There is an old saying that the only things certain in life are death and taxes. To this, any emerging singer can add a third: auditions!
When it was first suggested that I write this piece, my initial reaction was that I’d done similar articles several times before. But upon further consideration, I realized that auditions and my thoughts on them have been evolving over my many years as an artists’ manager. This past season, in addition to giving many personal consultations to singers, I’ve also had the pleasure of serving on a large number of juries for competitions. I’ve actually heard close to 1,000 auditions in the past year. In preliminary rounds, for example, we might hear as many as 60 singers in one day.
Many different components affect an audition—the room, the make-up of the panel, the weather, perhaps an unfamiliar pianist—largely elements beyond the singer’s control. Here are my thoughts on some essential aspects of auditioning that you can control. Auditions will be a constant for quite a while. You may as well learn to make friends with them—or at least to make peace with them!
What you are singing for can, and should, make a difference. Is it for a Young Artist Program, an opera company, a competition, or a potential manager? Of course, your hope is to win the prize, the engagement, the contract. But you should also feel that any time you sing for someone, it is a new opportunity for you to grow. A new way of phrasing an aria, a more effective physical presentation, a technical challenge conquered—all of these are small but important steps forward.
Some singers are natural auditioners and actually enjoy it. Many others are not but can learn to make the process easier. To begin with, consider these three audition basics: technical consistency, initial impression, and choice of repertoire.
Technical Consistency
Be comfortable that your technique is in good working order. You want to feel you have that to rely on—especially when nerves kick in, as they naturally will. A singer is a “work in progress” until the day they retire. But if you feel you are too much “in progress,” it is better to wait rather than making an initial negative impression.
Initial Impression
The audition begins the moment you appear before your listeners. Impressions, conscious or not, start to be formed immediately. Of course this means your attire. Unless formal wear is expected, I prefer a classy but slightly understated look.
Women should wear a dress that flatters and fits well, in black or a rich color (sapphire, garnet, emerald), perhaps with one bold accent and hems of an appropriate length. And well-cut and styled hair is necessary, of course, but try to avoid what has become known as “singer hair.” Nothing should be so extreme that it distracts the listeners from your singing.
For the men, I still don’t think you can beat a great suit, shirt, and tie. I realize that this is a traditional, conservative point of view, and male singers have been trying to move in a more casual direction in the past few seasons. In all my recent experiences, however, when a man has entered a room dressed well, I’ve heard comments such as, “Look at him. He looks like a winner already”—and isn’t that exactly what you want to convey?
And shined shoes are important, as well as a good haircut. Again, nothing too extreme or eccentric. Not every audition is for the role of Samson.
I’m well aware of singers’ budgets. All you need is one great outfit that you know you look terrific in. Think of it as your “audition uniform.”
Please know that your performance begins with the very first note of music from the pianist. You should immediately be in the mood and character of the piece and not wait until you begin singing.
Another important part of the first impression is your manner. You should be professional, pleasant, and courteous. If anyone asks you to sing something that is not on your list that day, you have every right to politely decline. Above all, remember that people want to like you. In my years of auditions, I’ve never heard anyone say, “I hope that singer does badly!”
Choice of Repertoire
Perhaps most crucial of all is your choice of repertoire, particularly what you start with. (I spend a great deal of time when consulting with singers to help them find the “perfect” aria package.) In general, I prefer something on the shorter side to begin, a sort of “appetizer” to present your sound and personality, and to make it more likely that you will get to sing another, contrasting selection. There is certainly the singer school of “longer is better.” But in fact, just the opposite is true. Most listeners can form their opinion quite quickly and will really appreciate you being considerate of their time. Rather than a long aria, I feel it’s better to have the opportunity to sing two shorter ones.
High sopranos seem to have the biggest challenge. Those Bel Canto and Handel arias are long. So are some of their French and Mozart pieces. At least try to offer arias that can be broken down by your listeners, perhaps just to one verse or the cabaletta only. (One day I’ll write another article entitled “Short Arias for High Sopranos.”)
Ideally you should love every aria you offer. That way, you’re happy to sing whatever is selected. If you think, “I really hope they don’t choose aria X,” that is exactly the one they will choose. Your arias should fit your voice first, of course, but also your look and personality. Then, they will make a perfectly tailored package vocally to go with your dynamite outfit. Naturally, they should be contrasted in language and style, but not so extremely that they are impossible to sing in one audition.
One secret: if you are not really a Mozart singer, then don’t put him on your list. Because if you offer Mozart, they will choose it! It’s an unwritten law of auditions. A spinto tenor might come in and dazzle a jury with his verismo aria, but if he has Tamino on his list, it will be selected, usually not making anyone happy, especially the tenor.
Know your special strengths as a singer and then be totally focused on choosing repertoire that highlights those qualities. Whatever they are—great high notes, pianissimi, long line, agility—what makes you special? Please don’t be shy about sharing it. Just as important, be ruthlessly realistic about areas in your singing that still need developing. Either on your own or with the guidance of others you trust, choose arias that showcase your strengths and minimize your weaknesses. It sounds obvious and basic, but it’s quite an art.
Zeroing in even further, a well known conductor on a major competition jury recently told me, “The first note had better be in the sweet part of their voice.” The very initial impression will help you along on positive energy from your listeners. Conversely, a weaker beginning will give you more to overcome.
A closing thought about repertoire. I suggest not offering an aria (no matter how well you sing it) if you are not prepared to sing the entire role in the near future. For example, many sopranos can sing “Vissi d’arte” who are not ready for the role of Tosca.
Consider the Venue
Now a few thoughts about the various types of auditions. For a YAP, the required arias will most likely be specifically outlined for you as far as style, languages, etc. They will be tailored to that program’s repertoire for that season.
When auditioning for an opera company, try to get as much information beforehand as possible. Research the roles they are listening for, other singers who have worked there recently, size of theater, etc. This can all be done online or via the “singers’ grapevine.” The more information you have, the more you can fine tune your audition.
An audition for a manager is unique in that you are trying, in a relatively brief time span, to present a more complete picture of yourself as an artist. Hopefully you will be granted more time for this kind of audition. It will also be helpful for a potential agent if you give him or her a list of representative repertoire in all your areas of interest. If you really enjoy singing oratorio, song repertoire, or musical theatre in addition to opera, that is a good way to let it be known.
I mentioned earlier how many competitions I’ve been judging this season. For a long time I thought that the competition circuit was primarily a good way for singers to earn some extra income. It is, and there’s certainly nothing wrong with that. But I’ve come to realize that of equal importance is the chance for singers to get on the radar of so many key people in this business: artistic administrators, conductors, managers, etc. Sometimes the connection made can be as valuable as the cash prize, and often more so.
Everyone in this business loves to discover and follow the growth of young talent. When an especially gifted artist is singing, I’ve actually felt the panel of judges vibrate. In a few competitions it was asked that the judges remain to give their feedback to everyone who sang. If such an opportunity arises, you should certainly take advantage of it.
This is a business of opinions; we all have one! And they may vary quite a bit. Process each one and see which ones might apply to you—and if you hear the same comment several times over, you will really want to pay attention.
Keeping Perspective
I certainly don’t mean that you should reinvent yourself with each comment. Each panel of judges can make for fascinating shifts in the energy and outcome of the results. In one of the most extreme examples of this, a singer performed an aria for one panel in a daringly slow, extended, controlled way. The judges in general found this interpretation eccentric, self-serving, and almost arrogant. A couple of weeks later I heard her sing the same piece in exactly the same way and that panel was completely enthralled, feeling that she wove a magical spell. That’s what makes opera!
I’ve been asked countless times what I listen for when hearing singers. Of course, I want a healthy sound, solid technique, and musicality. But what really gets me excited is expression, color, words, and individuality. Please have a point of view about each piece and make me feel something, hold my interest. Opera may be many things, but it must not be boring. Singing is expression above all!
Trust your instincts. The more of yourself that you bring to your performing, the more it will contribute to your success—and the more effective your auditions will be!
