Dear Editor: Speaking of the value of your recent brainchildren, in early September I launched my web site using the Classical Singer templates (www.lindapriebe.com). Within three weeks an artistic director I have been working with since January called me to invite me to make my solo professional debut at Carnegie Hall on October 10th! She had seen my website and was so impressed with its professionalism that she moved mountains to feature me on her imminent solo concert! I made my Carnegie Hall debut last Sunday before a full house in Weill Recital Hall. It was a magnificent dream come true – thanks so much for being one of the many angels in my life!!!!!
—Linda Priebe, via e-mail
Your Web site is beautiful Linda. Congratulations. I’m sure you know the importance of leading people to your Web site. Some singers think Web sites aren’t working when the truth is, they aren’t! You have to keep up with the marketing end of any business and it looks like you are! —Editor
Dear Editor: Last year, we were in the beginning stages of forming Connecticut Lyric Opera in New London, CT, when in short succession came several very informative articles in Classical Singer on starting your own company, creating supertitles and how to go about booking a date at Carnegie Hall. We also advertised our auditions exclusively through your free audition listing service, and received nearly our entire cast through replies to these listings.
I am pleased and proud to say that our first season, comprising of Carmen and Il Barbiere di Siviglia (with in-house supertitles), was a tremendous success here in Southeastern CT. CLO is now looking forward to our second season which not only will include Faust, The Merry Widow and a version of The Magic Flute for students, but also includes a recital at Carnegie Hall’s Weill Recital Hall!
Thank you very much for the priceless service that you provide for singers, companies and the public at large who benefit from the wonderful resources you provide us all!
Respectfully, John M. Waller,
General Director, Connecticut Lyric Opera
Dear Editor: You published the winners of the vocal auditions that took place at your convention last spring but I don’t recall seeing the music selections that were sung by these winners. It would be of some interest and guidance to your readers to see this.
—David Shaler, Baton Rouge, LA
Great idea David. Watch for it. —Editor
[The following letter was written from a participant in Mark Stoddard’s marketing workshops who then attended Classical Singer’s Audition workshop with David Blackburn. These are his experiences to date:]
Dear Editor, David Blackburn’s workshop was extremely informative, and he was especially helpful to me in our 1/2 hr one-on-one meeting after everyone sang. He made several suggestions about what I should offer as audition material. His main gist was that I am an excellent singer of Italian Opera, and I shouldn’t be singing anything else, or offering anything else for audition material. He did admit that my age could be a problem, so he recommended a couple of new roles for me to learn, namely Dulcmara in Elixir of Love, Don Pasquale and Falstaff. He said I could continue to work for years doing those roles because it’s difficult to find singers of my age who can still sing well enough to do those roles.
I thought you might also be interested in another chance meeting. While auditioning for the El Paso Opera for their “Hoffmann” and “Bohème,” I met [a manager.] He heard me through the wall of the audition room while he was waiting for one of his clients to sing. We talked, I got his card, I called him, and I had lunch with him today. He also agreed that my age is a problem, but that I was still an excellent Verdi Baritone, which he also was not too long ago, and that I could still work a lot if I got myself in better physical singing shape. I agreed, and he agreed to do what he could, namely submit me for [upcoming auditions], and he said he would arrange an audition for me. He also has an office in Germany and has a lot of European contacts. It would really be a coup for me to hook up with his agency on more than just a contingency basis. I’ll keep you posted. Thanks again for everything
—Name Withheld
Dear Editor: I am contemplating a change of careers from full-time college professor to full-time singer. Hoping to get the ball rolling, I decided to audition for a small (but well established) opera company in a medium sized city near me. I prepared the required material and drove the 2 hours to the audition site on Friday. When I arrived, there was no one to greet the singers (I was one of three already there), and we were auditioning in a soon-to-be condemned building. After an administrative assistant arrived, we filled out application forms and submitted our materials. I walked into a bare, cinder block room with an electronic piano, hastily strung lights, and an 8 foot table behind which sat the general manager and an assistant. Taking all of this in stride (the economy is tough for everyone right now), I began my first aria. As soon as I began to sing, the two adjudicators began to talk. And talk, and talk, and talk. I don’t know that the general manager looked up more than three times as I was singing a demanding aria filled with runs, high C’s, and drama. I don’t know what they were talking about, but it seemed to me that they were not looking or listening. I then sang my second selection (similar response), performed my monologue (they mostly watched and listened to this), and left.
So, my question to you is this: Is this typical of what I am in for should I pursue my singing career? How can I be fairly judged if those who are listening really aren’t? Is this sort of behavior really accepted? If not, what can be done about it? I am a very good teacher, but desire more in my life. However, this kind of response may quickly change my mind.
—Name Withheld
We all have and I feel for you but I don’t know an appropriate way to come out of the room feeling good. When such auditions happen, you have to leave knowing that they let you sing more than one aria which is a plus. Then learn to take care of yourself.
You asked if the accommodations were normal. Low budget companies have to do what they can and singers who sing with them have to take it.
Anyway–yes!! It is the norm and will be the norm until you are at the top. So take care of yourself, do a lot of laughing and keep singing!
—Editor
[Readers, I’d like to hear from you about this. Have you found a way to deal with this? Write to cj@classicalsinger.com.]
