Oratorio and symphonic solo work account for a significant percentage of singing jobs. Manager Jean Seidel passes along some helpful information on the two different genres,and what singers should bear in mind when crossing over.
CS: How is concert work different from opera?
JS: Oratorio requires total vocal refinement and absolute detail to the music. Of course, this is desirable in both operatic as well as oratorio work, but when singing oratorio, there isn’t an acting character or costume to distract the audience. The voice is the primary focus, so every note takes on greater importance. In opera, there are singers who are very marketable with exceptional acting skills, even though the voice may be of modest quality. In oratorio work the quality of the voice and the musicianship are the key factors.
However, that does not mean the voice does not have to be dramatic in concert work. One major mistake singers make in oratorio is they forget that it has to be expressive and have meaning, in order to hold the interest of the audience. The purpose of performing music is to touch the heart of the listener. An Elijah or Verdi Requiem has as much drama as many staged operas, so the singers must deliver the music and the words with the same dramatic vocal intensity as they would an opera. Another requirement for successful oratorio singing is that the singer should have a voice that blends. Because there is a great deal of ensemble singing in oratorio, it is vital that the vocalist have a sensitivity and ability to blend with other voices. If you want to ruin a Mozart Requiem, put a piercing, loud voice in the ensemble.
CS: What is the job market like for symphonic work? Is this a viable alternate course for singers job-hunting?
JS: While there are still many jobs available in the symphonic field, the amount of work has decreased greatly in the past 10 years. In the 1980’s and early 1990’s there were numerous early music ensembles, but many of those have since dissolved, and it has been my experience that the number of choral works being performed with symphony orchestras is also being reduced. Surprisingly, I often hear from artistic administrators that choral works and vocalists don’t sell as well as a violinist or pianist, so an orchestra may have no vocalists in a given season.
But opportunities do still exist. In addition to classical symphonic works, many symphonies are now presenting “semi-staged opera,” or operatic selections. Pops programs are also performed regularly. Symphony work appeals to many singers who cannot be on the road for weeks at a time. Most symphonic jobs usually involve a total time commitment of several days for rehearsal and performance, so this allows people to have a home life as well as another job.
CS: Performance practice is constantly changing in the symphonic and choral worlds. How does an opera singer ensure that he or she is up on the latest accepted ornamentation and stylistic changes?
JS: Of course, the best way to keep up-to-date is to listen to current recordings with reputable conductors and singers, and coach with people who specialize in the field. However, often when you get to the job, the conductor will have his own ideas about the ornamentation, so it is good to be flexible.
CS: What does it take to be a successful oratorio singer?
JS: Aside from the obvious–having a beautiful, expressive voice–there are a few other things that will help a singer to be successful in concert work. It is important that the singer concentrate on the right repertoire. Symphonies are strapped for funds, so they often perform works with the most audience recognition. As a result you see a limited repertoire being performed.
Other repertoire is performed, of course, but if you want to work on an ongoing basis, you will do well to really excel and develop a reputation in these works. It is imperative that the singer have an outstanding tape–preferably taken from live performances. Most symphonic jobs are secured from tapes rather than live auditions, so it is important that the tape be as perfect as possible. A few points to remember when making the tape: Try to include several of the previously mentioned selections; the first minute of the tape must be inspiring and get the attention of the listener; lengthy orchestral passages should be edited out (I once had to fast forward through an entire Beethoven Ninth to get to the bass soloist–no one has time for this!); the quality of the recording should be well balanced with the voice being prominent; and the tape should be labeled with your name and phone number.
Jean Seidel has been an artists’ manager for the past 10 years and the director of Seidel Artists Management since 1993, representing concert, opera and music theater singers throughout the United States and Europe.
