<p>^Interesting, musicamusica. If you posted something to this effect years ago, your post may be one of the posts I read on the subject. I definitely remember reading from someone who suggested that one call ahead. And I’m quite certain I also read from someone who did call ahead, learned that they hadn’t any openings that year for that voice type, and opted to forgo the auditions. Hmmm. Maybe one of those was you? ;)</p>
<p>But like I said … it’s hard not to take that golden opportunity on the off chance …</p>
<p>Well, I do not say this as a reflection on anyone’s particular abilities or chances, but at some point a musician does need to figure out what constitutes an actual opportunity. Especially when a simple phone call can save you a substantial sum. That is unless you have a sizable bank account and nothing but time on your hands.</p>
<p>I’m puzzled as to why Curtis–or any school for that matter–would audition students while knowing that there are no openings for that voice type. Surely the pre-screens would give them an idea of what they are going to hear, at least in terms of type? While the audition fee at Curtis is relatively steep, I’m sure the school cannot be using auditions as a profit center since the cost of having faculty present must outweigh the income from auditions. And since Curtis accepts so few students, it’s also unlikely that they are trying to show off a low applicant/admissions rate. Unless I am missing something, I can’t see any advantage to the school for inviting students they have no intention of taking seriously. At a recent audition, we were told that the faculty know what they are looking for when they hear it/see it in a student, and it doesn’t always come across in a pre-screen. We were also told that the school we visited had no firm quotas–if they rated a student high enough, they would make an offer, regardless of voice type. All of this makes it hard for a high-schooler (and a first time music mother) to turn down the opportunity. We are planning on making a holiday of it and enjoying the city a little during our stay. D will show the faculty who she is and how she sounds–then we will have a fun mini-vacation and try not to worry too much about the credit card!</p>
<p>Yes…it is a mystery. But as much as they charge for auditions, it does make one wonder. For those high audition fee’s they are not losing money and even Curtis folk want to know “whats out there”. I’m sure your D has as good a chance as any other incoming freshman soprano—but it’s important to know that if she does not get a call back, it is no reflection on her potential. BTW my D’s look at Curtis came when she was going after grad school auditions and she had a very good specific fix as to where she would fit in (re roles), who she want to study with and exactly what she needed. So she was not willing to waste her time or money (hers!) on auditions that had very little chance of panning out. Especially when she knew there were no openings.</p>
<p>Musicamusica, thanks for the reminder to impress upon my daughter that no callback at Curtis is not a reflection of her ability. She has a friend (a tenor) who auditioned there last year but was not accepted. He was accepted at Juilliard, so he most certainly had potential.</p>
<p>Some singers might be chosen, regardless of their voice type, because their talent is so significant and the teachers are overwhelmingly eager to teach them. There are certain singers/talents/voices that cannot be denied. Accommodations are made for them, regardless of who else is there, or what is going on. </p>
<p>I have heard of applicants being requested to reapply the next year, perhaps because all the slots were taken, or maybe a bit more maturity and development was needed.</p>
<p>I have a daughter who is a singer and a daughter who is a painter. The singer did not apply to Curtis or go through the audition process there so I cannot offer specifics. I am struck by what Lorelei who always has wise advise on many of these threads that sometimes they want to hear a singer because they will want to hear them reapply the following year or perhaps even know that they will be someone out there for possibly grad school. When my daughter went through the process that was some of the feedback she got in the end. Schools who may not admit you for undergrad may want to hear you, have you train elsewhere and accept you for grad school.
There is a similar process for applying to grad school for MFA in painting. At one school was told that they could not accept her after one year in a post-bac program but they wanted her to apply again the following year. That was perhaps a gamble on their part because she moved off the waitlist at another desirable school that in many ways was even a better fit for her and she received her MFA in painting from that school.</p>
<p>I do know of someone (viola) who called Curtis last year to see if they had a spot open before the auditon last year - they said they did, but she did not make it. I know that they only “fill” their orchestra, ie, they only take another viola when one graduates (or leaves). I don’t think they can do that with voice - as they are not filling orchestra seats. Every voice studio will have a quota - and I suppose they might be flexible (as lorelei has said). So…may not help to call ahead for voice openings. But, as with all auditions, realize that just passing the prescreen means a lot and not getting an acceptance may mean very little about your talent.</p>
<p>Costs aside, I think it can be a good thing to take advantage of the opportunity to audition for such a reputable school. These folks keep track of singers, and even if a student is not offered a spot for undergrad, he/she might have a better chance in four years, particularly with a solid undergrad audition. A pattern of good auditions is memorable, and each audition experience better prepares you for the next. Those were exhausting weeks, but the busy audition season also brought a lot of growth.</p>
<p>It is well worth your time to call and see what they will tell you about voice slots available. My D has told me what spots are open in the grad program this year so obviously the information is not a complete secret. The trip to Philadelphia is expensive for the odds. If we had it to do over again, I would not have done it.</p>
<p>^Interesting, POTO Mom. (Glad to see you’re still around! )
Do you mind sharing what your daughter told you? How many spots are open in the grad program this year?
Thanks!</p>
<p>I’ve been thinking about this discussion of whether to audition when there may not be openings. Because of all the variables in life, and with singers in particular, I think schools, especially the most elite programs, cover their bases (and their basses! ha!) in case of unforeseen changes. While there may only be a few openings for new students, someone within the school may suddenly drop out because of family stresses/vocal damage/ or even a job! This might create an opportunity for a student in a voice category the school was not initially seeking. Therefore, it’s important if you really love a school, to make the effort to go and have a great audition! I would not act on the basis of rumor. If your prescreen has been accepted by the school(and yes, Curtis does prescreen their voice students - at least they did last year) Go to the audition and do your best to make a positive first impression. It’s the same in the real world, really. Often, the casting is already decided, yet a singer has been given an audition. Again, if there is illness in the cast, and they liked a particular audition, they might be calling that person to fill in or cover. Just my two cents. :)</p>
<p>^Thanks for taking the time to write this, Setumommy. We have come to the same conclusion at my house. In fact, my son had already decided that he will definitely be attending his audition. It takes effort to research a school, effort to apply, effort to have the extensive list of required repertoire at the ready, and plenty of money just to apply and send a prescreen. It seems like a big waste of time and money to then choose to throw away the opportunity for fear of ‘wasting’ another $1200 or so. No, we don’t have $1200 on hand for the additional audition fee and travel expenses. The extra $1200 won’t come easy to us. But we came to the decision here that lots of people would relish the chance to audition for Curtis, that he was fortunate enough to be granted that chance, that he worked hard for it, and so he’s going to take it. I’m really glad. Airline tickets have been purchased. Hotel has been reserved. :)</p>
<p>Besides, this occurred to us:
Which would he/we regret more? Spending that $1200, auditioning, and not getting in? Or NOT spending that $1200, not auditioning, and forfeiting the chance to get in? </p>
<p>Easy peasy. He’s going for it. I’m really glad.</p>
<p>Thanks SimpleLife. My daughter and I came to the same conclusion and booked our flights, too. Curtis is certainly a long shot, but we have invested so much in this process that it is difficult to justify turning down the opportunity to audition. The money is tough for us, too, but also the investment in practice. Since taping her pre-screen last September, my daughter has improved immensely and sounds like a different singer. While practice has a lot to do with it, I think it is also the effect of an extra six month’s of growth and maturity. Despite the travel cost and the slim chance of success, I think she has earned to opportunity to show what she can do.</p>
<p>Sorry–had to post. This is completely wrong. You will be accepted if you are heard and loved no matter how many singers in your voice type are currently in the program.</p>
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