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, long arias (really, scenes) on rep lists today. If you specialize in one of these scenes (and they tend very often to be soprano vehicles: Anne Trulove’s aria, Sempre libera from La traviata, Regnava la silenzio from Lucia), be prepared to start in the middle! People are often willing to be cut short in a long scene, but very often, what we really need to hear is the second half. So find a logical starting point, practice starting there, and mark the optional starting point for the pianist.
One other word of unsolicited advice: Don’t Pace. I don’t want to get into a protracted discussion about the degree to which audition arias should be blocked or staged. There’s a range of opinions, and just about the time I figure out where I stand, I change my mind because someone will give a totally successful audition by doing something I didn’t advocate. But one thing is sure. Don’t Pace. Two steps left, a few steps right, pacing every phrase or two – that’s a sure way to take the focus off your singing. When in doubt, stay in one place. There are many successful ways to move during auditions, and heaven knows, we don’t want you to feel stuck. But if this describes you, until you can skillfully incorporate purposeful changes of location into your audition, best to stay put.
Oops, didn’t mean to rant. It really was a good day, really!

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