Fates Worse than Death

Could there be a more appropriate first entry for a blog than one which deals with a first step in an opera...the dreaded audition? Okay, even more appropriate is the fact that this is my SECOND attempt at a blog entry: like far too many auditions, my first didn't pass muster with my "handlers" (shooting from the lip doesn't work with everyone), and I got sent back to the drawing board.

I'm on the flight back to Edmonton after a weekend of dozens of auditions in the Evil Empire, Toronto. Man oh man, there are a lot of immensely talented singers in this country, and what
breaks my tiny little fist of a heart is that there is so little work for such a fantastic bunch of fine
Canadian artists. Heard everything from Sondheim to Stravinsky, from Mozart to Massenet and from Bellini to Berlioz. I was absolutely blown away by a couple of sopranos, really excited to hear quality countertenors making a go of it in this country, and hey, there were only two "crash and burn" auditions in the entire lot.

Singers hate auditions. Guess what: the folks on the other side of the table hate them, too! Problem is, we've yet to find another system that really works. Normally, singers have between ten and fifteen minutes to show themselves off at their vocal and charismatic best. They offer an audition list of around five arias, and they start off with the first being their choice; the auditioner/s choose the second, something that highlights another language, another part of the voice, or something specifically of interest, from the remainder of the list. And in those agonizing, excruciating and occasionally exhilarating few minutes, a decision may be made as to whether the singer is offered a job. Basta. Yikes.

Like I said, it's an imperfect system. For me, what's really hard and really exhausting is "being there", being completely supportive and encouraging as a singer does his or her best to convince you that they're the right one for a job. So few jobs for so many, and the least we can do on our side of the table is give the artists the respect they deserve....sometimes, for hours and hours and hours without a pee break.

But it's hearing something magic, taking a risk, following up on a hunch, asking around and trusting in some beautiful notes in a church hall or a COC practise studio that may lead to a performer showing up on the Edmonton Opera stage. This was a GREAT audition tour: at
least four roles for next season will be offered based on this trip to Toronto.

And now, I sleep.