I just had a lovely chat with a top notch agent in Berlin and he told me a lot about how they hear auditions. Understanding this can clarify and enrich the choice of audition repertoire. It’s in the nature of singing to think narrowly and short term – the next high note or the effect a particular aria will make. The best agents react to what a singer does but simultaneously think about how that voice and package fit into the repertoire that a theater is planning. How will this performer grow over time? They want to understand how the whole package fits into the short term needs of theaters and the long term needs of a successful career. They think globally. The key for us is to learn to think the way they do. Can the soprano who sings a glorious Dich teure Halle stretch down to a good Pamina? Conversely can that sparkling Adele also stretch up to the same role? If you can think like they do you’ll become more employable, You make their job easier and do your job better. You might even discover new things about yourself and your voice!
This isn’t to be confused with ‘potential’ which he considers a very misleading concept. Theaters and agents aren’t interested in what you may become in five yers. They’ll tell you to come back then
Interestingly this agent considers that American training is better than German at producing operatic singing. I think this may be because American voice teachers often try to maximize the voice, as well as the fact that most of the American singers he hears have been in several YAP programs. German conservatory training seems to him oriented towards polish and refinement and in his opinion consequently produces lighter, less operatic voices..
He also suggested it might be good to have pieces which show unexpected qualities of your voice. For example a Pedrillo who doesn’t have the beauty of tone for Ferrando or Tamino may find the Slavic repertoire doesn’t depend on beauty of tone but does showcase his carrying power. Agents might see someone who can perform now – earning money and gaining experience – as someone who might grow into the dramatic repertoire with time and maturity.
Our conversation ranged over the operatic landscape from current performances of the heavy German repertoire to what to look for in opera studios, so stay tuned.for more insights!