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New York, Day 4

Last day in New York. Back in the acoustical wasteland of the Orchestra Rehearsal Room. Yesterday was spent in Rehearsal Room 1, a much livelier acoustic. What’s interesting is that while the singers prefer Room 1, it’s not always an asset for them. A few kinds of voices benefit, but because we’re aware of the

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New York Day 3

Lots and lots of good singing. WTOC alum Jason Hardy’s performance of Claggart’s aria from Billy Budd will stick in the memory for a long time. Best alternate aria: Sventurata (Clorinda’s aria) from Rossini’s La cenerentola. 4 minutes. After dinner, a late night meeting with composer John Musto and conductor Michael Barrett. Michael, John, and

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New York, Day 2

A few unfortunate incidents with printed music in the last couple of days. I always think that we do a good job of reminding singers to mark their music clearly, but I’m repeatedly surprised by failures to do so. The biggest problem is cuts. Even the best audition pianists can’t read minds (actually, they do,

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New York City

A word to the wise auditioner: be careful about what you say “outside the room”. First of all, it’s good business and good manners to conduct yourself professionally even after the audition room door closes. And second, you never know when someone outside the room is really a company “insider”… Advice: A rash of long,

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Philadelphia

Some prodigious vocal talents, some precociously talented musicians, and, in a few cases, both qualities present in the same person. What’s in the reference section of my iPod this year? Paisiello’s Re Teodoro in Venezia, lots of Handel (Agrippina, Alcina, Semele, Rinaldo), Britten/Gay The Beggar’s Opera, Rossini’s La pietra del paragone, Mozart’s Il re pastore,

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Vienna, VA

Lucky is the singer who is assigned a morning audition spot. Really! The committee is rested, ears and minds are fresh, and the day is full of possibility! Truth is that few artists love singing in the a.m. (according to one of my favorite baritones, “There is no art before noon”). Singers really aren’t a

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Chicago, IL

I have to mention that we had one of those moments today that keep us going. A brand-new singer walked in, announced a very difficult aria as a first selection, then proceeded to stun us both speechless. Five minutes later, I looked down to realize I hadn’t written a thing. We’re hearing developing artists, and

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I promised a list. “What We Listen For”. As if it were really quantifiable. But because most auditors (Thomas and I included) are also teachers and coaches, it’s necessary to try to articulate some goals. Bear with me here; I’m going to give you a laundry list that’s modeled on one by actor and coach

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Cincinnati

Cincinnati probably wouldn’t occur to most people as an obligatory stop on a national talent search. But we come here every year. It’s a great place for us to become acquainted with developing talent because we’re introduced to many wonderful singers from the great training programs at CCM and Indiana University. A few really riveting

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