What not to sing

One of my favorite television shows is "What Not to Wear." Show hosts Stacey London and Clinton Kelly secretly video tape unsuspecting folks in dire need of a makeover before ambushing them in public (along with the assistance of several friend and family) in order to let the person of questionable stylistic taste know that they need to throw out the old and embrace the new. Usually there are tears, fears and leers as the "project" surrenders to the rules, goes shopping for two days and gets a fresh new hair cut and make-up lesson from cohorts Nick Arrojo and Carmindy. By the end of the episode the poorly dressed has seen the error of their ways and is reformed into a stylista who is ready to show off their sparkling new look and attitude.

I began thinking what it would be like if there were a version of this for opera singers. Singers who are in need of an audition aria make over would hear why their current repertoire is unflattering and not presenting them in their best light. Like "What Not the Wear," I'm certain that the unsuspecting opera singer would resist kicking and screaming that what they offer is best for them and they don't need to change. The “experts” would listen to their offered five and give feedback on what was good about it and what "showed them up." After learning about the singer’s voice, the experts would introduce the rules (or things that the singer’s voice does well) and offer suggestions on what rep would really make their talents stand out. Of course, the opera singer would have to surrender their ego and listen and try out the new rep in order for the make over to be a complete success.

As I continue doing auditions, I realize that when you are doing the mainstage audition circuit, most of the voices are pretty good and it boils down to what a singer sings and how well they sing it. My early journey of discovering the right rep was not so easy. Often one “expert” would say this and another “expert” that and it all sounded very confusing. Thank goodness for the voice teacher and coach who knew my voice, but I still felt like I hadn’t unearthed what it was I did best (and could make me competitive.) That was until I found those five arias that I felt that I could sing at anytime of the day, anywhere and even if I felt less than perfect. I tried on many operatic arias, before finding the ones that fit.

While I would never place myself in the category of an “expert,” I think it’s always wise not to sing things that show what you can’t do versus what you can do. Why give the people listening the chance to notice that you don’t do the traditional float of a high note, that your coloratura is unclean or that you really don’t know the meaning of what you’re singing about? At the end of the day, those listening want to be dazzled. So it is our job to sing things (according to our particular vocal type and style) that give the best impression. Every aria we sing in an audition should be like our favorite outfits we wear: cute, comfortable, stylish and when people see (or hear it) they offer many complements.

We all need guidance and if we repeatedly hear that “what we are wearing” vocally isn’t suited to us, then it might be smart to go to an “expert” and get a real assessment so that when you walk into that audition, you have the best "suit" of arias. Instead of saying “Well, that wasn’t so hot.” They’ll say something to the equivalent of Stacy’s “Shut the front door!” as we show ourselves wearing our best vocal fit.

Peace,
Eric