I will be out of town for auditions. 2 road trips and 3 flights, all to determine where I'm going to be 2 days after the wedding until my Artist Diploma and/or Doctoral degree is finished. I feel prepared for all my auditions, though the process was rigorous. I had to learn 5 arias and a recital to perform, as well as review music history and theory for qualifying exams. Thanks to my BM and MM training, I was able to get ready for these auditions in a timely manner.
While I've been doing all this, I've maintained a studio of about 25-30 voice and piano students. Some of THEM are also getting ready for auditions...for local shows, school plays, and college auditions. While I'm trying my best to help them prepare, I've realized I can't force them to be ready. They have to come to it on their own. I can't memorize a monologue for someone, or chart their audition schedule. All I can do is share with them the tools I've acquired for proper preparation, and hope that they listen. But I am grateful to everyone who helped ME realize what it takes to be ready for something. My parents, who helped me schedule and audition for 10 different colleges. My teachers in undergrad, who taught me how to make a spreadsheet to track auditions (and expenses!) And my Graduate school seminar, which forced us to do mock audition after mock audition until it felt like auditioning was my job. Guess what? For the next 5 weeks, it is!
Tuesday, January 31, 2012
Wednesday, December 7, 2011
Heightened Awareness
One comment that I seem to score consistently from judges/teachers/coaches is "you look awkward on stage."
I've tried to fix it. I've taken years of ballet, which made me look graceful on stage, but still without intention or awareness of what my body and face were doing as I sang. I also have been living with a minor chronic illness for a couple of years which has led to weight loss and a general feeling that I wasn't in control of my body. Lately, I've been dealing with this in several ways. I have been figuring out a diet that works. I also started working out...ACTUALLY working out, not just the walk-on-the-treadmill at 4.0 for 20 minutes. I never knew this, but I can run. I used to not be able to lap the gym in junior high without having an asthma attack. Now, I can run for over 3 miles without dying afterwards! I'm planning on a 10k race in the spring, and after that, who knows?
More importantly, I've put in some hard work for DMA auditions ahead. All of my pre-screens were accepted, so now I am coaching, taking lessons, and working with an acting coach, doing all I can to succeed in the upcoming weeks. As long as nerves don't get the best of me, I should be fine. Here's to a New Year of awesome music.
I've tried to fix it. I've taken years of ballet, which made me look graceful on stage, but still without intention or awareness of what my body and face were doing as I sang. I also have been living with a minor chronic illness for a couple of years which has led to weight loss and a general feeling that I wasn't in control of my body. Lately, I've been dealing with this in several ways. I have been figuring out a diet that works. I also started working out...ACTUALLY working out, not just the walk-on-the-treadmill at 4.0 for 20 minutes. I never knew this, but I can run. I used to not be able to lap the gym in junior high without having an asthma attack. Now, I can run for over 3 miles without dying afterwards! I'm planning on a 10k race in the spring, and after that, who knows?
More importantly, I've put in some hard work for DMA auditions ahead. All of my pre-screens were accepted, so now I am coaching, taking lessons, and working with an acting coach, doing all I can to succeed in the upcoming weeks. As long as nerves don't get the best of me, I should be fine. Here's to a New Year of awesome music.
Monday, November 21, 2011
Work Mode
DMA applications are happening as we speak. I've edited all the essays, recorded the recordings, made the DVDs, filled out the applications and asked the recommenders to recommend. Now (actually tomorrow, when I finish mailing things out) I sit back and wait.
Thankfully, this time the waiting is cut by a concert with VAE, the Christmas Oratorio with Knox, a few more auditions, and some awesome quality Thanksgiving time with the family. Cheers.
Thankfully, this time the waiting is cut by a concert with VAE, the Christmas Oratorio with Knox, a few more auditions, and some awesome quality Thanksgiving time with the family. Cheers.
Wednesday, November 16, 2011
Another year flown by
Today I am Twenty-mumblyjoe-years-old. It didn't hit me until this past weekend when I received the MONC district program for this upcoming weekend's competition. Since it is an age-sensitive program, they list your age next to your name and repertoire. Because singing in front of judges and mankind isn't exposed enough. I keep hoping that it will get easier to age, but from what I've been told, it doesn't, and the best way to muddle through is with denial and wine. Except singers can't drink too much wine :) so bring on the denial!
I cannot enjoy this birthday, however, because I have an article due tomorrow by noon and an audition tomorrow morning, and a competition and audition on Saturday, and a masterclass Sunday. Hopefully by the end of this weekend, there will be wine and a more insightful blog post about the aforementioned happenings. Time to strap on my singing hat! (The one with horns)
I cannot enjoy this birthday, however, because I have an article due tomorrow by noon and an audition tomorrow morning, and a competition and audition on Saturday, and a masterclass Sunday. Hopefully by the end of this weekend, there will be wine and a more insightful blog post about the aforementioned happenings. Time to strap on my singing hat! (The one with horns)
Tuesday, October 25, 2011
Biding My Time
One of the challenges I face this year is waiting (I HATE IT. You know I do). As I (gracefully?) age into my mid-to-late-ish-twenties, I get the feeling that something is supposed to happen. I did the schooling, practice my butt off, learn my languages, do the coaching, the auditions, play the field politically, do all the things you're supposed to do to get this career started. And, it's started...a bit. I need to make sure that I simultaneously enjoy what's happening in my singing life and do all I can to make even more and better things happen.
This year, the strategy is to take a step back. Teach, save money, sing gigs locally, and most importantly, have regular lessons and coachings. One crucial element I missed while on tour was vocal training. I was getting plenty of hands-on performing experience, but after 60 or so shows, your technique slips a notch. While my resume was being built, my voice wasn't, and you have to look good on paper AND sound good in person. Since studying and teaching and gigging is a more passive approach to getting to the next step of the career. I remind myself of this daily while I pass up audition opportunities this year in favor of my upcoming wedding (next summer!) and the hope that my voice will be a force to be reckoned with after another 6 months of so. I am doing some auditions and competitions, but am being more particular with who hears me and when. I hope it's a wise choice, and I also remind myself that nobody knows exactly what they're doing in this business, except that they love to sing.
This year, the strategy is to take a step back. Teach, save money, sing gigs locally, and most importantly, have regular lessons and coachings. One crucial element I missed while on tour was vocal training. I was getting plenty of hands-on performing experience, but after 60 or so shows, your technique slips a notch. While my resume was being built, my voice wasn't, and you have to look good on paper AND sound good in person. Since studying and teaching and gigging is a more passive approach to getting to the next step of the career. I remind myself of this daily while I pass up audition opportunities this year in favor of my upcoming wedding (next summer!) and the hope that my voice will be a force to be reckoned with after another 6 months of so. I am doing some auditions and competitions, but am being more particular with who hears me and when. I hope it's a wise choice, and I also remind myself that nobody knows exactly what they're doing in this business, except that they love to sing.
Thursday, October 13, 2011
I'm Back!
Time to get back to this thing.
It's weird. I started this blog to feel more like a working singer, to chart my ups and downs, really examine the "process" and hopefully come away a more insightful musician.
Well, this past month, I've TURNED INTO a working singer. I now have:
-a studio of 20 students, ages 6-adult
-a section leader position at the best church gig in the city (relatively speaking, I"m sure, but getting to do the solos for the entire Bach Christmas Oratorio is a pretty legit job)
-a position in the city's premiere small vocal ensemble (first concert is NEXT WEEK! I'll be soloing for Menotti's "Landscapes and Remembrances." visit www.vaecinci.org for tickets and information)
The flip side of this new work situation is less time for auditions, less shows and roles to list, and less time to pursue any other avenues of life. Planning/having a wedding this summer is also reducing the number of auditions I can do this year. And the result is an overwhelming sense of relief. I definitely work better when I give myself limits and parameters. I'm probably doing about 10 auditions and 4 comps this year.
One competition was last week. Though I didn't win, I made the finals, and gave a very solid performance - one that was probably a little safe because it was TOO solid. However, proving that I can solidly sing an aria that gave me problems 2 years ago has bolstered my confidence and now I know I can sing more difficult repertoire for audition season.
Throughout my education and the years following, the one thing I've lacked is a sense of calm. My comments from judges are often "looks worried," "frantic," "lovely voice but working too hard." Now, as I enter the middle years of the middle stage of this career, I feel as though I"m finally achieving a sense of calm and poise on stage. It's slightly less exciting, maybe, than working 4 random jobs just to make my schedule free enough to fly to different cities every weekend, but the trade-off of having regular lessons and coachings and actually SINGING several hours daily to earn a paycheck is well worth it.
It's weird. I started this blog to feel more like a working singer, to chart my ups and downs, really examine the "process" and hopefully come away a more insightful musician.
Well, this past month, I've TURNED INTO a working singer. I now have:
-a studio of 20 students, ages 6-adult
-a section leader position at the best church gig in the city (relatively speaking, I"m sure, but getting to do the solos for the entire Bach Christmas Oratorio is a pretty legit job)
-a position in the city's premiere small vocal ensemble (first concert is NEXT WEEK! I'll be soloing for Menotti's "Landscapes and Remembrances." visit www.vaecinci.org for tickets and information)
The flip side of this new work situation is less time for auditions, less shows and roles to list, and less time to pursue any other avenues of life. Planning/having a wedding this summer is also reducing the number of auditions I can do this year. And the result is an overwhelming sense of relief. I definitely work better when I give myself limits and parameters. I'm probably doing about 10 auditions and 4 comps this year.
One competition was last week. Though I didn't win, I made the finals, and gave a very solid performance - one that was probably a little safe because it was TOO solid. However, proving that I can solidly sing an aria that gave me problems 2 years ago has bolstered my confidence and now I know I can sing more difficult repertoire for audition season.
Throughout my education and the years following, the one thing I've lacked is a sense of calm. My comments from judges are often "looks worried," "frantic," "lovely voice but working too hard." Now, as I enter the middle years of the middle stage of this career, I feel as though I"m finally achieving a sense of calm and poise on stage. It's slightly less exciting, maybe, than working 4 random jobs just to make my schedule free enough to fly to different cities every weekend, but the trade-off of having regular lessons and coachings and actually SINGING several hours daily to earn a paycheck is well worth it.
Tuesday, September 6, 2011
Recital!
I've been busy these past few weeks with many things...my studio is growing (up to 15 students now!) I've gotten a few new gigs, some new headshots, and some new audition rep polished.
But what has been occupying most of my time is my recital. It will be performed in Chicago next Monday and Cincinnati next Friday, and I've been shuttling back and forth to Chi a lot to practice with Kyra, my cellist. We are trying to do a more intense preparation and concentrated performance than we did last year. Part of this preparation includes writing and speaking about each of our pieces. The only problem is, some of the repertoire we are doing is so obscure that I am having trouble finding any previous analysis or notation! That means I have to devote some actual insight and thought into what I am performing.
This is what our professors and predecessors have always told us to do: "Be a THINKING singer!" and it is also why I like performing with instrumentalists - sometimes even more than with other singers. There is much more unspoken communication between instrumentalist and vocalist onstage. Kyra and I have worked together for several years now, and have developed a keen intuitive relationship with each other. Having that sort of bond makes performing a much more powerful and enjoyable experience.
Now, for the particulars of the recital:
Monday, September 12, 8pm
Dixon Strings Studio
4636 N. Ravenswood Ave.
Chicago, IL
Friday, September 16, 7:30pm
Northeast Community Church
12079 Lebanon Rd.
Loveland, OH
Program:
"Se Pari O La Tua Fe" - G. F. Handel
"Vocalise" - A. Previn
"What Lips My Lips Have Kissed" and "My True Love Hath My Heart" - J. Heggie
intermission
"Zwei Gesange" - J. Brahms
"Six Poems of Marichiko" - L. Latiman
"Dream With Me Tonight" - L. Bernstein
Hope to see you there!
But what has been occupying most of my time is my recital. It will be performed in Chicago next Monday and Cincinnati next Friday, and I've been shuttling back and forth to Chi a lot to practice with Kyra, my cellist. We are trying to do a more intense preparation and concentrated performance than we did last year. Part of this preparation includes writing and speaking about each of our pieces. The only problem is, some of the repertoire we are doing is so obscure that I am having trouble finding any previous analysis or notation! That means I have to devote some actual insight and thought into what I am performing.
This is what our professors and predecessors have always told us to do: "Be a THINKING singer!" and it is also why I like performing with instrumentalists - sometimes even more than with other singers. There is much more unspoken communication between instrumentalist and vocalist onstage. Kyra and I have worked together for several years now, and have developed a keen intuitive relationship with each other. Having that sort of bond makes performing a much more powerful and enjoyable experience.
Now, for the particulars of the recital:
Monday, September 12, 8pm
Dixon Strings Studio
4636 N. Ravenswood Ave.
Chicago, IL
Friday, September 16, 7:30pm
Northeast Community Church
12079 Lebanon Rd.
Loveland, OH
Program:
"Se Pari O La Tua Fe" - G. F. Handel
"Vocalise" - A. Previn
"What Lips My Lips Have Kissed" and "My True Love Hath My Heart" - J. Heggie
intermission
"Zwei Gesange" - J. Brahms
"Six Poems of Marichiko" - L. Latiman
"Dream With Me Tonight" - L. Bernstein
Hope to see you there!
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