Audition Tips from an Impresario

by Zachary Gordin

Overture

These are some thoughts, in no particular order of importance, which singers auditioning for classical/opera roles and programs may find helpful. I’m sharing from the unique perspective of an artist who has had - and has, still - a career on the stage in lead roles, an administrator who has done everything to facilitate auditions, a pianist who has played many auditions, and a casting/general director who assembles casts and hires artists. Here goes!

Our quiet theatre, waiting for art to be made...

Application Process

• Is it appropriate for me to audition for this? 

Not all auditions come with the same set of expectations from the organizations hearing them. A community opera troupe will not have the same expectations as a regional professional company, and so on. A great tip is to do some research on who is getting hired or cast in the companies or programs you’re interested in applying for, and make an honest assessment of your readiness/appropriateness for the opportunity you’re interested in. It’s very likely that if you’ve never had an engagement that pays a substantial fee (I mean the kind you can afford to pay agent commissions on), and only have school credits on your CV, a mid to large professional company won’t consider you - yet… 

• Materials to submit - read and follow instructions, deadlines, etc. 

Please, please, do yourself and everyone else involved a favor and read the audition posting/info carefully. Include all the requested materials, cleanly edited, and keep to the essentials with info on your resume/CV. Video submissions are always preferred as links (Vimeo or YouTube - never full files). We don’t need or want a list of every aria you’ve ever learned or hope to perform one day. Keep it to roles performed, concert engagements, awards, education/programs, and coaches/teachers/conductors/directors we can contact as references. DO NOT - not ever - embellish or use names of people you’re not actually connected with. You’d be surprised by how small this world is. Many of us who have been at this a while actually know each other and can shoot a text to someone you list on your materials to ask for intel. 

• Scores, cuts, editions, clarity…

When submitting music for a pianist PLEASE make sure the music is clear and easily legible for the modern eye (no 17th century full score manuscripts), with any cuts clearly marked in the PDF. Use a piano/vocal score, not a full orchestral score, and be sure all the notes are there - cropped off bass lines are the WORST for a pianist. Do not ask or assume a pianist can or will be willing/able to transpose - provide music in the key you will be performing the audition in. 

• Scheduling the audition, changes/reschedules

OK - so you got the audition. Great! Do your best to acknowledge and confirm the audition immediately, and only ask for schedule changes if there’s an actual emergency. Keep in mind that the schedule may have dozens (or more) of artists to accommodate, and usually are kept to a tight time limit, so any deviations are potentially catastrophic. Same goes for cancellations - if you need to do that, make sure you notify the company contact ASAP, so they can offer the slot to another artist. No-shows are always red-flagged, and may not receive another audition opportunity. 

Repertoire

• Your aria package & what to present

Here’s where it gets interesting. I’m of the opinion that your aria list should accomplish two things: 1) show the panel who you are as an artist and vocally, and 2) be flexible based on the expectations of the organization. Take into consideration the size of the hall, the size of the orchestra, the sizes of the voices generally cast by the organization, etc. While you may be ready for a lead Verdi role in a 400 seat theatre with a reduced orchestra, that same role won’t necessarily translate in a 2000+ seat theatre with a full orchestra. In general, sing and present what you do best and make sure your list is appropriate for the opportunity you're auditioning for.

• Pianist concerns

There may be an opportunity to coordinate with the staff pianist for a few minutes before the audition, and that’s a gift. Please use that time to cordially and comfortably connect with this musician that wants to help make your performance excellent, and ultimately wants to make beautiful music happen with you. This is the time for clear ideas and collaboration, not for attitude or dismissive tone - even if that stems from nerves or fear. Oftentimes you will not have the luxury of rehearsal with the pianist, so use the moment you arrive to coordinate with a quick check-in on tempi, cadenze, etc. Again, have your scores clear, clean, and any cuts marked beautifully.

• How to “be” in the audition

So, you’re there, meeting people you’re asking to hire you. Another step taken! I want to know something about you as a person, as a colleague, as a musician, and as an actor from this short time. Be deliberate and intentional in your performance, calm in communication, and open in your energy throughout. I want to see artists show me they can handle the assignment, not only of the music/role in question, but of being a generous and helpful collaborator with the other artists and creatives they’ll be working with if they’re hired. Coming from a space of generosity and preparedness is a sure way to put the panel at ease. 

The Audition

• Time management the day of

Plan and pack ahead, check timing for travel, and be EARLY! Things can go wrong on the road or with transit options. Do your best to keep time on your side so you’re calm and collected for the audition. Don’t forget to eat and hydrate! 

• What to wear 

I’m always a fan of clean lines and comfort. Gowns and tuxes aren’t appropriate for auditions unless you’re doing a public performance of a competition. Nothing needs to be expensive or flashy, or read like you’re going to fashion week events in your favorite cosmopolitan capital. We want to see you and your art, and let your heart shine through. “Business casual” is usually a safe bet.

• Warm up

Make sure you have a plan for your voice to be ready when you need it. Not all auditions have pre-determined warm up spaces. Do some research or ask if you need special accommodations. It’s not usually a great idea to be throwing out high notes in a public bathroom, especially in a building that may have more than one event taking place at the same time. 

• Introduction

Take a moment to breathe, acknowledge yourself and the people you’re in the room with. Something as simple as: “hi, I am (your name), and I’d like to sing (aria title) from (opera) for you today” works just fine. 

• Focus

This is your moment to show what you’ve spent so much energy preparing for. Keep your focus sharp and your intentions clear, both dramatically and musically. Let the rest of the world, social media, conversations from the hallway, etc. sit on hold while you’re in this moment. Be with the music and the character - and nothing else. 

• If something goes wrong

Oh, and it might… just do the next right thing. Maybe that’s starting over after a hiccup, or starting where you left off when you forget the line, or maybe your voice just stops working. Remember that none of these things are the end of the world, and that we ALL go through moments of difficulty. Can you re-set, recover quickly, give yourself grace in that moment, and move on? That kind of maturity and humanity is not a bad thing to demonstrate. 

Follow-up

• Thank you

A quick thank you email after an audition is usually a good idea. It helps to know who is in the room hearing you - know that, and address these people personally. 

• Keeping in touch

Updates on your career progress, and any highlights or triumphs to share are usually welcome, even if they’re not being replied to. Sending out a short update to people you’ve auditioned for on a quarterly or twice-yearly basis is a reasonable cadence.

• Connect on socials when appropriate

Definitely follow the company or organization you’re hoping to work with on socials. When appropriate, add/follow the conductor or director you’re singing for. You’d be surprised how useful it is for someone like me to pop onto instagram and see a video clip of a singer who I haven’t been in touch with for some time. I might just reach out and hire them after that kind of reminder. You never know when timing, need, and access line up!

• What if they don’t like me?

Don't sweat it! Nobody is for everybody. Keep working on your craft and technique, make sure you have a team of people helping you grow (teachers, coaches, etc.), and that you have objective and measurable improvement of your product - not just that you feel good or happy about what you do. This is literally the difference between a professional and a dilettante. If you have something special and polished to give, the opportunities will come when you seek them. 

Overall

• What's the best audition practice to ensure you’ll be considered? Show up prepared, sing beautifully, communicate clearly, have great diction (lots of people are fluent in these languages you - yes, I’m looking at you, American singers - are working in, and would love to understand what you’re singing without straining to understand), and know what you’re conveying with your material. 

• Submit clean materials (CV, press photos/headshot, etc.), be present online - updated and clear website with good video examples. Again, these things don’t have to be expensive. Building a simple and well-laid out website that you can keep updated yourself is so easy these days. There are several free platforms, and tons of tutorials and design templates available online. When in doubt, talk to a friend or colleague who has a website you admire, and ask how they got it done. Same goes for resume and bio, ask for templates and help if you don’t already have it.

• Social media concerns/tips: post on topic/on brand for yourself as an artist. Avoid posting (or participating in) anything that would be considered a liability by someone looking to hire you. Obviously anything dangerous, illegal, irresponsible, or scenes from that crazy party you went to have no place on your professional platform. 

• Know when not to push for feedback or opportunities. Stalking someone or a company for a job is never a good idea. Most people don’t offer feedback on audition submissions or pre-screening, so if you seek that, ask; but don’t be surprised if you either get a “no” or no response. Personally, I take a good amount of time and energy assessing and writing any feedback. Sometimes it’s positive, and sometimes it's constructive. I’m going to say this very bluntly: if you ask for feedback you might get it, and you might not like it. Part of our work as singers/artists is to bring our voices and expression to a level that our music and storytelling can be received by our audiences. This means we have to please both the newbies who go nuts over the opera kid on TV, and people who have very cultivated tastes and expectations. It’s no easy task, but for me the purpose of giving feedback is to offer the singer an opportunity to reassess their product and realign their efforts to something that will be a big help in their overall performance and artistic output. 

WHEW! That was a lot… but it also only scratches the surface. Friends, be fearless and ruthless about your growth. Make the most of every opportunity you have to participate in this beautiful art that means so much to us. Auditions are never easy, but if you’re fully prepared and walk into these spaces with a spirit of generosity and care I am certain you will shift your own narrative about the process into something that reinforces your own excellence. Now, SHINE! 

Thanks for reading, and please share with anyone that might benefit from these thoughts. 

ZG