Networking opportunities abounded at this year’s Convention. I made quite a few connections with fellow singers, for instance, and because my picture was in the January issue of Classical Singer, a few people actually recognized me. That was wonderful, and I loved every new friend and connection I made.
I also took advantage of the seminars to network with presenters. They had a wealth of knowledge and I tried my best to make sure I left the room with their information and an invitation to contact them if need be in the future—a priceless and wonderful opportunity for singers young and old.
On the whole, the presentations were a very positive and productive experience. I thought the seminars Mark Stoddard gave were incredibly intuitive, and I immediately went to the registration desk and bought his book. The panel discussions with seasoned performers, directors, and managers where honest and thought-provoking. Dorothy Byrne could give a week’s lecture on what singers need to know and would still have invaluable information to tell us.
The panel sessions consisted mostly of questions and answers between attendees and the panel, and many singers asked great questions. Others chose to take up the precious time, however, with questions that the panelists couldn’t possibly answer without first hearing them sing. No one on the panels could tell these singers why they were not getting auditions or being hired, and yet, time and again in every class, I heard the same questions: “Am I too old? Am I too fat? Am I good enough? Why won’t they hire me?” These are things to address with a teacher, a coach, or your closest friend who isn’t scared to tell the truth, not with these amazing professionals in a class session. I hope before the next convention these few singers will have the opportunity to become a bit more self-aware and learn how to be confident in their blessed gifts.
As one of the finalists in the Emerging Professional division of the AudComps, I wished for better networking opportunities out of that event. I was hoping to have a chance to talk with the panel and with the opera companies that sat in during the finals concert. Unfortunately, we were rushed out of the room after we finished singing so the judges could deliberate. I understand that timing and scheduling issues made this difficult, but it would have been nice if there had been a chance to meet with these music industry professionals at a time right after the deliberations or at another scheduled time. Regardless, I did do my best to catch up with people at the awards ceremony and in the end made a few great connections.
My favorite moment of the Convention was actually on a dinner break right after I did my semifinals audition. I had just made friends with a fellow steering-committee peer when this very sweet girl came up to us and asked if we wanted to go to dinner with her. I wasn’t sure if I wanted to leave the hotel, because like everyone else competing in the AudComps I was waiting for the finals list to go up. They eventually talked me into going to La Traviata, a very nice Italian restaurant near the hotel.
We sat down and had a wonderful dinner and a lovely conversation. Every couple of minutes I would check my phone to see if I missed the “finals” call for which I so desperately hoped. Then we got on the subject of vocal technique—surprising, I know! I mentioned that as a mezzo, I find it easier to connect through my bottom, middle, and upper-middle register, but I have never totally figured out my top (B-flat, B, C, etc.). Then this very bright young soprano told me, “My teacher tells me to pretend that the back of my top teeth are splitting apart. That always seems to work for me!” I imagined the sensation of the back of my teeth splitting apart for the whole rest of the evening. It was brilliant.
After dinner I got “the call.” I had been chosen for the Emerging Professional finals. I couldn’t wait to try this idea out at the finals! The next morning, I warmed up and applied this new idea to my very trustworthy technique my amazing teacher, Jo Rodenburg had taught me. Lo and behold, it worked! I kept on singing higher and higher. Then I thought, if it works so great in my top then why not apply it to the rest of my voice? At the finals audition I gave what felt like the strongest audition of my life, and discovered that you are never too old to learn from even the youngest of singers.
