<p>This is the only information available on the Oberlin website for applicants to the Conservatory for Voice. I realize the selections should be age appropriate and voice-appropriate, but could someone please elaborate on this? I suppose "Caro mio ben" and the "Queen of the night" would be inappropriate for most applicants. But very generally, which songs (for sopranos) are appropriate at these auditions? Which songs should one avoid because they are too popular, or are simply too difficult to impress with? </p>
<p>If this has been discussed before, could someone please provide a link to the appropriate thread? Thanks in advance.</p>
<p>The advice my D was given was to focus on English and Italian for most auditions. Some auditors are sticklers for diction and most young singers don't have much experience in German or French. If she can nail the diction, that's great but you don't want a auditor to get hung up on diction. She had those choices in her rep but if only two pieces were required, she used the English and the Italian. She used a lighter, more up tempo Samuel Barber piece for the English. Her Italian piece was by Donaudy, and was different in tempo and tone. A selection from the 26 Italian Songs and Arias is a pretty reliable choice. Another source is Classical Contest Solos. That has a couple of folk songs in it. My D's voice teacher didn't have her do a folk song. A teacher with whom she did a sample lesson, however, was fine with certain folk songs. Another source is First Book of Soprano Solos. Don't be too worried about something being overdone. The main things are that the choices are age appropriate, demonstrate healthy technique and prepared very very well. We were told they would rather hear someone really nail "Caro mio ben" than struggle with a difficult aria. Several Mozart and Handel pieces are very appropriate also.</p>
<p>Queen of the Night is definitely inappropriate. Caro Mio Ben is exactly the kind of thing they're looking to hear though. I've been told not to worry about pieces being "too popular," but I would definitely hesitate before performing something too advanced. A lot of schools suggest you stay away from arias, although Mannes requires one. Basically, you'll always be safe with art songs. As far as the language requirement goes, I think it's best to at least sing one piece in English and one piece in Italian. That's what most of the people I know who are applying to Oberlin are doing.</p>
<p>Sounds good. Looks like D (who is just a HS junior) is on the right track. </p>
<p>I have a few other questions: Some 18 year old voices have not matured (as instruments) as much as others. Does it follow that the voices that mature earlier have an advantage over voices that are still young at the time of auditioning? Also, is it a given that the prettier sopranos have an edge over the more average ones? Finally, how much weight is given to an applicant's 'pedigree'? Do students of well-known and well-connected teachers have a significant advantage in admissions?</p>
<p>I apologize for these random and somewhat naive questions. I am just beginning to explore the whole idea of conservatory admissions. I had assumed that D would go for a standard liberal arts education but recently her passion for singing has grown and she has expressed an interest in exploring the dual degree route. Oberlin is an obvious choice- the college would be a match for her but I understand the conservatory is a 'reach' for everyone, especially sopranos. Harvard/NEC or Columbia/Juliard would be 'reach'/'reach'. Then there is Northwestern, which, while still a 'reach', might be a good fit in many ways. We will also look into Rice.</p>
<p>Many believe that more mature dramatic voices are more sought after - but healthy technique must still be there. Mezzo sopranos have it a little easier than sopranos. I have not heard or observed that looks matter, although the professional opera singers do believe that heavier singers -both men and women - are having more trouble getting cast these days. It will help to look like Nathan Gunn or Anna Netrebko. I do not believe that connections trump the audition.</p>
<p>Glad to hear that English and Italian are usually used for the two audition piece situations -- as that is what DS has put forward. Two schools want three, and he has added a French piece for them, and the German piece goes on the school that wants four!</p>
<p>
[quote]
Does it follow that the voices that mature earlier have an advantage over voices that are still young at the time of auditioning?
[/quote]
DD did not have a lot of training before auditioning, she came late to her passion. As a mezzo it is acknowledged that the voice is far from mature. She was sought after everywhere she applied for her potential, unique sound and dramatic instincts. Her teacher had her well prepared for her level of skill though. The selections and preparation showed her off well for where she was. She was selected for her potential. She is now, however, behind other students in school where she has to work harder to get where they are already in technique, diction, theory and aural skills. </p>
<p>
[quote]
Do students of well-known and well-connected teachers have a significant advantage in admissions?
[/quote]
If you do not do well in your audition no well connected teacher will help. However, a well connected teacher can steer you into appropriate programs. DD 's teacher was connected in a couple of the places she applied and was accepted, but not where she finally ended up. It is more important to have a good teacher who is training and managing the vocal development appropriately for age and maturity. That was the most important thing her teacher gave her.</p>
<ol>
<li><p>I already mentioned this in another thread, but faculty at these auditions want to hear healthy, appropriate singing, regardless of the "popularity" of a given piece. It is not difficult to impress with most pieces unless the piece is not suited to your daughter's particular voice at this moment. It is more impressive to most knowledgeable teachers for a simple piece to be done beautifully than for a singer to come and sing a coloratura aria perfectly. These pieces like Caro mio ben are actually very legitimate songs/arias that have lost some respect because they have been overdone. If your daughter can make these songs valuable, beautiful, and meaningful, it says a lot about her as a singer and a performer. </p></li>
<li><p>More mature/dramatic voices are actually not always sought-after, because many teachers don't know how to teach them anymore. A singer cannot force a voice type on herself, and trying to sound more mature will only do harm. Teachers recognize potential in students, and they're not trying to find the most complete or "finished" voice; they're trying to find students who know how to work and have the potential to become remarkable singers. </p></li>
<li><p>There are always going to be politics involved in whatever school situation you audition for. More well-known schools with more renown faculty have more politics involved with teacher-student/teacher-teacher relationships, but the bottom line is that if a singer pulls through in an audition and shows the ability to improve in a call-back situation, schools are going to want singers like that.</p></li>
</ol>
<p>raquel - good to see you back here. I'd love to get an update on how things are going for you at Julliard.</p>
<p>Just to clarify: I mentioned Caro mio ben in my OP not because it is 'too easy', but because to me it seems like a piece that would be very difficult to truly impress with. I love Caro mio ben- Pavarotti's rendition is one of my favorites. Perhaps I am wrong- it is probably hard to 'truly impress', no matter what the piece.</p>
<p>D has been extremely fortunate in having a teacher who really knows how to work with developing voices and she has been taught good, healthy technique. There is no danger that she will be pushed towards inappropriate pieces. D certainly doesn't have a dramatic voice but it has matured quite a bit in the past year, and who knows where it will be next year. </p>
<p>The reason for my query was to find out whether the pieces she is working on would be suitable for conservatory auditions. Being the ignorant non-musician parent that I am, I was afraid that the fancy conservatories would look down upon anything except the more complicated arias. I am glad to see that this is not the case.</p>
<p>It does not matter what non-English language is for the audition. The auditioning faculty are listening for how the singer handles another language, whether there is an ear for the nuances and differences in language style, the vowel colors, the meter and accent, the different articulation requirements. It is another listening skill for the singing musician. It is important that the non-English piece be worked with a teacher or coach who really knows the other language....it is not the occasion for slip-shod work. Good luck.</p>