What do I begin with?

Back in the throws of the audition game, I find that my experience has drastically changed from when I was a singer in my 20s. Then I was struggling to figure out what rep to sing, how to really create a character and once in the audition, what aria to start with. I was always told to sing, in no uncertain terms, what I sing best regardless of the repertoire that is being cast.

Back in late 2009, getting my audition packet together was a lot like trying to figure out which five outfits to to wear for a series of swanky parties where your social status could be made or broken by the slight nod of the fashion glitterati (I tend to go for the dramatic analogies.) I always knew that Figaro's famous opening aria Largo al factotum would figure prominently on my audition list as I felt that this aria (and the role) fit me vocally and dramatically. In addition, I always found that Figaro's ebullient entrance allowed me to focus on the character and its vocal excitement that my nerves would have to sit on the side and wait for the second piece before jumping into the game.

I usually made a pretty strong impression in that aria, but once the second piece was selected, most likely a slow aria that showed the exact opposite qualities of Figaro, I would usually fall apart (not completely, but enough to make me leave the audition wondering Whose voice was that?) Where his aria is fast, high, pretty full in sound and filled with lots of patter and personality, my other arias were mostly lyric in style, more serious and, for some reason, held a certain terror for me. More specifically, it was the onset of the first pitch that made my open throat close up and I often felt like I was barely able to phonate. Needless to say, I always hoped that my Figaro would dazzle them enough to let them forget my sloppy entrance, shallow breath and barely there acting. Most often it resulted in a disappointed look on their faces as they probably felt my defeat vibrating from within me.

After taking time away and coming back with a new attitude, sense of confidence and some experimentation, I came to realize that I had to start with the aria that scared me the most. While this seemed like a crazy idea, I knew that if I could master that aria in an audition up front, the next aria they would select-hopefully something that would show the dazzle, agility, high notes and personality-would leave them with a great impression versus disappointment. Your last note is often the one they remember the best.

Armed with a list that included Figaro's entrance aria, Dandini's aria from La Cenerentola, The French baritone national anthem "Avant de quitter ces lieux", Belcore's bel canto entrance "Come Paride vezzoso" and "E allor perche, di" sung by Silvio, the lyric baritone role from Pagliacci, I had a list that, on paper, looked like I really knew what type of baritone I was. I decided to start with Silvio's brief aria because it was short, full of line, had great high notes and was dramatic in the sense that the character is very passionate. I had performed his big duet with Nedda first as a graduate student and later as an apprentice at Des Moines Metro Opera. In both cases I found that the role challenged me both musically and dramatically. From a musical standpoint, I had to learn to master the liquid legato required while also mastering the inflection of the text so that this man's outpourings, which range from tenderness to fury were sung well. Dramatically I had an even more difficult time as I had to become very comfortable playing the "romantic" type. Actually he's more sexual that romantic and the relationship he and Nedda has runs much deeper than just sex. I always think of Silvio as the same as Nedda. Both are longing for freedom, she from her wandering life and he from his loneliness and I believe boredom. Along comes this woman who has so many things: she's passionate, sexual and in his eyes, free. It really excites him and the thought of that ending makes him afraid which manifests itself in angry outbursts and painful longing.

With so much back story, a performance history and connection to the music and character, you would think that Silvio's brief aria would set me up for any audition. It actually did the opposite. Because I had to work so hard as a young singer to master this music and character, I found that every time I opened my mouth to sing any of his music in an audition setting, a host of fears would surface and manifest itself technically. With ALL of this in my head, subconsciously, I would have a tough time getting under my body, meaning having full access to my support. I would physically collapse and not sing with a steady, supported tone causing me to work way too hard to get through this brief piece. Near the end of the aria, where he sings a climactic high note, I could finally relax and feel like I was "acting." Fail!

After a few bad experiences with Silvio, I realized that this great audition piece was not right for me. I took it off my list (along with "Avant de quitter" because I always felt that I was fighting with the right tempo and at each audition I felt as if I was spending more time trying to settle in tempo-wise and not enough actually worrying about the text, the line or the drama.) So I had two empty spots to fill.

I have always loved French operatic music and I began an extensive search for the right French aria including experimenting with Hamlet's "O vin, dissipe la tristesse", Mercutio's Queen Mab aria and arias from Manon, Iphigenie en Tauride, and "Sois immobille" from Rossini's Guillame Tell. I was looking for something that showed line, that showed the language, that had a character I could relate to and that I would be able to sing well in an audition situation. After lots of trying things out, I settled on Herod's "Vision fugitive" from Massenet's Herodiade. I am essentially a lyric baritone that has a good deal of facility so this aria didn't quite fit into my earlier package, but in some recent auditions, people have expressed an interest in hearing something a little heavier that could show the richness of my voice. I fell in love with this aria as a grad student. (It should be noted that it helped me win the Ohio State University Concerto Competition although I ended up singing "Largo al factotum" because it was something that my teacher and I felt would be the best choice to sing with the orchestra and before a live audience.) What has been fascinating is that this aria feels so good. It's recit sets my voice up very well allowing me to aim for a settled, supported sound, but also find a great character. The aria is at once lyric, nuanced, dramatic, expressive and serious and very different from my other arias. I also like that it challenges me to find different colors, apply messa di voce, sing full without pushing and show a "darker" side of my self.

With one aria left, I began thinking about how else to distinguish myself from the pack. In the last ten years, Handel has become a staple at many opera houses (most of them large regional or beyond.) I've always loved Handel since my undergad days and after hearing Norman Triegle sing Handel's Giulio Cesare and dreamed of singing this role which combined florid writing,incredible music and a fascinating personality--a budding artist's dream. I looked through the wealth of Handel arias for baritone (really bass, bass-baritone or baritone) and found "See the raging flames" from his dramatic oratorio Joshua. It had all the elements that make Handel exciting: runs, drama, story and more over, it was in English and an aria that felt like it fit well in my voice and on my list.

So now, armed with three bel canto arias (Donizetti and two Rossini), an English aria that fits in line with those and shows that I am really interested in Handel and a French piece that shows where I think my voice might be headed in a few years, I was ready to audition. But now back to the beginning question, what to begin with?

I now begin every audition with "Vision fugitive." Why? Because after starting with "Largo" for several years I came to understand that his vigor, excitement, patter and tessitura fit me very well, but singing anything lyric after that was a major challenge simply because my body, support and voice were functioning in a very "excited" place. It was extremely difficult to bring that down and sing something lyrical. With the "Vision fugitive" I am able to settle the voice, feel grounded and low, create a warm, rich sound while also adjusting to the acoustics of the audition space (anywhere from very dry to overly live). After the first few bars I can really "let go" and enjoy his obsession with this vision of Salome. It's a LOT of fun. I think it intrigues people who look at my list and wonder if I can sing something different. They usually ask for either of the Rossini arias which are a wonderful contrast and two characters I really enjoy singing. It's strange but they are easier to sing after singing something full-throated. I always try not to give too much in the French so that I can scale the voice back for the more florid stuff, but by contrast, it also does allow me to have the option to offer a fuller tone in the Rossini. People find a full sound in Rossini exciting especially if they can do the fioritura well.

Choosing audition rep is a lot like showing off your person style. What fits one day may change, what looked "odd" the other day can actually be perfect the next and often those staples that we like the best are classic pieces that seem to never go out of style. After selecting the right vocal "outfits", the singer gets to decide which first piece will dazzle, spark interest and give an honest assessment of their voice and dramatic gifts, but hopefully all five will be able to give a complete picture of the singer's talent, style and taste.

Peace,

Eric