Written by guest contributor Peter Thoresen.
Presentation is very important and there is no disputing this. Of course a Dior dress or pec hugging Brooks Brothers suit can’t camouflage flat singing. But on the other hand, an expertly dispatched Je veux vivre isn’t enhanced by the appearance of one who throws something on, piles her hair up quickly and whispers, “The voice is all that matters-I’ll just throw caution (and my hair) to wind!” The topic of effective physical presentation and comportment at auditions isn’t new, and receives plenty of attention (as it should) in studio classes, articles and masterclasses. Yet the concept of presence needs to be continually unpacked as well.
As studio syllabi grow to include the creation of a singer’s personal website, Facebook professional page and Twitter presence (to name just a few), it’s becoming increasingly more important to talk about how a singer’s digital presence should enhance his or her physical presence. And here I’m not referring to shoes, Spanx (of the female & male varieties) and all of the other infrastructure items we don on audition day. Rather, we need to discuss how critical it is to be at events—to show up, learn and assess. When we go to live performances, we’re offered opportunities to learn based on audience reaction, the thrills & spills of live stage work, and our own visceral & gut reactions. And this can happen from a full price house seat at the Met or at a senior recital at your undergraduate school. We can always find ways to be physically present at live events, and the benefits for musical entrepreneurs are numerous. Here are just two of many:
- By upping your live attendance game, you quickly increase your conversational repertoire for the audition waiting room. The aim of being armed with insights gained from a live Lucia isn’t to talk endlessly at other auditionees. Rather, a positive goal here is to be able to share with your colleagues and to engage in conversations with sentences that don’t begin with, ‘So, what are you singing today?’ or ‘How many YAPs are you auditioning for this fall?’ These aren’t invalid questions, yet they hardly engender conversations that could otherwise serve to establish you as an engaged member of the live musical community, and as a resource on any number of topics.
- When we’re physically present at concerts, we have the digital ability to let people know that we’re out and about, hearing and seeing people making music of all kinds. Whether it’s as detailed as a blog post after a night in the concert hall or a simple studio selfie after going to a friend’s recital, putting either into the digital universe communicates that you are out there and regularly consuming and participating. A critical benefit is that, wherever you are, you’re communicating that you are showing up. And in this singer-saturated world, showing up (physically and digitally) reminds colleagues and potential collaborators that we’re a part of the game and ready for the next assignment.
In your digital and physical presences, the following is crucial: make it a point to share positive reflections. Threads of negative comments, both conversationally and digitally, won’t go far in growing your pool of opportunities, or your network of colleagues. By becoming a source of constructive assessment and positivity, you’ll quickly find that colleagues old and new will be drawn to you for a surprising amount of opportunities, onstage and off.
Peter Thoresen is a Manhattan-based voice teacher, countertenor and arts consultant. He holds a doctor of music degree in voice from the Indiana University Jacobs School of Music, where he led Project Jumpstart, a music entrepreneurship and career development program. He previously served as business manager to legendary operatic baritone, Thomas Hampson, and works regularly as a coach and vocal consultant for the Manhattan Girls Chorus. A sought-after arts administrator, Thoresen has worked as administrative director of the Imani Winds Chamber Music Festival and managing director& voice faculty of the Winter Harbor Music Festival in New York and Maine, respectively. In demand as a countertenor and teacher, Thoresen has been praised by Opera News for his “delightful portrayal” of Toulouse Lautrec in the world premiere performances of Vincent, and his interpretation of Julia Child in Hoiby’s Bon Appétit! was named as one of the top ten classical music events in Pittsburgh. For more information visit peterthoresen.com and on Facebook at facebook.com/voicelessonsinwashingtonheights
Follow him on Twitter @DrPetesTweets
