At OperaTalent, we follow the trials and tribulations of both the opera company and the singer, trying to promote both sides and bring problems and experiences of both into the open, and also to improve standards from both sides.
David Rose’s article was well put and I wish to thank him for taking the time to respond to the anonymous article. But before I drive headlong into the sensitive subject of auditions, I will clarify one of David’s points. We allow singers to publish anonymously, or under a pseudonym if desired, to encourage people to speak out without fear (real or not) or retribution. I need to make it quite clear that no piece is ever published without us knowing the author – and that their anonymity will remain safe.
Right or wrong, the supply of jobs far outstrips the singers’ demand for roles. There is a strong and common fear amongst our singer contributors that their views will get them blacklisted. In fact, many of the singers that talk to us and contribute to our website openly state that they are unhappy about many areas of the profession. However, they feel unable to speak out due to fear of being classified as troublemakers. Right or wrong, like it or not, this is a common view and something that opera companies should give a thought.
Now, the subject at hand: auditions. There is obviously a debate here searching for the right and wrongs of auditioning - but it is not that black and white. Our anonymous reader obviously yearns to work for a company who will, if I read it right, sign them up for a season or two. David rightly argues that this risks boring the audiences who do not want to see the same faces. There are pros and cons to both sides. The way professional opera companies fill seats is by getting the stars in. Few audiences are bored by hearing Pavarotti, so the argument does not necessarily follow, albeit I appreciate that Pavarotti did not audition for David this year.
We have a strong view at OperaTalent about small companies and their place in the market. The professional opera world is a hard place to break into. The small opera companies are a much needed platform to provide new singers with a place to cut their teeth. A singer will learn far more about their art during one performance than weeks of seeing singing teachers and coaches. As I said earlier, there are far more singers than jobs, so a regular turnover at the small company is the best way to give a wide range of singers a chance to develop on stage without the pressure of agents.
The auditions themselves provide a good opportunity to practice their skills in real circumstances. On the flip side though, there are better ways to help singers develop. One of the nicest things a singer will experience is being recognised: “I saw you in Figaro and The Flute last year”. A company can help build a singer’s name with consistent appearances. It is a fine balance and ultimately up to the company owners. (If you don’t like the way a company works, don’t sing for them, find some other singers and start a company of your own. It is not rocket science.)
But on the singers’ side, the standard of auditions needs to be raised. Singers need to toughen up a bit and the companies need to raise their standards at all levels. We hear about many horrors, including being charged for auditions. Never pay for an audition; it is a dreadful scam financially abusing singers. Yes, charging for auditions goes on and it’s wrong (please do not bother writing in to complain about costs of putting on performances!).
Then, the infamous ‘general auditions’ for the large companies where hundreds of singers from all around the country turn up, hopeful to secure a job. We have pressed some of the companies, only to discover that there were no jobs on offer for at least the next four years. So a message to big companies: be more open. Singers will be into conspiracy theories at the drop of a hat because you are not open. Why not publish, after auditions, how many singers actually made it through and were offered positions? Many singers believe that these general auditions are done because of the obligations of public funding, and the only singers that are ever hired are taken in private auditions through agents. True or not, you need to be open to avoid this bad feeling. Singers want careers (and are sore losers).
Another regular sticking point is the audition panel. Listen up folks, if you invite a singer to audition, have the courtesy to sit and listen with the same enthusiasm as the singer has. We have regular tales of panels where the people have gone to lunch and one person is left, nodding off; where they ask for multiple arias from their opera in a specific translation and then only let the singer do half of one. If you are tired of listening to singers, cut down on the number you invite to sing. Play fair.
Let the singer sing an aria of their choice, something they know well and are comfortable with. Singing specific pieces from the opera to be performed often means not having enough time to let the pieces sink in and feel truly comfortable. Let the singers sing what they are best at, to show off their voice, personality and acting skills. If you do, you will get a better picture of the package and less surprises later on.
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Other suggestions which cost nothing and yet are regularly overlooked:
· Greet the auditionee. Introduce the panel to the singer.
· Make sure there is a proper place to warm up. This is NOT negotiable.
· Make clear what the process of casting is, if there are recalls, when the results will be announced.
· Be very clear about the financials of the role (pay, expenses, contributions from singers.) Do not surprise the singer with ‘subscription fees’ after casting.
· Make up your mind whether it is “a course” or a professional production. If you claim to be a course, be clear who will be teaching and what the course consists of. There are a plenty of “courses” out there which are simply not educational beyond any other company putting on a production. And, if you do claim to have any famous tutors on the course, make sure they ARE there. Be clear how much time a singer will get and appoint a time keeper at the course.
· Provide water, tea and coffee, and as nice an environment as possible, funds allowing. I have seen some buildings used for auditions which can be only described as derelict. That means heating in winter, folks! People have travelled to sing for you, the least you can do is to treat them well.
· Talk to the singer after they have sung, if you have something positive to say. We hear regularly about panels that make rude comments to singers. If you can think of nothing positive to say, don’t say anything at all.
· Be clear about rehearsal schedules and rehearsal locations. Many people use public transport and sometimes have no way to get home from late night rehearsals. Reveal these details and you will have to audition only those who can actually make it.
· Get a competent accompanist. One that will respond to the tempo the singer wants to sing at, who knows the pieces and can play the piano.
· Let people know if there are age and appearance restrictions. Yes, it is embarrassing to say, we know. But if you want a Traviata with a 20-inch waist, a Dorabella of 16, a Cavaradossi who paints as well as he sings or a Japanese Butterfly, say so. It will spare the singers from trying to solve the riddle of rejection.
· Be clear what roles are available.
· Specify whether you are looking for graduates only.
We should also put in suggestions for singers. I am sure that we could have a great input from panels about their expectations. Why not write in?
Singers, follow these rules:
· Turn up on time. These people are busy. Be professional.
· Let them know if you cancel or are held up.
Be clear about the roles you will accept if there is more than one role for your voice and whether you are prepared to sing chorus or help out in other ways.
· Know your music and for god’s sake, learn your words. If you cannot be bothered to learn your words, don’t turn up.
· There is rarely a conspiracy. Try not to take it personally. Read up on auditions. There can be many reasons you were not picked, including (bizarrely) being too good for the company, who will have problems with matching the cast if they employ you.
· Value the auditions. It is a pain. It comes with the job. But it is also a valuable learning experience.
We will continue to press for higher standards on both sides. If each company and each singer signed up to the above points, the whole process would be much more bearable for everyone.
Simon Freeman
OperaTalent
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