Auditions are the most stressful part of one’s job as a singer, especially when one is starting out and is not so confident or experienced. I therefore thought it might be worthwhile to put some general information about it here, and a little advice, in the hope some singers will find it useful!

Some things to remember

Everybody hates auditions: The people on the audition panel would probably prefer to be elsewhere as well. Your audition will last from 10-15 minutes or so. They have to sit all day, sometimes for several consecutive days, listening and watching a new performer every 15 minutes. They have to stay alert so they can listen and watch well, and chose the best singers possible out of ten’s sometimes hundreds of candidates.

There are two kinds of auditions

General auditions: the larger production companies hold such auditions regularly to see performers that might be useful for future productions. They will be attended by representatives from the acting, music and dance staff, the casting director and the company general manager.

Auditions for specific roles: These are held by opera companies of all sizes, and the director, conductor, choreographer (if needed) and designer of that specific show will be there.

No audition is forever. Just aim to do the best you can at that time on that day.

When booking an audition time - times to avoid if possible:

Before 10am. Panel members have just arrived and may not be concentrating. Some might be even late.

Between 2pm and 3pm. It’s just after lunch and they realised they are only half way through the list and be therefore impatient.

After 5pm. They are tired, bored and want to get it all over with.

Preparing for your audition

Choosing an audition piece:

Choose something you know you can do well, which can show off your abilities and range to your best advantage.

Some great arias make bad audition pieces – They begin on an emotional high and get more and more intense. It is hard to get to this level from cold in an audition.

Choose a piece that shows a character developing emotionally during the course of the aria. Play the conflict all the way through.

It shouldn’t be too long. The shorter the better!

Never do a song from an opera if you don’t know the story of it. You don’t have to learn the part, but you must know why the character sings that aria at that point in the drama.

Novelty: The audition panel will have to sit through many arias from the same operas. You may get extra attention if you give them a little thrill and choose something less familiar but as good. Have a good look with your singing teacher through some anthologies and see if there is such an aria that will suit you.

Preparing an aria:

Make up in your head the story of the aria in your own words. Keep asking yourself questions like:

“Who am I singing to?”
“Who am I singing about”
“Where am I?”
“Why do I say that?”
“Why do I do that?”
“Why do I make that decision?”
“What do I want?”
“Why am I here?”
“How did I get here?”
“When did I get here?”

Or any questions you can make with the WH question words.

Usually the answers are in the text/or the music. Listen to the orchestration of the aria, not just the piano version. The aria is more than just your vocal line. The music gives you clues for you characterisation.

Look out for the dynamics: they are acting instructions from the composer.

As a dramatic artist your task is to tell a story: who and what it is about, how your character changes in the course of the scene you are playing out.

Make sure you have available good quality publicity photographs and up-to-date Curriculum vitae.

On the day

To get the best out of you audition time:

Take command of the space. For the time you are there it belongs to you. Do not behave as if the space belongs to the panel. It does not.

Stand with you feet directly under your shoulders.

Breathe slowly.

Take your time. This is your time. Don’t behave as if the time belongs to the panel.

From the moment you start, aim to tell these poor bored folk trapped in that room a really exciting story: the story in your aria.

Don’t eye ball the panel – have your reference point above their heads. If there are “other characters” with you in the scene, place them down stage to you not by you or next to you.

Singing is about one simple concept – communication. The audition panel is only interested in “what comes across the footlights”. The panel is looking to see what you communicate when you first walk into the audition room or on to the stage – assuredness and generosity of character. In other words, if you can cope and enjoy you auditions, there is a good chance you will be a friendly and reliable company member.

And finally:

When you come out of an audition, do try to forget it for an hour. Then, make your own audition notes on your performance: what worked, what you want to do better next time, what a panel member said. Make a sound and useful critique of your performance and........

Do not punish yourself! There is always another audition and the only way to learn how to do them well is experience!

Good Luck!

A basic audition manual for singers

Performing a new work by a living composer

What makes a singer not only a good artist, but a successful one?

Researching a play/opera - notes for singers & actors

A basic audition manual for actors - specifically for stage audition

The consul - a "must know" opera by the great Gian Carlo Menotti

Thoughts about teaching

Voices from the past (in the picture the immortal Kathleen Ferrier)

Leonard Bernstein's unforgettable lectures series “Music, the unanswered question"

How I met beloved singing teacher , Vera Rózsa OBE

Idit Arad