Audition (cast)
An audition is a vocal solo performance in which singers are selected for solo parts or for inclusion in a choir or an artist index . Auditing in the narrower sense refers to the mere solo performance; in a broader sense, auditioning can also include checking the suitability outside of singing, for example through an understanding of music theory or - in music theater - acting skills.
commitment
Solo parts with professional demands, whether in the opera or for oratorios and other concert performances, are cast by auditions. This can be deviated from if the cast member or the relevant committee already knows the candidates, be it from previous collaboration or because they are firmly committed soloists (ensemble members).
Auditioning is essential when joining a professional choir. If it is a permanent position, the audition is usually followed by a second part, which has more of the character of an interview . When they are accepted into a young choir (such as a state youth choir ), the auditors are not yet old enough to be able to formally demonstrate their knowledge through certificates and degrees. Therefore the theoretical part plays a bigger role here. Auditioning is also compulsory for semi-professional choirs (such as extra choirs at opera houses) or amateur choirs with high standards (such as chamber choirs ).
Many amateur choirs do not audition. The higher the demands of an amateur choir, and the more applicants are available, the sooner an audition will take place. Usually, no complete arias are required, but a song or a melody is sung by the piano. The demands can be different depending on the supply and demand for the vocal range: for example, if many contralto players apply , the demands on the performance will be higher than in a tightly staffed voting group such as tenors , in which every applicant is welcome.
For entrance examinations for formal or exclusive education for singers audition is mandatory. This concerns z. B. Admission to music colleges in the subject of singing, master classes and renowned summer courses. It is not so much a question of the perfect development of the voice, which is to be achieved through the training, but of the singer's development potential and vocal health .
At the Institute for Research on Talent in Music at the University of Paderborn , a project was carried out from 2001 to 2003 with graduates from seven German music academies, including 100 singers. They stated that they had completed an average of eleven auditions up to their first permanent position in a choir (reached 26% at the time of the survey) or up to the first fixed-term solo contract (reached 12%). The maximum was the participation in 40 auditions.
procedure
An audition is usually invited, as this requires the necessary planning by the people involved and the space required. In order to be invited to auditions, singers apply today, if available, with a short résumé , their repertoire list and possibly sound samples on CD or on the Internet. Artist agents can also arrange such an invitation.
One or more songs or arias must be prepared for the audition. The selection is usually optional, only rarely is a fixed specification made. In the latter case there is usually a compulsory piece and a freely chosen piece. Most singers try to choose a piece for the freely chosen part that comes close to the part to be cast and suits them. Prepared pieces should be mastered by heart. Singing teachers prepare their students specifically for audition.
During the audition, a répétiteur is usually available to accompany the piano or grand piano . Répétiteurs play by sight, but the singer who sings is responsible for the sheet music and its arrangement. Occasionally it is permissible to bring your own répétiteur at your own expense. During the audition, in addition to the singer and répétiteur, only those people who decide on the selection are present, e.g. B. artistic directors, agents, choir directors, voice trainers or music directors. In some professional choirs, the choir board or choir singers from the vocal group of the person to be recorded have a say and are therefore represented at the audition.
After the lecture, the singer is usually bid farewell without judgment; the decision will be communicated later. For this purpose, the committee discusses the presentation and suitability for the role or position to be filled immediately after the adoption. If a singer comes into question, the decision depends on the alternative voices available. In this case, a comparison will be made with all singers after the audition is over.
literature
- Heiner Gembris, Daina Langner: From the music college to the job market: experiences of graduates, job market experts and university teachers . Wißner, Augsburg 2005, ISBN 3-89639-457-6 .
- Anthony Legge: The Art of Auditioning: A Handbook for Singers, Accompanists and Coaches , 2nd revised edition. Edition Peters , London 2001, ISBN 1-901507-56-4 .
- Philip Shepard: What the fach ?! : The Definitive Guide for Opera Singers Auditioning and Working in Germany, Austria, and Switzerland , 2nd expanded edition. What The FACH ?! Press, Kansas City 2010, ISBN 9781451577020 . (Originally published on Lulu.com .)
Individual evidence
- ↑ Graduate project ( Memento of the original from July 24, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at the IBFM of the University of Paderborn. (Accessed on September 7, 2011.) On this, NMZ, Vol. 53, No. 6 (2004)
- ↑ Heiner Gembris, Daina Langner: From the music college to the job market . Augsburg 2005, p. 70.
- ↑ Basel Madrigalists FAQ ( Memento from August 11, 2013 in the Internet Archive )
- ↑ Audition at the additional choir of the Zurich Opera House (accessed on September 6, 2011.)
