<p>NYU accepts a Musical Theatre piece that will contrast with Les Berceaux (a slow piece)...
Should I do an up tempo MT piece? I was thinking "Shiksa Goddess," but my chorus teacher said it might be too risky since it has a bit of foul language.</p>
<p>I'd just like some feedback on the quality of the songs that I'm doing.</p>
<p>It’s not the “quality of the songs” that will matter, it’s the quality of your singing. The best songs for you are the ones that you and your voice teacher agree that show you off the best. You know them really well, you love to perform them, and they fall within what each college requests. As far as musical theater pieces, I would avoid foul language. Definitely too risky. But do sing something that shows off your ability to act the song. For specific suggestions, you might post in the musical theater forum. Good luck!</p>
<p>Rethink the Verdi…not appropriate for your age or your voice type…Verdi is bass-baritone part. Stick with Handel. Where is the English language song? Most places require one.</p>
<p>Leave off the Verdi, Lorelei is quite correct. I would rethink that particular Handel selection also- that’s a piece that is given to advanced seniors, grad students and Artist Diploma students and is not appropriate for one your agr.Dmitri Hvorostovsky used that piece to win the Singer of the World competition in Cardiff, which should tell you exactly when you should be attempting that one! The Faure is fine. As for the Jason Robert Brown selection, it’s not the language that worries me, but rather your accompanist. Stay away from JRB and Sondheim for auditions and they are the very devil for accompanists- frankly, most of them can’t play them well and can’t sight read them at all, which is why they are on the “DO NOT SING” MT lists. Find something uptempo, but remeber, be kind to the piano player!</p>
<p>The Verdi is actually probably my best one… I’ve been working on it with my voice teacher for a few months now actually. </p>
<p>Mezzo, I’m not worried about the pianist at all.
My pianist is going to be my chorus teacher. She’s insanely good!
JRB and Sondheim isn’t a problem for her at all… though I wouldn’t sing Sondheim anyway.</p>
<p>Yeah, I’m not particularly thrilled about Ombra Mai Fu…do you have any suggestions for a 16th-18th century Italian aria or art song? I’d obviously have to check them out to see if they’re right for me.</p>
<p>The Handel is fine, no matter who else sings it. In it you can show lovely sound, phrasing, Italian, and musical style. It is lyrical and sustained, and while a more advanced singer will do more stylistically with ornamentation, it will perfectly fine for a younger singer if you can manage the breath phrasing musically. Do plan to do a song in English, preferably American, but British is OK (though some schools require an American song). Your teacher may like what you are doing with the Verdi, but I can guarantee you that an auditioning faculty will not approve of an incoming freshman singing this song. You may sound very nice on it, but you cannot satisfy it, and your audition will be compared against what the judges hear in their own minds that it should be. I promise. </p>
<p>I see where you’re coming from on the Verdi…
That does make a lot of sense. Estuans Interius by Orff is a piece I have on backup…
Do you think I should sing that instead?</p>
<p>The Invictus is in English (1930’s), but I believe that it was originally written as a piece for brass, with the words added later. It would be a technicality, but should slide by! Be aware that audition panels do not know every piece ever written and that is an underperformed piece. Be prepared to tell the history of the author and piece should you be questioned during your audition (yes, it does happen, and did, to my D, last year!)
I would much rather hear you singing Mozart than that particular Handel. It is quite appropriate and, if you check, you’ll see that almost all schools perform, " Nozze de Figaro", “Cosi fan tutti”, etc, because they are eminently suitable to for younger voices. That does not mean that they are “easy” pieces- on the contrary, Mozart, when sung properly, doesn’t provide a lot of “hiding places”, thereby allowing the voice to bloom those listening to you to really hear your potential. I’m sure that you have something like that in your rep, so talk to your teacher, pull it out, dust it off and get to work!
Lorelei’s next to last sentence is precisely spot on. You do not want to end up being compared to a standard that you can’t possibly live up to; you’d start out behind the game, and that’s not good at all. I know that there are many pieces in my D’s rep that she sings, and loves to work on, but would she ever use them for an audition? Nope, and her teacher wouldn’t permit it. There is time for the big-money pieces, so save them for later.
To echo, Good luck and let us know how it goes!</p>
<p>Orff is another big reach…“Carmina Burana” is notoriously difficult for the male soloists. I hesitate to be so blunt on a public forum, but you are not being well guided by your vocal mentor. These are totally inappropriate repertory choices for a young singer. </p>
<p>Invictus is not unknown to voice faculty members…it is an older “show” piece, very intense and dramatic. This is not what you need to be demonstrating as an incoming freshman music education major. Look at one of the John Jacob Niles or Aaron Copeland songs, or there is a wealth of late 19th, early 20th century British song writers…Ireland, Warlock, Finzi, etc. </p>
<p>I disagree with Mezzo’sMama about Mozart versus Handel. Handel is extraordinarily vocal, and it can be sung by singers of all ages and stages, with layers of stylistic options. Mozart arias are very difficult to sing, and while they demand lyric ease, they do not necessarily make it easy to achieve, and they are more likely to reveal all the problems. “Nozze di Figaro” has no young singer arias for male voice…Figaro and the Count require more mature singers, not easily satisfied by even more advanced voices. “Cosi fan tutte” has one lighter baritone role with a seldom extracted aria, and the bass baritone role of Don Alfonso. Both operas have ensembles which can work for younger singers, but the arias are different matter.</p>
<p>My voice teacher didn’t pick Estuans Interius for me. That was a backup I had. I sang it in June at a recital, before I started working with my current teacher.</p>
<p>Does it matter at all if Invictus was on the NYSSMA list as an All-State level solo?
All of the schools I’m applying to are in NY so I’m sure they’d be at least somewhat familiar with the NYSSMA system.</p>
<p>I absolutely love Copland. We sang “The Promise of Living” at a concert last year and it was amazing… I’ll definitely look into him.</p>
<p>I’m going to stick with Ombra mai fu.
One of my good friends just auditioned with Mozart’s Dalla sua Pace last December…
I don’t know how he did it.</p>
<p>Look at the Copland “Old American Songs”…some really nice songs quite suitable and appropriate for your auditions. “Invictus” is an intense, appealing song, granted…but IMHO, it is not the best vehicle for a younger singer. I have no idea who put it on the list for All-State. If the faculty members judged All-State they might realize the source, but that does not mean they will think it is a good idea. </p>
<p>Tenors are a different beast than baritones are…a young tenor can sometimes manage the consistency of one of the lighter lyric arias, keeping it pretty if not intense. I have heard several successful high school tenors doing Mozart. </p>
<p>Good for you to keep coming back for more comments and explanations. The best of luck to you and keep us posted.</p>
<p>Question: For a music ed major: If the school doesn’t specify an English song, is it wrong to take that at face value? When D was planning on performance, she was working on an English Purcell piece - but it is newer for her, and therefore not as polished. Once she switched to Ed (legitimately - not plan B), the audition requirements changed. On her app she put an Italian piece and a German Schubert one - She’s performed both pubicly, they have different feelings and tempos, and both highlight her control in the higher range. Is she making a mistake?</p>
<p>Most places require English language piece. If the school does not, it does not, but I would double check…site listing requirements might not be up to date.</p>
<p>I took a look at the Old American Songs… and “Zion’s Walls” immediately caught my interest
since it has the melody that “Promise of Living” carries.</p>
<p>Do you think that one would be a good choice?</p>
<p>I really wouldn’t need much work since it’s the same thing from Promise!</p>
<p>Lorelei - I’m referring to Westminster. From their website: Two memorized songs from the classical repertoire. Suggested repertoire selections for all voice auditions include songs and arias of the 17th and 18th centuries, art songs from the 19th and 20th centuries, including spirituals, and/or operatic and oratorio literature when suitable for the singer.
I would have done this as a PM, but my next question might be useful to others. Who is the best person to contact as far as verifying audition requirements? Admissions, Department heads, or Voice faculty?</p>
<p>Vocal performance requirements at WCC are: </p>
<p>"Four songs from memory from the classical repertoire, representing various languages and/or style periods. The singer should demonstrate musical and vocal ability that gives promise of successful college-level study. </p>
<p>Suggested repertoire selections for all voice auditions include songs and arias of the 17th and 18th centuries, art songs from the 19th and 20th centuries, including spirituals, and/or operatic and oratorio literature when suitable for the singer."</p>
<p>Phrase “representing various languages” means more than two, at least three, maybe four. English would be important to the judges. If a nonnative English speaker auditions, English diction issues are especially important to demonstrate as a skill. I would wonder why a singer did not present anything in English. It should be the easiest language to present stylistically and with dramatic meaning and intent. </p>
<p>Music education may only require two songs, and it does not specifically say English, but it is a good idea to always have one available, even as an extra. </p>
<p>Contact the head of the voice faculty for any more specific clarification. E-mail is best.</p>