Choosing repertoire for undergraduate auditions can be difficult to negotiate. You want to present something that fits your voice and highlights your strengths, yet is not overdone. How do you know if you have chosen the appropriate rep? Look no further! Read on to discover what college professors really think about your audition selections.
Tried but True?
Are there songs that university professors are secretly tired of hearing over and over during auditions? Dr. Linda Lister, professor of music and director of opera at the University of Nevada–Las Vegas, reveals, “Some of the most commonly overused songs and arias include the 24 or 28 Italian hits. There are legitimate reasons why some audition pieces are popular and perhaps overdone. For example, Handel’s ‘Total Eclipse’ is good for tenors who top out at G, and Robert Schumann’s ‘Du bist wie eine Blume’ is a short and approachable German Lied. But other selections could serve those same purposes.”
Dr. Misook Yun, professor of voice and voice coordinator at the Dana School of Music at Youngstown State University, seconds that, adding, “Probably the most overdone repertoire is ‘Caro mio ben,’ ‘The Vagabond,’ and ‘O mio babbino caro.’ I still enjoying hearing them when they are done well.”
“Many of these pieces are great for young voices, but the songs from the 24 Italian Art Songs and Arias are done too much, especially ‘Se tu m’ami,’ ‘Tu lo sai,’ and ‘Caro mio ben,’” asserts Dr. Marcía Porter, professor of voice at Florida State University. “Conversely, I don’t mind hearing music repeatedly when it is well prepared and sung with expression.”
Dr. Quinn Patrick Ankrum, associate professor at the University of Cincinnati, College-Conservatory of Music, acknowledges that “Sometimes what shows your voice at its best is one of the pieces that everyone sings. While there are songs and arias voice teachers get tired of listening to, this is highly individual and subjective. For example, I love some of the overdone repertoire that my colleagues do not adore, and vice versa.”
“With so many magnificent new operas that have been written in the 21st century, I want to hear arias from those,” suggests Dr. Linda DiFiore, voice faculty member at DePaul University School of Music and Regents Professor Emeritus from the University of North Texas. “Speaking as a mezzo-soprano, I don’t need to hear the standard arias from the canon in an audition, given that mezzos have a wealth of arias from which to choose by current composers. I would prefer ‘I Bought this Suitcase in New York’ from Flight or ‘Am I Your Light’ from Dr. Atomic. This applies to all voice types.”
Try This, Not That
What are viable options if you are looking for selections that will peak the listener’s interest? “What is most appealing is when a singer brings in repertoire written by a composer from an underrepresented population,” admits Porter. “This shows the singer is committed to performing music outside of the ‘traditional canon’ and that the student will probably be open to exploring other options.”
Dr. Linda Lister, professor of music and director of opera at the University of Nevada–Las Vegas
Dr. Rachel Velarde, assistant professor of voice at Northwest Missouri State University agrees, noting, “I would much rather hear diverse repertoire from women composers, songs from the African diaspora, and from LGBTQ+ composers.”
DiFiore elaborates, “I would like to hear more songs and arias from traditionally underrepresented composers, including Black, Latinx, LBGTQ+, women, Asian, Indigenous Peoples, etc. Many living composers have remarkable songs, song cycles, and vocal chamber music from which to choose. We should be encouraging our singers to explore this outstanding body of music, past, and present.”
Dr. Misook Yun, professor of voice and voice coordinator at the Dana School of Music at Youngstown State University
What about recommendations in the classical canon that are not common place? I personally love it when singers present art songs by the Italian composer Vincenzo Righini, a contemporary of Mozart. And Lister recommends “exploring other possibilities, such as Handel’s ‘Verdi prati’ or ‘Let me wander,’ ‘Cara e dolce’ by Scarlatti, or Bellini’s ‘Ma rendi pur contento.’ It’s great when singers present Gilbert and Sullivan or Victor Herbert. And I would also love to hear more audition repertoire by female composers—possibilities include Clara Schumann’s ‘Liebst du um Schönheit,’ Lili Boulanger’s ‘Elle est gravement gaie,’ ‘Per la più vaga e bella’ by Francesca Caccini, and ‘Night’ by Florence Price.”
Dr. Marcía Porter, professor of voice at Florida State University
Another shared concern among university voice teachers is young singers choosing repertoire that is not appropriate for their skill level. Yun discloses, “I would like to hear well prepared songs that are appropriate to the students’ current level. We often hear students presenting difficult pieces—technically as well as emotionally—that are not matched to their current abilities.”
Dr. Quinn Patrick Ankrum, associate professor at the University of Cincinnati, College- Conservatory of Music
Lister agrees, “Select music that shows your strengths and not your weaknesses. An audition panel will be more impressed by a simple song sung well rather than a super-challenging piece that highlights problem areas.”
“What I miss in most undergraduate auditions is a purpose for communicating. Much of what I hear is regurgitation of notation, rather than a thoughtful approach and a point of view,” Velarde attests. “I would rather hear a very basic song presented fully, with both technique and artistry, than anything flashy.”
Dr. Linda DiFiore, voice faculty member at DePaul University School of Music and Regents Professor Emeritus from the University of North Texas
Porter says, “One of the biggest mistakes young singers make is selecting repertoire that is too demanding or that does not show their voice in the best possible light. If you choose songs that you love with texts that speak to you, the audience (adjudicators) will love the music as well.”
Ankrum echoes this: “Sing what shows your voice well, not what you consider to be the flashiest, shiniest thing you have to offer. We want your artistry to shine through, and we want to hear what you have to say.”
Dr. Rachel Velarde, assistant professor of voice at Northwest Missouri State University
Dr. Thomas L. Rowell—professor of music, coordinator of graduate studies in music, coordinator of vocal studies, and director of opera at the University of South Alabama—corroborates, “Choose what you sound best with, not what you think the audition panel will be impressed with. The songs that a student picks should fit their voice for where it is in its development. Just because a student may be able to sing certain repertoire that might be challenging doesn’t mean that they should.”
Repertoire Readiness
In preparing your audition materials, there are also logistical details to consider. “Be sure to read the requirements for each application thoroughly and follow repertoire requirements strictly. You can assume that every voice faculty has a well considered rationale for their requirements,” advises Ankrum.
Porter says, “When choosing music, pay attention to the audition requirements for each school. Do not assume that the criteria are the same—one school may ask for only three pieces and another may ask for four. Some singers miss this and end up coming to their audition without the proper materials.”
“Make sure to work with an accompanist,” Porter also notes. “Most auditions are back to pre-COVID situations, meaning in person with an accompanist, not with a taped accompaniment track. Some young singers (and their parents) don’t realize how difficult it is to sing with an accompanist versus a recording. Those of us who have been doing this for years know the difference, but we sometimes forget that this younger group of singers may not know; they’ve only sung with tracks because that’s what we had to do for a few years.”
Potential Not Perfection
Some final words of wisdom? “Don’t sing something brand new unless you’ve recently had a major technical breakthrough and it reveals something new and special about your voice, or unless you find you are communicating with more expression with it than with the pieces you’ve sung a million times before,” conveys Ankrum. “Nerves have the potential to do you in, and you need to be able to trust yourself in an audition so you can shine.”
Velarde declares, “I’m not looking for a polished performer but, rather, a singer who is invested in their art, is interested in what they are singing about, and who prioritizes learning and curiosity over attempting to make the right sound. When I hear someone who is unafraid to allow their voice to sing, when I hear freedom and point of view, that is a singer I get excited about, regardless of their repertoire. So much of teaching voice seems to prioritize achieving a specific tone color, forgetting that the sound is driven by the human being inside the brain of the person in front of us. I want to hear that the singer is ready to seek their own personal artistry rather than trying to fit into a box.”
Porter shares, “Most importantly, have fun choosing your music, because that same joy will be reflected in the performance. And, yes, treat the audition as a performance, because it is.” And, finally, “Remember that your audition panel wants you to sing well. We want to hear your ability so we can assess your potential. We love what we do, and we want you to know that,” says Ankrum. “We are rooting for you!”
