CLASSICS FOR A CAUSE!

Classics for a Cause 

Benefit Concert and Senior Recital

Alexa Weeks

Featuring the Ashley Hall Red Choir

Thursday, May 2, 2013

Church of the Holy Communion

218 Ashley Avenue

Charleston SC 29403

"The Audition"

Considering all the posts I have created regarding the imminent and ever terrifying "audition", I thought it appropriate to post this documentary. It is awesome! It delves right into the realities of auditioning for the Metropolitan Opera National Council Auditions. It's scary and exciting stuff! I loved it, and I  connected with the characters. Plus, the singing is amazing. I really loved how relatable some of the characters were. There were engaging in one of the most stressful and scary endeavors of their lives, yet, I easily related to them on a personal level. It's a full length documentary, but if you have time, try to watch and see what it's really like when the stakes are that high in the real wold of opera!

http://www.youtube.com/watch?v=5UO0zB77I5U

News!

Well, after all those auditions, I am very happy to say that I have been accepted everywhere! I was accepted to Eastman School of Music, Northwestern, Carnegie Mellon, Oberlin College and Conservatory, NYU Steinhardt, and Mannes. Now I have to re-evalutate the programs and teachers and make my decision. I know it will be a hard decision, but I am very blessed to have options! This part of my journey is almost over!

Singing for your Supper: What They Don't Teach in School about an Opera Career

I recently read Singing for your Supper: What They Don't Teach in School About an Opera Career. It was written by Dan Montez, a former opera singe and stage director. As the title suggests the book delves into the secrets and intricacies about a career in opera. From the voice itself or schooling to money, finances and lifestyle, this book reveals it all. It actually starts out with the more basic vocal details and builds to encompass things needed to learn a part, such as preparing a score as well as acting, eventually building to the business side as well as personal things such as how to make contacts,  lifestyle, etc. 

I will talk about the vocal side first. Something he says in his introduction is, "Your success in becoming a professional classical singer is based on your innate talent and natural singing voice than it will be on your personality, tenacity, desire and hard work."I have been saying this all along. As I have researched the singers who have become famous or professionals, of course they had beautiful natural talent, but how did they manifest to produce a beautiful career. He continues in his chapters to reiterate the importance of wanting it enough and being passionate enough to be able to work hard. Passion itself doesn't necessarily take you anywhere, but the passion can fuel the motivation for hard work and persistence, which can result beautifully and successfully. 

In Chapter 3 he talks about legato and vibrato techniques for singers. He opens with a question, "Is there a difference between vocal technique used in a choir and vocal technique used in opera singing?" The answer should be an obvious resounding yes, and any classical singer should know that. Of course in a choir everyone should blend. However, everyone's voice are not the same, so obviously some sort of modification is being placed on the voice to blend with one's neighbor, which is the exact opposite of what should be done by a solo singer. Usually, solo singers aren't advised to spend heavy amounts of time in choirs. However, Montez suggests that blending is not the worse thing for a solo singer to do to his or her voice in a choir. Rather, he says that the changing of vibrato and legato techniques for choirs is the most detrimental to an aspiring solo singer. 

In regards to vibrato, voice oscillations on a pitch, he says that one of the biggest misconceptions by young singers is that they are stuck with the vibrato they have. Meaning they are stuck with the rate at which their voice oscillates on a pitch as well as the amplitude. However, he suggests that it is completely controllable, and even in the last 50 years, after the "Golden Age," we have learned more about control of vibrato. It will take many hours and intense focus, but one can learn to control one's vibrato, and it is all in the breathing, which is all in the diaphragm. About a year ago, my voice was getting a little wobbly and heavy, at least for someone my age, and the cause was simply a lack of proper breathing before singing a phrase. As long as my breathing is healthy and under control, I no longer have even a hint of a wobble. He states that vibrato control is essential for interpretation of music. One can have a huge effect on a phrase by adjusting one's vibrato. 

In Chapter 4 he talked about vocal registration, which I found very interesting. He outlined that different "schools of teaching" (ie: italian, german, french, etc.) all have different ways of acknowledging and dealing with vocal registrations. Some do not even recognize the existence of vocal registrations, the breaks in one's voice. Montez concludes that the Italian school has the most natural and efficient way of dealing with register breaks: by almost letting them be obvious. They don't modify vowels like the German school or increasing laryngal spacing, they just let the singer cleanly sing through the break. As a singer, I naturally know where my voice changes and breaks. The voice is divided into three, the middle one or passageway being the "passagio." The passagio usually starts around C or D and ends around F or G. 

Vocal registration brought him to another important point: the different classifications of singers. An example is a dramatic tenor versus a lyric tenor. They both have the same range, but a lyric tenor has a warmer more graceful sound with a strong but not heavy timbre. A dramatic tenor on the other hand has an emotive, powerful, dramatic and heroic sound. Montez points out that often people receive roles because of the type of voice they have. If everything is the same in interpretation, range, finesse, and stamina, sometimes a lyric tenor will be chosen for a song that fits a lyric voice, and sometimes a dramatic tenor will be chosen for a song that requires a dramatic voice. Those are things the singer itself has no control over. There are many roles for all types of singers, and any kind of singer can be successful. Sometimes it's hard to recognize though that some things are not under your own control. 

This is just what the first part of the book includes, I will be post again soon about other aspects outlined in the book!

Cecilia Bartoli

             

             I read the book, Cinderella & Company by Manuela Hoelterhoff, a Pulitzer Prize winning journalist for the Wall Street Journal. It is about the professional career and life of Cecilia Bartoli as well as other opera characters including Pavarotti. One reason I chose to read this book is because of the character Despina from Cosi Fan Tutte. The song “In Uomini, In Soldati” is one of the arias sung by Despina, and it is also an aria I have sung too many times too count, in too many venues to count, from Miss South Carolina, to Carnegie Mellon. Well, Cecillia Bartoli is definitely the  most famous Despina there has ever been. Several chapters in the book were dedicated to her role as Despina. 

             Cecilia Bartoli was born in Italy, and consequently she rose to stardom a bit differently than many American stars. She rose to prominence in her early twenties, much younger than most opera singers. In this profession reaching professional success and widespread appeal isn't usually achieved until the thirties. She was a star before she sang at the Met. Since she was immensely popular before her debut at the Met, her debut could be planned. She was to be in Cosi Fan Tutte, however, many assumed she would be singing the more titular role of Dorabella, one of the sisters. She wanted to sing Despina. Many people were confused by her choice, but she was an enormous success. Cecilia is superb at facial expressions and energy, and her Despina stole the show. She has always been my inspiration for the character of Despina, and it was very informative to read about her experience. 

        Cecilia Bartoli has an unusual timbre to her voice. She is categorized as a coloratura mezzo-soprano, but she has sung roles and repertoire for soprano as well. She is very popular among concert goers today for her lively stage presence. 

She will stop at nothing to be innovative or try something new. For example, in one scene, Despina is disguised as a notary and has to have an accent. 

“”My accent. What should I do? I want to try something different. Some other accent.’

‘How about this: why don’t you try talking Italian like an American?’ Guarino offered. 

‘Hmm.. It’s a very good idea I think. What an idea. i am going to try it!’” (p. 92-93). 

This excerpt is just one example of how Cecilia was dedicated to the originality of her characters, especially Despina. 

As I begin to prepare what I would like to perform for my final concert, I think of how Cecilia has inspired me. I have always performed, “In Uomini,” but now I would like to explore Despina’s other aria, “Una Donna.” Both arias involve high volumes energy and humor. I think reading about Cecilia and studying her performing style. Thanks to Youtube, I can watch her and study her acting and singing choices, which are often not obvious, meaning, she usually choses paths and avenues that some might not understand at first. When analyzing different performances of her singing, “Una Donna,” I noticed times when her singing became very soft in order to make an acting point or choice. It is simply inspiring to hear and see her perform, and I think that is why she is so acclaimed, celebrated, and loved. 

Audition 6

Last weekend I had my sixth and final audition at Mannes School of Music in New York City. At that point I had no apprehension about my audition. It was my sixth audition, and I just was ready to do and be done. I arrived at Mannes at 8 am to take a theory test. It was hard. They administered the same test to graduate as well as undergraduate students, so that made me feel a little better about bombing it. However, I have had no formal theory lessons, and there is so much more I need to learn. This test was evidence of that for sure. 

After the theory test, we had sight singing and aural skills evaluations. I sight sang...okay. It could've been worse, but it also could have been better:(P.S. another thing I need to perfect in college). I got the intervals I had to sing right at least. But it was okay. I spoke to the woman about it, and she agreed with me that college is the place to learn all of those vital skills, if they haven't already been learned. 

After the tests, I went to warm up. Mannes had current students showing us around and answering any potential questions. As I began to warmed up, I could sense that my voice was tired, but I know well enough now that I can sing through it. I warmed up the lower part of my voice the most, to get the rhaspyness out as well as an phlegm. I ran through all of my pieces, and "Notre Amour" was feeling much better in my voice, so I was hoping they would chose that one. 

Once I finished warming up, I met my mom in the lounge area. She was talking with three other families whose children were also auditioning. It was great to talk to all of them about the other schools to which they had applied, which ones they liked the best, which ones they liked the least, and how they were going to make their decisions. It's easy to get caught up in the competition and fear that everyone is better than you, but meeting and talking to these people made me realize how similar we all are. We are all afraid of failure, and part of us will always be wondering if we really know what we are doing. We were all good support for each other as we went into the concert hall to perform for the panel. 

I caught a glimpse of the concert hall before I walked in. It was spacious and beautiful. There was a stage facing the judges. When it was my turn, everyone wished me luck, and I walked confidently to the stage. There was a panel of seven again. They welcomed me to sing my choice first, and I obviously sang "In Uomini" again. The judges were very responsive, which was great; I got into my character, and sang as well as I could, enjoying the acoustics of the space. When I finished, they said thank you, and then chose "Notre Amour." Yesssssssss, I thought. They told me I probably wouldn't be singing the whole thing. All the better, the ending was feeling a little rough anyways. Well, I began to sing, and I sang it with as much emotion and lyrical litheness as I could. They stopped me after my third verse. They had heard enough. They thanked me, and I thanked both the judges as well as the accompanist, and I proceeded down the stairs of the stage. 

Then, it happened. I fell. Not just fell, wiped out. Not only in front of the judges and accompanist, but someone had opened the door allowing all the other applicants to see my fall. I was actually in pain, and felt the reality of a large bruise forming in the near future, but I made a joke. "Haha! I meant to do that to get your attention!" I tried to laugh it off, and after the judges had gotten over their initial shock of me falling, they laughed with me. One man assured me they couldn't forget that. Another woman whispered, "This has never happened before." Yet another, "Warn the other girls." "No, warn everyone." Well, at least I had made a statement, as well as potentially saving the lives, or at least pride, of my fellow applicants. 

I got up and walked out, thanking the judges one more time. I couldn't contain my laughter at myself. Everyone told me I sounded great, which was sweet. I was done. No more auditions. At least I went out with a bang! 

Now I wait. For all six of them. 

Audition 5

Last weekend I auditioned at Northwestern University. It is in the suburban town of Evanston, just outside of Chicago. I had not been given much information about the audition; it contrasted greatly with Oberlin. I got to the campus and checked in in the Admissions office before heading upstairs to warm-up and rehearse. The practice rooms were spacious with really nice pianos. Once I was done warming up, I waited for my audition. I wasn't really sure where to go or what to do, but luckily I found some other applicants waiting for their auditions as well. This audition, much like NYU's was held in a classroom, not in any recital hall. I was third on the list for that day. I waited as the boy and girl who were before me performed for the panel. When it was my turn I stepped into a tiny classroom with seven voice faculty members starring back at me. 

I was greeted warmly and asked to start with anything I wanted. So naturally, as always, I sang "In Uomini" first. I got great responsive reactions from the panel. I love it when they seem interested in what you are doing. I know that no high school singer will blow them away, it's simply not possible, but as I said before I really don't like the death glares. Anyway, the panel was very friendly, which encouraged me to convey my pieces. I know that there will always be someone negatively reviewing my work as a singer, and I know I need to get used to that. I'm just saying, positive responses are nice too. I digress... Once "In Uomini" was over, the panel got to chose my next piece. So far it had been "O Sleep" 2: "Notre Amour" 1. They chose "Notre Amour," evening the score. 

I think it really was in response to the panel's welcoming spirit that I interpreted "Notre Amour" the way I did. It is a very emotional song in the sense that it is a woman pouring out her utter joy and happiness over her love for someone, but it is subdued. It is light and lyrical, not robust, so when performing it one must convey a vastness of emotion through a soft and lyrical valve. I felt very comfortable being in front of that audience, and I think that is why I performed with confidence. I think I gave myself over to the meaning of the words more so than I ever have. 

When I was done auditioning, I felt very good about my audition, and I have come to understand that that is all one can ask for. Whether I was up to their standards or not is not an issue. Whether I performed to my best ability or not is. I was very comfortable and content with my performance. However, they asked me in my audition which schools were at the top of my list. Well, I didn't say Northwestern at the very top, but I said it was close. Everyone said I should have said Northwestern was my number one even if it wasn't. Well, I guess I learned a lesson about kissing ass. But in all seriousness, networking, who you know, and how to behave in front of certain people is really important in an opera career. 

I felt good about my audition though. So whatever happens happens. Northwestern is extremely appealing because it offers a university campus, a big city near by, as well as a renowned music program. It actually is near the top of my list. Maybe I just should have said I didn't know yet. Oh well, now I wait. 

Audition 4

Last weekend I auditioned at Oberlin in Oberlin, Ohio. I have been hearing about Oberlin since I began studying voice with my current teacher, Maggie. She went there as an undergraduate and absolutely loved it. I was a bit concerned before I went about it being such a small town, but I also had high expectations. After I found out I had been called back at Oberlin, I got an email a teacher at Oberlin who wanted to give me a lesson. Having the opportunity to work with a teacher from a prospective school is invaluable because one's relationship with one's teacher is one of the most important factors in success and happiness at a given school.

When I went in for my lesson, he wanted to hear more about me and why I had chosen classical singing etc. We talked a while about that before moving on to my lesson. He actually employed very similar techniques as my teacher, Maggie. He spoke highly of keeping a young voice healthy and pushing enough so that one can grow and flourish but too much so that it burns out too early. 

After my lesson, there was a reception for all of the students auditioning, including voice, violin, and piano. We got to meet with all of the faculty for our respective instruments as well as other students who actually went to Oberlin. It was really nice to be able to ask them in a friendly environment how they liked the program, how they chose Oberlin, who their voice teacher was...etc. All of the people I spoke to loved the program, and they spoke highly of the unique aspects of the school, including the fact that Oberlin doesn't have a graduate program, which leaves much more performance time for all of the undergraduate students at every level. The only thing they mentioned that they wished they could do differently was to take a business class, but they did say there were other courses able to supplement the teachings of such a class. They also mentioned that they loved how easy it was to double major at Oberlin. Even though the vocal performance major is very demanding, Obelrin and Oberlin Conservatory are very close, so it is easy to take classes in both.

The next day all applicants auditioning convened for a meeting to talk about the school's program and cater any questions by parents. After that, it was just time to wait. At Oberlin they provide all students auditioning with time to rehearse with the accompanist 15 minutes prior to the audition. Even though I haven't had any serious problems with my accompanists thus far, it was very nice to be able to rehearse once with accompanist, for it offers the opportunity to set better tempi and for the accompanist to understand complicated rhythm changes etc. After my rehearsal with my accompanist, I went outside the recital hall to wait. Soon, one of the professors came to get me. I walked onto the stage as they welcomed me, and I stated my name and which song I would be singing first.

The acoustics in that room were incredible. Having such nice helpful acoustics really makes it easier and more enjoyable to sing. I went through "In Uomini" first, and it went as well as I could have hoped it would. I had been given the choice of both pieces, when I was used to the panel choosing my second piece. I decided to sing "O Sleep." However, I didn't have proper breath control through out the piece. I was ending phrases early, and in my final cadenza, I took a breath in the middle of a word. Needless to say I was starting to regret my choice. However, I was very focused and in my character constantly throughout the piece. I also realized that had I chosen "Notre Amour" and had it not gone perfectly, which isn't really possible, I would have regretted singing that as well. It made me realize how much I actaully like the panel having the power, so there isn't so much weight on me depending on the outcome. However, I did the best I could and left with a relative ease. It was over, and there was nothing more I could do about it. I knew all I had left to do was wait.

Audition 3

Two weekends ago I auditioned at Carnegie Mellon in Pittsburgh, Pennsylvania. I flew there straight from my NYU audition. My audition time was at 2:20, but I arrived early so I would have ample time to practice. I got there around 1:00 and was greeted by vocal students from the university. They gave me a folder and packet that gave information about the school as well as my schedule. I would be provided a practice room 30 minutes before my scheduled audition time, and I would have to go down to the audition room 10 minutes before. That left me with only 20 minutes to practice, so I had to make efficient use of my time. By 1:40 I was in a practice room warming up my voice. I warmed up the bottom as much as I could and slowly went up to the top of my vocal range. I wanted to sing through all of my pieces because of course I wouldn't know which second piece they wanted me to sing. I ran through "In Uomini" quickly, but then I began to rehearse "Notre Amour." My voice just didn't seem to have the lithe fluid quality that song so desperately needs to be musically successful. I felt my voice was tired, and I was straining to get a sound out, which does not work for that piece. "Notre Amour" requires a certain gentleness and awareness of line. You have to move with the music. It being an art song, it stands alone. Any context or background can be imagined. Anyway, I just couldn't seem to get the rhythm of the piece. I moved on to "O Sleep," which is very exposed, but was somehow more appropriate for my voice that day. I sincerely hoped that they would ask me to sing it. 

After my 20 minutes were up, I hurried down to the recital hall. There I waited outside a big wooden door. Before I knew it, it was my turn. I had a few seconds to point out cadenzas to my accompanist before walking before the jury. 

I smiled, said my name, and wished them good afternoon. I also stated that I would be beginning with "In Uomini" by Wolfgang Amadeus Mozart. As I began to sing, I recognized that amazing acoustics in the room. Of course you always want to give it your best, singing with the most accurate technical skill, but having a room with great reverberation, is always nice. It accentuates the naturally occurring vibrato in voices, and it gives a richer fuller sound. After I finished, I felt very good about my performance, which gave me confidence going into my second piece. The jury discussed for a moment, before selecting "O Sleep." I was very relieved and excited to perform it for the jury. It is always better to be excited about singing rather than dreading it. After I finished, I felt very comfortable, as if everything had gone as well as it could have for me in that situation. When I finished, one woman on the jury said, "Beautiful." Whether she meant it or not, it was very nice to hear that kind of encouragement. It made me feel as if I had moved her with my voice. 

When I was done the jury asked me a few questions. One man on the jury saw on my resumé that I was Miss Charleston Teen, and he congratulated me. Then they asked me where else I had applied. I told them, and then they asked me how I would make my decision. I told them I would have to think about it long and hard. One of the men on the jury reminded me to consider teacher, performance opportunities, and graduate students. I succinctly agreed with him before they wished me a good afternoon and I walked out. 

After my audition, I had a test of my musicianship. I thought it would be a theory test, but it was really an aural skills test. I walked in fairly nervous because unfortunately, sight singing is not something I have much experience with. Yes, I can read music, and I have played piano and violin, but I really need to work on my sight-singing. I guess that's what college is for! The person administering my test was a composition graduate student at Carnegie Mellon. He was very friendly and nice to me, even when I messed up. I first had to "match pitch," which is when someone plays a note, and you have to sing it back. Then I had to sing a major scale. Then he asked me to do some weird thing I really didn't understand, and it was a disaster, but oh well. Finally, I had to read three different musical lines from sight. The first went, okay. The second went, worse, and frankly, I don't remember the third. I was feeling pretty flustered, but he told me that the test did not affect my admission decision whatsoever. It was purely used to see which aural skills class I would be placed in once I arrived at the university. That was very comforting, and I left feeling more confident. 

After my aural skills examination, I went to a Q&A about the school. The director of recruitment and enrollment oversaw the meeting. She gave the other prospective students who attended some information about the school and the classical vocal program before taking questions. One thing she stressed was the alternative classes Carnegie Mellon offered. One was not just about the business of being opera singer but about how to appropriately and successfully make yourself a marketable item. A class like that would be invaluable because you make have the talent and the pedigree but if you don't know how to market yourself to get jobs, what's the point? So that definitely peaked my interest. Hearing about that class lead me to my focus this month on the business of opera. I am currently learning about all the things you "should" and "shouldn't" do to make yourself desirable to work with. Somethings are out of your control, but as always, we must make the best most concerted effort to control and prepare everything we can. 

All in all, Carnegie was a very appealing school, and  think my audition went well. Now, I wait. 

Mason Prep Class

This past Tuesday, I visited my class at mason prep. My voice teacher and I started off by showing a video of a real contralto, the lowest "kind" of singer as a female. She sang all the way down in a baritone/ tenor range. The kids couldn't believe it was a woman they were hearing. Then we showed one of a counter-tenor, which is the highest voice type for a male. He sang all the way up in the soprano range, the highest range for females. The kids also couldn't believe it was a male singing that high. After that, my voice teacher warmed me up in front of the kids. We did all sorts of different exercises  to show how we technically prepare the voice for singing. I talked about how if you have the right technique, you can sing anything. I then proceeded to sing an aria from an opera to the children (In Uomini, In Soldati). I explained the background and the characters. I even had two of them assist me by being dorabella and fiordiligi, the two girls to which my character, despina, is singing. After I sang, I asked them if they had understood anything I had said. They said a couple things that were actually on track with what I wad actually singing. It showed them that if the inflection is correct one can understand things in other languages easily. Then, just to reinforce the whole idea that good technique allows you to sing anything, I sang "I Dreamed a Dream" from the musical Les Miserables. The kids loved both of them. It was great to expose them to "higher" music, instead of just pop, rock, and rap. All modern music, in a way has been influenced and shaped from older, classical music. That is one reason I think it is so important to share classical music because it is the root of music that pervades modern society. I also want to show them of course, that its okay to integrate a little classical music into their listening diet. I can't wait to see them again!

Audition 2

This past weekend I went to NYC to audition at NYU. I wasn't really nervous about that audition since I knew most of the faculty, had taken classes there over the summer, and I was acclimated to the performance spaces. I arrived at NYU early enough to check in and warm up. I went up the familiar 9th floor to find a practice room. I practiced for over thirty minutes. The first thing I did was work on my breathing. If your breathing isn't completely under you, then you will push and constant pushing leads to voice loss, which leads to well not having a career.  The first singing I did was warm up my lower and middle voice, which always seems to be raspy, like my speaking voice. I went down as low as I could go on many different vowels. Then I went up, did a few scales, and started to look at my music. I just looked at a couple of tricky parts in the different songs, and then I knew I was ready to go.
I made my way down to the seventh floor to wait. When it was my turn I walked to the stage, handed the accompanist my music, stated my name, song, and composer, and then began. I sang "In Uomini" first because it is my best piece, and it is always best to start with your best foot forward. After I sang they got to chose from my other two pieces. They chose "O Sleep". Since the weekend before they had chosen "Notre Amour," this was the first time ever I was singing this song for an audition. I got to about the middle of the song when Diana Heldman raised her hand and said that was great and they didn't need to hear any more. It was time for sight reading. Instead of administering theory test, they just have you sight sing a few measures during your audition, which arguably is much more nerve-wracking. However, I was calm, and it wasn't difficult. When I was done, they didn't ask me any questions. They simply said thank you, and I left.
My NYU audition went much better than my Eastman Audition. I was in a good place mentally to focus on technique as well as interpretation. I know now I was just to nervous and unsure at Eastman of myself to perform to the best of my ability. As time goes on, I know I will only become more and more comfortable in my auditions.

1st Audition....

This past Friday I headed up to Rochester, NY to audition for the Eastman School of Music. I was beyond nervous, even if I don't like to admit it. I didn't know what to expect, and I think the uncertainty of the whole situation was what really wracked my nerves. I knew I had to be at Eastman by 9 am for a convocation and a subsequent theory test. Now, I have never taken a formal class, so I was nervous for that also. Theory is essential to all musicians including singers, so it was fitting that we took that examination while at the audition. However, it made me very nervous. I also was just scared my voice wouldn't work or I would mess up. I just felt like everything was so competitive that one mistake would ruin any chance I had at getting accepted anywhere. I was freaking out. On top of all of those feeling that had already been brewing, on my final plane from Boston to Rochester, I checked my email, only to find a rejection from Juilliard. Now, I didn't even want to apply there, but my mom and boyfriend had pressured me. However, even though I didn't want to apply or go there, rejection still stung, and it definitely wavered my confidence. 

The morning of my audition I woke up early to get prepared. I didn't yet know what time my audition was. They would let me know when I got there, but it is always best for singers to be awake hours before they have to sing. I put on my dress, which was black and to the knee. It was simple but appropriate. I pulled my hair back, and put on appropriate makeup. I knew I had to eat breakfast even though my stomach was in knots, so I tried to eat oatmeal. I left early with ample time to make it to Eastman, but the cab took me to the wrong place, so I was late. Great, I thought. I was worried they wouldn't even let me in by the time I got there. However, I had only just missed the beginning of the convocation. 

The convocation was being given in one of the performance spaces at Eastman, Kilbourn Hall. It was beautiful and seated a good number of people. The man giving the welcome had been a student at Eastman and now worked in admissions there. He was very warm and welcoming, and he was quite funny, using humor to lighten the tense air to the room. He informed us that all undergraduate applicants had to take a theory examination at 9:30, but that it wouldn't be used to decide who was accepted, it would merely be a tool to see how much theory we knew and how much we needed to learn. So, the undergraduate applicants filed out the back of the auditorium to take the theory test. 

I sat down to take the theory test, more nervous than ever. Then I heard a girl sitting next to me whispering that she had just been called back at Juilliard. Well, as much as I'd like to tell myself I didn't care... I did. It made me less and less confident. I was really starting to doubt myself. The theory exam was distributed, and I immediately looked through it. I was pleasantly surprised by the basic material being tested. It was all scales, intervals, key signatures, and chords. Of course there were some I'm sure I missed, but overall, I had a good feeling turning it in. I was feeling a little bit more comfortable. 
After the theory test, I headed upstairs to get my schedule.

After looking at my schedule, I realized it was going to be a long day. My audition wasn't until 4:48, and there were plenty of things in between. The first thing on the list was a group meeting. At the group meeting, all of the voice and opera applicants met with the head of the voice department and another professor. They told us a lot about Eastman's program stressing longevity and sustainability of the singer. That really struck a chord with me since my personal teacher, Maggie, always stresses vocal health and the importance of building a long career. Everything about Eastman's program sounded amazing. There were ample scholarship opportunities for all students. They put on three operas a year. However, Eastman is one of the hardest music schools to be accepted into in the country. Over 600 applicants applied to the vocal program, and 80 were called back for live auditions, and from those 80, only 18-22 are chosen for to be admitted. It is very competitive. 

After the group meeting, I had a group interview, which just designed to be an informal way of getting to know the applicants better. I was in a group with a cellist,  and two singers. The interviewer asked us questions like: how has the college application process been? what do you do outside your instrument? how will you ultimately chose a school? was there a moment when you knew this was what you were meant to do? etc. The interview was perhaps the most relaxing part of the day, allowing me and my fellow applicants to just relax and talk. It lasted approximately 40 minutes. 

After the interview was aural skills. That is when they test our sight reading skills. I was given a line of music and had to sight read it for a camera. I was then given another line of music, but i just sang the rhythm of the music. This test was also just used for informational purposes, and they said it did not affect who was admitted or not.

After aural skills, all I had to do was wait. So to pass the time, I was able to talk to some of the students who actually attended Eastman. I talked to one girl named Anica about her experience. She applied to about 7 colleges and was admitted to all of them, including Juilliard, but she chose Eastman, and I was curious why. She told me that Eastman was much more nurturing to its students and really cared about their development and health. Juilliard seemed far too rigid and would only let the singers sing, with no other means of education allowed. I also asked her about how it was for her to audition at Eastman. She told me that in the middle of her song, she messed up and asked to start over. The vocal faculty said no, but they said she could start from where she messed up. She left feeling awful and that she definitely would not be admitted. However, she was. That made me less nervous. She stressed to me that they weren't looking for finished products; they were looking for potential and performers. 

Soon enough it came time for me to go to the green room where I waited for my turn to audition. We got to audition in Kilbourn Hall, which was beautiful and big, with good acoustics. As I walked up to audition I greeted the four members of the vocal faculty judging me, and tried to stay calm. I remember most of how my first song, "In Uomini, In Soldati" went. I know I stayed in character the whole time, but the judges looked at me like they were at a funeral, which I know they are supposed to do, but still, it's weird to be performing a comedic character role to an audience that looks like their dog just died. Anyway, I got to my second cadenza, and the accompanist messed up, but I kept gong, never breaking character. Once it was done I felt pretty good about it. I was just hoping all of my high notes were in tune. Next, the vocal faculty picked one of my two other songs for me to sing. The options were "O Sleep" and "Notre Amour." They chose "Notre Amour." Now, I don't remember much of what happened during this song. I swear it was just a blur. I think I stayed in character the whole time, but I honestly don't remember. I was trying to remember to be legato and breath and have intonation, and amidst all that I just forgot to think. Well, I remember the end, because I don't think it went right. I just couldn't tell or remember if everything was in tune, but before I knew it, it was all over. The vocal faculty thanked me, and I thanked them and the accompanist while walking off the stage. 

Everyone who had come out before me was smiling and raving about how great their audition went. Well.... I just didn't feel great. My mentality is that things could always be better, so I just couldn't feel that great about my  audition. Oh well. It was over. I was honestly feeling kind of lousy as I walked out of Eastman. I expected to feel relieved and proud once I was done, but I just felt like I could have done better. However, I have had a couple of days to meditate on my performance, and I am sure I did fine. I know that I maintained my character the entire time. I also realize that the competition was probably getting to me and intimidating me. I know now that I have to be more confident about my performance before, after, and during. I have to realize that I do have talent, and so do these other gifted singers. The vocal faculty just wanted to hear us share our talents. 

On the way back to Charleston, I got an email from Oberlin Conservatory inviting me to a live audition. The next day, I got an email from the head of the vocal department at Oberlin saying that he really liked my prescreening recording and wanted to offer me a free lesson while I was at Oberlin. I think that was all I needed to get my confidence back up. So now I have my game face on. I  leave in four days for NYU and Carnegie Mellon to audition again. Then Oberlin, Northwestern, and finally, Mannes. I just have to stay confident and healthy through these next weeks. One down, five to go!

How to Audition.... Well

Tomorrow I am heading up to Eastman School of Music in Rochester, NY to audition for their classical music program. It is my first of a tour of auditions I will be completing from now until March. Since it is my first audition I didn't exactly know what to expect, so I did some research. Auditions are so unpredictable, that should basically be the mantra for all people auditioning. I once read an article in Opera News, one opera's most famous and popular magazines about auditioning from the perspective of the auditioner. I think that is a very good point of view to take into consideration, and it also provides a rare look at what the person behind the table is thinking. Let's face it, how often do we actually get to talk to the person we are auditioning for? If we want information, we are most likely going to get it from someone in a similar situation ie: another person auditioning. This article stressed a couple of key things: what you sing, how you look, and how you act.

1. What you Sing: this is crucial because you must pick repertoire that is suitable for you. Do not try and show off by singing something that is beyond your ability. Pick music that highlights your strengths and downplays your weaknesses but that is not over your head. Choosing the right cocktail of songs and arias is critical to success in an audition.

2. How you Look: how you look is actually crucial. Think about it, it's like you are applying for a job. Therefore, one must appear professional. Just like with the music you chose, the outfit is also very important. You must accentuate the good parts of your body, but by no means should you appear too sexy or dare I say it vulgar. Women's dresses should be to her knee at least, definitely no shorter, and they should also not be too low cut. No one will take you seriously dressed like that. Now, if you are auditioning for the role of a seductress, maybe highlight your assets and look sensual without looking vulgar. Also, neutral dark tones are ideal. Black is fine as well as dark greys, blues, deep reds etc. Your hair must be pulled back from your face. Minimal jewelry, nothing too showy or distracting. And natural makeup to again highlight your best features. You have to be a car salesman selling yourself, but keep it tasteful of course.

3. How you Act: this is incredibly important as well, because you really never know who is watching or listening. Being rude to someone you think is insignificant could definitely get back to the audition committee. No one wants to hire a diva, so be courteous and kind to everyone you meet, including your fellow singers vying for a part. I heard once of a directer going out with the other people auditioning pretending to audition himself to see their attitudes towards him, each other, and everyone helping  in the audition process. When in front of the panel, be yourself. Don't be too nice or too cheery, they will know you are faking it. Also, don't get cocky. Stay humble and centered during the entire audition process.

I also found another blog called the College Audition Blog, which definitely peaked my interest seeing as I am about to begin this long grueling but ultimately critical process. This one post featured incredibly famous opera singer Anna Ntrebko. Since she is one of the most famous opera singers in the world currently, this article focuses on how that exactly happened for her.

1. Bachelor's Degree
2. Graduate School
3. A. Performance Certificate/ Artist program
    B. Doctorate
    C. Audition for YAP
4. The Young Artist Programs:
    A. pay-to sing
    B. non-union YAP
    C. Union YAP
5. Competitions
6. YAP to small roles
7. small roles to Agent
8. full career

That is the most perfect bare broken down list of how an opera career happens. However, each career would be different to dissect. As I have researched different opera singers this year, since many of them did rise to fame and did have full blossoming careers, in many ways, their career paths did resemble that list. Of course there is adversity hidden in between each number, and even people who seamlessly rise to the top face some challenges along the way: it may be racism, it may be over exposure, it may be confidence.
This path reminded me a lot of Janai Brugger's current path; she was very lucky to rise to the top so easily. She did everything right, and things just did seem to fall in line for her, which is amazing. However, we must all remember this is what the ideal looks like, not necessarily a reality. For example, my voice teacher Maggie had a completely different career trajectory. I will post more about her story later, but it helped remind me sometimes where we want to go isn't where we are meant to go.

So as I fly up to Rochester I will be thinking of all of these things. I will try to keep in mind it's not always easy, everyone's not always going to like me, but to be kind, have fun, and be myself at all costs. This is just the first step of many on hopefully a long path. Wish me luck!

Listening

As interesting and informing as reading and researching opera is, it makes one want to listen more and more. When I read about a critic describing the lucid and shimmering voice of a famous soprano, the next thing I know I am on youtube hanging on her every note. Having a good ear is vital to the career of a musician. It's not just an ear in the the very structured musical sense, but it is the ability to differentiate between musical ability and the technicality of a singer. To be able to hear the difference between good and great even is vital. So many people are just not exposed to it and therefore cannot tell a difference, resulting in a lack of appreciation. That is something else I have learned this year through my project: appreciating something like opera is an active process. You almost need to have background knowledge and be culturally seasoned. Unlike watching a modern music video or listening to a pop song, you have to actively be engaged to enjoy and appreciate opera. Most of the time it is in a different language, which requires constant reading and listening for translations and familiar words. The music is very complex, and appreciating the musicians that so seamlessly produce it is also vital. One cannot simply go to the opera and watch while thinking about something else. One won't understand or appreciate unless all the senses are used. That is why people always have an opinion about opera because it is such a conscious experience; if you are putting that much effort into appreciating and valuing that kind of intellectual and emotional experience, you better have an opinion about it. I think that is one that thing that is so fascinating about the arts, everyone can invest themselves in a piece of art, music, or dance, and come out having an established opinion, that no one can take from them. This brings me to my point that listening and seeing opera is so incredibly vital. 

I found out that the Charleston Public Library has live screenings of the Met Operas about twice a month. I think it would be incredibly beneficial for me to go watch them and try to establish my own opinions on what I see. The more I watch the more seasoned my musical palette will become. I think it will also be a very important extension of my project itself. I have read about all the famous operas as well as many obscure ones, and to be able to see them "live" with real singers and actors will really help solidify their importance in my mind. It will also help me personally as a singer to get to see the professionals interpretations and techniques. I can't wait to get started!

http://www.ccpl.org/content.asp?action=detail&catID=5367&id=77004&parentID=5368

Here is a link to the Charleston Public Library Met Screenings schedule!

News!

I have some news! One part of my project which is very personal and requires me to grow based on the knowledge I garner from my studies, is my own vocal training. Since I applied as a vocal major back in November, I had to pass the pre-screeinging round before I could be invited to a live audition at any schools. Since there are simply so many applicants, the pre-screening process has been implemented to cut down the number of live auditions the faculty and jury must arrange on campus. So far I have heard back from Eastman, NYU, Mannes, Northwestern, and Carnegie Mellon, and they all have called me back! So these next two months will be very busy with me preparing technically and artistically for these auditions. I read somewhere that the live audition, for some schools, comprises 95% of the criteria for admission. Therefore, I must be on my game when I go in there for the live audition. In most cases, I will be judged by a jury including some if not all of the vocal faculty. In most cases I do not get to bring my own accompanist nor work with the chosen accompanist before the audition, which adds a bit of stress. What I find exciting and interesting about this whole process is that this is exactly how all of the singers I have been studying and researching started out: auditioning. Before anyone of them made it, they had an education. Who knows, maybe while I'm at one of these schools auditioning, I'll meet the next Leontyne Price or Maria Callas. This is also just the beginning of auditioning, so I had better not only get used to it but get good at it. It doesn't matter if you can sing wonderfully with amazing artistry, skill, and technique, if you can't nail that in an audition, you will never be given the chance to have a career. Auditions are vital, and understanding them is also crucial. I have to think about why I am there and what I am trying to do. What does the jury want? What are they looking for? A professor from Curtis (perhaps the most difficult music school to be admitted to in the country) said they are looking for someone to make them feel something. If someone made him cry, he or she would be in. Simple. Not so simple. It's not easy to break the hard outer shells of these judges, and they will probably be exhausted from seeing so many students. But my job is to trust my technique is there, what I have so far at least, and to let myself understand and interpret the songs I am singing as seamlessly as possible. If I can do that, hopefully, I will get in somewhere. However, my first audition is January 25, so I don't have much time! I need to start polishing my technique, working on my breath control and support, and really spending time thinking about which character I'm playing and what that character wants. It's going to be a hectic few months, but it will prepare me for my future in this business with out a doubt!