Dear Erda,
I am a baritone in my early 30s. I studied with an excellent teacher in college, but went through a rough time and didn’t do much with my career other than sing in choirs. A few years ago I went back to school and did fairly well. I sang solos with the college orchestra and opera workshop, and held a job as a church choir director, but eventually I burned out and left again, though I’ve maintained my contacts. Recently, I sang a concert and got good reviews, and now I want to do more. I have a family and house payments, and I know singing won’t be my sole source of income. Is it worthwhile to try to start again? Will my degrees make any difference? Do auditioners even take 30-somethings seriously?
—Still Singing
Dear Singing,
What kind of music do you want to sing? If you want to do mainly concerts, your age shouldn’t be a factor. Yes, it will be a challenge to start from scratch since you haven’t spent the years since college developing repertoire, credits, and contacts, but if your technique is in shape and you know the repertoire, you can get past those hurdles. You can make a good demo CD; research symphonies, choruses, and festivals; work your church and college contacts; and strike out on your own. Concert work has the advantage of not taking you away from home for long periods of time, and paying pretty well for the time investment.
If you’re talking about opera, it’s a slightly tougher row to hoe. You’d definitely qualify as a late starter. If your technique is now solid and you are singing the right repertoire, you could have a shot at some of the apprenticeships (also called YAPs or Young Artist Programs), and these can be a great way to get your foot in the door of the business. Opera companies don’t care about your degrees or your church work. All they care about is whether you can sing, act, and look good on stage, and whether you will be a professional colleague. But they will wonder why you have little or no role experience at your age, and it may be more difficult to get them to take you seriously. They are reluctant to take chances on unknowns.
I would suggest, if you are serious about pursuing opera, that you do the following as soon as possible:
1) Make sure your résumé, bio, and headshot are in excellent order and correct for opera. There is a big difference between performer résumés and education or business résumés and it is possible to make even late starter résumés look good.
2) Fill out some applications for YAPs right now. Auditions generally take place in late fall through early spring, so you want to start researching and applying ASAP. Classical Singer offers up-to-date e-mail audition notices to subscribers. Another great service to try is www.YAPTracker.com, an online audition manager, which offers audition notices, e-mail reminders for auditions and application deadlines, and online scheduling. Time’s a-wastin’, so start now.
3) Make sure you know the top five arias from your core repertoire and have coached them to perfection both vocally and dramatically.
4) If you can’t get into a YAP this season, consider doing a reputable pay-to-sing program where you will have the opportunity to do a full role with orchestra and make some contacts in the business. There are many fine programs out there. I personally recommend Seagle Music Colony, Music Academy of the West, and IIVA (International Institute of Vocal Arts). Brevard Music Center is also a great place to get a lot of stage experience in a short period of time, which is very important if you don’t have any. [Editor’s Note: See the January issue for a full review of summer programs.]
There’s a whole lot more to it than this, as you can imagine, but that’s a start. If you need more specific help, try talking to the industry contacts you’ve so wisely stayed in touch with, or invest in a professional consultation.
Good luck!
Cindy
Dear Erda,
I discovered my voice just five years ago, shortly after I turned 40, and have been training since. My first language is Italian and I love to sing Italian arias. I have never felt more at ease or natural than I do singing in front of an audience. This experience is very humbling for me, especially when I feel my audience being moved!
My dream is to be able to sing primarily arias with orchestras at venues in Italy, New York, London, etc. and to record CDs from these performances. I have recently performed professionally for a local symphony and in Italy.
What are your thoughts and suggestions? How can I get into these venues as a soloist without being part of a full opera and what are these conductors really looking for as part of a package or press kit? I love the operas; I just don’t have the 20-plus years to study and learn them! I look forward to hearing from you.
—Stella
Dear Stella,
You’re not alone! Many singers discover their voices later in life and begin training. I have a friend who has been singing in large German opera houses for the past 10 years, and he didn’t start singing until he was in his 40s. Soprano Hildegard Behrens began singing in her 40s as well, and there are plenty of others. The issue is not one of age, but of ability, training, preparation, and experience.
The kind of career you’re talking about developing is doable, but you will have to work very hard to make connections, since that is how most people get work in this business. In the beginning, you will probably only get work with regional, lower-level organizations; the bigger orchestras, when they do concerts of arias, usually hire big name, well-established singers.
Start by making a list of everyone you know who is in any way associated with the music business. The conductor you just worked with, other singers who may have taken part in the concert, voice teachers, friends and colleagues you may know from other areas of your life who are perhaps board members of symphonies, choruses, or opera companies, etc. Create a database of these people and keep in touch. They may be important contacts for you. Networking is very important in this business and you never know where a lead will come from.
Ask the conductor and perhaps one or two other professionals at his level for recommendations—ask if you can use their name as references.
Next, create a stellar résumé and bio for yourself. Go online and see what other singers have done, and model yours after theirs. You’ll also need a good cover letter, introducing yourself to prospective employers. You can find a sample on the free Resources Page of my website at www.thebusinessofsinging.com.
Don’t limit yourself to opera arias. Learn some oratorio and orchestrated art songs as well. Also, be aware that while some orchestras do aria concerts, they also frequently do concert versions of whole operas. You don’t have to learn every opera out there. For now, learn the top five roles in your Fach, one a year or one every six months, depending on how fast you are.
Make yourself a really good quality demo CD. If you’ve got good quality live recordings with orchestra, use those. I’d include three opera arias, one or two oratorio arias, and perhaps selections from some symphonic works, such as Berlioz’ Les nuits d’ete.
Get a copy of the “Musical America” directory (try your local university music library, or go online to www.musicalamerica.com). Look at symphonies, choruses, and music festivals in the D budget category and lower. Save A, B, and C budget companies for when you have a little more experience under your belt. It’s very important to apply for auditions appropriately.
Then, do a mailing to the companies that do the kind of concert you’re interested in. Send your cover letter, résumé, bio, headshot, and CD. You won’t hear back from most of them, but you may get a few auditions out of it. You’ll be doing well to get five auditions for every 50 packets you send out—no joke.
Meanwhile, build your repertoire, work your contacts, and just keep trying. Perhaps put on a concert for your friends and family. Build up a fan base and some support.
As for what conductors are looking for—first and foremost, they are looking for a beautiful, professional-level voice with artistry and personality behind it. Larger companies will be looking for stars; smaller ones are more likely to give a chance to an unknown. It’s important to establish relationships with the companies you work with, and get them to invite you back season after season.
A few resources to help you on your way:
www.classicalsinger.com
www.nfcs.com
www.operaamerica.org
And of course, my own website,
www.thebusinessofsinging.com.
Good luck!
Cindy
