Audition arias 101: the young singer's guide

Op-ed

I've written before about the psychology of an opera singer's audition, and playing a strategic game with your aria package. Singers learn the rules of said game through audition experience. So, what if you don't have any?

Singing in English: 3 reasons why no one can understand you

Editorial

It's hard to think of your own language objectively, and English is often a complicated mess of vague vowels. In today's opera and classical music scenes, it's more important than ever for young singers to sing well in English, and to be understood by their audiences. Crisp consonants can go a long way, but here are three valuable tips to keep your listeners' attention, and eventually make same-language surtitles a thing of the past.

Gems: Maestro Rowan Atkinson

Humour

A little about me: I'm a fan of conductors, parodies, and Mr. Bean. So, here's all three, in the form of Rowan Atinkson hilariously taking the podium for Beethoven's 5th. Hilarious, but also legitimately brilliant. Enjoy!

On the road with JMC's Roméo et Juliette

Interview

Jeunesses Musicales du Canada is about getting more people, young people in particular, listening to classical music, and getting emerging artists to present it. Part of JMC's annual calendar of around 1600 concerts and workshops is a touring operatic production, and this year's pick is Gounod's Roméo et Juliette. A cast of six singers and one pianist bring the production, directed by Oriol Thomas, around Québec, New Brunswick, and Nova Scotia.

Stop letting audition season destroy your bank account

Editorial

Auditioning is so freaking expensive. This is a fact. And it feels like it’s getting worse. After application fees, travel, accommodation, food, accompanist fees, and the 3 beers you need after they decided to only hear one aria even though you were banking on them to ask for the Bellini...you’re probably not sitting on a whole lot of leftover cash. But you have to do it, right? How are you supposed to get work if you don’t show up?

The life of a comprimario, or "Oh, you're that guy!"

Op-ed

So you want to be a comprimario? Great! There's lots of work for you if you're good it, but beware, it's not as glitzy and glamorous as playing Violetta or Don José, but it's just as labour-intensive.

He said/she said: Tap:Ex Metallurgy

Review

Contributor Greg Finney and I went to Tapestry Opera's opening of Tap:Ex Metallurgy last night. It was one of those shows where one review didn't seem to do it justice. So, here's our She said/He said account of one of the coolest operatic events we'd ever seen.

Song Guides: "Die Nacht"

How-to

We've gotten great feedback from our ongoing series of Aria Guides, and so we've decided to branch out, into the world of art song. Soprano Caitleen Kahn, co-founder of the art-song-friendly Lynx Project, kicks off our Song Guides with a staple from the repertoire. "Die Nacht" is a song taken from Richard Strauss's 1885 set, 8 Gedichte aus "Letzte Blätter", in which you'll find other favourites like "Zueignung" and "Allerseelen".

In review: Julie

Review

Last night Soundstreams and Canadian Stage opened their collaborative production of Julie, the fourth opera by Belgian composer Philippe Boesmans. There was a good amount of hype leading up to this opening, and for good reason. Julie is adapted by librettists Luc Bondy and Marie-Louise Bischofberger from the controversial play by August Strindberg, Miss Julie; its three-singer cast is a cross-section of the rising stars of our current generation.

Don't miss: l'homme et le ciel

Interview

Next month, Canadian composer Adam Scime will see the world premiere of his chamber opera, l'homme et le ciel. Amanda Smith, artistic director of FAWN Chamber Creative directs this co-presentation with FAWN and The Music Gallery. Scime's atmospheric story of "inescapable visions" and "sexual impulses" is scored for chamber ensemble, electronics, and three voices; the libretto by Ian Koiter is adapted from The Shepherd of Hermas, a 2nd-century Christian literary work.