Here is what my friend Patrick Hansen has to say about auditioning. Patrick is the Director of Opera Studies at McGill McGill University. He is a man who knows his subject inside and out and you would be well served to really take in what he has to say. Click HERE to visit his blog to gain even more insight into creating opera both in the academic arena (Opera McGill) and in the professional world as seen through the eyes of stage director and vocal coach, Patrick Hansen.
AUDITIONS
What do I look and listen for at an audition?
I'll first tell you what I DON'T look/listen for:
1) Being correct: couldn't care less if you miss a note or drop pieces of text.
2) Coordination with your pianist: I'm much more interested in the music YOU are making!
3) Singing in tune (I know that's a surprising statement, but frankly most singers sing out of tune in some way, shape or form -- why does everyone get so freaking obsessive about this?!)
4) Ornaments: what ever I hear I'm going to want to change anyway, so why worry about it?
5) What you're wearing (many of my students will tell you this is not so, but I only comment on it to them later because I know SO many in the business pay attention to this really unimportant factor).
What I DO look/listen for:
1) A human being making music with their voice
2) Singing sentences that have meaning both textually, dramatically, and vocally
3) Did I mention the making music thing?
4) Character choices - both physical and vocal
5) Good shoes (I know, I shouldn't but I notice) This means no super high heels and no sandals.
6) A singer's physicality
7) Size of Voice
8) Repertoire -- is the singer singing rep that is appropriate for their technique/age/fach etc.
9) Range -- as in high and low and at what extremes the singer is comfortable
10) Range -- stylistically speaking how comfortable/adept with Baroque/Classical/19th/20th/Musical Theatre rep and how many arias are being presented.
That's it, not much! I do tend to judge the aural before the first page gets turned and then take in the visual as the audition progresses.
With all of that said, one of the things singers forget is that the panel wants you to be incredible so that we can cast you! It's not a jury or an examination. There are no grades and there are few hard and stead-fast rules, frankly. Move around, don't move around; gesture, don't gesture; wear a suit, don't wear a suit. All of that doesn't matter with me. I want to hear someone trying to make CHOICES and loving their moment commiserating with the great composers.
Thursday, October 14, 2010
Wednesday, October 13, 2010
Auditioning
If they haven't done so already, soon, high school seniors will begin gathering materials and getting themselves ready for college auditions. Here is some advice pulled directly from the CCM Musical Theatre Program.
In his excellent book Acting Professionally, Robert Cohen suggests that an actor needs a strong personality. For him, the most undesirable quality for an actor is to be bland — a "good little boy or girl"— nice, dull and unmarketable.
Musical theatre is a frankly presentational form of theatre — generally, we do not burst into song or dance at moments of crisis. This raises the stakes for the musical theatre performer and emphasizes the need for a magnetic stage presence, a confident air and a unique personality.
These qualities should be evident in a musical theatre audition. They can transform a routine audition into a memorable one and make us eager to enroll you as a student.
The personality you project is the basis for your audition. It includes the clothes you wear, the way you introduce your material and your ability to answer questions. Even the materials you choose to perform can be revealing. But remember, please, personality is not an alien persona affected for the occasion — it is just the simple use of the characteristics that make you distinctive as a performer and a human being.
To assist you in selecting suitable songs or monologues, you may want to consider some simple DOs and DON'Ts of Musical Theatre auditions.
DO avoid overly familiar material, songs that are performed continuously. There is a wealth of material from which to choose without resorting to "Much More," "I Can't Say No," "All That Jazz," "If I Were a Bell" or "Can't Help Loving That Man of Mine."
DO avoid songs associated primarily with particular artists. "New York, New York" is Liza's song, "Don't Rain on My Parade" is Barbra's and "Over the Rainbow" is Judy's. Comparisons are inevitable.
DO avoid the current hit from the current Broadway smash or revival. These songs are simply performed too often at auditions to work to your advantage.
DO NOT present a choreographed routine. Dance skills are evaluated at the dance audition. DO, however, approach the material with a free body and move whenever appropriate. Body movement should be relaxed (not casual) and should not "illustrate" the lyrics (pointing at your head then at your watch on the words "I know now.")
DO select material suitable for youthful performers. Many students hide behind phony elderly voices and mannerisms, the characterizations that won them acclaim in the high-school play. Remember, we want to see who you are.
DO NOT attempt songs obviously created for mature characters -- song such as "I'm Still Here," "Send in the Clowns," "Fifty Percent," "Rose's Turn" and any Sondheim song written for a mature character.
DO beware of choices that are difficult to perform under stressful conditions. Many of the patter songs ("If," "Another Hundred People," "Funny," "Giants in the Sky") are notoriously difficult and require careful coordination between pianist and singer. These songs are hard to perform without adequate rehearsal and under the naturally competitive circumstances of an audition.
DO avoid excessively emotional pieces. It is difficult to build a sentiment quickly and convincingly. In her concert appearances, the legendary Lena Horne sings the song "Stormy Weather" twice because, as she says, she has to "build up to it." And consider that selections like the transformation scene from Jekyll and Hyde without the benefit of costume, make-up and lighting are often unintentionally hilarious in the unforgiving light of an audition room.
DO NOT imitate your favorite performers. Don't moonwalk like Michael, pout like Bernadette or clutch the air like Mandy. And please don't wear a white half-mask or a lion's head.
DO NOT outstay your welcome, argue if you are cut off in mid-note, or be evasive about your head voice, chest voice, legit experience, range or dance expertise. Answer questions in a straightforward manner that expresses your individuality. "Well, I can move!" ranks as the most often heard evasion in answer to a question about previous dance training.
DO bring sheet music in the correct key and with all cuts or repetitions clearly marked. DO place your music in a binder or tape the sheets together for the benefit of the accompanist. DO speak clearly to the pianist and articulate the tempi by singing a few phrases. This is preferable to snapping your fingers or yelling "Faster," "Too fast," or "Slow Down" in the middle of "Ol' Man River" or "Corner of the Sky
In his excellent book Acting Professionally, Robert Cohen suggests that an actor needs a strong personality. For him, the most undesirable quality for an actor is to be bland — a "good little boy or girl"— nice, dull and unmarketable.
Musical theatre is a frankly presentational form of theatre — generally, we do not burst into song or dance at moments of crisis. This raises the stakes for the musical theatre performer and emphasizes the need for a magnetic stage presence, a confident air and a unique personality.
These qualities should be evident in a musical theatre audition. They can transform a routine audition into a memorable one and make us eager to enroll you as a student.
The personality you project is the basis for your audition. It includes the clothes you wear, the way you introduce your material and your ability to answer questions. Even the materials you choose to perform can be revealing. But remember, please, personality is not an alien persona affected for the occasion — it is just the simple use of the characteristics that make you distinctive as a performer and a human being.
To assist you in selecting suitable songs or monologues, you may want to consider some simple DOs and DON'Ts of Musical Theatre auditions.
DO avoid overly familiar material, songs that are performed continuously. There is a wealth of material from which to choose without resorting to "Much More," "I Can't Say No," "All That Jazz," "If I Were a Bell" or "Can't Help Loving That Man of Mine."
DO avoid songs associated primarily with particular artists. "New York, New York" is Liza's song, "Don't Rain on My Parade" is Barbra's and "Over the Rainbow" is Judy's. Comparisons are inevitable.
DO avoid the current hit from the current Broadway smash or revival. These songs are simply performed too often at auditions to work to your advantage.
DO NOT present a choreographed routine. Dance skills are evaluated at the dance audition. DO, however, approach the material with a free body and move whenever appropriate. Body movement should be relaxed (not casual) and should not "illustrate" the lyrics (pointing at your head then at your watch on the words "I know now.")
DO select material suitable for youthful performers. Many students hide behind phony elderly voices and mannerisms, the characterizations that won them acclaim in the high-school play. Remember, we want to see who you are.
DO NOT attempt songs obviously created for mature characters -- song such as "I'm Still Here," "Send in the Clowns," "Fifty Percent," "Rose's Turn" and any Sondheim song written for a mature character.
DO beware of choices that are difficult to perform under stressful conditions. Many of the patter songs ("If," "Another Hundred People," "Funny," "Giants in the Sky") are notoriously difficult and require careful coordination between pianist and singer. These songs are hard to perform without adequate rehearsal and under the naturally competitive circumstances of an audition.
DO avoid excessively emotional pieces. It is difficult to build a sentiment quickly and convincingly. In her concert appearances, the legendary Lena Horne sings the song "Stormy Weather" twice because, as she says, she has to "build up to it." And consider that selections like the transformation scene from Jekyll and Hyde without the benefit of costume, make-up and lighting are often unintentionally hilarious in the unforgiving light of an audition room.
DO NOT imitate your favorite performers. Don't moonwalk like Michael, pout like Bernadette or clutch the air like Mandy. And please don't wear a white half-mask or a lion's head.
DO NOT outstay your welcome, argue if you are cut off in mid-note, or be evasive about your head voice, chest voice, legit experience, range or dance expertise. Answer questions in a straightforward manner that expresses your individuality. "Well, I can move!" ranks as the most often heard evasion in answer to a question about previous dance training.
DO bring sheet music in the correct key and with all cuts or repetitions clearly marked. DO place your music in a binder or tape the sheets together for the benefit of the accompanist. DO speak clearly to the pianist and articulate the tempi by singing a few phrases. This is preferable to snapping your fingers or yelling "Faster," "Too fast," or "Slow Down" in the middle of "Ol' Man River" or "Corner of the Sky
Tuesday, October 12, 2010
Monday, October 11, 2010
Practicing
I know you're probably thinking, "Oh no, here comes the lecture about practicing." Don't worry, we're all grown-ups and I know you each take your own approach to practicing and that different people set different priorities for practicing. So, this isn't a lecture, this is an invitation, an invitation to enjoy practicing. So many of us, myself included, approach practicing as a chore rather than a musical experience. Remember the passion, that initial spark that drove you to sing in the first place and let that lead you to a new perspective, one in which practicing is play, experimentation and an opportunity to do what you love - SING! Be spontaneous! Of course, there are warm-ups and technical exercises but it's OK to trust your own intuition - do the ones that feel best to you on a particular day OR warm-up and then get to work on a song you love to sing. Be curious. Is there a song you've been wanting to try out? Do you wonder whether you can do that phrase in one breath now? Sing! Sing your heart out and enjoy the sensation of singing. Practice singing. Practice fun and joy. Practice - I double dog dare ya!
Saturday, October 9, 2010
Words of Wisdom - Study Zen
I have been blessed to have worked with some of the very best teachers and coaches in the country. I have learned so much from them. Many times something was said to me that absolutely hit the mark. I'll be sharing these with you from time to time.
"You have all the attributes to do this thing right now, Valde. What you need to do is go study Zen."
"You have all the attributes to do this thing right now, Valde. What you need to do is go study Zen."
-Doug Duncan
This was said to me by my undergrad voice teacher in a moment of frustration. The technique of singing is something one spends a lifetime perfecting but it is easy compared to getting out of your own way. There is a difference between knowing what to do and knowing how to do it and there's an even bigger difference between knowing how to do it and being able to do it. In singing you need to be aware of your mind's patterns so that you can change them. You need to be able to practice concentration and detachment and you have to be able to let go enough to allow singing to happen. So, if you are stuck, if there is something about the technique of singing or auditioning or performing that you can't quite get - stop, breathe. It probably goes deeper than you think but the solution will probably be easier than you think once you stop banging your head against the brick wall.
Thursday, October 7, 2010
It's Called The LaRynx NOT LarNynx
It's a pet peeve of mine. The larynx is a key component in the production of your sound, you should know how to pronounce it properly.I won't get into a detailed explanation of the larynx here, there are many other sites you can find that will do that for you if you are interested. What I believe is most important to know about the larynx is that it houses, protects and is connected to the vocal folds. If it is tense, your vocal folds will be tense and therefore will not be able to operate freely and properly. For healthy vocal production the larynx should be relaxed, not creeping upward nor forced down. Learning to recognize and correct a tight larynx will help you solve many of your perceived vocal problems. Keep in mind that these are reflexive muscles. If you are tired, sick or emotional they will react in kind therefore allowing them to relax will require keen observation and intention.
Wednesday, October 6, 2010
Breathe
It's seems appropriate that the first post of my voice studio blog should be about breath. It is the source of singing. It is the source of life. Breath connects us to our bodies and connects us to our emotions. In our day-to-day lives most of us rely on shallow breathing but singing requires deep diaphragmatic breathing, a conscious full body experience.
When I ask new students what they know about singing all most all of them are quick to tell me that it's important to breathe from the diaphragm. When I ask them where the diaphragm is located and/or how it functions I usually receive shoulder shrugs and vague answers.
The diaphragm, is a dome shaped sheet of internal muscle that extends across the bottom of the rib cage. The diaphragm separates the heart, lungs & ribs (which is known as the thoracic cavity)from the abdominal area.
During inhalation, the diaphragm contracts and the dome of the diaphragm flattens downward, thus enlarging the thoracic cavity. Enlarging the cavity creates suction that draws air into the lungs. When the diaphragm relaxes it moves upward and air is exhaled by elastic recoil of the lung and the tissues lining the thoracic cavity along with the abdominal muscles.
When I ask new students what they know about singing all most all of them are quick to tell me that it's important to breathe from the diaphragm. When I ask them where the diaphragm is located and/or how it functions I usually receive shoulder shrugs and vague answers.
The diaphragm, is a dome shaped sheet of internal muscle that extends across the bottom of the rib cage. The diaphragm separates the heart, lungs & ribs (which is known as the thoracic cavity)from the abdominal area.
During inhalation, the diaphragm contracts and the dome of the diaphragm flattens downward, thus enlarging the thoracic cavity. Enlarging the cavity creates suction that draws air into the lungs. When the diaphragm relaxes it moves upward and air is exhaled by elastic recoil of the lung and the tissues lining the thoracic cavity along with the abdominal muscles.
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