria from the actual show being cast, you should still consider singing if you sing something that shows off relatively the same vocal demands as those of the role for which you hope to be considered. As an example: If you sing "Una voce poco fa" but not "Non piu mesta", chill out. The vocal demands for both are very similar. If, however, the most florid thing in your repertoire is "Donde lieta" than Rossini is probably not for you. You might laugh at this last statement, but I did last season indeed have several sopranos who specifically said they were interested in Donna Anna and yet presented nothing remotely florid. Have you looked at "Non mi dir"? That being said, before deciding that you don't have anything to offer, take a look at the repertoire being cast more in depth and then see if anything you have in your audition list relates to that in terms of vocal demands, historical period, national style, etc. For instance, all you baritones that sing "Avant de quitter" should take a look at Golaud. I think you'll find it illuminating.
3) No money for auditions, travel, etc. - This is a toughy, I'll admit. But, with companies cancelling auditions left and right, the singer who can figure out how to cost-effectively make it to the most auditions is going to have a far better chance of securing the coveted contract. Explore car-pooling ideas. If 4 or 5 singers in NYC all decide to come to Baltimore to audition for OV, the cost of gas and tolls becomes quite reasonable. Also, DC, Philly, NYC, etc. are all doable drives in one day so you don't have to worry about accomodations.
Okay, back to planning the Holiday Cabaret.
1) No time to learn new audition repertoire - something that should be addressed, because no company (mine included) wants to hear you audition with the same 5 arias year after year after year.
2) I don't sing anything from the repertoire - okay, so I know that I said last year that my preference is for hearing something from the actual show being cast (and indeed I still think that's the ideal situation). However, let me flesh that out a little bit by saying that if you don't sing an aria from the actual show being cast, you should still consider singing if you sing something that shows off relatively the same vocal demands as those of the role for which you hope to be considered. As an example: If you sing "Una voce poco fa" but not "Non piu mesta", chill out. The vocal demands for both are very similar. If, however, the most florid thing in your repertoire is "Donde lieta" than Rossini is probably not for you. You might laugh at this last statement, but I did last season indeed have several sopranos who specifically said they were interested in Donna Anna and yet presented nothing remotely florid. Have you looked at "Non mi dir"? That being said, before deciding that you don't have anything to offer, take a look at the repertoire being cast more in depth and then see if anything you have in your audition list relates to that in terms of vocal demands, historical period, national style, etc. For instance, all you baritones that sing "Avant de quitter" should take a look at Golaud. I think you'll find it illuminating.
3) No money for auditions, travel, etc. - This is a toughy, I'll admit. But, with companies cancelling auditions left and right, the singer who can figure out how to cost-effectively make it to the most auditions is going to have a far better chance of securing the coveted contract. Explore car-pooling ideas. If 4 or 5 singers in NYC all decide to come to Baltimore to audition for OV, the cost of gas and tolls becomes quite reasonable. Also, DC, Philly, NYC, etc. are all doable drives in one day so you don't have to worry about accomodations.
Okay, back to planning the Holiday Cabaret.
Labels: auditions
posted by Opera Vivente at
11:49 AM
1 Comments:
Just a note on transport: there are also now VERY cheap buses, that granted go to DC, but it's very easy to jump on a MARC train into Baltimore and back. Especially since OV is walking distance from Baltimore's Penn Station. It's rough, but it can be done in a day.
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