<p>Others have made some of my points, but I wanted to add some things. For one, I encourage you to search through threads on here about the audition process, figuring out if a schools is worth applying to, etc, there are a ton of threads, not surprisingly, from others trying to figure out what to do.</p>
<p>In terms of asking people on here, about all anyone can do is tell you whether the repertoire in question matches the requirements of a program or program. There are some real experts on here, Lorelei for example, but all they can do is point out if the rep in question meets requirements. Even if someone posts that they are working on some ridiculously high level of repertoire, rare for a HS student, it means nothing unless someone hears them sing it or play it (it is quite easy to work on high level repertoire and sound like Florence Foster Jenkins, since all that takes is getting the sheet music and having a tone deaf teacher <em>smile</em>). </p>
<p>As has been noted many times before, if you have doubts about your ability, it is probably best to talk about it with your teacher(s), or if you feel they may not be a good resource, find someone reputable and ask them for an evaluation. Even better, if possible, try to arrange a sample lesson with a teacher or teacher(s) at the program, and see what they think, since they would know better then anyone what it takes usually to get in. </p>
<p>Even then, there are no guarantees, nor does a negative evaluation necessarily mean last rites for the idea of going someplace. The audition process is a crapshoot, that even though the dice are in effect loaded to a certain extent (i.e, for example, having a teacher in the program that knows and likes you can give someone an edge), it is all very situational. If you are a mezzo and the program needs mezzos, it could mean that someone could get in this year who last year wouldn’t have even made the prescreening requirement. If you are a Soprano, conversely, and though you have won competitions, impressed all kinds of teachers, gotten written up, you may not get in because that year a flock of incredible sopranos auditioned, one of the voice teachers ate too many white castle hamburgers and got laid up, and with the level and minus a teacher, there was no room…you get the drift. </p>
<p>My personal take is get the evaluation(s), and then apply unless the feedback is so negative that it looks hopeless (and even then I would be careful, especially if you are relying on one person. Most professional music critics love Renee Fleming, but there are some cats out there that savage her and claim she is some sort of circus act <em>shrug</em>) and then give it a shot. As long as you are working on the right repertoire, and think you have time before the pre screen to bring them up to snuff, then give it a shot, because the variables are so vague you never really know what is going to happen. If you try to laser target places you think you have a good chance of getting into only, there is a good chance you might be disappointed, and then find out that had you applied to a program you excluded, you might have gotten into there…I am not advocating auditioning everywhere, you should find programs that interest you, of course, and yes you should try to be realistic (including asking yourself whether you want to go to Juilliard because you know the program and believe it to be best for yourself, or because it has a name and in some circles is equated with being a direct ticket to success; there are other vocal programs out there that might do a better job with someone like yourself then Juilliard would potentially, for example if the teacher willing to teach you was a better fit at another place then the one you would have at Juilliard).</p>
<p>The other alternative to think about is if you have your heart set on Juilliard, and don’t get in, you could use a gap year to get your rep in order and have a better shot next year…</p>
