August 31, 2007 - Since Opera Vivente published its audition dates a few weeks ago, I've been processing audition packets pretty much on a daily basis. The beginning of autumn (yes, I'm afraid we all have to face that summer is on the wane now) also always means a ramping up of my vocal coaching duties as singers seek to prepare and polish their "package" for the onslaught of "audition season". So, in addition to slogging through the last musical numbers of the Orpheus translation (see last post for an in-depth discussion of the joys of translation), I've been thinkin alot about the business (perhaps some would say art) of auditioning, self-marketing, and generally getting hired that is, in short, the business of singing professionally. And it occurred to me that whatever insights I've gained into this process over the past 10 or so years of being a general director might be of interest to singers and non-singers alike. So, here goes.
The Audition Listing - for better or worse this is generally the first step in the process which every singer hopes will lead to them performing a role on opening night. OV, much like other companies, will post its audition information in various sources known to be frequented by singers. OV personally uses our own website, Classical Singer (both website and magazine), the Peabody Placement Bulletin, and new this year YAP Tracker (that's Young Artist Program not a slang for someone's mouth as in "Shut your yap!") and Opera Source (sponsored by Opera America). We strive to give as much information as possible in this listing, but after many years of doing this, I'm convinced that many singers cause themselves (and the companies) a lot of unecessary trouble by not reading the listing carefully enough. So, suggestion number one: read the listings carefully before you start throwing together the things that you think we need. Send all the materials requested together. Many companies will simply trash what is in essence an "incomplete application". Also, make note of where the audition is being held. Many singers assume that all auditions happen in New York, but increasingly companies are having auditions in their own city. OV is an example of this. We only audition in Baltimore. We're happy to hear out of town singers (and regularly do hear and cast out of towners) but they have to come to us for the audition. Location is important because you might decide that traveling to an audition may be prohibitively expensive or more importantly, not worth it to you personally simply for the possibility of being cast. Which leads me to some of my next points.
Repertoire - many companies publish the repertoire for which they are hearing singers. Before applying willy-nilly for an audition, make sure that 1) there is a role appropriate for your voice in the opera(s) that are being cast and that 2) you are at generally the same level of accomplishment and experience as those singers that the company has cast in the past in comparable roles. I remember a number of seasons ago when we did Puccini's
Le villi. Now
Le villi only has three roles: soprano, tenor, baritone. Be that as it may, I had applications from numerous mezzos saying how interested they would be in singing in
Le villi. In addition to being an impossibility, the other unfortunate by-product of this is that I began to wonder about all other facets of this singer. In what other ways would they be caught having "not done their homework" so to speak. The second item is illustrated by the number of young singers with very little or in some cases no stage experience who come to audition and refuse anything except a major role. While OV is certainly not the Met or Chicago Lyric, a quick Google search of the singers who have done big roles for us over the past several seasons will quickly reveal that they all have considerable experience with other companies. The other aspect of this issues is one which many singers don't want to accept but which is in fact a reality. It is often referred to as "paying your dues". I prefer to look at it as "risk management" on the part of the small to mid-sized company. We don't have the luxury of cover contracts or pulling in a last minute replacement so generally we are at first inclined to offer a singer a smaller role in order to see what they are really like. The exceptions to this are 1) the singer is truly extraordinary or a very unusual voice type or 2) they have plenty of companies on their resume that we can call for additional information and references. And speaking of resumes:
The Resume (and to a lesser extent, The Headshot) - I continue to be astonished at the sorry state of many singers' resumes. This document is often the only thing that a company initially has by which to judge you and yet they are often littered with typos, inaccuracies, and, to be charitable, "half-truths". So singers, spend time on your resumes. Make sure that they are updated regularly, because nothing causes more errors than a hastily "revised" resume. Make sure that you run them by several knowledgeable people. By knowledgeable I mean individuals who are familiar with the spelling, punctuation, and capitalization rules for opera titles, character names, and composer's names. Also, make sure that what is on the resume is really the truth. Now the obvious example here is saying that you've done a role that you haven't or worked for a company that you haven't worked for. But there are more subtle "half-truths". I find that they particularly occur in that category that's referred to as "masterclasses" or "other study" or some such title. This is where we often see very famous names appear. Now, if you in fact have had numerous coachings with Marilyn Horne or Leontyne Price, that's great. If I can call up Marilyn Horne and ask her to give me her assessment of your abilities and career potential, even better. But if there's no way that Marilyn Horne or whoever is going to know your name because your only contact was that you sang one aria 10 years ago for a masterclass that she did at your university, then don't put her on the resume. Same with the category of "directors". If you were in the chorus of
Il trovatore under the direction of Frank Corsaro 15 years ago, I'm sorry, but you have not "worked with Frank Corsaro", at least not in any way that is meaningful for someone trying to assess your casting pontential. Often, simply thinking about the purpose of a resume will sort these questions out for you. It's really about giving a full and ACCURATE accounting of meaningful artistic training and experience. A word about headshots also: if your friends, family, and co-workers can no longer recognize you in the picture, it's time for a new one.
Application Fees - this divides many people at all levels and so I don't expect to achieve consensus here but for what it's worth here's my advice. If the application fee is roughly equivalent to what it would cost you to hire a pianist to play your audition and the company is providing an accompanist, go for it. You're none the poorer. If the company is not providing an accompanist but the fee is still comparable, I'd still say go for it because the company is probably using your fee to offset any administrative costs that they incur processing your application. If the fee is considerably higher, then beware. It could be that the company is just using auditions as an unofficial "fundraising" activity.
Last point:
The Audition - once you've gotten past the first hurdle and received an audition date and time please be prepared in the following ways:
1) Be comfortable with starting with any of the arias on your repertoire list because you don't always get to choose what your going to sing.
2) Have arias listed on your repertoire list that are pertinent to the repertoire that's being cast. Even if you don't have an aria that is from the same show, you should certainly have something that speaks to the vocal demands of that show. Don't audition for a baroque season with nothing but Puccini. Don't audition for a heavily 19th century season with a lot of Mozart and Handel. If the company also specifies certain obligatory aspects, adhere to them. OV is an all English language company. We therefore need to hear you sing something in English, even if it's a translation.
3) Make sure that all your music is accurately and clearly marked for the accompanist. It's disconcerting when you cut and they don't or vice versa.
4) Make sure that everything on your list is completely polished and comfortable for you. Don't learn an aria at the last minute simply because you want to have something from the show. That doesn't do anyone any favors.
Okay, well that's enough labor for the eve of the Labor Day Weekend. Have a safe and happy one. And then brace yourself for the beginning of THE SEASON! (cue dramatic music). See you at the opera!
John Bowen
Labels: auditions, business, companies, fees, headshots, resume, roles, singers
