Singing schools have been with us for a long time. King David established perhaps the first school for singers (cantors), with 288 students. In around 334, Pope Sylvester I founded the Scuola Cantorum to provide singers for the rites of the church, and such schools flourished in all centers of learning throughout the Middle Ages. During the 17th and 18th centuries, in the Bel Canto era, the Italian singing schools in Bologna, Rome, and Venice were famous for producing fine singers of both sexes. From 1720 on, in many communities in America, singing schools were established to offset the decline in musical literacy and promote good music in the Protestant churches.
In the fairly recent past, attendance at a music school or conservatory was not considered absolutely necessary for a career in classical music. Stendhal wrote that singers in 19th century Italy who learned music by ear, were called orecchianti and those who could read music were called professori. Artists were trained privately and, because of the lack of performance opportunities in America, many singers went off to Europe for performance experience and further training. After World War II, more than 700 American singers were in Germany alone.
Now, however, conditions have changed, and most singers are trained at universities and conservatories. Indeed, American schools are filled with students from foreign countries, especially in Asia, attracted by the excellence of American teaching.
This system has its advantages and disadvantages. The advantage is that singers can obtain a broader and more comprehensive education, are better trained musically, and have a stable environment in which to study. The downside is that instead of the three lessons per week and individual attention that the private educational model provided, typical students receive only one lesson per week and are so burdened by classwork that they frequently complain they have no time to practice. I always take this with a grain of salt and remind the student why he or she came to the school in the first place.
This is a good place to ask the student this question. Why do you want to come to the school? The answer, of course, is to learn. Most graduates will not become world famous singers, but all can find places as teachers, chorus members, church musicians, cantors, or in other areas of the profession, if they work hard and persevere. It is surprising that many students, especially graduates, get caught up in the interior life of the school and want to be the star of this opera production or that concert. Of course, all are ambitious, but gratification often must be deferred to concentrate on reaching your ultimate potential.
I sometimes advise singers with “diva” complexes, who want to be the stars of the school opera right now, that they could take all the money their parents are investing in their education and hire an orchestra and opera stage, and mount an opera starring themselves. We have a laugh and perspective usually returns.
With all this in mind, here are a few thought that may be of help to those who contemplate auditioning for a school of music.
Auditioning by Tape or CD
In a recent New York Times article titled “MUSIC; This Is The Golden Age,” Alan Kozinn asserts that classical music is enjoying a surge in popularity unprecedented in America. Music schools across the country are certainly feeling this trend and many have felt overwhelmed by the sheer numbers of applicants. To handle this problem, most of the major conservatories have instituted a policy of hearing preliminary auditions on tape or CDs.
At Mannes College The New School for Music, where I have been a faculty member for 32 years, after much soul searching, we have recently instituted such a policy. We resisted this change for a long time because we prefer to experience the performances of our applicants live and in person. Initial screening by tape or CD, however, follows the precedent of artist managers, impresarios, and other executives in the professional world, who regularly use recorded selections to set up live auditions, and even to cast whole operas when a ready pool of talent is not locally available.
Mannes is a small school and has to be very selective when choosing singers for its vocal program. Every year we hear almost 400 recorded applications for live auditions. After hearing hundreds of recorded auditions, my colleagues and I have discussed tips for submitting CDs or tapes more effectively. Great voices are often laws unto themselves and come along but rarely, but the possession of a great instrument is not an automatic guarantee of success.
Singers have advantages and disadvantages when involved in the recorded audition format. The first of these is control of quality. It is understood that singers may do endless retakes to “get it right,” so they have no excuse for submitting a recording that is under pitch, has musical mistakes, or other egregious errors. If you cannot listen to a playback and tell that the pitch is off, or believe that the fault will not be noticed, how can you expect to sing accurately live?
I have listened to many auditions in the last few years and have heard a lot of under-pitch singing. I believe that much of this is due to faulty technique—but whatever the reason, singing off-pitch is the surest way to be eliminated early. Singers who believe they shouldn’t listen to their recorded voices should rethink their position. It seems to me that the great artists all have great ears and definite ideas about their mental demand for tone. One of the secrets of Patti, Melba, Tetrazzini, and others is that they were always dead on pitch.
Language is another issue. If you were not born in Italy, Germany, or France, you will be asked to sing in languages that are foreign to you. No one expects an undergraduate applicant to be perfect in language diction, but graduate students should be well on the way to being conversational in these languages.
Some directors of music schools who are instrumentalists do not understand the importance of proficiency in languages for singers. You may have to do extra work on this yourself.
Do not neglect English! It is the language of Shakespeare and currently the international language of choice the world over. I have observed American singers who have gone through six years of school but have never sung in English at juries or recitals.
The most important thing is that you must understand every word you sing. The text existed before the composer set it to music and, along with the purely musical content, informs the delivery of the phrase.
Sometimes a song can sound dead and expressionless because it is clear that the singer has no clue as to its meaning. I once had a student who sang “Der Leiermann” from Schubert’s Winterreise like a happy ditty from a musical comedy!
Understanding style can be elusive for young singers. For this, you should listen to a lot of music, and to the advice of qualified teachers. Choose as role models great singers in the same Fach to help inform your sense of style. I urge young singers to seek out recordings of singers of the past. Though perhaps deficient in recorded quality, they have much to teach us in matters of style and interpretation. I know some teachers tell young singers not to imitate the styles of others, but I believe knowledge of the past can only be beneficial.
Know this: You are unique; there is no one else on the planet exactly like you. Your experience and feelings about life are yours alone, and that is what must come through in the song, clad in the appropriate style of the period. Personality and the desire to communicate are all important, but in classical music, you must respect the interests of the composer.
You must pay attention to the quality of your recording. No one expects a tape or CD to be engineered by RCA Victor, but the recording should be clear, and the voice and piano should be in balance. No electronic pianos, please!
Some singers probably think they can knock off six songs in a one-hour recording session. This may account for the low quality of some of the submissions we hear. If you are truly concerned with quality, you will probably do many retakes, and you will need much more time than you may think to get things right. Think of a good CD as an investment you will probably use several times until you advance to the next level of ability.
Choice of repertoire is also extremely important. In the words of Giovanni Martinelli, who sang leading dramatic tenor parts at the Metropolitan Opera for 33 seasons: “…it is a must, a must. I repeat, do not attempt any role unsuitable for your voice.” I think you should always “put your best foot forward” in a live or recorded audition. The first impression is the one that tends to stick. Experienced auditioners can tell volumes about a singer in just a few notes. Try to understand what your best qualities are, and present them at the earliest opportunity.
I am reminded of a statement by the director of La Scala years ago: “The purpose of singing is not to astound, but to move the heart.” In my opinion, singing is the most elemental means of conveying human emotion—and it is this indefinable quality of inner feeling, conveyed to the audience, that is the hallmark of all great artists. We all listen for the spark of this inner truth of feeling, regardless of the academic level of the applicant. One of my colleagues calls this the “it” quality.
One quality missing from many intense classical singers is a sense of humor. A droll performance of a humorous song can win you many friends quickly.
What we listen for on the undergraduate level is potential. Talent cannot be learned, but skill can. No one expects an 18-year-old to be as polished a performer as a graduate student, but commitment to the feeling and spirit of the song can come at an early age. Graduate candidates should recognize that more is expected of them in skill, musicality, maturity of voice, and presentation. It is as inappropriate for a graduate student to present “Caro mio ben” as it is for an 18-year-old to sing “In questa reggia.”
I am sorry to say that many graduate students are still deficient in technique when they audition. Many believe they are ready for a professional career and further training is a mere formality. If they are chosen, they still have a lot of work to do to prepare for the rigors of a professional career.
I hope it will be a comfort to you to realize that we teachers who listen to your audition are on your side. We all (and this includes all audience members) want you to do well. Very often, you will suffer rejection. This is very much a part of the game. Often auditioners write comments on your application intended to help you improve. You are entitled to read such comments and they will be provided for you upon request.
The history of music is replete with stories of great artists who were rejected many times before finally succeeding. Beverly Sills auditioned for New York City Opera eight times before she was offered a contract. Caruso was called “the broken-voiced tenor” at the beginning of
his career.
The Live Audition
OK. You’ve passed the recorded audition, or your first audition is live. What now? A number of obvious differences exist between a recorded audition and a live one.
In a live audition, you can see your auditioners—and they can see you.
You cannot “take back” mistakes.
You must perform by memory.
You must deal with performance anxiety.
You will be in an unfamiliar environment.
You may have an accompanist you have never seen before.
You may be tired or ill.
Let’s tackle these issues one by one. In the typical audition for the school of music, several voice teachers are seated behind a long table. They call you in and ask what you would like to sing. The auditioners have a list of your repertoire. If they want to hear more, they choose what they would like to hear.
We listen for all the qualities listed above, but now we have the addition of the visual element. I have heard that 55 percent of human communication is body language, so it is very important that your body language convey the impression you want your audience to have. This means that you are being judged as soon as you come in the door.
You should strive to appear confident, cheerful, focused, and happy for the opportunity to sing for your audience. Avoid giving an impression of haughtiness, depression, excessive fear, or a vapid lack of involvement.
Do not try to control your auditioners. Do not go up to the panel and shake hands. If they say you will only have to sing one selection, do not say, “For my first piece, I will sing…” Do not be overly familiar and do not call professors by their first names. Do not drag water bottles onto the stage as if you were about to cross the Gobi Desert. A glycerin lozenge is a better way to keep the throat moist.
Use common sense in the matter of dress. If your clothes are too casual, such as jeans, you show a lack of respect for the situation. On the other hand, I have seen singers audition in white tie and tails or evening gowns. The situation is not that important. For men, a suit or sport coat is appropriate. Women can wear a neat pants suit or cocktail-length dress. Flamboyant clothing is out of place.
As noted above, first impressions are always the strongest, so sing your best piece first. You may not have an opportunity for another. When singing from the stage you should make it clear that you are singing to your audience, but do not engage them in direct eye contact. That makes everyone uncomfortable. (Some singers are too frightened, and sing off into the wings somewhere.) When you are finished, thank the auditioners and leave gracefully.
If you make a small mistake, soldier on. If you get completely lost, sometimes you can stop, look at the music and repeat the selection. If it is clear you have just not worked hard enough to memorize the music, however, you will quickly lose the auditioners’ sympathies. Know your music so well that you could sing it in your sleep.
Thorough preparation, concentration, and a reliable technique are the best ways to control performance anxiety (stage fright). Please remember my remarks above about the teacher’s sympathies. We have all been there! We have experienced failure, rejection, and anxiety. We understand what you are going through, and support and admire you for pursuing your dreams.
You will be singing in an unfamiliar place. Some people believe they cannot hear their own voices in some “dead” spaces. It is true that you cannot tell how loudly you are singing, but you can always hear the pitch and the language you are singing. So listen to the piano carefully and do not force it, but sing as loudly as you are comfortable at forte levels. It will be enough.
Most schools provide a place to warm up— take advantage of the chance. Meet with your accompanist beforehand to set tempi and any cuts or da capos. If the pianist drags or goes too fast, it is permissible to briefly indicate tempi, but do not “show up” your colleague.
If you are tired for whatever reason, you must “be a trooper” and go on. However, if you are ill, you must make the decision whether to sing or cancel. This can be quite tricky. Sometimes you are visiting from out of town and have spent considerable money for your trip. If you think you can go on, it is OK to inform the school about your condition and then do your best. In general, it is better to cancel if you cannot sing nearly as well as you are capable.
What to Do When You Get There
Let us hope you have been accepted into your desired school. If not, do not despair. No one can stop you from reaching your ultimate potential except yourself. I have always been inspired by reading the biographies of great artists. If you truly have talent, you will succeed, although not always in the way you had envisioned. There is no substitute for hard work. Feodor Chaliapin wrote: “The development of talent, I believe, almost invariably means endless effort.”
If you have been accepted, what is next? For many, the choice of a major teacher is one of the most important career choices they will ever make. Almost every school will accept a request for a particular teacher, if the teacher is willing to accept the student. Many times the student knows a major teacher or chooses the teacher on the recommendation of another person. Some schools assign students to teachers based on the teaching load of the teacher. Conservatories typically pay teachers an hourly wage and so do not assign students.
It is difficult to make a rational choice of a major teacher because of the lack of experience of the typical undergraduate student. Many are reduced to roaming the halls of a school asking other singers about their own teachers. Almost always, they receive glowing accounts of that person’s teacher, who may or may not be best for the seeker.
One of the most pervasive myths in singing is that singers should study with a member of their own sex. This is nonsense. Paola Novikova produced George London and Niccolai Gedda, and Jenny Lind studied with Manuel Garcia II. What is really important is that the teacher understands the human voice, is musical, can explain complex subjects well, is sympathetic but strict, and really cares about the student. Being a famous singer does not necessarily make you a great teacher—but it doesn’t prevent it either.
I think good voice teachers should have more than a passing acquaintance with the stage. He or she should be able to demonstrate technical points but not “blow away” impressionable youngsters with the power of a mature operatic voice, which doesn’t really teach the student anything.
Some coaches and conductors, who are not singers, give vocal advice, but it would be better if they confined themselves to giving only musical direction.
Many teachers will give a prospective student an interview to see the two are a good “fit.” Take advantage of the opportunity. If you have spent a semester or so and are dissatisfied with your progress, it is probably best to respectfully request a change of teachers. This can be done without acrimony and can come as a sense of relief to both student and teacher. It should be clear that you are not a bad student and the teacher is not a bad teacher.
Graduate students often believe they are finished singers, and choose a teacher they think is well connected politically. This can work out well, but often it’s a disastrous mistake. Sometimes the student is not skilled enough, despite his or her obvious talent, and the teacher must try to repair bad habits. To repeat an earlier opinion, school is a place to learn. Students should never forget this.
Finally, a conservatory is a place where students should learn to be professionals. In my career, I have seen people lose golden opportunities because of poor work habits, carelessness, and laziness. It seems obvious—but be on time, learn your music, dress appropriately, practice diligently, learn everything you can from each class, each lesson, each rehearsal, and you will surely succeed.
References
1 Chronicles, I: 25.
2 Pseudonym for Marie-Henri Beyle (1783-1842) who wrote The Life of Rossini in 1824.
3 Kozinn, Alan. Music; This Is The Golden Age. New York Times, 28 May, 2006: Arts.
4 Coffin, Berton. Overtones of Bel Canto, Metuchen, NJ: Scarecrow Press, 1980, 108.
5 Chaliapin, Feodor. Man and Mask, Trans. Phyllis Mégroz. New York: Knopf, 1932., 85.
