Wise Words from a General/Artistic Director

I've just survived my first audition with a General/Artistic Director at a large company. The whole experience was better than I had expected. Generally, an audition consists of 5-10 minutes of singing and a "Thank you very much". There are those wonderful occasions where the person(s) behind the desk ask a bit about me, prompted from the resume, and we will chat . It is even rarer still to receive valuable advice in an audition. I understand that time is of the essence in many of the auditions. Companies want to have to opportunity to hear as many singers as possible so I don't expect too much, nor am I disappointed when an audition consists of singing two arias with a kind "Thank you". In some respects it only serves to highlight those moments when I do get to talk to the person(s) behind the desk and it makes me listen all the harder when they have something helpful to say.

The first tip came upon entering the room. My head shot, repertoire list and any recordings generally have a stamp on the back with my contact information. Since much of my stuff is currently in storage, I've forgotten about several things and this habit has gone by the wayside. The Director urged me to put printed labels on the back. I'm not sure why it never occurred to be before, but labels have the wonderful distinction of being portable. Print a few sheets and slip them in my audition binder right behind my extra head shots, resumes and a variety of repertoire lists I keep on hand at all times.

The second and hugely valuable tip came after "Sein wir wieder gut", and before "Nacqui all'affano...Non più mesta". If you are singing in the chorus for a show, always, always learn any appropriate small role in that show. If something happens close to curtain, raise your hand and be ready to go on.

Another plus to learning small roles is that they are a great way for a company to test drive you as a singer. So they like your voice but have no experience with you, they can effectively 'test' you out in a position that won't make or break a show. It takes a huge amount of trust for someone to put you on stage. With my background, I have had stage time in college, young artist programs and chorus stage time but there is a difference. I have also found that my time in opera chorus has been invaluable, learning to see and hear a conductor and orchestra in the pit from the stage is a skill and not necessarily a given talent.

New Chapter and Marketing

It has been too long since I last posted. The idea was to keep track of the audition process and the process of becoming an Opera Singer. I guess the actual doing and struggling got in the way of recording the process.I've opened a new chapter in my life since I last wrote. I quit my day job several years ago, tackled my first young artist program for Opera Colorado and came out a stronger and more determined singer. It almost seems impossible to track everything that has happened professionally since then, although my resume makes it seem rather simple. Next up I will find myself in San Diego singing with the chorus for Gounod's Roméo et Juiette. Then I'm off to Opera Santa Barbara to sing, of all things, Stefano from Roméo et Juliette for their Young Artist Program.

Most of what I have experienced in the last several years has been typical of other young artists; track and apply to auditions, get rejection letters and acceptance letters. Find the money and the nerve to travel for auditions (most of which are in the fall and winter), plan trips, hone resume/headshot/repertoire lists and audition. Deal with post audition drag, that time when you don't hear from companies or you do hear from them but without a contract. Keep charging forth because it is simply what you do. Get an acceptance, win a competition, sing concerts, sing for free, sing for money, sing for the love of singing. Repeat.

I've started a website and began to market myself a bit better than I had several years ago. It still isn't perfect but I am working hard on that as well as on new music for upcoming engagements.

Since last I wrote, I've created a marketing and publicity package. I've tried to incorporate those things I learned while acting as Marketing Director for a performing arts group. The first and foremost lesson which has been to create a consistent and clear message that pertains to who you are.

Head shots/Promo Images:

(several from the session)

Business Card:

(edited to remove personal information for web)

Website:

(video, photos, audio, download-able resume and head shot, biography, schedule and contact)

YouTube:

Twitter:

Social Media Networking such as Everyday Opera:

With the recap at hand, it seems that I once again need to update my audio and video selections on my website and YouTube. It can be a rather consuming process with so many venues to choose from but the plus side is that my materials are out there. The website has come in handy several times as it isn't uncommon for an opera company or performance venue to ask for a website link rather than a full application and audition package. The more Internet driven the world becomes, the more important having a digital presence will be. I feel like I have finally created a strong consistent look and feel to my brand with is of course, ME! I am now learning how to get that brand, that is, how to get myself out there and heard. A presence doesn't do a whole lot of good if no one is looking at it.