1. Does the Annual Audition work?
2. Who are the auditors at the audition?
3. Why don't you separate the audition into genres?
4. If Musical Theatre people are invited, why can't I sing a Musical Theatre song?
5. Why is there only 4 minutes allowed per performer?
6. Will performers be asked to sing additional music? Do they need a 'sing list?'
7. Who screens the select performer applications?
8. What is the screening committee's criteria for acceptance into the audition?
9. How do performers get a small black and white photo made?
10. Why was I given a slot as a "standby?"
11. Why is there no written feedback for performers at the select audition?
12.Does BSR act as an agent or "go between" for performer-director contracts?
13.May I audit the auditions just to watch and learn?
14 Why are there two ways to submit and application for the select audition?
15. Does 'professionally made recording and photo' mean commercial?
16. Why is the select audition in November?
1. Does the Annual
Audition work?
We surveyed performers and auditors who have attended BSR auditions
in the past. Of the performers replying to the poll, 15% received a
solo job offer, 12% received a referral to another organization, 6%
received an ensemble job offer, 26% received a call back and 49% received
no response from the annual audition. Of the auditors polled, 40% indicated
that they had success in finding performers from the BSR audition, 70%
indicated that they book-marked performers from the BSR auditions for
future consideration. Each audition day included an average of 20 auditing
companies and 65 performers.
The BSR office continues to get feedback regarding successfully formed
contracts after each audition. The list of attending organizations continues
to feature those that are new to the annual auditions as well as returning
and past participants. Comments from performers and directors who have
attended in the past can be found on our quotes page: http://www.bostonsingersresource.com/annual_audition_quotes.asp
2. Who are the
auditors at the audition?
Each year, BSR audition flyers and registration forms are sent out to
over 700 New England area directors, producers, vocal leaders and event
coordinators who seek paid* classical soloists and ensemble members
(including union, paid non-union, and semi-volunteer organizations.)
A list of auditors who have confirmed their intent to attend the auditions
is emailed to performers approximately one week prior to the auditions.
A program of auditors in attendance the day of the BSR audition, and
their organization's contact, budget and repertoire information is provided
to each performer at no additional cost**.
BSR makes every effort to attract producing companies of all levels
(A, B, C, D, E). Please note, however, that most A, B houses are nationally
known organizations that use managment companies or personal contacts
to find soloists/principals; these companies use BSR auditions primarily
to find chorus and comprimario singers. The majority of companies who
have attended BSR auditions looking for soloists and principals are
regional C, D, E organizations. [ For a more thorough explaination of
organization levels, please see definitions in Classical
Singer magazine and Opera
America.]
There is no way
to predict exactly who will be attending the auditions (auditor deadlines
for registration are approximately two weeks prior to the audition).
A list of organizations who have attended in the past can be found on:
http://www.bostonsingersresource.com/annual_audition.asp
* There is no set performer fee scale for organizations attending the
BSR audition; Fees offered to singers can range from small stipends/honorariums
to weekly salaries depending on an organization's budget, union status,
and mission.
** All auditors are asked to attend the BSR audition for the entire
day (and encouraged to send a substitute if they cannot). However, there
is no guarantee that every organization on the program will be present
during every time slot.
3. Why don't
you separate the audition into genres?
Although some people have suggested that the BSR audition be divided
into opera/oratorio/music theatre days, recent surveys show that most
singers in this region perform in a variety of musical styles. If we
split the audition into genres, this would mean that singers would have
to a) choose what style they sing best since there may not be room to
allow a singer to perform more than once, b) pay additional fees if
they are allowed to perform on additional days. Also, auditors who work
in more than one genre would have to come on multiple days. Singers
may wish to plan 2 minutes of opera and 2 minutes of oratorio to accomodate
the different director/producers in attendance. But the majority of
organizations that attend BSR auditions are opera companies*.
True Story: At the 2003 BSR audition, a baritone, who bills himself
as an 'oratorio singer' got two opera jobs, a symphony job, and an offer
for management out of the audition - he would not have been offered
the opera gigs or the management position if he had gone to an 'oratorio-only
audition.''
* It is strongly suggested that performers not excerpt more than two
pieces during a 4 minute audition.
4. If Musical
Theatre people are invited, why can't I sing a Musical Theatre song?
The BSR audition is unique in that it is specifically designed for New
England classically trained singers. Although music theatre organizations
are certainly encouraged to attend, the BSR audition is primarily for
directors who are seeking classically trained or 'legit voice' singers.
'Musical Theatre' songs, as many of you know, often encompass styles
of singing different from your traditional, 'legit,' classical singing.
Rather than offer a list of what is acceptable 'legit' musical theatre,
BSR has limited the audition repertoire to that which most classically
trained singers have studied previously, and that which lends itself
exclusively to classical singing - opera and oratorio*. Combined auditions
for musical theater singers are held by Stagesource and by the New England
Theatre Conference. BSR does not seek to recreate what these Musical
Theatre auditions already do so well.
* While art songs are allowed and certainly lend themselves to classical
singing, the majority of auditors attending the BSR audition are seeking
performers for opera, oratorio, solo with orchestra, or musical theatre
work. Singers should choose literature that reflects their abilities
to perform in these genres.
5. Why is each
singer limited to only 4 minutes?
The BSR audition is intended to be a screening of potential performers,
not a final hearing (although some organizations do cast directly from
the BSR audition.) Directors are encouraged to call back singers to
hear more at another time. The overwhelming majority of auditors polled
from the last two BSR auditions indicated that the time allotted per
performer (4 minutes of singing, 1 minute of passing time between performers)
was 'too much' or 'just right.' *
* It is strongly suggested that performers not excerpt more that two
selections during a 4 minute audition.
6. Will performers
be asked to sing additional music? Do they need a 'sing list?'
No. The BSR audition is on a strict time schedule. Performers do not
need to provide a 'sing list' and they will not be asked to sing additional
music during this time. Director/producers are encouraged to call back
singers to hear more at another time.
7.
Who screens the performers for the Select Auditions?
The select performer applications are screened and performers are chosen
for the auditions by the BSR Audition Committee. The BSR Audition Committee
of five (5) varies each year and always includes three regional director/producers
or teacher/performers (at least one of whom has attended BSR auditions
in the past,) the BSR Director; and the BSR Audition Coordinator.
8. What is the
screening committee's criteria for acceptance into the Select Audition?
Directors reviewing the applications and listening to the recordings
are looking for "solid musicians with professional or substantial
non-professional experience." The listening committee suggests
the following:
*Resume and recording should be neat, clear, and professional.
*Repertoire listed on the resume should be consistent with the performer's
voice type.
*The singers' BEST song should be at the very beginning of the recording.
*Name and contact information should be labled clearly on the resume,
photo, AND recording.
*Basic vocal qualities should include excellent pitch and rhythm, ease
of tone (not pushed), proper diction, a healthy/natural vibrato, consistency
of tone throughout the range. Repertoire appropriate to the voice and
appropriate musical interpretation and phrasing should be demonstrated.
Qualified select applicants will be given a time slot for the November
audition following the spring Open Auditions.
Please note that no preference will be given to either the mailed
Select Audition applications nor to the live Open Audition applicants.
Application submission is entirely up to the individual performer, and
should most accurately reflect the performer's current musicality and
stage presence.
9. How do performers
get a small black and white photo made?
It it important that performers follow the directions and complete their
applications with a SMALL black and white photo**. BSR audition applications
with an 8/10 photo instead of a small one will not be processed.
Please be advised that if you had a professional photographer take your
black and white headshot, you still need to have their permission to make
copies. Some photographers allow you to get copies of your headshot only
through them, while others allow you to reprint your photo elsewhere.
If your photographer allows you to make copies of your headshot elsewhere,
you should get their written permission and have it with you when making
copies. That said, there are a few ways to get 3"x 5" or smaller
copies of your black and white headshot made:
* Bring your full sized black and white photo or the negative to any
photo developing shop in your area. Ask them to make a wallet sized
or 3" x 5" photo. Keep in mind that making a photo from a
photo will cost extra money. Also, remember to allow extra time for
black and white photos to be copied or developed.
* Scan, resize, and print your black and white photo from a computer.
Make sure you scan with a high resolution for the best quality print.
DO NOT email your photo to BSR.
* Scan, resize, and print your black and white photo at a drugstore color
copier. Though the colors do not come out exactly the same as your original
black and white, the copy works fine for the BSR auditions.
* If you attended the BSR audition in the past, we may have your photo
on file! Remember to check the box "use photo on file" on your
application if you would like us to reuse that one. We will contact you
if, for some reason, we do not still have it on file.
** If you would prefer to send us 40 (forty) 8x10 headshot/resumes for
the auditor books instead of giving us a small photo to copy, you may
mail these along with your application. Please make sure that all
headshots are securely fastened to the resumes. Leftover headshot/resumes
may be picked up at the audition.
10. Why was I given
a time slot as a "standby?"
We want to give every qualified performer the opportunity to audition.
The "standby" time slot was created when, during our first
audition in 2002, we were left with several gaps in the time schedule
because of singers not using their full 4 minutes or because of last
minute cancelations and no shows. In 2003 we initiated the "standby"
time slot to fill these gaps. The system worked perfectly and all the
"standby" singers performed within the hour they were assigned.
"Standby" means nothing more than 'this hour' is your time
slot instead of 'this minute.' Only qualified performers are given standby
slots. All standby performers are guaranteed to sing/play. Standby slots
are filled in the order of recipt of the completed application.
11. Why is there
no written feedback for performers at the Select Audition?
The BSR Select Audition is primarily for singers seeking work and for
auditors hiring singers. Unfortunately, as with most professional auditions,
this is not the time or the place for constructive criticism or educational
feedback as the auditors in attendance are busy planning their seasons
and simply do not have the time to respond to every performer. Likewise,
the BSR auditions, in general , are unique combined auditions and so
most organizations that might ordinarily send a thank you note following
their own, personal, audition, will not be doing so at the BSR auditions.
BSR asks that performers please not take offense to an individual organization's
lack of response following the BSR audition and we thank you, ahead
of time, for your participation, talent, understanding, and committment
to classical singing.
Beginning in the
spring of 2004, BSR initiated the new "Open Audition" with
written feedback for the performers. Singers and accompanists seeking
written feedback, should attend the Open Auditions. 3 of the auditors
in attendance at the open auditions will prepare ratings and comments
for all of the performers.
12. Does BSR act
as an agent or "go between" for performer-director contracts
following the audition?
No. All contracts before, during, and after the audition are negotiated
directly between performers and organizations. BSR simply acts as a
facilitator for the audition and accepts no additional fees or percentages
for successfully formed partnerships.
13. May I audit
the auditions just to watch and learn?
No. All auditors for the auditions must be representatives of organizations
that hire singers and accompanists or they must be BSR approved individuals
who are providing written feedback and peer support.
14. Why are their two ways to submit an application
for the Select Audition?
The BSR Audition Committee wants to encourage all performers to represent themselves in the most accurate way possible. In the past, committee members have been disappointed in the number of poorly made recordings submitted by Select Audition applicants. They have also been surprised at the number of performers who do not look like their photo or sound like their recording at the live audition. It is for this reason that the committee is encouraging all performers who do not have professionally made materials to be screened at the live audition rather than to send inferior or misleading recordings and photos. Please note, however, that no preference will be given to either the mailed Select Audition applications nor to the live Open Audition applicants. Performers who have professional materials are most welcome to send them in. Type of application is entirely up to the individual performer, and should most accurately reflect the performer's current musicality and stage presence.
15. Does "Professionally made recording and photo"
mean it should be commercial?
No, it means that your recording or photo was engineered or photographed by a professional, in a proper environment with proper equipment. The quality should be clean and clear. Singers should not sing acappella unless the song is written acappella. The recording cover or back of the photo should have a neatly typed label that includes name, title of piece(s), name of the accompanist and contact information. The recording and photo should sound and look like you now (not 15 years ago). The recording and photo should not be altered to what you wish you sounded like now. 'Commercial' means your recording or photo is/was for sale. A recording or photo need not be for sale to be professionally made.
16. Why is the select audition in November?
First, we use our
spring open auditions to screen applicants who then perform in the Select
Audition. Secondly, the producers of of B and C houses in the area suggest
that November would be the better time for them since it is before the
holidays and YAP auditions it gives them more casting time for the following
September. Third, casting decisions usually need to be made prior to
the spring season. Finally, spring is usually a busy
period for our auditors who work at or attend universities and conservatories.