Young singers have a super wide horizon but no depth. They know lots about what’s going on today, but nothing about who did what 50 years ago. For lots of things it doesn’t matter, but for opera it does, and agents complain about it. Not knowing who Hans Hotter or Renate Tebaldi were means there’s a lot you don’t know about what different repertoire requires and what professionals are measuring you against. It’s a contradiction, since you can find everything online. The truth is you have to know what you’re looking for, and even how to hear what you’re listening to.
Luckily there is a way to find your way, at least into how the Germans think about and hear operatic roles, and it’s even been digitized right here on OperGermany. It’s the Fach System and looked at the right way it can tell you a lot about vocalism and dramatic impact. First of all, take a role which you think you can sing and see what Fach it’s in. Then look at the otehr roles in that Fach. Are you comfortable with those? Do they suit you? What do these roles have in common? Then take a look at the Nebenfächer-the other Fächer which also might sing the role to see what kinds of voices also sing the role. The Kloiber Opernführer, (Guide to Opera),published by Bärenreiter, also has very useful descriptions of the main characteristics of each, Fach. You can get a real idea of what works over time on real stages, so you can know what you can deliver, and what you have to work on to be salable.
It’s not written in stone, and there are plenty of professionals who don’t use it, but it will enable you to have an intelligent conversation with agents about what you should sing, and with more digging, to get familiar with the earlier singers who defined particular roles. You’ll understand your voice and where you can fit in.