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.