Everyone hates to audition.  It’s the worst.  

It’s actually a very inefficient process when you think about it.  We fly or drive somewhere strange, sing in a new room, in close quarters with those hearing us, usually after having travelled that day or the night before.  We work with a pianist who you may have never met before but on rep that you’ve worked a lot, while trying to be in character and sing well enough that those hearing you might be interested enough to hire you.  Go!

Oh, did I mention you’ll pay for the flight, a hotel (unless you sleep on a friend’s couch), sometimes a fee for the accompanist or for the audition itself, food, and of course any and all transportation?  Don’t forget the cost of your materials which you should bring to the audition.  If you don’t live in the city in which you are auditioning, you can spend $400-$600, sometimes more for one audition.  Yikes. 

So, add all of that discomfort and expense, to the pressure of getting the gig, that will help you pay for that audition you took…to get the gig, and you’re a nervous wreck.  No wonder we all have ulcers.

It would be fantastic if the General and Artistic directors just flew to you to hear you in a production and let that be your audition.  They don’t though, and auditioning is part of the buisness and the way a majority of your work comes as a freelance singer, so get used to it! 

Everyone has an opinion on how to have a successful audition.  What to wear, what not to wear, how to make a positive impression, repertoire, how to prep your music etc.  The trick is to present yourself in the best possible light without sacrificing comfort, and to control the things you can control, and forget the rest.  Sometimes it feels like we’d have an easier time making kale taste good than accomplishing that. 

There are some of the things that have served me well in auditions:

Attire:  

Wear what is comfortable.  Yes, you have to look professional, but if something is too tight, too new, something you don’t normally wear, or something you THINK will make a good impression but is not what really feels good, don’t wear it! 

For those wearing suits, ties are optional.  If you like wearing a tie, wear a tie, if not, don’t stress about it.  Pocket squares, sport coat vs. suit, plain dress shirt or something more bold, all up to you.  No right answer there.  Some believe that you do NOT wear a white shirt to an audition (looks too much like a businessman not a performer) but others don’t care.  Just know that you will almost always “offend” someone with your clothing choice, so why not be comfortable. Own it,  and wear something that is your style and in which you can sing well.  

If you wear something that’s all about showing your figure not your fioratura, you already know what you’re auditing for, and spoiler,  it’s not a singing role. 

For those wearing pant suits, skirts, dresses and the like, I won’t even presume to tell you what to wear, but here is some advice passed on to me by colleagues and friends and my wife, who is a gorgeous 6-foot-tall mezzo, so she knows something about this. 

 The same rule that applies to wearing suits and slacks also applies to dresses, skirts, and pant suits. Wear what is comfortable but not distracting.  

Wear jewelry if you wish, but but make sure it’s not in the way of whatever movement you will need to do, or distracting in and of itself.  

If you are not comfortable singing in high heels, don’t wear them.  Don’t wear new shoes for the first time in an audition, unless you are used to walking in them. Again, comfort is the rule here.  Do you feel great? Do you feel comfortable?  Do you look amazing?  Wear it! 

Those that wear pant suits, dresses and skirts, what advice do you have for singers in auditions? Advice on hair? The most often repeated tip here,  which which I also agree is make sure your hair is out of your face.  If you’re adjusting it every other measure,  everyone will be so annoyed by the end of your first phrase,  they might not be asking for what else you brought to sing, but if you need a hair tie. 

For everyone: 

Contacts are preferred over glasses so people can see your eyes.

Clean and press your clothing before you show up. People notice that! 

Polish and clean your shoes before you audition.  People notice that as well. 

Don’t go overboard.  No need to wear a tuxedo or a formal gown, but look like you care, even if you did just roll out of bed and hop on to the E train.

Materials:

If you have representation, they will often have sent your materials before hand or bring them if they are in the audition, but BRING HARD COPIES ANYWAY!  Sometimes things get lost or misplaced, so make sure to bring extra copies of your headshot and resume and don’t be caught unprepared.  most of the time people have digital versions of your materials but many still prefer and old school hard copy to look at. 

Rep List:  Some prefer to being a short rep list of the pieces they are offering that day as a sort of menu.  This seems to have been more popular in past years and I haven’t seen much of this in recent years, but totally up to you.   Usually the rep list serves to let the audition panel know what you are offering that day and is not a comprehensive list of everything you sing.

It’s also completely acceptable to just tell them what you will start with and if they ask for other selections, let them know what you are ready to sing that day. 

Headshots:  

These are still 8×10, but the days of black and white glossy are over and people are opting for color shots, often outside and sometimes in landscape format.  Totally up to you.  I know a large number of professional singers who have headshots that look excellent that they took with their phone camera.  I know other singers who have gorgeous headshots that cost upwards of $4-5,000 dollars. When your get new headshots, you can upgrade if you can afford it, but the point is to have a crisp, clean, color image that actually looks like you. 

If the photos are too doctored or edited, that can be off-putting and can also prevent those that hear you from remembering who you are after the audition. The goal is to have a picture that will help them to remember what you looked like and how wonderful you sounded, not to play “who was that singer” matching game. 

Resume:  Single spaced, one sided.  Done.  Don’t print on card stock, but use paper that’s not transparent.  Don’t inflate the resume.  Don’t list things you did in college and high school unless you are just starting out and don’t have many professional credits yet. Be accurate about your performance credits, people check up on them, and you should be honest!  

If you list references or submit letters of recommendation for anything such as college auditions, don’t list people that might not be willing/able to give you a good recommendation.  You would be surprised to find how many students list professionals who give that student a less than glowing review.  In addition, make sure those you list can be specific about your abilities.  We get suspicious when the assessment is vague and so overly-positive that it sounds unrealistic.  

Artistic and General Directors do call conductors, vocal instructors, coaches and stage directors to see what working with you was like. Often, singers put contact information at the top of the resume with their headshot.  Totally up to you.  If you have representation, ask what they prefer, if not, I would absolutely recommend putting that information on top so they can easily contact you and connect your materials with your audition. 

Often musical theater materials have a headshot on one side of a resume.  It’s still a 1 page document, but the headshot is on the back. For operatic engagements and universities, the documents are typically separate, but pay attention to any instructions given about this, they are there for a reason.  

Briefly, for musical theater auditions for productions, not for college programs, here are some quick bullet points to remember. 

• You will be dancing, bring appropriate clothing such as athletic attire.  
• Your audition attire doesn’t need to be as dressy as for a classical audition.  
• You will also be reciting a monologue so don’t let that surprise you.
• You will sing only a portion of your song, usually somewhere from 8-32 bars, but I’ve heard of as many as 64 bars.  

On your musical theater resume you will typically list the following (never included on a classical resume) as well:

• Eye Color
• Hair Color
• Height
• Weight
• Age (if under 18)

Music:  

Put your music in a 3-ring binder.  Make sure it is printed on double sided copies and is NOT in plastic sheet protectors. The glare makes it hard for pianists to read and you don’t want that. 

Be careful to check that you haven’t cut off the bottom of the page.  The pianist will need to see those notes!
 
Clearly mark your cuts, or any tempo markings that you want the pianist to notice.  These pianists will probably be playing so many auditions that day that any help you can give them will be greatly appreciated.  Do not bring anything you are not ready to sing.  Don’t even have it in your binder.  If it’s not ready for public performance, or it’s not in your voice that day, don’t bring it in, unless you want a surprise performance of something that’s not in good shape.  It has happened more times than you think. 

Often, for musical theater auditions, singers put music in plastic sheet protectors.  Just remember that’s not the standard for classical auditions.

Repertoire:

I’ll speak mainly to the classical voice auditions as opposed to musical theater auditions, but they do differ both in terms of materials provided and repertoire offered.  For classical auditions for opera and operetta, sing an aria from the show.  Sing for the part you want. Apart from that, you’ll want to have 3 to 4 other arias (sometimes art songs) that contrast what you start with as much as possible in terms of genre, tempo, range, tessitura, and character.  Again, I recommend singing only what is comfortable.  If you sing Puccini like nobody’s business and your list is full of only Puccini arias, fine.   They may comment on the fact that your rep needs more diversity, but singing well is singing well. If your French is terrible, and you hate the only real German aria in your fach, don’t bring it!  

People quickly forget you or remember you for the wrong reasons, when they watch you struggle through something that’s “supposed to be impressive” or “rounds out the rep list well.”  Sure you’ll have people gripe about how you didn’t sing enough coloratura or as many high notes as they wanted, but why not leave them wanting more.  If it’s good, and you’ve showed off your strengths, that’s all you can do.  Hopefully you develop as an artist to the point that you can have a more diverse list of offerings, but keep those weak links off of the rep list. 

Always start with your best piece.  Why?  Because it may be the only thing they hear. Don’t assume they will ask for more than one selection. that’s a big mistake a lot of singers make. “I’ll start with this weaker one, then they’ll ask for the Mozart and I’ll nail it!” False.  You sing your weak one, they say thanks, and you’re done.  Always come in with your best, strongest stuff first. How do you know which is your best? Ask yourself these questions:

• What do I love to sing the most?
• What do I sing the best?
• What shows me off the most? 

These may sound like the same question rephrased, but they are not.  Sometimes you sing something well, but it’s doesn’t show off your top range or ability to sing long phrases.  Other times, you sing something really well, it shoes you off, but you really hate singing the piece.  It will show. If you can answer yes to all three of these questions for an aria, chances are, that’s a good starter. 

For musical theater auditions, you will sing something that DOES NOT come from the show, but is similar in scope and style.  This is the complete opposite of a classical audition where they will want you to sing the character’s aria(s) from the production for which you are auditioning. 

Warming up:

Don’t sing too much before an audition.  I am an advocate of incremental warm-ups.  Sing for 10-15 min, then be quiet for 10-15 and see how things feel.  Don’t sing for 30-40 min straight, or right ups until the time of the audition.  

I live by the “be up and going at least 4 hours before you sing” rule.  Some prefer 5.  It’s up to each individual, but you will need more than an hour after rolling out of bead. 

Warm up to what your voice is doing that day, not according to some arbitrary “formula” you have been given.  Some days you will be warmer than others.  Sometimes you will feel like your voice is in the swamp land. You have to be able to adjust to what you have that day and not sing blindly for a period of time, check that box, and hope for the best. 

We almost never feel 100% as singers, period.  I can count maybe 2 times in my entire life when I’ve been happy with a performance or have felt like my voice was in excellent shape.  That’s not an exaggeration.  Most of the days, I’m dealing with something in the range of 60-80% if I’m lucky. 

Bottom line, warm up slowly and systematically.  Pay attention to how your voice feels.  Don’t go and sing all of your high notes first thing and expect to feel well-calibrated and fresh. 

As a general rule, I try to be silent for at least 20 minus before an audition after I’ve warmed up, to give things a chance to “marinate.” 

What if I’m sick?

Deciding to cancel an audition is an incredibly difficult decision.  What if you are actually ok, and you cancel for nothing.  What if you sing sick, will that damage your future chances of singing for that individual or company? Maybe you’ll never get to sing for them again.  True, that’s entirely possible. 

There is no easy answer here.  It’s a little bit of a gamble every time.  There are days where you feel fantastic and have a terrible audition, and others where you feel absolutely disgusting and do some of your best singing.  

Is it true that if someone hears you sing sick, and it’s not good, that may be the lasting impression they have of you and may never wish to hear you again.  Yup.  Stinks, but sometimes, that is the case.  Often after a few months or in a future season, they will grant you another audition, but not always.

As a general rule, try to cancel ahead of time if you are confident that you are not going to be able to sing.  Those scheduling the auditions will appreciate knowing that before you come, as will the pianist and anyone on a waitlist. Try not to cancel the morning of and absolutely don’t cancel hours before unless it’s an unavoidable emergency. 

Some singers find that the “is it getting better or worse” rule is a good one to follow on audition day.  

The day before or even the morning of, if you start to sing and whatever you are dealing with is giving you resistance, does your voice seem to get better (more clear, improved stamina, less tightness) as you sing?  Or, does it seem to be getting worse (greatly diminished stamina, increasingly airy or labored, the sensation of swelling or tightness the more you sing).  Now, if you have committed to the audition, and the voice is getting worse.  Hum and buzz a bit, but save whatever voice you have for the audition.  If it’s getting better, again,  I strongly suggest intervallic warm-ups, meaning, sing for 10 or 15 minutes, then rest the voice for 30 min or so, and warm up slowly during the course of the morning or the day, if the audition is in the afternoon or evening. 

Your vocal folds can easily become enflamed and the body can produce more phlegm if you agitate or over-work your voice when it’s already dealing with something. 

Guidelines for a successful audition:

Here are a few of the things I wish I’d known early on. Hopefully you can avoid some of my same mistakes. 

• If you fly to New York, Chicago, Houston, San Francisco, or some other major hub, chances are there is no place to warm up.  Be ready for that.  Either warm up before you leave, or rent a rehearsal room in the place where you will audition.  If you’re auditioning at the actual rehearsal space or opera house, they will most likely have practice rooms or smaller rehearsal spaces for you to rent before you sing, but not always. No, you cannot or should not warm up in a bathroom.  It’s often not even possible but it’s bad form as well. 
• Decide if you want to change there or come in your audition attire.  There are advantages to both, but be ready for the possibility that there will not be a place to change once you get there. 
• Give yourself more time than you think you need to get to the audition.  There are often surprises.  Getting past the front desk, traffic, mislabeled floors on the building directory, parking attendants, trouble finding parking.  Even if you arrive right on time and warm, there’s a chance someone will have cancelled or they will be running ahead of schedule and you will be next before you are even remotely settled and prepared to sing. 
• Bring cash with you in case you need to pay an accompanist or to rent a warm-up space.  Not everyone takes cards, especially in New York. 
• Bring backup copies of everything.  Music, resume, headshot.  You will be a little agitated the morning of and often running from one thing to another.  Help yourself out with peace of mind in this department. 
• Assume the win.  Those hearing you WANT you to sing well.  Assume that you will.  If you have rehearsed and prepared, there’s no reason why you shouldn’t do well.  
• Just because you don’t get the gig, or a call 5 minutes after you leave, doesn’t mean you didn’t sing well. Sometimes people are shopping for apples, and you’re a mango.  That’s ok. You might be a delicious mango, but they need an apple, it’s as simple as that.  Also, I’m hungry now. 
• Don’t try to sing a “perfect” audition.  What does that even mean? Right notes and rhythms?  Ok, just send in a recording of your practice session.  Try to communicate something. Your love of singing, the excitement you have about singing that fantastic high note, the meaning behind the text for you personally, any number of things!  Above all,  do not allow that negativity, self-doubt, or anxiety to take root in your mind. Chase it out the second it enters your brain.  The longer you allow it to stay, the more it will grow.  It takes practice to do this, so don’t get frustrated if you’re horrible at it right now. 

Ok singers, what else?  What do you do to have success in auditions?  Pet Peeves, Do’s and Don’ts? Horror Stories?  Lessons you have learned?  Share your experiences about auditioning.