Wolf Trap Opera

When I crafted the outline for this set of audition posts, I threw in a day called “Musical Preparation.” Well, duh. That’s sort of what you do most days every day. I know that, but I just want to call attention to a few specific vocal/musical issues, to make sure they are never overlooked or given short shrift.

First, and foremost:

Intonation

I know that this is a difficult topic, and that it’s never something that is scientifically conquerable. It’s not as if we need everyone to sound as if they’ve been put through auto-tune. But get some really honest and reliable feedback from coaches, teachers, colleagues as to whether you are approaching your singing in a way that 1) allows you to center on a pitch and 2) allows that center to be in the right place.

I don’t like haranguing, but this is a big deal. A teacher or a school can hear a developing voice with pitch issues, hear the many positives surrounding the problem, and put themselves behind that singer. Pitch problems are not a death sentence, just another challenging component of a technique. But we and many other YAPs and companies are listening to you for the purpose of putting you on a stage. That’s what you want after all, right? And we can’t put you there if you are a quarter tone flat all the time. Or sharp. Or a little of both. Or with a vibrato with amplitude so large that we don’t know where the bullseye is.

Developing a technique is a process, and occasionally you may be in transition, or working through something that wreaks temporary havoc with tuning. But singers must realize that even if we appreciate everything else about your artistry – dramatic depth, musical instincts, exquisite phrasing, impeccable language – if you can’t sing on pitch, we can’t hire you. Frustrating for both of us.

Next:

Coloratura

Your coaches and teachers have told you. It has to mean something. It must be motivated, have intention, color, detail. We know that you know this. But we very rarely see it put into practice. It’s astonishing how easy it is to see the eyes glaze over, the face go blank, the arms and hands begin to clench. Don’t disappear on us. Trust me, I know how difficult it is. But most of these composers knew what they were doing. We’re not asking you to treat these challenging passages as if they were easy. They exist for musical and dramatic reasons. 1) Figure out exactly what those reasons are, 2) Merge the composer’s intentions with your technique and approach to the coloratura, and (this is the hardest one) 3) Make it more than an intellectual exercise. It must, as they say, “read” all the way to the back row.

This isn’t an irrelevant task that your coach is giving you; it’s for real.

As is the next one:

Text

Please be sure we can understand you, and even more importantly, know what you’re singing about. Translate, paraphrase, reinvent, improvise – singers are given the tool of words for a reason. They need to seem as if they come from the very center of your being – from the same place the music lives. While you’re singing them, they are yours and only yours. Own them.

We are in the claws of the database this week, with the goal of 60-80 applications and resumes a day. We’re working through all of the paperwork for LA, Chicago, Cincinnati, and Houston. If you intend to apply for an audition in one of the remaining cities (New York, Philadelphia, Vienna) the deadline is this Friday, October 9 at midnight.

I’ll see you tomorrow with a brief discussion on what your audition arias look like from the other end of the room.

Coming up this week in our Fall 2009 Audition Mini-Course:

• Monday – The Second Aria
• Tuesday – Musical Preparation
• Wednesday – Physicalization
• Thursday – Props
• Expert Friday – Chicago-based colleagues weigh in

Do You Have Any Mozart?

Much of the time, you’ll get to choose your first audition aria. Sometimes it’ll be your only aria, but occasionally, you’ll be lucky enough to get to sing two. Or three!

You’ve gotta love that brief yet amazingly angst-filled moment after you finish your first audition aria. Waiting for the panel to say “Thank you” (translated: “We don’t need to hear another aria”) or to ask for another selection.

We try to minimize the awkwardness by being ready to ask for your second piece in fairly short order after you finish your opener. (Often, we do this by conferring with each other about the 2nd aria choice via instant message on our computers. Look for a discussion of technology in the audition room next week.) Frankly, I’d rather you take the 15-30 seconds in between to gather your thoughts and prepare yourself, rather than spend it discussing amongst ourselves while you hang out in the front of the room trying not to appear as if you’re listening to us argue.

It’s one thing to be ready to fully invest yourself, dramatically and vocally, in the first aria of your choice upon which you can focus even before you enter the room. But giving up control and allowing the panel to choose the second piece from among your list of 4 or 5 requires a different skill set.

I only have one main piece of advice: Don’t second-guess.

Given the chance, singers grill me endlessly about how we pick second arias. Yes, there is something of a system to it. If your first aria doesn’t address very specific issues like coloratura, or legato, or specific language fluency, or extremes of range, we’ll often gravitate toward a second aria that answers those questions. But often there are multiple ways to address those questions, and the choice is often less than scientific – sometimes even based on instinct.

No amount of deduction will reveal what you’ll be asked for. So stay loose and find a way to look forward to singing whatever it is that gets picked.

I do have one more suggestion: Don’t be visibly disappointed in the panel’s pick (even if you are), and don’t put anything on your list that you aren’t completely willing and able to sing. You might be surprised to know that at least a dozen times a season, our request for the second piece is met with shaking of the head, muttering under the breath, exasperated sighing, and actual expressions of disbelief. (“I can’t believe you picked that…”)

And as I mentioned before, just be glad you won’t be judged solely on your best 16 bars in a Broadway cattle call!

A few choice words of audition advice from Darren Keith Woods, General Director, Fort Worth Opera & Artistic Director, Seagle Music Colony. (And, it just so happens, an alumnus of the WTOC!)

The main piece of advice I would give to a young singer is to sing what they sing best and do not play to the repertoire. Learning an aria for an audition that you haven’t lived with for awhile can be treacherous. You will never sing it as well as something you have coached and worked out – musically and dramatically.

Lastly – enjoy yourself. Opera is an amazing, wonderful thing and we are all fortunate to make our livings this way. Perform, enjoy and show us your gifts! That’s all we want.

Today’s opera blog episode, in which KPW and Rahree channel Clinton Kelly and Stacy London. (Yeah, I had to ask who they were, too.)

Before we get to the fashion advice…

DEADLINE WARNING!

Tomorrow (Friday October 2) at midnight is the application deadline for an audition in LA, Chicago, Cincinnati or Houston. Please don’t overwhelm the internet server at 11:59pm.

If you do apply and you have any doubt about whether or not your payment went through, send us an email before you hit “submit” multiple times. We’ll write back and let you know if everything’s OK. We don’t want to have to process reimbursements for multiple payments. (Some folks believe that paying once is more than enough; paying twice is certainly not a good idea.)

Just like Tuesday’s post about headshots, today’s entry is highly unscientific. But it comes out of discussions with colleagues, conventional wisdom about audition attire, and from observing over 6,ooo singers in the audition room over the last 15 years.

(Demographic description of contributors: Rahree is a hip 30-something with fabulous taste in clothes. KPW is, uh, well, older than that, and tends to retreat into nondescript black things.)

General Guidelines

Be professional. Wear something that is the singer equivalent of what a 9-5 person would wear to a job interview. Or think about it as Sitzprobe clothes. Within the industry, there’s a fairly widespread custom of wearing something polished for a Sitz rehearsal. That’s the general category of clothing we’re aiming for.

No formal wear. Leave the tuxes and the full-length evening gowns in their dry-cleaning bags. Same with sequins and other über-glitzy options.

Color. Solid, vibrant colors are always welcome. Busy prints add a level of visual white noise that is somehow distracting. Few people make strong statements in washed-out pastels. And, although black is an always defensible choice, it’s rarely memorable.

Confidence. Feel like a million bucks in your audition clothes. Don’t wear something that someone else prescribes if you feel you’re apologizing for your appearance in any way. You and your friends/teacher/circle should agree that you look terrific – there is an intersection, and you can find it.

Comfort. Be able to move. Nothing should constrict your freedom of movement, for both vocal/technical reasons, and for general ease and fluidity of motion.

Familiarity. Don’t wear your new stuff for the first time in front of an important panel. Get to know it, so it isn’t another variable on a stressful day.

Guys Only

You get to go first because you’re easier.

Tie. Probably, but if you can look fabulously turned out with an open collar and jacket, we can be convinced. If you wear a tie, bold colors can work wonders. No cravats, please.

Jacket. Probably, but if you can look irresistible in a crisp shirt and tie, we won’t complain.

Neither? You really shouldn’t abandon both jacket and tie. Let’s just say it’s risky.

Hair. Out of your eyes. Usually more of a problem for the ladies, but if you sport some serious locks, make sure they’re not obscuring your face.

Accent. Bold tie. Fun socks. An amazing suit. Colorful pocket square if you can bring it off. Helps us remember you.

OK, Ladies…

Foundation. It all starts here. Undergarments. If you have less than 10% body fat and we won’t be distracted by jiggling lumps and bumps, then you’re safe. Otherwise, be conservative. I don’t really want to know that much about what’s under your stretchy tight wrap dress, and I don’t want to spend the aria wondering if your girls are going to fall out. And if you haven’t watched your torso in a mirror during coloratura lately, perhaps it’s time to see what we see. There are athletic aspects to your chosen craft, and you should dress for them.

Shoes. Be sure you can walk easily in them and support your singing. We don’t really care about open vs. closed toes, but I guess some people do. And character shoes almost never come off well.

Pants are fine. Mezzos or sopranos. They should look classy, and they should fit you well.

Length. Above the knee is dicey, but not impossible. Just be sure you’re not going to be singing on a stage well above the panel. (If you’re not sure, don’t chance it.) And don’t delude yourself about whether or not you look good in a short(er) skirt.

Hair. Not in your face. Not overwhelming. Doesn’t have to be “pulled back,” it just has to not be the mane [sic:)] event.

Accessories. Be careful about shawls and scarves and other things that are not stabilized or otherwise affixed to your person. I don’t want to be distracted by wondering how you’re going to catch it next. But an accessory that sets you apart is a marvelous thing… an unusual cut to a dress, a vibrant touch of color, an interesting piece (pin, necklace) that doesn’t overwhelm. It helps us remember you visually, and it adds energy and detail to your presence.

Come As You Are Tour 2009 !
[WARNING: THIS IS A JOKE. GOT IT. RIGHT? DO NOT TAKE US SERIOUSLY. SERIOUSLY.]

Don’t worry about dressing up – you sing better in grubbies anyway, right?

If we hire you, chances are that we’ll make you wear something fairly crazy anyway, so looking your prettiest/most handsome isn’t really a selling point for us. (This will also keep Rahree from paying too much attention to your cute shoes and not enough to la voce.) Come as you are, and blow us out of the water with your amazing musical talents! And don’t forget to say “hi” on your way in. We’ll be the folks sitting behind the table…

…in our sweats.