The following
is a list of suggestions for directors and producers from the singers,
themselves, regarding auditioning. It was compiled in the summer of
2005 from an informal survey of BSR subscribers. If you have
any other comments to add, please email your thoughts to: info@BostonSingersResource.org
The Preparation:
* If roles have been pre-cast, please include this information in your audition listings or phone inquiries.
* If you know that your organization prefers a straight-toned singer, or a heavier voice, or something specific that can be qualified, please state this up-front in your audition listings or phone inquiries. Don't waste the singers' time or yours.
* Do not automatically add singers who inquire about or attend your auditions to your organization mailing lists without notice or permission.
* Don't overbook your auditions. Plan well so the auditions run on time.
* Include audition expenses as part of the cost of doing business with your organization, rather than charging the singers.
* Find a good space for auditions-not someone's living room.
*If you are running an audition that requires sight-reading or ear-testing, hold it in a location that doesn't have sound bleeding in from other areas.
* Please treat singers with manners, kindness and courtesy as you would in any other business arrangement.
The Audition:
* If you're running ahead, don't pressure singers to go early if they need a bathroom trip or mental preparation time.
* Let the performer
walk in and stand in position before asking them what they are going
to sing.
* Make it clear whether or not you are ready for the singer to begin.
If you are writing or talking with singers before hand, it is not always
clear.
* For general auditions or contests, have a varied audition panel that understands and appreciates a variety of singing styles (ie: oratorio, opera, early music, etc.)
* Look up at the
person auditioning, at least occasionally.
* Don't hold all
the singers up at an 'open audition' or 'call back.' Keep only the ones
you are seriously considering for the entire time.
* If you have the time, please write comments as to why a singer is being accepted or rejected from an audition; include them in your follow up letter. This is more helpful than the generic "we had so many talented singers at the audition..."
* If you are inclined to give specific reasons why a singer was rejected, please do so with kindness.
* Please treat singers
with manners, kindness and courtesy as you would in any other business
arrangement.
The Follow-up:
* It would be nice if you would say more than just "thank you"
when you are done hearing the singer;"thank you for coming and
auditioning," "we'll be in touch," or something else
that makes it clear that it is time for the singer to leave. This will
speed up the process.
* Let the singer
know at the audition how and when they should expect to hear back from
you. Either tell them or give it to them in a hand out.
* Please let the singers hear back from you, either way, following an
audition. Even a simple email is better than no response at all.
* If you have the time, please include specific comments as to why a singer is being accepted or rejected from an audition in your follow up letter. This is more helpful than the generic "we had so many talented singers at the audition..."
* If you are inclined to give specific reasons why a singer was rejected, please do so with kindness.
* Do not
automatically add singers who inquire about or attend your auditions
to your organization mailing lists without notice or permission.
* Please treat singers with manners, kindness and courtesy as you would in any other business arrangement
Quotes:
"It is to
your advantage to be courteous, because you'll hear a truer representation
of what singers can do if you are not adding to their nervousness"
"I don't know whether is just a matter of being embarrassingly
unorganized, or whether the directors merely dislike sending rejections,
but I personally find it very frustrating to spend the energy and time
to prepare and perform at an audition, and then not receive an acknowledgment
for this effort."
"When singers audition for you, that doesn't mean that they want to be on your contact list, particularly when you have not acknowledged us in any other way. It's even more insulting to be put on the mailing list with the singers' name misspelled."
"I do not equate "thank you" with "goodbye."
"And if they're not sure who they will choose, an email update with a general time frame ('you'll hear from us by...') would be fantastic."
"Auditioners appreciate it when directors/producers "cut to the chase." At call-backs, especially. It is appreciated when they cut people as they go, rather than holding on to every performer until the end of the evening."
" Comments from judges and auditors are enormously important...how else do we learn? Constructive criticism enables the singer to understand specific deficits he/she may have and gives him/her the opportunity to work on them."
Sources for local and national audition listings:
BOSTON SINGERS' RESOURCE
www.BostonSingersResource.org
STAGESOURCE
www.Stagesource.org
NEW ENGLAND CONSERVATORY JOB BULLETIN
www.NewEnglandConservatory.edu/career/nec_job_bulletin.html
CLASSICAL SINGER MAGAZINE
www.ClassicalSinger.com
OPERA AMERICA SINGER SERVICES
www.Operaamerica.org/singmemb.htm