Audition Experiences

It has certainly been a busy couple of weeks!

On top of the audition I was already preparing for last time I wrote, I got a surprise...that Thursday, I heard from a company who wanted me in Cincinnati that Saturday for the audition. Nothing like a quick turnaround!

Fortunately, I could use the exact same material that I was already planning to sing for the audition last Wednesday.

I have to say, I have a better feelin about the one I did last Saturday than about the one last Wednesday. On Saturday, the auditioner seemed to have a much more positive response, asking me for all three of my offered pieces, and giving me a hearty "Well done!" at the end of my audition. Wednesday, I was only asked for two of my three pieces, and rather than sitting and watching me, the auditioner wandered around the room looking everywhere BUT at me! It was really strange. It seemed like he was listening, because he was taking notes, and I recognize that some people find it easier to give their full attention of they are moving around, but this was distracting and quite frankly, rude. Has anyone else had an experience like this? 

Audition Repertoire: What Should I Sing?

I have been emailing back and forth with my teacher since I found out I had been granted an audition for a YAP. This particular audition isn't asking for a standard five aria audition package.

Because of the works they are doing this summer (I wrote about it here), they are specifically asking for a German aria in order to be considered for Abduction, and aria in English, and they are also suggesting (though not requiring) a work from American musical theater. Three arias in total.

Can I just say how hard it is to find a German aria for a light lyric mezzo? The Sandman aria from Hänsel und Gretel is a possibility (it's technically a lyric soprano role, but is sung by both lyric sopranos and lyric mezzos), and of course, Prince Orlofsky's aria from Die Fledermaus (I bet there will be a LOT of people doing this one), but after that, the only other aria that has been suggested to me is Nancy's aria from Martha. None of these pieces are currently in my rep, and since there are only chorus roles for mezzos in Abduction, I will probably begin learning the Sandman aria for future auditions, but not offer it for this one. I'm thinking I will sing one of the Cherubino arias to show that I can sing Mozart and not worry so much about the German part.

The next conundrum is the English aria. I have an English aria in my regular audition package ("I have dreamt" from Wuthering Heights), but I also have "Laurie's Song" in my repertoire. It might make sense to do something from the opera they are planning to do, but that aria has so much rubato that I'm not sure how I feel about doing it with a pianist I have never met or rehearsed with. I'm wondering if it's ok to do an aria from an opera you know is planned, and also whether it's advisable to an aria that complex in an audition?

Lastly, the third aria...I don't have much musical theater in my rep. However, I have been working on an aria from Trouble in Tahiti by Leonard Bernstein that comes pretty close to musical theater style. The only thing is, it's on the long side for an audition, and I'm wondering if there is a way for me to cut it? I will figure it out this week!

Auditions for Auditions

I have an audition! Woo hoo!

I received my audition notification from Opera North today. I'm pretty excited about it. They are planning Abduction from the Seraglio, The Tender Land, and West Side Story for this coming summer, which are (amazingly enough) all works that are NOT too heavy for my voice (I am a light lyric mezzo...Verdi would sound ridiculous coming from me), though Abduction does not have a mezzo role that I am aware of.

My excitement over my upcoming audition was tempered by yet another email saying I was not needed for a live audition (though they did at least offer to put me on a wait list should an audition slot open up).

So far, that makes for two granted auditions and 5 or 6 rejections (I've mostly stopped counting).

I'm keeping in mind that I only need one yes.

Now What?

Isn't imminent graduation scary?

I will finish my masters degree in Vocal Performance in May, and I am trying to figure out what to do with my life. The big WHAT NOW question is looming.

I have dealt with this before. I took five years after finishing my undergraduate degree to go back to school to evaluate, re-evaluate, set goals, study, and gain work experience. In the middle of the recession, I was lucky enough to work in my chosen field playing local gigs and teaching LOTS on private lessons, but because I hate the idea of career stagnation, I found myself going back to school to get my masters. The past year and a half has been an amazing experience of growth, and I feel like there is a responsibility on my part to put what I have learned to use in the "real" world.

Like any good student, I have been sending out applications for young artist programs (also frequently known as YAPs) in anticipation of summer and the opera season to come. So far, I've gotten one audition, but many, MANY of more rejections. Note: this is not me whining...it is a statement of fact. Some of those rejections I am sure were the result of me not updating my pre-screening videos in the rush to send off that first round of early deadlined applications. I am also sure that others were a result of companies looking for voices, body types, looks, etc. than my own. I try my best not to take these rejections personally, though it is a little frustrating at times.

I have several possibilities if I am not accepted into a YAP this year. I love opera, but I also love art song, and I think that as long as I am doing plenty of performing, I will be happy. 

   I am considering some pay to sing programs for the summer

   I will probably see about finding an adjunct position at one or more of the local colleges in my
    area. 

   Teaching is something that I also love, and a doctoral program is an eventual goal of mine, so I will

    begin preparations for that application  process.

   I can build my private studio back up (before going back to school, I had something like 25 private

    students), though this would be going back to doing exactly what I was doing before...but a girl's

    gotta eat, right?

My hope for this blog is not only to keep track of my adventures, but to have it be a forum for discussion on whatever topics might come up/be useful for young professional singers and other musicians. Also, I think this could be a great way to connect with other professionals...because it's all about who you know. Am I right?

SO...here's to jumping off the (figurative) cliff and embracing some new adventures.