Audition Advice

David Roth just got back from the BIG Apple where he was holding auditions for mainstage artists.

Last week Deanna Hoying listened to over 80 singers vie for the four postions in Kentucky Opera's Studio Artists Program.

I sat down with her to talk about how it was going...

Me: So, how are the auditions going?

Deanna Hoying: "I've been really happy about this year's auditions. We have more artists audtioning and from all over the country even the west coast. I think the program has been gaining attention within the young artist circles. Our program offers great opportunity for a young singer to directly work with mainstage artists and conductors while performing compromario roles as well as attending master classes. More than that, I think the Composer Workshop gives Kentucky Opera more crediblity with young singers because it offers a valuable and unique opportunity for these students to work directly with living composers, which isn't available anywhere else.

Me: What advice would you give someone who is about to sing for you?

DH: Your audition starts before you arrive. Your headshot should actually look like you. If you change your hair dramatically, get a new head shot. If you headshot is 10 years old, get a new headshot. We need to know what you look like because we are actually casting for real roles on stage.

ME Interjecting: (This is advice not just for those new to auditioning. I can't tell you how often we get a black and white headshot thats 25 years old from mainstage artists. It's pretty rediculous and we often joke about it. Who looks least like their headshots. And one more thing. You can always take the color out but you can't add it in. Don't do black and white!)

DH: If you are on time, you are late. If you are 30 minues early, you are on time. If we finish someone 4 minutes early and you are not there, it does count against you and you will have to work harder when you get in the room. Allow for traffic, parking and accidents. No one will fault you for being early, but you will always be at fault for being late.

Don't make excuses when you walk in the door. If you have a cold, we will be able to hear it. It's a part of the deal, people get sick and still have to sing.

Moc auditions are a great idea. Get your friends together and sing for eachother, sing for your family, strangers, who ever you can get to listen to you and take the criticism. Have them tell you how you look, how you're standing, if you are too stiff. The entire presentation is the package, and the more feedback you get, the more confident you will feel when you get in the room.

Sing something that you do well. That is the most important thing. You only have 10 minutes. You have to wow us in that 10 minutes and if you don't get it in the first three, it's not going to happen. I can tell in the first breath or the first two notes if this is going to be sublime or a bomb, so I would rather hear a brilliant Sempre Libre than an awful attempt at Sarah's Aria from Jake Heggie's The End of the Affair. Don't bring in something you're working on, bring in something you have.

Don't be afraid to get into character. When someone stands static and stiff it makes them look nervous (whether they are or not)and it doesn't tell us anything about them. If you can get into character a bit but not over do it, it will tell us that you know the plot, who you are supposed to be, how you are feeling and that you can ACT. Opera is a lot about the voice but it's also acting. Those who are animated always get noticed.

Have a couple of unique pieces on your rep list. Somthing that's not done all the time but something you do well. We don't want an entire day of Carmen, Figaro or Flute. If it's unusual we will probably ask you to do it, so don't put it on the list unless you can actually sing it well. We also will look for modern pieces by American composers. So many singers can't sing in english, and with the Composers Workshop, it will be a part of the program regardless of what the Kentucky Opera puts on the mainstage. We will also look for works by our friends, Carslile Floyd, Jake Heggie or Ben Moore. These gentlemen have been to our house and have worked with our kids and we love them and love to hear them. Again, only if you can actually sing it and sing it well. You've got to know it like you know your name.

In any way you can make yourself stand out in the best way possible, do so.

We will be announcing the new Studio Artists in January. Check back to see who wins!

Inside the Composers Workshop

Click image to see more Jan Abbot photos of Enemies, a Love Story

It's appropriate following Andrew Adler's article in the Courier Journal on Sunday, that we hear from one of the participants of this very important program. It just so happens, that one of the Louisville Orchestra interns, Jenifer Thomas is a student at UofL's School of Music and has participated in the Composer Workshop for the two years the program has been going on. She was able to give a bit of insight on her experiences.

Now, after two years of Composer Workshops, I am hit with two huge realizations: 1. I am so blessed to have had the opportunity to work with these living composers, and 2. I am amazed at how much talent composers today have.

Jake Heggie, last year’s composer, was an enthusiastic, personable, and anxious to work with as many students as he could. His love for his music, obvious ability to write for the voice (a task not easily done), and desire for the singer to break out of his or her shell and truly embrace the music were the major tenets of his master classes. He had the singers jumping around the room, shouting, singing directly to other students, or other tactics to allow freedom and expression in singing.

Ben Moore, however, had very different tactics. His background as an actor (as well as a painter, composer and lyricist) allowed him to embrace the more subtle nuances of his songs. His music is more lyrical than Heggie’s, perhaps edging towards musical theatre- which makes sense, of course, since he has written several musicals. The lyricism, however, does not detract from the underlying sadness of many of his songs. His approach to interpreting the pieces was also inspired by his acting background. Singers were asked to identify a feeling that was in harmony with the song, and recreate it. Perhaps this is the influence of method acting? Regardless, it allowed for more understated, gripping performances in the singers- a vast difference from Heggie’s more external style.

Nonetheless, both composers provided tools to be used in performance from this point on. I feel honored to have been able to work with such talented men, on their music, from their point of view. And what a positive outlook modern opera has! With such talented composers out there (with Heggie and Moore being only a small sampling), new operas are compelling, musically interesting, and based on stories to which audiences can relate. What a lucky group of singers (and audience members) we are, to have such talent at our fingertips!

Jenifer Thomas

Along with students from UofL's School of Music and the Academy of Music at St. Francis in the Fields, Kentucky Opera Studio Artists also participate in the Composer Workshop program. To audition for a Studio Artist position with Kentucky Opera, visit the website for forms, schedules and so much more!

Studio Artists Auditions

Friday was a busy day for Kentucky Opera. David Roth, Deanna Hoying and Lisa Hasson listened to over 30 young singers in the rehearsal room of ArtSpace. Singers were auditioning for the few Kentucky Opera Studio Artists spots for the 2009-10 Season.

While we don't have any results as of this post, I can tell from sitting outside that Brent Turner's Figaro was HILARIOUS! Lisa Paradise also sounded great from outside the room.

Amy Elaine Hayes went over her scores as she waited her turn to show her stuff!

Adonis Duge Abuyen gave an animated audition.

This is the third round of auditions Kentucky Opera has held, with one in Cincinnati and one in Chicago. The opera triumvirate will now have to pare down the candidates for call backs which we hope will be by the end of February.

NOTES from Thursday, July 31st, 2008

Woke up this morning to the enticing aroma of fresh brewed coffee and sizzling bacon emanating from the Bobcat’s kitchen. Amy has a talented for stimulating the appetite of those of us who swore off breakfast long ago. While fresh fruit and yogurt are always served in abundance at her table, I generally leave those as a garnish to her handsomely prepared dishes containing carbs, dairy and protein. I ran a couple of miles on the desert highway last night to prepare myself for this morning ritual at the Bobcat. By 10:30, I was driving down St. Francis on my way to the opera house for auditions of the Santa Fe Apprentices beginning at 11:00am. Not only is this an exceptional opportunity to hear the best of the young artists coming up in the field today, it is also an opportunity to connect with other peers, agents and artists in our industry, exchanging ideas and negotiating future plans. While this is not the time or place to be signing the bottom line on deals, one can’t help feeling inspired by the energy and creativity that swirls through the conversations at these auditions.

At 8:30pm last night, Adriana Mater made its American Debut on stage at the Santa Fe to a sold out audience. With the critical success of L’Amour de Loin in the 2002 season, composer Kaija Saariaho was welcomed back to Santa Fe with a passionate, congratulatory ovation. Along with her collaborator, writer Amin Maalouf, she has crafted a poetically beautiful composition that reveals the emotional path of four characters seeking redemption for one moment in time that tragically bound them together. The cast of four broke through the misplaced visceral if not down right ordinary staging with emotionally compelling performances only to be outmatched by their vocal and musical prowess. Kudos to Monica Cooper performing the title role of Ardriana Mater, Pia Freund as her sister Refka, Matthew Best singing Tsargo the father of Yonas, Adriana’s son, performed by Joseph Kaiser, and finally to Maestro Ernest Martinez Isquierdo who masterfully led the Santa Fe Opera Orchestra through this rich, new score.

Tonight we are all looking forward to the new production of Benjamin Britten’s Billy Budd.

Next Post: NOTES From Friday, August 1^st, 2008

posted by David

David Roth's Santa Fe trip

NOTES from Wednesday, July 30^th, 2008:

On Tuesday afternoon I arrived in Albuquerque via Burbank, compliments of Southwest. Easy flight, with this traveler happy to use the online check-in that allots a boarding number in lieu of a seat assignment. The Sunport airport in Albuquerque has perfected the art of getting travelers to their rental cars with the most efficient shuttles. In minutes, I was on the road to my favorite B&B in the world, the Bobcat Inn, located one driveway away from the Bobcat Bite serving the world’s finest hamburger. Since I hadn't eaten through the day of transit and it was now working on 4:30pm, the aroma of grilled beef wafting across the highway called to me and my stomach. I'm pleased to report neither were disappointed. After a quick nap in my room at the Bobcat, I freshened up and headed off to the opera.

This time of year, because of its open auditorium design and the late arrival of sunset, curtain time at the Santa Fe Opera is 8:30pm. The offering on Tuesday was Giuseppe Verdi's final opera Falstaff, based on Shakespeare's comedy, The Merry Wives of Windsor. Verdi and his cherished librettist Boito took the essence of Shakespeare's play but focused their attention on the ladies’ ardent admirer, Sir John Falstaff. My ol' university pal, Franco Pomponi sang the role of FORD, while Anthony Michaels-Moore was making his debut in the title role. The cast did not fail us, vocally or dramatically, with a delightful ensemble that brought playfulness and spontaneity to the evening’s proceedings. In general, the sets by Allen Moyer were quite effective except for the final scene in the forest that was seemed surprisingly unmagical and sparse compared to the creative scenes that came before it. Paolo Arrivabeni made his American debut, leading the Santa Fe Opera Orchestra in a well paced, colorful performance that matched the lively performances of the artists onstage.

Tonight, Wednesday evening, I will attend the American premiere of Kaija Saariaho's new opera Adriana Mater. At this time, I’m off to the Coyote Cafe on Water Street for lunch with Franco , his wife Chris and parents Joe and Gila visiting from Northbrook Illinois. Joining us for lunch will be Maestro David Jackson from New York.

Photo from Diana Ross concert at the Hollywood Bowl.

Next Post: Notes from Thursday, July 31st.

posted by David