Notes on a Digital Audition

2020 is the gift that keeps on giving, isn’t it? There’s no need for me to say more, so I won’t. For the time being auditioning in person, and exposing others to our un-amplified, thrilling gifts is going to remain a very rare treat. So, given that live voices are at the centre of what we do, how do we make digital auditioning in opera useful for everyone on both sides of the computer/phone screen? 

That’s a question in part answered by David Blackburn and the NYIOPs (New York International Opera Projects). He is running a series of live-streamed auditions from one stage (so far in Berlin, with forthcoming dates in New York, London and Vienna), where singers perform in controlled conditions - one space, several high tech mics, several cameras (though only one live feed - this is not to create a cinematic experience, rather the truest to life possible, with back ups on hand for technical issues), one pianist - while casting directors, agents and other interested persons are in the comfort of their office or home, with access to decent speakers or headphones, a screen, and a decent internet connection. 

I sang in Berlin, and I also ushered singers through the space on the day, which I hope gives me a little unique perspective on how this all seems to work. Many things make this different from sending in a tape. A lot of this rests on David himself - the brand, though controversial, is generally respected - the theatres know and trust David’s ears. The questions came thick and fast all day, usually “is this what they REALLY sound like”? Likewise, that trust means people viewing the videos (unlisted on NYIOP’s YouTube channel) know that there are no audio tricks, just a very good mic, and no editing - what you see really is what you get. Then there is the consistency: 31 singers, for the most part with different fächer and repertoire, but all with the same pianist, the same distance from the mic, the same acoustic, the same day.

The other advantage is less tangible. Somehow setting this up like a “normal” NYIOP audition makes it an event. The names on the list really do sit there, all day, listening to the singers (I have heard more than one got up at 4am thanks to timezones in order to do this). In some ways it seems they are more present than in normal times when they would be in the same room. 

Here follows my advice, having observed and taken part in this day. First up - is this the right audition for you? The NYIOPs are high stakes. At a time when very few of us are earning they are expensive at $250 a slot. Contrary to popular belief they are not a money-making racket - setting these things up costs money, but that is a conversation for another time. It’s not just money. You will not often get the chance to sing to any of these Houses, let alone 20+ of them At The Same Time. If you, in conversation with people you trust - teacher & coaches for example, don’t think you are at least ready for eg. a high level young artist programme, I’m going to say this now: You are not ready for this audition. Don’t close those doors by singing too soon, the opportunity will come around again. I say this as someone who auditioned frankly decades too early for all kinds of things. My journey is slower and more painful as a result. 

You’ve decided you are ready? GREAT. What do you sing? My ten cents: sing dead centre of the Venn diagram of : what you think you are right now, what everyone else has told you you are right now, what matches your appearance, and what roles are being cast. And I don’t mean what is listed on the NYIOP website - I mean what roles you could sing in operas that get performed.

This is not the time to show what you’ll be in 5 years, or even one year - wait a year if that is the case. 

This is not the time to show how amazingly versatile you are. Kloiber may be out of date, but don’t make them question whether *you* know what you are. You may have done an edgy, oddly-cast production in a knicker factory, but this is for theatres. Show the range expected within your fach, but don’t offer Queen of the Night AND Mimì, even if you can sing them both brilliantly.

If German houses are listening, offer in German if anything fits the above criteria (don’t shoehorn yourself if not - never shoehorn yourself into anything), and if you are interested in fest work, or these days, whatever you can get, SERIOUSLY consider nailing some operetta. 

If you offer Mozart the chances are VERY high you’ll get asked for it. Don’t be surprised. Don’t ever be surprised at what aria the panel asks for second - you’re the one who put it on the list. Make sure you love your rep, and you can sing them in any order - it is not unheard of for a third, or part of a 3rd aria to be heard. 

Be you. If your absolute best role has an aria that’s far too long? Maybe don’t open with it, but put it on the list. They may only ask for part of it, but that’s still an opportunity to show what you do best, don’t be disheartened.

Boring stuff: Whatever audition you do ever, you will never have warmed up enough. For Covid/Health & Safety reasons you definitely won’t be able to at these NYIOPs, so do 5 minutes more than you think you need (no, I don’t mean constantly check the C is still there), and take advantage of your mask to mouth/hum/be that mad person on the way there. 

Be aware you will have a small playing area than normal - you won’t be able to take huge strides to show your acting ability - it will feel much more like acting for screen, but they will be able to see you body, so try and really live the character, but in not more than a metre-squared area. don’t turn sideways - fixed cameras are not like human eyes and your wistful look stage left makes you completely disappear - keep the angles narrower than you usually would. There’s HUGE strength in singing dead straight on to camera, but it’s so strong you’ll look mad if you do it the whole time.  

Don’t play to the gods, the camera will just see the underside of your chin (and frankly you’ll sing better if you don’t constrict the back of your neck anyway, so it’s a win-win). The same goes for looking down - you really have a much narrower physical range in every direction. 

Strong block colours pop. this is not the time for a smokey eye and a nude lip, or busy patterns (the latter obviously not just for dress wearers). Likewise floatier, more billowy outfits that move beautifully in person somehow can become more solid and add bulk on camera. This is the time for clothes that fit (gents if your jacket is oversized, go with a shirt).

Film yourself to practise, have a dry run or three. It’s weird, walking into a big formal audition space to be greeted with a wall of tech and maybe a couple of people behind all that. And you’ll be able to see what works. For reference: in Berlin, the camera (an iPhone on a stand at roughly eye level) and separate mics were roughly 5 metres away. 

There were some things that were specific to the Berlin experience that remain unknowns for the future - the room in Berlin was Dusty (building works had been going on that NYIOP had not been informed about) Oh boy. I told everyone to not worry about it, take water in and have it close by (it was a huge space so running back to the waiting area was NOT an option). Your usher where you are should know stuff like this.  The acoustic was HUGE, the mics actually dealt with it a little better than the live experience, so it took a little extra focus maybe not to croon. These are opera auditions, whatever the space, sing like it’s a theatre. 

Materials: Shorter is generally better, leave off anything that you would no longer sing. A small but clear photo that looks like you. Put your rep in the same single document - scrolling is way easier than opening 2 different things when the panel are looking at a huge folder of docs for the day and trying to watch singers. Don’t fail to send everything in advance! Be aware that the pianist will be playing your pieces from an iPad or printed out copies of what you have sent, they are not just for the panel, so make sure they are properly legible, with your phrasing clearly marked.

Manage your expectations. The Berlin auditions were a success, some great singers were heard by companies who otherwise possibly never would have heard them. Some singers have been approached by new management, contracts were even offered, but this remains an exploratory thing for the most part - many singers will now be invited to those theatres to audition in person (when possible) on a much stronger footing. Some singers have been approached by new management. Some singers will be filed away in the mind of a casting director who then doesn’t call for years. There is unlikely to be much in the way of direct feedback, but the recording and video you get will allow you and your team to be your own best feedback. And good luck! I have never been in a waiting room for a day like this with a better mood. Success breeds success, will on your colleagues, and they will do the same for you. Opera is a survivor, and this is a way forward at a difficult time, enjoy it. 

You can find more info on the NYIOPs at https://www.nyiop.com/ or by following them on
instagram @nyiop_auditions
twitter @nyiop or
facebook https://www.facebook.com/nyiop

You can view my Berlin audition to get an idea of what it looked like to the panel here: