Dear Erda: How can I make a good impression when I’m applying for a Young Artist Program or meeting a teacher for the first time? I want to come across like a professional.
Signed,
Young Singer,
Dear Young Singer: Americans are dedicated to the casual lifestyle. These days, people wear shorts and tank tops to church, “LOL-speak” and text messaging abbreviations make written English incomprehensible to whole segments of society, and entire friendships take place without the friends ever having met in person. It’s a fine thing to enjoy casual living in your private life, but when it’s time to get down to business, a different set of standards apply.
In my various roles as teacher, consultant, and opera workshop administrator, I have the opportunity to observe quite a lot of business protocol, both good and bad. (I don’t see the bad so much in my role as a singer. Those who make bad impressions usually don’t make it as far as the rehearsal room, or if they do, it’s for their farewell debut performance with the company.)
So, without further adieu, let us discuss how to make (and keep) a good impression from the very beginning of your professional relationship with a producer, a teacher or coach, or a program administrator.
First Contact
The best way to introduce yourself is with a mailed cover letter, a brief note detailing who you are, invoking the name of a connection, if you have one, mentioning your qualifications, and of course requesting whatever it is you want. Include all contact information. Take the time to find out the name of the person to whom you should address this information, along with the proper spelling of that name, and their title.
E-mail is a terrific way to make contact with people, but it’s not the best choice for a first-time contact with a potential employer, unless the employer has made it clear that e-mail is the preferred form of communication. If you are communicating via e-mail, keep the tone relatively formal. Use proper grammar, spelling, and punctuation—no abbreviations! Write complete sentences. In future communications, you can take your lead from the person with whom you’re corresponding. When his tone becomes less formal, yours can, too.
It’s fine to contact a teacher or coach for the first time via e-mail—given how busy many of these people are, it may even be preferable. Your note should, however, be well-written. Good spelling, punctuation, grammar, and use of language always make a good impression, while sloppiness and informality always make the worst. When I see a sloppily prepared résumé, I assume that the singer is sloppy in his or her preparation of music, as well, and I am much less inclined to take a chance on that singer.
When you send your materials to a company or program, make sure that your contact information is prominently displayed on all pieces of correspondence. Make it easy for them to find you. Also, double-check your spelling, especially proper names and titles of foreign works. Spellcheck does not catch these.
Fill out all applications completely and neatly. Don’t add to the work of whoever is processing your application. Your goal is to make it as easy as possible for people to hire you.
The Audition/Lesson
Make sure you understand the audition or lesson requirements, the time, and the place. Do you need to bring your own accompanist or a fee for the provided pianist? Can you warm up at the space? How many pieces should you plan to offer? Do you need to bring anything special to your first lesson with a new teacher? Does the teacher have a special protocol when you arrive for your lesson: Where should you wait? When is it appropriate to knock? Should you remove your shoes?
Needless to say, punctuality is essential, both for making a good impression and for singing well. If you are visiting a teacher, do your best not to arrive more than five minutes early. Have any checks made out in advance and arrive ready to sing—after, of course, you catch your breath.
If you are auditioning, and there is a monitor in the hall, introduce yourself and tell him or her what time you’re scheduled to sing. Be polite to this person, not only because it’s the right thing to do, but because they are associated with the company, or at the very least are in a position to mention you to the panel.
When you enter, don’t be afraid to greet the panel politely as you take your place. But don’t waste their time—have your music out and be ready to sing. Greet the pianist as well, and take time to give him your tempo for your starting piece.
A word about audition attire: My darlings, you are auditioning for the opera, not American Idol, nor a revival of Little House on the Prairie, the PGA Golf Tournament, or a position as a plumber. Please do not show up at an audition wearing anything that reveals cleavage (in front or behind), your belly button, or whether you are wearing undergarments. Please do not wear anything resembling a floral flour sack, dark hose, or orthopedic shoes. Please do not dress for a prom or a hot date. Please do not show up in a polo shirt or a button-down with the sleeves lumpily rolled up. If you’re going to wear a casual shirt, don’t pair it with dress slacks and shoes, and vice versa.
Ladies, wear makeup, but just enough to highlight your features. Everyone, make sure your hair is out of your face. Incidentally, these wardrobe suggestions work just as well for rehearsals and voice lessons. Neither your colleagues nor your teacher want to deal with exposed jiggly parts while working.
When in doubt, wear something that is current, flattering, tailored properly to fit your body, modest, clean, pressed, and comfortable. Ladies of all sizes and shapes look great in wrap dresses. Gentlemen always look nice in a properly tailored suit. If you need more help, call the nicest department store in town and make an appointment with the personal shopper—it’s usually free. Take notes, take photos, then take your credit card to a discount store and buy a similar outfit at a price you can afford.
When you sing, make sure you’re standing where the accompanist can see your face. Address your audience—in this case, the auditors, who, I assure you, are not on the floor or in the extreme corners of the room; and although they undoubtedly love to laugh long, loud, and clear, they are not up on the ceiling with Uncle Albert and Mary Poppins.
Whether in an audition or a lesson, you will always make a good impression by being well-prepared musically, vocally, and organizationally. This means having all your materials at hand, and being prepared to answer, in a succinct and confident way, any questions the auditors might ask. For example, if you have gaps on your résumé, you may be asked why you sang no roles between 2006 and 2008. A new teacher might want to know how you usually warm up and why you do the exercises you do. Any number of people might ask what roles you have sung and what you aspire to sing. Part of appearing professional is being prepared to answer questions such as these.
When you’re done singing and the audition panel or teacher has dismissed you, thank them for their time and clear out. Any payment should be ready to go and easily accessible. If you think of a last-minute question, unless it’s a very quick one, save it for a follow-up e-mail or the next lesson.
Regardless of the situation in which you find yourself, you will make a good impression if you are polite and respectful. If you’re not sure what would be polite and respectful in a particular instance, think about what would make life easier for the person with whom you’re interacting. This doesn’t mean being a doormat, abasing yourself, or putting yourself to a lot of extra trouble; mostly it simply means listening, responding, and doing what is asked of you, when it’s asked of you, with a smile on your face.
In Part 2, we’ll discuss how to make a good impression once you’re in a Young Artist Program, on a job, or in a studio.
