A Word from Ana Maria Martinez : What Not to Wear


As a society, we are bombarded by magazines, television shows, and even the Internet, telling us what’s “in” and what we must have in our wardrobe to be en vogue. From my point of view—at least in the professional arena—classics are the way to go. This is particularly true when you are starting out and watching your budget more carefully. My comments and ideas are primarily directed toward ladies’ attire, yet many of the basic ideas can also apply to gentlemen.

To achieve the professional look for auditions, meetings, and the like, go with classic, conservative designs and colors: navy blue, ivory, black, and brown. For ladies, reserve the color ivory for blouses, shells, and accents, and the darker colors for your suits, skirts, and jackets. Dresses? For a professional look, go with solid neutrals. Prints are almost always nice on a dress—for nonprofessional occasions. Same for that cute and sexy little black dress, which is best for evenings out on the town.

For auditions, I always chose neutral colors: an ivory top with a flattering black skirt or a stylish and flattering black and white dress. Both should end below the knee. Believe me, no one’s knees are pretty. Often in auditions, you’re on stage, and those hearing you will be at eye level with—yes—your knees!

I always keep accessories to a minimum—more on that later.

I went even farther in the neutral direction at competitions: ivory dresses and gowns. I had a simple yet powerful reason for this: I wanted to present myself as a canvas for the judges, so they could project upon me their view of the character I was portraying in the arias I chose. I already had a clear idea of my interpretation, of course, but I wanted the judges to feel free to imagine “their” Gilda and “their” Juliette when I sang those characters’ arias at a competition.

I bring this up because a) it really worked for me, and b) I’ve seen far too many “busy” choices in competition attire. The Greeks believe that beauty lies in simplicity—and when it comes to professional attire, less is often more. A blazing red dress may be stunning, but it also may get more notice than your singing. Busy attire can potentially upstage you, and you certainly don’t want that to happen.

For both auditions and publicity photos, keep accessories to a minimum. You don’t want your earrings to get more attention than your face. Your face is your energy in your photos. I’ve seen many glamour shots where it’s all about the hair and jewelry—so much so that I don’t get a feel for the personality.

This brings us to another major point: your hair. Whatever your style, long or short, wild or conservative, you should always have your hair swept away from your face. Hair frames the face; it should flatter rather than distract.

Your shoes should be in classic colors and styles, and always comfortable and well polished. I heard a general director say once that he can tell a great deal about a singer by how they are dressed, and in particular, by the condition of their shoes. I couldn’t believe that he would take such notice, but he does, and many do. This talk took place during some mock auditions he was hosting for several young singers. Sloppy and dirty shoes, he asserted, were a clear sign of a sloppy and careless person when it comes to details. He went so far as to say that such sloppiness is a reflection on a singer’s work, preparation, and discipline—or lack thereof.

You most certainly want to put your best foot forward in auditions and competitions. Looking like a consummate professional may have as much to do with your physical appearance as it does with your musical, vocal, and interpretive preparation and presentation.

When traveling for auditions and competitions, it’s important to pack light and still have everything you need. This has never been my forte—I find I have often packed much more than I needed.

Here’s a suggestion that really works. Before you start packing, write a list of everything you know you will need. Look it over and edit where possible. If you stick to your written list, chances are you will pack lighter.

Take your list with you. When it comes time to return home, your repacking will be quick, and you won’t leave important items behind.

I wish you all the very best on your audition and competition journeys. These exciting adventures will live within your hearts forever. Live them fully!

Ana Maria Martinez

Grammy Award winner Ana María Martínez graces the stages of opera houses around the globe. She began 2008 at the Opera de Bastille in Paris singing the title role in a new production of Verdi’s Luisa Miller, followed by her role of Mimi in La bohème with the Houston Grand Opera. In May she makes her debut with the SWR Sinfonieorchester Baden-Baden und Freiburg for her first Verdi Requiem conducted by Sylvan Cambreling; and finishes the month with her debut with the Orchestre de Paris to sing Bernstein’s Kaddish Symphony. In June she returns to the Berlin Philharmonic Orchestra under the baton of Gustavo Dudamel to sing Villa-Lobos and Manuel de Falla. Martinez earned bachelor’s and master’s degrees from the Juilliard School, scored a 1995 win at Operalia, and is an alumna of the Houston Grand Opera Studio.