Naked Toes and Aria Advice

More recent audition season questions (from the comments section of previous posts) - with completely subjective and non-authoritative answers brought to you by the entire WTOC audition panel: KPW, Rahree, and CameraMan. Read on at your peril.

If you're a colleague who disagrees with our advice, please say so. One of the most important things that I'd love to get across to singers is that the folks on the other side of the table don't always agree. Ergo, it's often futile to try to second-guess us.

Slavic Skepticism

How do you feel about singers including a Russian or Czech aria in their package, if they are proficient in those languages? Is it useful to hear, or should we just stick with standard languages?

CameraMan: Sometimes these arias can fill a void in appropriate rep for young singers or show an area of expertise you may want to highlight. I'm in favor of anything that's both appropriate and spotlights an interesting part of your music-making.

Rahree: Sometimes it’s really nice to hear something other than Pamina or Figaro…

KPW: You're always safe with me because my Russian stinks and my Czech is worse. (Not for lack of trying during those years when I coached, but I never solved the puzzle.) Granted, over the years, I've developed a decent ear for the standard arias, but you can still get away with a lot more. Seriously, a fair amount of this stuff is too mature (Fach-wise and artistically) for a lot of emerging artists, but there is a small swath of perfectly appropriate rep.

To Wagner or Not to Wagner

I've been getting conflicting opinions, so I figured I'd ask for another to throw in the mix! I've been singing "Einsam in truben Tagen" from "Lohengrin" recently and have gotten mixed opinions about adding it to my aria package as a young singer (early 20's) - some coaches tell me to use it as my German aria and that those on the audition panels will know that I don't intend to sing Elsa any time soon but that I just happen to sing this aria well, while others tell me to avoid it completely until I am older. Any thoughts?

KPW: Always tough to judge without hearing you, because it's not impossible for someone your age to sing Elsa;s aria. But it is quite unlikely, and you will engender a certain amount of skepticism (I'd even say criticism) before you open your mouth. At the very least, you'll begin the aria with a lot to prove.

CameraMan: Red flags often go up when some people see Wagner on a young singer's rep list. I always recommend singers have 4 out of 5 arias that represent roles that they can sing tomorrow. Including one that shows which direction you think you're going can be helpful, but I wouldn't start with it.

French Filling

I'd really appreciate some help finalizing my audition repertoire. I'm in need of a French aria, and would also appreciate your thoughts on the rest of my package. Here's my list: "Se il padre perdei" (Idomeneo), "Klange der Heimat" (Die Fledermaus), "Ain't it a pretty night" (Susannah), "Caro nome" (Rigoletto)

CameraMan: Based on your rep, the Manon arias seem a logical choice.

KPW: In your existing list, Susannah & Rosalinde are more lyric, but Ilia & Gilda certainly lean higher and lighter. Manon does strike a nice balance if you have the top for it. Perhaps Juliette? She's much like Gilda in the first act, and certainly needs more midvoice substance in the last act. Either way, you should be after something that sparkles and bubbles a bit more than any of the arias currently on the list - show a little spunk and flair if it suits your personality.

This Little Piggy

A question about audition attire. I know some people are positively rabid about open-toed vs. closed-toed shoes on women. What's your take?

CameraMan: I'm soooo the wrong person to answer this. Sing and dress well, and we probably won't spend time debating it. Unless they're super cute, then Rahree will talk about them until we get to the next city.

Rahree: Cute shoes are always worth extra points. But closed OR open toed shoes worn WITHOUT foundation garments during a coloratura aria? Unforgiveable. Worry less about the shoes, more about nipples and jiggles, ladies…

KPW: Can we tell we were scarred last year by a lack of appropriate support? (And not the vocal kind.) But back to the shoes... I have heard a lot about this and get asked this question a lot. And I'm bumfuzzled. Who cares about this? I'm not sure I can even see your toes from where I sit. If anyone out there disagrees, please write and tell me why.

Making Yourself Crazy

I'm a young tenor, on the fuller side of lyric, and I'm beginning to know my strengths in the audition room, and to focus on them. My question is in regards to Tom Rakewell's aria, which I've been doing as long as I've been auditioning. I feel that I sing it well, and my coaches agree, but in last season's auditions, it was asked for only twice in 13 auditions, and neither time I did get an offer (though both times, I received encouragement). Is this the best measure of whether an aria should be sung?

CameraMan: Trust your teachers and coaches. If you and they both think it's a strong aria in your package, then don't spend your time trying to second guess audition panels. If you think it's one of your stronger arias and WANT to sing it, consider starting with it.

Rahree: If you sing it well, and the hands-in-pockets English [crossover/Broadway] tunes don’t show you off as well, I’d say it’s fine.

KPW: Yeah, this is one of those cases where you're coming to conclusions that may have nothing to do with this aria or the way you sing it. It may depend on what else is in your package, and for what kinds of audition situations (YAPs? schools? companies?) you feel it didn't work. Or there may be no discernable pattern. Or (less likely), you don't sing it as well as you think you do. Do continue to solicit some specific feedback on its effectiveness in demonstrating your strengths, but don't give it up on the basis of what you described above.

Keep 'em coming if you dare.

In the Audition Room

More questions via the comments section:

Do you have any advice about how to enter the audition room, greet the panel, and set myself up to sing? This always feels so awkward. Are there any things singers do as they're making their entrances and exits that are turn-offs?

First of all, there's no reason to walk to the opposite end of the room to shake hands. I know panel members who are positively phobic about this and others who are simply irritated by it. I have no strong opinion, but it does slow things down terribly. And it's almost never not awkward. You get a limited amount of time allotted, and you want to use it to sing, not to work the room.

If the panel is paying attention when you enter, it's perfectly appropriate to greet us with "Good afternoon" etc. We try to greet everyone before they have a chance to wonder what to say/do, but sometimes we get caught up in paperwork. The niceties aren't compulsory, though - it's just fine to say nary a word, give your music to the pianist, position yourself by the piano, and then speak.

It is always helpful for the panel to hear your name. If our system is working well, we'll know who you are; but sometimes things get out of sequence and we confused. "Good afternoon. My name is Kim Witman" should do it.

If you know for sure that you are to choose your own first selection, announce it. But don't over-announce it. "I'd like to sing Aria Name" should be plenty. If it's a rare piece, then expand into "I'd like to sing Aria Name from Opera Name." But no need to turn it into an exercise in public speaking (as in "I'd like to sing Aria Name, Character's third act aria in Opera Name by Composer Name). We either have a rep list, and/or we're smart enough to fill in most of those blanks if we know the name of the aria. You'll probably just end up getting tongue-tied even if you've practiced it to within an inch of its life.


How do you feel about singers who hold on to the piano?

I have no trouble with singers using the fact that the piano is there as part of their physicality during their arias. No need to pretend it's not there. If you touch it, momentarily use it or lean on it, no one is going to object. But if you're grabbing onto it for dear life as part of your vocal support system, or as any other crutch, we'll perceive that pretty quickly. Not a good idea. Since you used the verb "hold on," I guess I'd have to discourage the practice.


I've heard that auditors know within the first few seconds whether they like a singer's voice or not, and then pretty much stop paying attention. If I get off to a weak start am I doomed?

I won't deny that we do make certain judgments fairly quickly. First impressions are not infallible, but they are valuable. Two things work in your favor, though.

First, almost everyone is nervous when they begin - especially if you're new to this whole process. We actually expect singers to improve throughout the course of their first piece, and we are never surprised that the second aria is better. (You know the phenomenon in a master class when the singer is always better when s/he repeats the aria? The master teacher usually gets the credit, but it usually has more to do with the singer settling in and shaking off the nerves.)

Second, we are always alert for a turn-around. When I review our written comments, one of the most common themes is acknowledgment and relief when someone overcomes a shaky start and ends up turning in a really solid finish.

Doomed? No, not at all.


I'm curious about your screening process for the auditions, and how much or whether the aria list and a candidate's fach affect things positively or negatively.

Fach really doesn't affect us because we're not trying to cast any particular opera. The aria list only enters into the screening process if it is noticeably and unavoidably weird. Stretching from soubrette to dramatic soprano, or all-Puccini-all-the-time (not meeting our guidelines), or incomplete. Actually, most of the time I don't even look at the aria list until we're in the room.

Regarding screening in general: It's probably not the right verb for the way I look at it. We are not kicking people out when we screen. We are opening the door and deciding which folks we can let in. We do the math for each day (how many hours we have the audition space times a maximum of 6 singers per hour) to come up with a total. Then we make a first pass through the applicants for that day, determining which folks are so highly qualified for our particular program that they receive an audition time with no questioning. Depending on how many open slots we have left, we make 2 or 3 or 4 more passes, each time picking up a few people whose materials look really strong: high level competition awards, acceptance into competitive graduates schools and other YAPs, a strong list of roles. (I'm referring to the Filene Young Artist Program at this point, not the Studio Program.) We cycle through all of the applicants for that site until it's full.

Answers to more questions tomorrow. Keep bringing 'em on.

Reruns Welcome

A comment on yesterday's post:

"Regarding the aria package: what if we're singing the same arias as last year?"

I'm guessing that the writer wants to know if it's OK that the list is identical to last year's audition offerings. Generally that's not a problem at all - especially if you're in the first few years of auditioning for schools and YAPs. After all, it does take a while to conquer some of these iconic arias. If they represent you well, and if you're making good progress, bring on the reruns. There's no reason to change just for the sake of change.

If, however, you and your teacher/coaches feel that this rep is getting stale or that it is hampered by old/bad habits, you may need to shake it up. And if you've been offering the exact same arias for four or five years, you may also need to introduce some new material.

Audition quote of the day, by way of Joanna Merlin's Auditioning: An Actor Friendly Guide, from actor and director Bill Duke. It stems directly from the theater and film industry, but is no less true for us:

"Auditioning: the difficult part is surviving the industry, which is a culture of rejection. Facing that in the most courageous manner, I rely on a quote from Winston Churchill, "True power is an individual's ability to move from failure to failure with no loss of enthusiasm."

“I’m not going to do nothing any more.” “Never again?” “Well, not so much. They don’t let you.”

(Christopher Robin, to Pooh )

I've overindulged on my blog vacation. Living the unexamined life has proved pretty seductive. My month off has sprawled into 6 weeks, and it's time to force myself back into circulation.

But I'm back and ready to face audition season. Are you? Hop on board, and we'll get through this together.

First things first:

Deadlines

The first deadline for Filene Young Artist applications is about to pass (at midnight tonight). Studio Artists have until Friday (10/3), and Filene Young Artist applicants for Vienna, New York, and Philadelphia have until next Friday (10/10).

Arias

If you're a singer, you're probably assembling the dreaded aria list. You know: something in Italian, French, German, and English; a range of historical periods and styles; something to show off your money notes; something to show off your acting chops; a combination of safe arias you can sing in your sleep and something that shows innovation and individuality; 4 or 5 magical selections that show you're capable of both versatility and specificity. Simultaneously. Or so it seems.

As you refine your aria package this fall, I invite you to submit a comment to the blog. If you're on the fence about what to include, we'll try to help guide your process.

As you're preparing your list, I'm reviewing my aria database. It contains 823 arias (at this writing), and every year it gives up new treasures. I've been doing this particular audition circuit for 15 years, and there's always something new to learn.

Stick With Us

As we work our way through the fall, look for discussions on audition protocol and attire, Fach, age limits, callbacks, acoustics, and more. Talk back in the comments section if you have burning questions.

What I Did on my Blog Vacation

Walked 90 miles. Stuck to the 2.5 mile/day plan for once.

Purged 25 years of old photos. Didn't remember being some of the places I went, and have no idea who some of the people in the pictures are. Having a bad memory stinks.

Played all Beethoven sonatas, Bach English & French suites. (Well, I cheated on the Hammerklavier and part of the Waldstein, and my tempi weren't pristine. But it was fun.)

Sent my son off to college.

Saw a fabulously funny Russian play at 1st Stage. If you live in the DC area, go!

Learned more about rebar, #21 gravel, truss design, and heat pump ratings than I really needed to know. We're building a music room onto the rear of the house :)

Finish Line

A 14-week season is not exactly a distance run. Compared with much larger opera companies' marathon seasons, ours is probably more like a 400-meter dash. Nevertheless, we've paced ourselves for an August 20th finish line, and I don't think I could go a step farther.

Much has been said about this particular WTOC season, for in many ways it stood apart. We did increase the number of new productions from 2 to 3 (a 50% increase is nothing to sneeze at in a company our size!), and we took some significant risks with our programming. But we take great satisfaction and pride in this season in spite of these factors, not because of them. 2008 is really just another entry in a long unbroken line of accomplishments and artistic growth for our artists and staff.

The psychic fatigue began to set in the minute I let my guard down tonight, and I know from experience that it'll take a little while to rediscover my customary energy and optimism. Meanwhile, we can enjoy the echoes of the beautiful music and the many laughs that accompanied these last months. Verdi, Bernstein, Bolcom, Handel, Brahms and Strauss weren't too shabby as summer companions.

I'm going underground - away from email for a couple of weeks, and from blogging for about a month. I'll see you in September.

Kim

End of Season Rumination #1: Opera People

Tonight's Ariadne opening was a success by any measure that mattered. I'm proud of all the productions we've done, but because this one was a huge leap out of our comfort zone, surviving it in style is an additional reason for celebration. The singing sparkled and gleamed, the characterizations made us laugh and sigh, and it was a labor of love within a community of people who are generous of talent and of spirit.

Mama Rose said there's "no people like show people." I'm not sure I always knew what she meant, but lately I do.

I grew up in a lovely but pretty sheltered and homogeneous environment. It wasn't till I spent a few years working as a music therapist in my 20's that I really saw much of life. (Well, that, and moonlighting in piano bars. I think the latter was far more shocking.) Still, when I fell into the opera business at age 28, I was intimidated by the range of larger-than-life personalities. But all these years later, I am endlessly grateful for the range of absolutely wonderful people I've met in this business. I never cease to be surprised by their courage, imagination, honesty, and big-heartedness. And the sheer variety is breathtaking.

Many opera people are old souls. This came up in conversation today, and it's timely.

And it's not just about the people on the stage and behind the scenes. These days, I'm also fascinated by the ones in the seats. I bookmarked an op-ed piece in the Baltimore Sun a few days ago, for it reminded me so much of Ariadne.

A few excerpts:

As an opera fan, I'm used to hearing, "How can you like opera?" Friends complain that opera is unrealistic: "Who sings when they are dying?" They imagine, as I once did, that opera is for the old or the rich. It's true that opera isn't for everyone. It's an acquired taste. But that's because to appreciate opera, you must first acquire some life experience.

So how can you know if you're old enough for opera? Here's my theory: You have to have lived a little and loved a lot.

Ask yourself: Have you ever, against your own good sense and your best friend's advice, fallen for the wrong person? Do you know, despite the false comfort we offer teenagers, that sometimes unrequited lovers do suffer for years? Have you ever begged God to stop an illness, a death or someone else's decision? And have you learned that forgiveness doesn't follow a formula but that it can come like grace after something as simple as hearing a song?

When you are old enough - and have hurt enough - opera doesn't seem silly at all. If you know from firsthand experience that grief and humor are the two lines running parallel down the center of life's highway, then you, too, are old enough for the opera.

(Diane Cameron)

I've loved Ariadne for a while, but I've always had some trouble connecting to the nonlinear, almost metaphysical final scene. I won't lie to you and say that it makes complete sense to me now, but I suddenly think that I may have lived enough to begin to connect with it.

Some of Hoffmansthal's text reaches beyond my comprehension, but Strauss's music spans the gap. 20 minutes of loss and longing is messy and protracted, but all of a sudden, just right. I cried 3 times at the opera this summer - maybe that means I'm old enough, and perhaps it just means that I'm tired. No matter - life would be much poorer in the absence of it all.

Ariadne Tech Week

...in the form of a very long slideshow. Enjoy.

Can't share any audio yet (you really do have to hear this to believe it), but I promise to stream some (really!) by the end of the week.