We all have guilty pleasures, and occasionally holing up with a large glass of wine and an America’s Next Top Model marathon is one of mine. It’s all so silly. The young women often have some modeling experience, but they are essentially raw talent and are expected to perform instantly at a professional level, with very little training and under very stressful circumstances.
Silly as it may be, there are a few lessons for singers, believe it or not, in shows like these. Time and time again, one of the contestants will be thrown off her game when asked to do something unexpected or outside her comfort zone. Time and time again, contestants who allow their self-doubts to get the better of them or who aren’t good at selling themselves lose out to others who may actually be less talented.
Similarly, singers—especially inexpe-rienced singers—often sell themselves short. They may not even realize they’re doing it or what effect it has. Modesty has its place, and an outsized ego is always unattractive, but there’s a happy medium to be found. Successful singers, professional singers, project an air of confidence and capability, even if they’re not feeling it on the inside.
Let’s start with some common mistakes I’ve witnessed recently in three examples.
A wonderful young singer, inexperienced in singing with an orchestra (as young singers often are) and increasingly embarrassed by minor mistakes, began to sabotage himself through unnecessary apologies. He made comic faces at his own mistakes, chattered nervously, and generally telegraphed how badly he thought he was doing. He thought that by acknowledging his mistakes, he was showing the (sympathetic) conductor that he really did know what he was doing. In reality, he took up valuable rehearsal time and came across as insecure and professionally immature—despite the fact that he sang quite well.
A singer at an informal, friendly audition hemmed and hawed over what to offer. Asked repeatedly to pick whatever he sings best, he instead shuffled through his notebook and listed what he’s been working on, practically insisting that the auditioner choose for him. Frustrated, the auditioner selected a piece, which turned out to be brand new for the singer and in no way ready to be heard outside the studio. So instead of showing his vocal progress, the singer showed everything that he couldn’t do well. He also showed that he doesn’t really know what he does do well. By waiting to be told what to do, he communicated that he is still very much a student, not yet ready to take ownership of his voice, education, and career.
A very accomplished young artist with some impressive credits under his belt admitted that he often psyches himself out at auditions. He second-guesses the audition panel and edits himself as he sings, obsessing about imperfections. He knows that, although he never really sings badly, he sometimes misses a step or two in really selling himself as a performer. He also knows that this is an audition phenomenon for him—once he’s on stage, the self-doubts disappear.
How can you strike a balance between arrogance and selling yourself short? How can you make a great impression? First, know your own voice as much as you can at your current stage in development. Know what you do really well and what you don’t do so well. If you’re still in school, don’t worry about what Fach you are (or are supposed to be when you grow up). Don’t worry about what you think you should be able to sing. Instead, concentrate on finding out what you sing really well right this minute. That’s the only thing you should audition with. And if you can’t decide what that is, you might not be ready to audition at all.
Singers transitioning to a professional career should also take note. Too often young singers go through their education and emerge with five arias with which they can audition, a host of excerpts, and perhaps a role or two, but no real idea of what kinds of roles they should be trying to get on the professional circuit. In addition to the starring roles from your Fach (again, we’re talking about what you sing well right now, not what you expect to be able to sing five years from now), you should also prepare as many comprimario roles as you can. If you sing them well and fit the part physically, it doesn’t matter if they are the very best thing for you vocally. The dirty truth is that young artists are often asked to sing small roles outside their Fachs. These are the foot-in-the-door roles you’ll be hired to do first. You can always ask to cover the lead.
When you do go into an audition or rehearsal, don’t waste anyone’s time by telling them how badly you intend to sing. If you walk in the door making apologies before you’ve even sung your first note, you are setting up an expectation of failure for yourself and the people listening (as soon as their goodwill and patience runs out, as it shortly will).
Professionals don’t apologize for their vocal technique or their voices. Professionals know that they are offering a product which the auditioners may or may not like and want to buy. Once you’ve been hired, you’ve got the stamp of approval. Don’t make them regret their decision by convincing them they made a mistake or by being needy and insecure. No one has time for that. Save the drama for your mama.
That’s not to say that a professional never apologizes. They might apologize if they do something rude or stupid, or if they don’t know their music as well as they should. But they do so charmingly, sincerely, and only once. And then they fix the mistake, move on, and don’t repeat it.
Finally, cut yourself a little break. We all have to start somewhere, and the pros who are judging you know that. They know what to expect from young singers, they know what they’re looking for, and they know what they are going to hire. One thing I hate about reality shows like America’s Next Top Model and American Idol is that they promote the fantasy of instant success, which somehow implies instant artistry and professionalism which is rarely backed up by a portfolio of real work (how can it, when you’re all of 19?). It’s all image and, in many cases, raw talent, but little substance. Classical singers cannot afford to buy into this myth. We travel a long road of grueling work in a vast variety of areas, and no one is going to be amazing in every one.
Auditions, done properly, are not a crapshoot. Smart singers target opportunities that fit their abilities. So before you fill out your first application, figure out what yours are, and prepare to go out there and sell them. Don’t be one of the pretty, talented ones who gets kicked off the island—or the stage—because you wouldn’t fight for your right to be there.
