Category: opera

Changes

Published on by Nathalie DoucetLeave a comment
In my new office/studio at Michigan Opera Theatre

Since my last blog post back in September, so much has happened. It has been a busy time and one of making decisions and putting plans in motion which is why the blog posts have been very sparse in the last little while, but I finally have some time to write again to update on what has been going on!

After twelve years in the Netherlands, I have decided (along with my husband and two dogs) to leave Amsterdam to change our life and career trajectories. I have accepted the position of Head of Music at Michigan Opera Theatre (MOT) in Detroit. I will also be collaborating in the creation of a Resident Artist Training Program. It is not a complete career change; I am just moving back into an opera house after some time spent in the academic world. I had a pretty active professional life outside of my regular work pre-pandemic, so this change is not a complete 180. It is more like a change in focus.

I have been in Detroit since October 20th, and it has been go, go, go! An exciting time for me starting in this company as they are in a historical transitional growth. I feel privileged to arrive at this time!

Michigan Opera Theatre

Detroit Opera House (DOH)

For my readers who may not be familiar with this house, Michigan Opera Theatre is the principal opera company in Michigan. MOT began as the educational outreach arm, Overture to Opera (OTO), of the Detroit Grand Opera Association, responsible for the Metropolitan Opera’s visits to Detroit. In 1963, MOT’s Founder and General Director, David DiChiera, took over the program in its third year. “Overture to Opera” officially became Michigan Opera Theatre in 1971 after establishing a board of trustees, signifying its transformation into a professional opera company. The company became known for its casting, which often featured a blend of established artists and young-up-and-coming American opera singers from a diversity of backgrounds.This tradition continues to this day with MOT’s exciting leadership: Wayne Brown, Yuval Sharon and Christine Goerke. Check out the website to learn more: https://michiganopera.org

Michigan Opera Theatre is “the premier multi-disciplined producer and presenter for opera, musical theatre, and dance in the Great Lakes Region. Based in the city of Detroit, the organization engages artists of national and international stature for stellar main stage and outreach performances and provides compelling cultural enrichment programs for the diverse audiences and communities that it serves, making it one of Detroit’s pillars of arts and culture.”

Okay, so…

Such a move may seem out of the blue for those of you who have been following my career and my life in Europe. The truth is, I had been contemplating this for quite some time. Our stay in The Netherlands was never meant to last forever. We just ended up staying a little longer than intended; I was comfortable, my husband was comfortable, and we had security and a routine. However, when the pandemic started, it became clear that we wanted to head back to North America. I lost my mother in September of 2020, and I could not get to my family and could not say my farewell to her. This traumatic event caused me to think about my future and what I wanted to do with it. It was time for a change. I started by updating my CV…the rest has led me to this point.

Since the short time I have been in Detroit, I have already been allowed the chance to stretch my musical and administrative muscles, which excites and stimulates me. I love taking risks, learning new skills, and facing challenges. My new colleagues are incredibly welcoming, and I am always pleasantly surprised at the friendliness of the people in Michigan. People in the street are just saying hello and asking how I am doing…strangers…just being friendly! I am taken aback by it, and at the same time, I love this way of co-existing (I had missed this as well).

At the Metropolitan Opera for the first time in many years, and this time through the stage door.

Last week I enjoyed traveling with my colleagues to New York City for work. It was so wonderful to be in that city again after such a long time, and next week I get to spend a week in Chicago to spend time with one of my oldest and dearest friends, and it wouldn’t be a holiday for this workaholic without some meetings, so that will happen too! As you can see, I am keeping busy! I was worried that being out of Europe would make traveling difficult, but I am so happy to be near friends and family, and Detroit is a great location to travel from!

What About Greece?

The Faculty of Musical Horizons Conservatory in Athens Greece lead by voice teacher, Don Marrazzo

I am still passionate about singing in French and French repertoire. Many of you may have noticed an announcement that I will be teaching French Diction at the Musical Horizon’s Conservatory (MHC) in Athens Greece. This post was always meant to bee an “online” appointment. Through the magic of technology, I will work with the wonderful students in Athens with the click of the mouse. One of the finest voice teachers I know, Don Marrazzo, is the new Head of Vocal Studies at MHC. He is building a program and has put together a faculty of amazing artists. Naturally, when he asked me to join, I did not miss a beat and replied a resounding “YES” because I know whatever he is doing will be of the highest standard and excellence. I only hope that I will be able to go in-person someday for an in-person residency!

What About The Blog?

Not to worry, the blog will continue, and you will soon be finding more diction tips as well as advice and tips when you need it! I need some time to adjust to my new surroundings and responsibilities, and I am also waiting for my husband and pups to join me on this beautiful adventure sometime in December. Keep an eye on this space for the next post!

It feels invigorating to be creating and learning. I am incredibly happy to be on this side of the pond, and when I miss Europe, the airport is right there!

Tip for today: Chase your dreams, take risks. Life is too short not to experience some form of happiness every single day!

Creating Your Social Media Brand as an Emerging Artist

Published on by Nathalie Doucet3 Comments

Social media is a big part of our lives. I would not say that I am an expert at navigating social media platforms, but I have been responsible for content for a few organizations and for my own professional use. With everyone – including colleagues and potential employers – now owning some form of social media account, how can you ensure that you effectively build your professional network and engage in exciting discussions while maintaining appropriate professional behavior?

Whatever you put on your social media accounts is a direct reflection of you – so, it is good to know how to use it strategically and responsibly. Technology is impacting the arts in much the same way it is affecting our daily lives. It is in a constant state of flux, and the adoption of multiple platforms is the driving force in marketing trends and opera performance practices. Many cultural fields that may not have traditionally engaged in technology use are now adopting and embracing it to reach, engage, and attract audiences. This fact has never been so evident than during this pandemic when social media is almost the only connection artists, schools and companies have with their audiences. Artists are caught between two worlds: A hundreds-of-years-old art form and technologically advanced platforms.

As a young emerging artist, what should you be putting out into the world? What is appropriate content? You may already have accounts, and a firm grasp of how to put yourself out there, but here are a few suggestions of how you may want to look at building your Social Media presence:

Creating a Digital Persona

Step 1: Develop your “Brand” (“branding” describes the process of creating a recognizable name or image attached to your work)

  1. Who are you? What makes you unique?What do you do?
  2. What do you want to highlight about yourself? What makes you stand out?
  3. Create a digital portfolio of your work. (Start with what you have and build on it.)
  4. A professional headshot you can use for all platfroms including your website
  5. Video(s) of a performance(s): It is important that you only post recordings which show you in the best possible light because everyone is watching. Make sure to regularly replace them with current content.
  6. Photos of yourself in action in opera productions; concerts; etc

Step 2: Research: Look around and draw inspiration from what you see.

  1. How are other performers in the arts utilizing Social Media?
  2. Whose profile is interesting and why? Analyze their techniques and what draws you to their content.
  3. What can you take as inspiration from these accounts without becoming an exact copy?
  4. Which technology platform(s) will give you access to the audience you want to engage?
  5. Watch tutorials on how to use the different platforms. Choose platforms that are interesting to you.
  6. Start with one platform and build your brand.

Step 3: Start Using Social Media

  1. Start small: choose one platform and create your account.
    • Include interesting posts and information: Save photos of your cute pets and your culinary skills for your private account. You will want to look at your professional profile as a business card-what you put out into your professional network.
    • Keep your message/content focused on a clear subject. If you are a singer, you want to be seen as a singer.
    • Numbers will increase in time: Don’t worry about how many followers you have. This takes time, so be patient!
  2. Make sure that your Brand always drives your social media presence.
    • Have an identifiable name. Choose a name that is related to your field (Many singers use their full name and voice type)
    • Each account you use should represent your brand; if possible, use the same name and photos on all your accounts.
  3. Think about the feel and look of your account
    • Use the same banner or profile images (make it easy to tell which performer is attached to your account)
    • Use a similar account name which also builds brand recognition.
    • As your account becomes more advanced, you may wish to create an email address for professional correspondence. It is a good idea to set this up initially – even if you will not be using it right away – as it enables you to create an account that matches your brand name.
    • Link accounts. This way, your audience can find you on multiple platforms. You can also encourage responses on various media platforms and engage with multiple audience groups.
    • Keep information up-to-date on all of your accounts. Refresh clips regularly as your voice grows and you become more professional.

Step 4: Keep Track of New Trends

  1. Don’t get complacent – review your numbers and decide which responses matter most to you overall.
  2. Keep track of new technology and explore new social media trends and concepts. Not every trend fits everyone, but it is good to stay informed.
  3. Regularly post fresh and engaging content but be careful not to over-post as this can make your audience uncomfortable, and eventually, they may end up unfollowing you. Posting for the sake of posting is not how you keep your content fresh.
  4. Be yourself. The things that make you unique are the things that make you stand out from the rest of the “noise” online.

Pitfalls of Social Media

The significant amount of data available via social media platforms makes it very easy for the public to develop a perception (positive and/or negative!) about a singer based solely on their digital content. Therefore, you should decide which aspects of your life you would like to share on social media and which elements to keep private. Filtering your message before posting it is of the utmost importance. Social media can influence your standing with an employer and potentially affect your present and/or future employment status. Professionalism in posted content and online interaction is essential and helps the singer retain and build a positive reputation.

A Simple Rule to Follow: Never post anything online that is damaging or negative regarding a production; performance; director; conductor; administrative staff; faculty; fellow singer; costume worn in a performance; etc. An opera company may not discuss the consequences of a negative post with you. However, posts of this nature can lead to professional disaster(s) for future seasons.

Social Media Platforms Currently in Popular Use

Facebook

It is a good idea to set up a professional page to keep private and professional posts separate. You can still post professional content on your private page, but I would discourage photos of a personal nature on your professional profile.

  • Suggested frequency of use: post content 1-2 times per week or on special occasions (concerts, events, or announcements)
  • Types of posts: Articles, photos, concert announcements
  • Goal: These posts show up on your contact’s newsfeed. Ask yourself: what would you want to see from a performer as you are scrolling through your feed? In other words, what do your followers want to see vs. what you may want to post
  • Profile: Your two photos (profile and cover) should immediately tell followers about you or your story. Ensure that the photos are related to your profession (i.e., a headshot and a photo of a performance) to let followers know what to expect should they decide to “like” your page.

Instagram

  • Suggested frequency: Every 24-48 hours or periodically
  • Types of posts: This is the visual diary of your artistic journey. Keep captions short and hashtags relevant to what is in the photo (people swipe through their feed much faster on Instagram).
  • Goal: Visually represent an emotion or an important moment in your journey. Stay loyal to your brand.
  • Instagram stories and reels: These are a more spontaneous version of your feed. Even though the stories vanish after 24 hours, be responsible and only post things that cannot come back to haunt you. The screenshot function exists, and nobody is safe from it and remember…everyone is watching!
  • Tips: IG takeovers generate more followers and can be fun. Generally, a company or an organization invites you to do a takeover as a form of promotion, so it is good that you become familiar with this medium.

Twitter

  • Suggested frequency: There is no real limit on the frequency of posting on Twitter. The platform was designed for prolific posting.
  • Types of posts: Text-focused, but also great for sharing articles and other links
  • Goal: Quick shoutouts to other artists, articles, or thoughts about your art. Mentions (@) and hashtags (#) are a huge part of building a Twitter audience.

YouTube

  • Suggested frequency: 1-3/month
  • Types of posts: This is your platform to showcase/share your performances. Your presence here is the quickest way for people to get to hear what you do.
  • Goal: High-quality videos that show you in the best possible light.
  • Profile: Create a YouTube channel with a nice photo and good content.
  • Tips: The titles of your videos let people know what they will be viewing. List your name and other vital information, for example, your pianist, your ensemble, the date of the recording.
  • Use extreme care in choosing your material. Regularly delete videos that do not portray you in your most current state or vocal and artistic development.

Be mindful of what you are posting on these platforms. The most important thing is to be true to yourself. You want to show your online professional personality, but you don’t want people to fail to recognize you when they meet you in person. Here are a few of my what-NOT-to-post tips:

  1. Copying others: Be inspired by other accounts-remain true to yourself, and do not copy other accounts. You don’t have to recreate yourself for social media, and it should not feel like a chore to create your content.
  2. Don’t post anything overly calculated: Unnatural poses and setups stick out like a sore thumb and are not your most authentic voice.
  3. Repetitiveness: Captions like “best cast ever!” get old when you use it in each and every post.
  4. Negativity: Refrain from venting about your problems on your professional feed.
  5. Consent: If you post about others or have other people in your photo and/or video, don’t post unless you get consent from the other individuals involved. That is just common courtesy.
  6. Negative or hateful comments: If you are getting these kinds of comments, congratulations, you have arrived! It is a sign of success, and the more visible you are, the more people take it upon themselves to tell you what they think. The best course of action as a young emerging singer is not to engage or separate yourself from them by blocking them if it gets too heavy.

The amount of time and effort devoted to creating a well-executed digital persona also impacts its success level. The most engaging online content consists of genuine observations, photographs of performances, and experiences that provide the audience with a real connection to the artist.

As we embrace and use Social Media and all technological advances in the arts, it is crucial to keep in mind that it will be accessible to everyone and they will all have an opinion. Content that is personalized and genuine stands out from the online “noise” generated by millions of users. Keeping a narrow and focused message format is vital to attracting people to your accounts. There is a fine line between posting content that is genuinely engaging and posting content for content’s sake. The adage of “quality over quantity” will serve you well as you work to develop a strategic and effective professional social media presence!

What is Your Definition of Success?

Published on by Nathalie DoucetLeave a comment

What is success to you? We know what setbacks are, we have all had them. They are a part of being human and an important part of any worthwhile process, but why is it so difficult for us to define, or identify success? As musicians, we strive for perfection even with the full knowledge that perfection is not something realistically attainable in this field. There is no right or wrong, for that kind of absolute result, you have to turn to other disciplines. In music, sometimes the beauty is found or created through imperfection and setbacks.

Is success something that defines your happiness? Of course, we need some form of success as a motivator in life, I believe we are wired this way. What does success in your professional life look like? What does success in your personal life look like? Is being “famous” your idea of success, or is it making a good living doing what you love, feeling fulfilled and leading a meaningful life? There are no right or wrong answers to these questions. It is all about self-reflection.

One of the aspects of succeeding is planning for setbacks and learning to identify them as your path to improvement and eventually achieving your idea of success, whatever that may mean to you.

Pitfalls of Perfectionism:

As I mentioned above, I think musicians have a deep desire to play or sing perfectly, without flaws or imperfections. One of the driving forces pushing us towards perfectionism is listening to studio recordings. They almost always sound flawless. Having been involved in recordings myself, I can tell you that there is so much which can be done digitally to fix even the tiniest imperfection. Even if one note is wrong in one bar, this can be spliced and replaced quite easily. This is normal, and it is part of the recording process. These recordings make for an exciting listening experience, but should not be used as the bar against which you measure yourself. This is when perfectionism becomes harmful to your process. I prefer to listen to live recordings made in front of an audience which show a true representation of what it is like to hear something being done in a performance.

This being said, just going for “good enough” does not lead you to reach the full extent of your potential. Striving for excellence can inspire greater achievements as opposed to perfectionism which is untouchable and never good enough. Seeking perfection and never reaching it can destroy your motivation and have psychological effects on your performance.

The following is a list of things I try to focus on to help me through setbacks or to help me reach my goals.

Realistic Goals:

Setting realistic goals is an integral part of any process. I often talk to my students in terms of the “short game” and “long game” Your short game goal should be achievable within weeks. Let’s say you have a very long phrase to sing. Your short term goal would be to try to do it with a few strategic breaths all the while doing it beautifully. The long game goal, which may happen in 2 months, 6 months, or a year, is to do the phrase in question in one breath. Making smarter goals for yourself will help keep you motivated and when you achieve them, they will give you a reason to be proud, and chances to succeed will grow. Many goals we set for ourselves end up as failures because they are unrealistic and we don’t give ourselves enough time to reach them. So, yes, try to get to the ultimate goal, but do it in stages with challenging and attainable goals in the interim.

Setbacks:

There is no such thing as a straight line to success. Setbacks are a huge part of the process. We learn from them, and we become stronger because of them. As you embark on your journey, accept that you will have setbacks -probably many of them. Permit yourself to fail. The only way forward is to work through these setbacks, and to not let them deter you from your ultimate goals. Maybe you sang an audition and you didn’t get the job or you received negative feedback. All you can do is learn from this, ask yourself what is constructive in the experience and what will help you reach your goals. Brush yourself off and get back to work. If you have chosen to be a singer, you have to be aware that you have chosen a highly competitive field where criticism is a big part of your everyday life. Setbacks are guaranteed. What is in your control is how you choose to react to the setback.

Goals attained?

If you have attained your goals, playing the short or long game, evaluate and ask yourself why did you achieve them, what was the formula? Sometimes this is hard to pinpoint but worth analyzing the results. This type of self-assessment can help you in setting more goals in the future. As you would do when you complete any project, write a list of what was successful, and what could be improved on in other projects. Celebrate the successes and learn from the setbacks.

You are your own success story:

Success is a personal choice and looking at it as such instead of measuring it against other’s successes, or an unrealistic idea of what success should be will help you find your path. Learn what success means to you. Does it mean a Fest contract in an opera house? Does it mean singing in a professional chorus? Giving voice lessons? Working in an academic function? A change in perspective about your idea of success can lead to greater opportunities for you, and more importantly happiness and a meaningful life. Be willing to evolve, adapt, and change your goals and your ideas of success as you go. As we evolve as people, so do our goals and our idea of what makes us happy. You may have a five-year plan set up for yourself, but many things can happen between year one and year five!

As the saying goes: “Success isn’t final and failure isn’t fatal”. It is how you choose to move forward that counts. The important thing in life is to be happy and fulfilled. As a musician, the peer pressure of being “the best” and getting a lot of work and attention can skew our perception of what success means to us. Remember that failure and setbacks are keys to your success.

A Plan To Help You Effectively Learn Music

Published on by Nathalie DoucetLeave a comment

Your voice teacher just sent you your repertoire list. Is there a better feeling? Who doesn’t love cracking open a new score? You are tempted to just start singing it or digging around YouTube for a million different versions to listen to. But what would happen if you doen’t do that just yet? Try these following steps and see if you learn more effectively!

Step 1: Get a score

There are several places where you can procure a score.

1. If you are a student, you just can go to the library and check out the score. If the library does not have it, they will often order it for you.

2. There are online resources like IMSLP, which is free, but beware, some of the editions there are not the best ones and have many mistakes, or they not legible, or in a completely different language, so if you do download from IMSLP, always check your score with a good edition to make note of any mistakes or differences. However, in a pinch, it is a great resource.

3. If you can afford it, buy your score! Start building your musical library. By buying a score every once in a while, you will see how fast your library will grow and you will have it forever.

Step 2: Translate

So you have your score, the next step is to grab a pencil and your preferred dictionary, this can be an actual book or an online dictionary (When I say “dictionary” I don’t mean that you should find an online translation. There is a lot to be said for looking up each word. It is time-consuming but we tend to connect more to the text this way), and you start making your translation of the text. Remember, the tasks that you take the most time completing are usually the ones that are good for you, so try not to cut too many corners.

There are two types of translations:

  • Word-for-word translation or literal translation: this will be the one you will want to work with. This is a translation of a text done by translating each word separately, without looking at how the words are used together in a phrase or sentence. This way, you know the meaning of the word you are singing in real-time and not the general meaning of the text.
  • Poetic translation: This is a translation that is used to sing in another language other than the original language. It is grammatically accurate and it flows but beware, the words do not align with the words in the original text. For this, only the literal translation works. The translation that you find in opera scores (see below) are poetic translations made to fit the musical phrases.
  • Phonetic transcription: Made with the International Phonetic Alphabet it sifts out the letters which are not sounded and shows you exactly which sounds you need to be singing. You want to be adding both the literal translation and the phonetic transcription into your score, not in a separate document.

This is what your score would look like after doing this:

Step 3:

Once you know your translations, start speaking the text in rhythm. No need to be singing just yet, so resist the urge! When you are singing in foreign languages, it is important to remember that your mouth and tongue are not used to making all the sounds you are asking them to make. By practicing the text in rhythm, you will have a much easier time when you get to the part where you add the melody. You can learn the melody without text, but only when the text and rhythm are flowing should you put it all together. Tip: When speaking the text in rhythm, use your supported speaking voice.

Step 4:

It is time to put it all together, start by doing everything slowly, and don’t try to do too much too quickly. This is where you have to practice patience. It will be tempting to just start singing it. Try to refrain from doing this just yet. Take the difficult passages and work on them first. I often advise my singers to start something from the end and work backward because this will feel like you are working faster. We all tend to start practicing at the beginning of a piece when we open the first page, but what often happens is that we end our practice session before we get to the end.

Try to alternate starting points:

  • Day 1 start at the end of the piece
  • Day 2: start at the beginning
  • Day 3: Start in the middle

This way when you get to the parts you know, it feels like you are learning quite quickly.

Step 5:

Bring it to your voice lesson to work on it technically. You have done all the nitty-gritty work of learning the nuts and bolts of the piece in question, now it is time to get your technique involved. Take it to your voice teacher first and they will go through the piece with you and help you with how to technically work on the problem areas, breath management, and vowel placement. As the weeks go on, keep bringing it back to your voice teacher to add more layers to the work you are doing, colors, phrasing, and interpretation.

Step 6:

Try it with piano by bringing it to your coach. They will also work on the musical phrasing, the diction, the tempo and help you figure out where to breathe as well as discussing the intention of the text and the music. The coach will also help fix any rhythmical problems with which you may be struggling.

Step 7:

Maybe now that you have made your own opinion of the piece you are preparing, you can start listening to different versions of it on recording to get inspiration, to see how others interpret the music. I had not mentioned listening to it first, because it is more likely to be your own if you don’t have a preconceived idea of what the piece should sound like. The words that make me a bit concerned in a coaching session are: “…but on the recording…” It is not uncommon for young singers to come into the studio making the same errors that they have heard so many times on their favorite recording of the piece. If it is not an error, it can be just an interpretive choice of an established, much older artist that the younger singer is just not ready to do yet.

Step 8:

You are ready to memorize. Everyone has different methods of doing this. To some, memorization comes easy, for to others, and effort. Find the way that works best for you.

  1. Memorize the text: You can do this by writing it down without looking. Make it a daily exercise. I also recommend memorizing the spoken text without the music, or the rhythm, work on it as a monologue
  2. Rote repetition: Take a phrase and do it until you can repeat it perfectly three times in a row. If you make a mistake at the end of the third time through, start again for the first time.
  3. Repeat out of context: When you feel that the memorization is working, try to recite the text, or sing the song while doing another task like washing dishes, or making dinner.
  4. Bring it to your coach: Take it to your coaching and close the score. It is a safe place to try. Ask your coach to prompt you when needed, or just to stop if you go blank and let you remember the forgotten word or phrase.

Step 9:

You are ready to perform the piece or bring it to your first staging rehearsal to receive even more information. You have worked all of it out, you know your words, your diction, and the character of the selection. If you have done all of these steps you have done everything you can do to have a solid performance.

Step 10:

Be proud of your accomplishment, even if you have a memory slip, or you make a mistake. These things happen and are forgivable. Your journey is a long one, so try not to focus on the few things that went wrong and look at all the many things that did go right!

You may be thinking that this is a lot to go through to learn an aria, a song, or a role, but in truth, shouldn’t everything you want to do at the highest level possible take this much time? Why rush it? Learning something very well will save you a lot of re-learning in the future. Keep in mind that some steps won’t be as time-consuming as you think, and once you get used to this process, it will go by quicker than you think and the music you learn will stick! The deliberate process always yields the best results.

What Are the Takeways of Singing in a Masterclass

Published on by Nathalie DoucetLeave a comment

Series: Frequently Asked Questions-Part 1

I have reached out on the social media platforms for singers to ask me their burning questions. From these, I will create the “Frequently Asked Questions” series. If any of you have any questions, feel free to send me a message and maybe they will appear in a future post!

Question: “Should I apply to sing in masterclasses? What can I expect?” -Anonymous Soprano

What is a Masterclass, and why take part in one?

In the world of music, we love masterclasses! A masterclass is essentially a class given to advanced students of a particular discipline by an expert of that discipline while fellow students or an audience observes. The main difference between a class and the masterclass is how it is set-up. It is a cross between giving/taking a lesson and performing. In a singing masterclass, the student will typically perform an aria or a song, and then the master will share advice on how to sing the aria or song.

When the masterclass is open to a general audience, the master can give more “general-public friendly” advice to the singer. The goal is to simultaneously entertain an audience who is made up of fans of the master and singing aficionados as well as give the singer nuggets of information that they can take with them. A private masterclass given at educational institutions, with students in the audience is less about the “show” and more about the work.

There are several reasons singers choose to participate in a masterclass.

  1. You are a fan of the singer/coach/director/conductor giving the class: You admire their work, their career and, you identify with them on an organic level. You genuinely want to learn from them.
  2. Networking: Although this should not be the main reason to participate in a masterclass, it is a significant consideration. A high profile masterclass can put you in a spotlight, suddenly singing for a vast audience that may include future employers. Beware: If the masterclass performance goes well, that is great, but if it goes badly, it just happened in front of that same audience. Nota bene: These days, masterclasses can be streamed online or filmed and distributed.
  3. It is something singers like to put on their résumé under the title “Masterclasses”: To be quite honest, when I read a résumé, I am not entirely interested in your masterclass experience, so I don’t consider this section too much.
  4. Requirement: You are asked to sing in the class by your studio program or your institution

If you don’t want to sing in a masterclass, or maybe you are just not ready yet to be selected, attending it can be just as rewarding if not more because you don’t have to cope with the pressure of performing and you can absorb all the information. As an auditor, think of doing the following:

  1. Bring a notebook and write down notes, advice from the master and points that can help you in your journey.
  2. Learn repertoire, note the pieces performed, maybe even find repertoire you aspire to sing.
  3. Let the atmosphere inspire you and leave the class motivated.
  4. Connect with like-minded people.

How to prepare to sing in a masterclass

After being chosen and deciding that you want to sing in a masterclass, you should consider the following to be adequately prepared. Remember that although you are there to learn, you also want to do everything you can to show yourself in the best possible light.

  1. Choose repertoire you know well: Polish your selection and make sure you have had a lot of experience singing it. Being in a masterclass situation can sometimes throw you off. You don’t want the extra pressure of singing an underprepared piece.
  2. Know your translation: Be capable of fluently translating the text starting at any given point of the piece.
  3. Be prepared to stop at any time. The master will (hopefully) stop you often. Make sure that even if you are stopped after every two bars, it doesn’t throw you off.
  4. Be prepared to take criticism: This is very important. Although masterclasses are meant to be a learning environment, this does not mean you will only get positive feedback from the master. Be prepared to take this criticism gracefully. Be open to try new things suggested by the master, and do it all with a smile even when you disagree.
  5. Don’t expect to retain all of what you have done in your 20-minute session. Although you will hold on to some tips and information, many of the new concepts that worked in the moment, might not work again unless you apply it long term with a teacher. They will be in a file stored away in your brain, and perhaps they will pop out of nowhere when you are ready for them in the future.
  6. Most important: Already have a solid grasp on your vocal technique. While the master teacher gives their pointers and advice, the expectation is that you can produce a change quite quickly without completely unraveling, and this can only be achieved, if your technique is solid enough to try new concepts.

Things that can happen in a masterclass

  1. While singing in a masterclass you may have the lesson of your life; the master gets you to sing as you have never sung before. In 20 minutes, they say all the things that get you to make the most wonderful sounds you have ever made. Afterward, you take this to your teacher, and you are not able to reproduce the sounds you made before. The reason for this is simple enough: the concepts introduced to you in a 20-minute session with a master need to be followed-up weekly to integrate it into your vocal technique. In the class, the master is helping you along, coaching you through the concept, but unless this is followed-up long-term, it will probably not stick. If your regular teacher is attending the masterclass, they can help you translate this concept into your current technical journey.
  2. The master may tell you that you are not the voice type you present yourself to be, maybe not directly, but a statement like: “Are you sure you are a mezzo-soprano?” or “I think you are potentially a dramatic soprano voice” and this raises many questions for you. Just because a master says this, does not mean you should run out and change your fach. They may be right, but you should discuss it with your voice teacher and your coach to see what they say about this. They are your team, they see you every week, and they know your voice inside and out. They will guide you through this. While in the masterclass, accept these statements without too much comment (the last thing you want to do is start a discussion because it will eat into your allocated time) and then speak with your trusted team afterward.
  3. Although masterclasses are generally positive and very worthwhile experiences, the master teacher may be very demanding, and they can seem impatient. It is important to keep your composure at all times. Years ago, I played for a masterclass where the master teacher was not particularly interested in one of the voices. He was very hard on the student and it did not yield good results-in fact-we were all uncomfortable. The singer, however, never lost his composure and gained the admiration of the audience.

What you can expect to take away from a Masterclass:

I often give masterclasses and I have also played in hundreds of them. They can be a celebration where singers and singer friendly people come together to explore new things:

  1. Nuggets of valuable information: You will retain many of the concepts presented to you, such as stylistic advice, diction advice, and technical tips. This information from people at the top of their field will be with you forever! I suggest making notes immediately after the class so that you don’t forget what was said. Nota bene: recording is sometimes prohibited, so always ask the organizers if you may record the session.
  2. An unforgettable experience: Meeting and singing for someone you respect is a surreal experience. It can feel both wonderful and crazy. You may catch yourself thinking: “I can’t believe I am singing for [insert name]” the whole time.
  3. A performance opportunity: This is simple enough. In any masterclass situation, you get to perform in front of an audience.
  4. Inspiration and motivation: If the master teacher is good, you will feel inspired. They will bring out things in your singing and artistry. It will then motivate you to work on them. After inspiring masterclasses, the students run to a practice room to continue the work.

All conservatories, universities, and summer programs have some form of masterclass series. Even in this present time of the global pandemic, Masterclasses survive online, and it is even easier to get top-level people to give the classes. An online experience can be just as informative and exciting as it is in person.

It is important to connect with people at the top of their profession such as elite singers, teachers, coaches, directors and conductors. You will learn so much by singing in this kind of situation about where you are in your current journey. You will also learn by auditing a masterclass about how you will handle it when you participate in a masterclass in the future. The reward is what you make of the experience!

Gambling With Your Repertoire Choices: Is it worth the risk?

Published on by Nathalie DoucetLeave a comment

One of the biggest dilemmas a young singer faces is the dreaded aria list! What should you be keeping in mind when preparing to audition? Is there a strategy? When deciding what repertoire to bring to an audition, you must always be realistic: sing what you sing well! If you are not certain that a specific piece suits your voice, or that you can sing it well under ANY circumstances (i.e. not having the time or a place to warm up; you’re feeling a little under the weather; having a pianist who doesn’t know the piece; etc) then leave it off of your list. The most important thing is to show yourself in the best possible light.


When you sing/work on your aria list with your coach and voice teacher you can trust their opinion on what suits your voice best. They can certainly advise you on your fach (your specific voice type) and keeping the chosen repertoire within the guidelines of the fach. More importantly, however, you should propose repertoire for your list on the basis that you can sing it well. You may have an ideal list for your fach, and it may look great on paper – however, make sure that you can also sing every single aria that you present extremely well. Also, sing through the roles to know that if a panel casts you based on a certain aria, to be sure that the role is well within your capabilities.

Depending on where you are auditioning, you may be asked to present a list of between 3 – 5 arias in different languages and styles. The arias should also be diversified in terms of showing everything your voice can do at that particular time in your development. I would advise against including any “work-in-progress” arias as these tend to always sound unfinished and depending on a panel’s imagination (or lack of imagination in many cases) may not always work in your favor. Remember, you are applying for a job, show your potential employer what you can do at this moment.

Normally, in an audition situation, the panel allows you to choose which aria you would like to sing first – however, that is not always the case. In my experiences both playing for auditions and sitting on audition panels, I have seen instances in which the singer announced at the start of his/her audition: “I would like to begin with [enter aria title]”, only to have the audition jury say: “Actually, could you please start with this other aria instead?”

There are various reasons for an audition panel to do this: you could be the 20th soprano of the day who wants to start her audition with “Adieu, notre petite table” from Massenet’s Manon and the audition panel just can’t bear to hear one more performance of it; or, they might prefer to hear you sing something else from your list because they will be producing/casting the opera from which that specific aria comes and they would like to know if you could be a contender for a role in their production; or, the aria you chose to start with is exceedingly long and the audition panel is simply pressed for time. And, the list of reasons goes on…

Fortunately, this does not occur that frequently, and, audition panels usually let you sing through your first-choice aria out of courtesy. Generally, audition panels know quite quickly-sometimes within the first few bars of your first selection- if they are interested in you or not so don’t be alarmed if you are only asked to sing one aria. Sometimes, if time permits, they will ask to hear a second aria. If you sing only one aria, this does not mean that you did not sing well, so don’t despair! I know many singers who have gotten a job by singing only one aria in their audition. It is not a good idea to try and over-analyze their choices, doing this will just give you far too much anxiety. Just as I have seen singers get the role from one aria, I have seen singers not get the role after singing two or more.

If you did not necessarily sing well in your first aria, and the panel decides to hear a second aria, it is certainly possible to turn your audition around – so, always do your best and leave your mistakes in the past! If you get the opportunity to sing three arias, this is generally a good sign: they liked you and were intrigued by what you had on your list and what you could do vocally and artistically. However, this does not necessarily mean you have landed a job – it can simply mean that they wanted to hear your voice in different musical settings, or to see if you would become a bit more comfortable the more you sang.

IS THERE A STRATEGY?

No, there isn’t. You can always try to guess what the audition panel will want to hear, and many singers try to do this but don’t count on your guessing to be 100% accurate. Strategizing your audition will not help you feel more comfortable, it will just add to this already stressful and unnatural situation. Your best plan is to be excellent in all aspects of your singing and preparation.


1. The Gamble

So, you have your arias (in the following scenario, three) picked out, and you think to yourself: “Well, if I start with this aria which is fast and in Italian, they will most likely want to hear that other one as a second selection because it is slow and in French. My third aria is also Italian and fast, they will most definitely not want to hear it.” This is a dangerous approach. It is like gambling: You place your bet, sometimes you win, but most often, you lose!

Storytime:

I was once in an audition in which a singer put an aria on their list that they did not know from memory. I think we would all agree that this was not a good plan; however, the singer assumed that the audition panel would never ask for that aria, since it was similar in style and tempo to the aria the singer had chosen to sing first. Well, the audition panel asked for the unprepared aria and the singer was caught redhanded. This is not a position you want to be in. Needless to say, the singer did not get the job.

2.Playing the “long aria” card:


If you decide to put an aria on your list that is extremely long, for example, Zerbinetta’s aria; Anne Trulove’s aria “No Word from Tom”, or Tatyana’s Letter Scene, please be prepared to sing it ALL. It is not wise to put long arias on your list and assume that the audition panel won’t ask for the entire piece simply because it is long. They can ask for a part of the aria, or indeed, the full aria.

Storytime:

I was playing for auditions and as I was rehearsing with one of the singers I noticed that she had Zerbinetta’s full aria (which is at least 13 minutes) on her list. I suggested that we just start each section to briefly set tempi, to which she replied that she did not think they would ask for it all. Surprised by this, I said: “Well…you never know, so be prepared!”. We then just started each section of the aria. Sure enough, much to her surprise, the panel asked for the full aria. Luckily, she did an amazing job with it; however, it could have gone the other way.

Sometimes, auditions are running on time – or, the audition panel has extra time because of cancellations and they would enjoy hearing these longer arias. These arias are wonderful and show a great deal.

If you only want to sing one part of the aria, you should make note of that on
the handed in repertoire list by writing down the text of exactly from which point in the aria you would like to start.

For example:
Zerbinetta’s Aria “So war es mit pagliazzo” Ariadne auf Naxos R. Strauss

This way the panel knows that you would like to perform from this point in the aria until the end, and not the full aria.


3. Sing as if you have all the time in the world!

If the full title of the aria is on your list and the audition panel asks for it, my advice is just to sing it and let them decide if/when to stop you. If they ask to hear your very long Händel aria, I would not advise you to say the following: “It is quite long, do you want to hear all of it or should I just start at the B section?” Of course, you are trying to be helpful by doing this, but trust me, if you are auditioning in reputable houses, the chances are very good that the audition panel knows the length of your repertoire, so, please let them make that decision themselves. Assume that they want to hear you sing the full aria and sing like you have all the time in the world. If they decide to stop you, you will know it. I have seen singers start an aria, and just wondering after every phrase: “Is this where they will stop me?” At times, even if the panel says that they will stop you, they often don’t, take it as a compliment, they are enjoying your performance!

What about video auditions?

We all have to do video auditions, but especially now during the current global pandemic. When making pre-recorded video auditions or live auditions via Zoom, I would advise that the same advice applies as above. However, with a recording, there is a bit more control. You can re-take if things don’t go so well, you can fix your hair if it looks strange, or you can just scrap it all and do it on another day if you are having a bad singing day!

Aria choices for your video recordings

When recording, I don’t recommend choosing excessively long arias. Singing on a recording requires very different energy and mind-set than doing a live audition. When singing live, we know that once it is out, there is no going back, but the knowledge that we can go back on a recording makes it very difficult to be happy with what we have done. Not to mention, the more takes you have to do, the less fresh your voice will feel and sound. Choose arias that show all of your voice, but that are shorter.

For example:

Mimì’s act III aria “Donde lieta uscì” From Puccini’s La bohème

This aria is short and has a lot of “bang for your buck”, as they say. It has legato lines, a great opportunity to be expressive, and some beautiful high notes. Best of all, it is short, clocking at approximately a little over 3 minutes, so even if you have to do several takes during a recording session, it is not going to exhaust you too much.

Another important point to remember is that a panel listening to your video audition is probably not listening to the full arias. When you are auditioning live, you have a captive audience. Sure, they can be writing down comments or looking in their files while you are singing, but they are in the room and you will finish at least one aria. With video submissions, panels are at times left on their own to listen to hundreds of video recordings, or sometimes they do it as a group, either way, in all my experiences doing this, it is common practice to listen to big sections, but not necessarily the full aria. They know the spots they want to hear, and they generally click around the take to get to the good stuff.

5.Aria order

Just as in a live audition, order your selections on your video audition file in the order of what was the best take of the best aria. Always put your best foot forward. The first notes a panel hears will determine a lot. Even if all your takes were amazing, you know there is always one that you like better than the others. If you are not sure, or if you are the type of singer who just cannot listen to themselves, ask your team. Your voice teacher and your coach will be honest with you and you trust them not to let you send something out which does not show you at your best.

In Conclusion

Auditioning is almost an art form, the more you do it, the better you become, or at the very least, the better you learn to cope with it. The people on the other side of the table, or at their screens, all want the same thing: to be moved by your singing. Don’t try to strategize and cut corners, do your best, trust yourself and your team to help you along! Remember that you are selling yourself as a product – believe in your product, and they will too!

Preparing Your Scores For Auditions

Published on by Nathalie Doucet1 Comment

Do’s and Don’ts

As I regularly work with young singers going out on their first auditions, I get the recurring question on how to collaborate with the variable and unknown entity: the pianist. In an audition situation, many things are out of your control, like the acoustics, the travel mishaps, the quality of the pianist who is playing for your audition, or your health. Some things are entirely in your control like, your preparation, being organized, and how you treat the pianist who is playing your audition. In this post, I have assembled a list of a few Do’s and Don’ts to help your pianist to help you!

First, in this day and age, it is a terrific idea to have scanned copies of your arias in your computer, ready to go at any moment. Sometimes, the pianist will receive the list of  repertoire from the organization in advance of your audition (sometimes not). If they have, they may look at the repertoire and see what they will be required to play at the audition. Some pianists are so busy that they just simply don’t have time to look at the music, but many pianists like to prepare when they have the opportunity to do so. Even if they know the arias, they sometimes like to get their fingers to remember them the night  before. So, if the organization contacts you about providing them with certain music on your  repertoire list (especially if it is non-standard), and you already have all of your repertoire scanned  into your computer and ready to be sent off to them, then you will be ahead of the game and save yourself some stress.

Some pianists have very distinct preferences when it comes to sheet music. Here are some of my own personal Do’s and Don’ts: 

  • Do tape your music into a big accordion-like document or four-ring binder (Europe): My experience here in Europe is that people arrive with these long “accordion-like” documents, the pages are taped (in order) along the seams to fold out. The pianist opens it like a book and can turn the pages, or spread out the pages if this is their preference. When I first arrived in Europe, this method was so strange to me, but I am now used to it. I have also seen, although less frequently, music put into a 4 ring binder.
  • Do use a three-ring binder  (North America): Place your pages, back to back in this binder. If you are unsure how to do any of this adequately, ask your coach, they will be happy to show you!
  • Don’t use loose pages. They are, in my opinion, very risky. I played an audition once in which the singer presented me with loose pages. He was singing a contemporary aria in Swedish, which is one of the languages I do not speak or read. The pages were not numbered.  Halfway through his audition, we were  suddenly no longer together musically and we had to stop. The pages were inverted. How  was I to know? In another instance, the singer placed a stack of loose leaf pages on my piano, and when we got to the end of the aria, at least 4 pages were missing-they were still in her bag. Additionally, loose pages can fall/blow over if there is a draft in the room. Some countries accept and prefer this “loose page” method, however, I feel it is much too risky. Whatever you can control in an audition situation (like pages staying on the piano),  you should take steps to do so!
  • Don’t use the two-ring binders that you find in Europe. The pages kind of just hang there  and the pianist ends up having to read with a crooked head. 
  • Don’t use glossy plastic page covers. They may keep your music nice and clean, but they produce a glare that makes the music impossible to read. All the pianists I know really despise these plastic page covers. 
  • Do mark your music with important markings like breaths, ritenuto, rubato, accelerando, musical cuts, and cadenzas. We are collaborators – not mind readers – so, please give us  the information we need to help us help you. 
  • Do use a copy of your music that is as clean as possible. Other than the above-mentioned  markings, We are not particularly interested in whatever analogy your voice teacher used to  get you to make the space you needed to sing a particular note. For the  audition, we just need to see the music as clearly as possible to best serve you as you audition for your job! 
  • Don’t conduct or snap your fingers to show tempo to your pianist. The best way to show your tempo is to  quietly sing to your pianist the first line of your aria with text – DON’T sing the orchestral  introduction to the pianist before you start your audition. In all my years of playing auditions, I have rarely gotten an accurate tempo from someone singing the orchestral  introduction. Singing your tempo can and should be rehearsed so that you give the most accurate tempo to your aria.
  • Do use a good edition of the reduction. Not sure? Ask your coach what he/she would  rather play from. I have also had instances where the singer brought in two different  editions and gave me the choice. Nice! Extra points!
  • Do use your 10-minute courtesy rehearsal to set tempi and not to run through entire arias. There is simply no time, and also, please save your voice for when it counts. If the  pianist wants to run through arias, make sure you can mark, or simply ask if you can do spot-checks. 
  • Don’t spring a transposition on the pianist. If you are singing an aria that is written in 440  and you want to sing it in 415, don’t expect that the provided pianist will be able to transpose at sight. Some of us can and some of us can’t. Ask the company about this way  in advance of your audition, or you can plan to provide the pianist with a transposed score. Please be aware that your provided pianist has probably been playing rehearsals and  auditions all day long, with very few breaks, and that this may be the second, third, or  fourth day in a row of auditions. If this is the case, he/she will likely be tired and less alert.  Put all possible advantages on your side: provide your pianist with as much  help/information as you can, because we are there to support you! When we are playing, we are thinking 100% about the singer – we don’t want to split my attention between the singer  and trying to read a score that is not clear or struggling with last minute transposition.
  • Do mark clearly where the introduction should start if it is very long. You can simply do this by writing “Start here” with an arrow or a star.
  • Do check to see that all piano notes are visible on the bottom, top, and sides of the pages as well as everything else (time signature, key signature, etc).
  • Do remember to be courteous, professional, and friendly because you never know what position  that pianist plays in the grand scheme of things. They may just have a say in the house’s choice of  which singers get hired! Whatever happens, remember to be gracious.

Make Haste Slowly

Published on by Nathalie DoucetLeave a comment
Make haste slowly

“Make haste slowly”

This is what my mentor and teacher, the late Dixie Ross Neill used to repeat to me when I was studying with her, but Caesar Augustus is said to have first adopted the motto: Festina Lente. Make haste, slowly. It took me a while to understand what it meant. I think that when I was a student, I was impatient and maybe a little result-driven. Imagine, back in those days, no social media or profiling trends were pushing me to show my results to the world. Fast forward to 2020, we are the age of social media, instant fame, and being discovered on big platform talent hunts. How does a young aspiring singer get to their desired result while fighting the temptation to skip steps?

I work with singers, and a big part of my work is training young singers who are more than aware of their online content. Knowing how to brand yourself, is an important skill, but the question is, are we skipping important voice building steps in the rush to get “there” faster? Some go into the process, they lay down the base for a great technique, let the voice develop, work on their languages, musicianship skills, bodywork, all of which make someone into a complete artist. Then, there are some who lack patience and are always running after results. They put in the work, but they always try to skip steps because they want to get there faster. With the latter, you can feel an actual sense of panic, which some may confuse with ambition. Skipping steps can make them feel like they are getting there faster, but the truth is, they will inevitably have to turn back and redo the steps they have skipped.

What does it mean to make haste slowly? Let me use the following metaphor: A pianist, while learning a difficult musical passage which is at a high level of technical difficulty is tempted to just play it at tempo, just do it, get it on the first try. There may be a slight chance that they get it right on the first try, but what about every time after that? What will happen to the consistency of their playing? How will they know if it was just a fluke (which it absolutely was)? They now go back, dissect the passage, play it slowly, practice with different rhythms, build up tempo, work on the fingering, and put in the necessary amount of time to learn it from start to finish. Instead of doing it instantaneously and risking that it is just a fluke, the goal now becomes not only to do it right but most importantly, to learn it so that you never do it wrong.

Building your career as a singer is a lot like that pianist working on the difficult passage. Just because you are talented, have a beautiful voice, and sometimes you get it right on the first try, does not mean that you are ready to hit the ground running. Like the pianist working on the passage above, you will want to take the time to establish the foundation on which you build your voice, and that will, in turn help you achieve your artistic and professional goals in the long run. Even if it seems that everyone around you is posting concert photos or doing exciting things; stick to your lane, keep your eyes on your ultimate goal, and eventually you will pass them.

The thing to remember is that we are all learning a craft. Whether you are a pianist, a singer, or any other kind of professional. Knowing everything you can know about what you do is very important. As a young singer I suggest studying where your art comes from, listen to all the great recordings available, examine how the technique and the esthetic have developed over the years. It is a good idea to take note of different styles and conventions of the repertoire so that you can implement them in your singing, or respond to a coach or a conductor when they request them. As you are absorbing all this, also explore listening to all vocal repertoire, not just your voice type, but every voice type, other instruments, and orchestral works. Educate yourself on what you need to know so that once you get out there, you don’t have a lack of knowledge. All this information will most definitely influence your singing and artistry.

As you are doing all of this, be curious and insatiable when it comes to your vocal technique. Whether you are a singer, a pianist, a violinist, or any other musician, technique is the absolute foundation of artistry. Without technique, it is not possible to achieve your musical goals. Imagine doing something incredibly musical: a long phrase, a triple piano on a high note, a lightning-fast coloratura passage, and making it look effortless. Now, imagine that you had the technical knowledge to do this, every-time, without fail. That is what technique means; it is a vehicle for artistic choices. How long does it take to get the technique of a high-level singer? You will probably be working on your technique for the duration of your career, as long as your voice changes with your body. Many of my friends and colleagues with elite careers, still seak help from their voice teachers regularly. When you are a young singer, you lay down the foundation of your technique which hopefully will take you throughout your career. The foundation is the most important part, of course, just think of what happens to a house when the foundation starts failing: it crumbles.

During the spring semester, we were pushed into a different situation in all training programs and education due to Covid-19. We had to go online. It was not ideal, and nobody wanted this, however, I do feel there were good lessons to be learned if you were willing to look for them. The singers that I have heard or seen since have made remarkable vocal progress which in turn has made them much better artists. The focused and meticulous work they did during this time has given them more vocal freedom. They were also free from deadlines and pressures of getting to the result which became somewhat less important for a while. Consequently, they improved quicker than they thought they would. It has been a dreadful time for everyone, but what we can draw from these positive points is that process means progress. In the age of “get there fast”, the part where we slow down to figure things out, is something that most of us have forgotten how to do in this age of “high-speed”. It may take time to get your result, and that is OK. In the words of Caesar Augustus or the great coach and pianist Dixie Ross Neill, “Make haste slowly” and you will get to your result better, stronger, and yes, faster! The quickest way to accomplish something is to proceed deliberately.

Choosing Your Vocal Coach-Pianist

Published on by Nathalie Doucet1 Comment

Singers, maybe more than anyone else in the performing arts, are bombarded with people giving them their opinion on the way they sing. Everyone seems to have something to say, and they regularly voice their opinion to the singer whether or not the singers wants to hear it. Because singers are not technically able to hear themselves when they sing, it is easy for them to fall into the trap of believing all these opinions. All day long, singers are put in situations where they are set up to receive feedback. The conductor gives them comments, the stage director and/or the stage manager gives them comments, the diction coach gives them comments, the coach gives them comments, the teacher gives them comments, and when they perform, the audience and the critics give them comments. Those are a lot of COMMENTS. This is just a normal day in the life of a singer. It is important for singers to surround themselves with a team of people they trust completely to help them weed through all of the comments and all the outside “noise”. A good coach is a great help in figuring out which feedback is useful.

The coach

What is a pianist-coach? A pianist-coach is a skilled pianist who specializes in vocal coaching. Mostly we know them as coach, opera coach, vocal coach or collaborative pianist. You see your coach regularly, you trust them, you let them see you in the beginning of your process and they stay with you until you are ready to step onto the stage.

There are different types of pianists who specialize in working with singers. You can collaborate musically with a pianist by being both equal partners, you share your musical vision, prepare recitals and recordings together. This is when when the pianist plays the role of a “collaborator” or a “recital partner”. There are also “rehearsal pianists” who you call when you want to run through repertoire without much or any input. You just want to repeat things ad nauseum until you feel ready. Sometimes, a coach can play that role as well, mostly after the preparation is complete and the singer is about to start the job. A coach is not someone who will teach you your notes and rythm. There are pianists who do that, and sometimes singers do need this kind of help, but this is not a coaching, it is more like a practice session, or what is commonly called a “note-bashing” session. Most coaches do not want to do this. “Spoon-feeding” is considered a waste of resources, so don’t just show up expecting your coach to do this. If you are a singer who needs this from your session, you can kindly ask the coach first if they would agree to doing this kind of work, and if they don’t, then ask another pianist you know for a session (often younger pianists or students do this for extra earnings).

When you properly work with a true coach you can expect a more of a teacher-student type of relationship. They provide you with valuable feedback and information. You go to a coach when you want to prepare roles, work on recital repertoire in detail, work on language and text, work on your audition preparation, get to the finer points of character and the music.

Some things to consider when choosing a coach:

  • Your relationship with your coach is an intimate one, so most importantly, find a coach that you like as a person. The work you will be doing will be intense. It demands a lot of trust from both sides. You should feel comfortable making mistakes, and they should make you feel comfortable about being corrected.
  • Find a coach who meets your skill level. If you are an experienced singer, find a coach who has been working in the field for at least the same amount of time as you have, but preferably they should have more experience.
  • When you sing repertoire which is advanced, you want your coach to be able to play it (or at least sight-read it well) and make comments on what you are doing in order for you to improve. If a coach does not know your repertoire, they should not pretend to know it. When I am confronted with unfamiliar repertoire, I am honest about it, I still work on it, but the next time I see the singer, I have learned it. If you are doing something that you suspect is unknown, giving a heads-up is a good idea.
  • A coach, should have excellent pianistic skills, they should inspire you to sing and make music, and if you are singing opera, they should be able to conjure up an orchestra from the keys! My favorite compliment is always: “You play like a full orchestra!” This does not mean loud and “bangy”. Playing “like an orchestra” is about the texture of the sound and supporting the singer fully.
  • A coach should have quite advanced language skills, they should be able to speak or at least have a firm grasp of the lyric diction in a minimum of four operatic languages: French, English, Italian and German. Their ear should be developed enough to hear even very subtle language inaccuracies.
  • Find a coach who understands style and tradition, as well as current trends in performance practice. Whether you bring bel canto, baroque, romantic or contemporary music, your coach is well versed in all of the styles in order to guide you.
  • If you are preparing a role, it is of the utmost importance that your coach is able to play the score while singing all the other parts. It does not have to be beautiful singing (trust me!) but it should be audible. If your coach can’t do this, and you have a role coming up, find one who can.
  • Your coach is not your voice teacher. A coach can support your vocal technique, but please do not go to a pianist to learn how to sing, or to get vocal technique. This is what a voice teacher is for. Confused? See this previous blog post: A Voice Teacher and a Vocal Coach-Why you need both! A good coach who has years of experience working with singers will be able to point out something that needs technical attention, and then suggest that the singer address the issue with their voice teacher.
  • When you work with a coach, they can also be your collaborative partner. If you have musical chemistry with your coach on all levels, then by all means collaborate with them on stage, too!
  • It is important that a coach treats you like a person. Yes coaches teach, but you should feel comfortable in your session, not only with the singing, but with making a contribution to the session. A good coach asks questions, wants to know what the singer’s opinion is on the music, text and character, after all, you are the one who is singing it! If you feel like your coaching is a one way street, find a coach who lets you get a word in edgewise.
  • The coach you work with makes you feel respected. They are on time and they should not cancel at the last minute (unless it is an emergency…it can happen…but not regularly) and you should do the same for them.
  • Look for a coach who has worked with great conductors, organisations, opera houses and singers. They will have first-hand knowledge of what is needed in the world in which you aspire to work. That being said, do not expect that by working with someone attached to a house, that they will get you auditions, work or any kind of exposure to where they work. When singers come to a coaching with the idea that they can get a contact, audition or a job from the coach they are working with, it is very obvious. Believe me, we spot it from a mile away.
  • Finally, the coach (or coaches) you choose to work with are accessible, you should feel like you can approach them for advice and have confidence that they will be honest with you. A coach who only tells you what you want to hear is not a coach you need. There is no time to waste and honesty will help you improve, even if it doesn’t always feel great to hear the truth. A good coach will tell you what you need to hear, not necessarily what you want to hear!

Coaching fees-How much should you be paying?

I think every coach needs to come up with a fee that represents what they think their time is worth. Other than the points mentioned above, the following can help you along as you are considering hiring a coach:

  1. Level of education and/or experience: The longer someone has been working as a coach, the more knowledge they have to share. You are basically paying for their experience and knowledge. As you record your session (always ask first if it is permitted. If not, take tons of notes!), you will be able to refer back to the session for the rest of your life. You will, in turn, most likely use the acquired information in your own teaching and get payed for it yourself in the future!
  2. Repertoire: With experience, comes a vast knowledge of repertoire. Imagine how many hours the coach in question has spent behind the piano learning repertoire over the years. There is no way they are really breaking even financially!
  3. Supply and demand: Prices can vary depending on if they are in demand. Some coaches prefer a lower fee and work with many singers, and other coaches like a higher fee and fewer singers.
  4. The bundle: Some coaches like to bundle, meaning that if you take several sessions, they will give you a lower price. You can ask if they have something like this available where you book a certain amount of coachings ahead of time.
  5. Student prices: If you study at a school, hopefully they provide a coach, if not, ask about a student fee. Most coaches won’t charge a student the same price as someone already in the profession.
  6. Online sessions: With the corona-crisis, we are now being more open to the possibility of online coaching. This means that coaches can open up their studios world wide. It is still early days, but maybe there is a different fee depending on what is offered. As the technology develops, we will see how far this can go, but it is an exciting development. It means the planet is a little smaller and you can work with people who are on another continent!

You are paying for advice and expertise and you want the best help you can get in order to do the best you can do. If it feels too expensive, then find someone that is more affordable for you. Ask around and see what the rates are. Every country, city, region has a going rate so answers will vary depending on where you are. I don’t advise haggling on the price of a session. Everyone who offers private coaching has thought long and hard about their fee and it is not customary to try and bargain.

As you go on in your professional career, you can and will work with more than one coach, you can have a list of different coaches for different aspects of what you are working on. Some coaches have specific strenghts that stand out of their vast skill set. When you are a professional singer, you will sing everywhere and have a list of coaches for all the cities where you work-a set of ears you trust everywhere you go!

Online Auditions: Embrace the Learning Curve!

Published on by Nathalie DoucetLeave a comment

Given our present situation during this global pandemic, we are now forced to look at new ways of auditioning. We can think of this in two different ways: It is unnatural, and difficult or it is an opportunity to learn and create.

I don’t know about you all, but this new world we live in has thrown me into a huge learning curve, which I have decided to embrace. Recently, many conservatories, universities as well as companies have had to move their audition process to an online format combining video and online interviews with potential candidates. It is not how anyone really wants to do an audition, but if we believe the projections, we are all in this situation for what they say will be quite a while. How do we power through and survive?

I put together this little check-list for online auditioning from my experience being involved both in doing them and watching them:

Video and sound quality

The most important part of any audition is how you sound and how you look. Just as in a live audition, there are things which are out of your control, and things that are totally in your control-actually even more so with a video recording! While making some videos with some of my singers, these are important points that we had to consider:

  1. Set up your video camera at a good distance showing your face clearly with nice lighting. It is not so important to do a full body shot. I prefer to look at your face, and see what you are doing there, so the torso is enough. Lighting can be natural and you don’t have to have all the latest gadgets. Do a test first and see if your face is well lit, not glow in the dark, but clear and warm. You want to look your best and lighting can be a great help! If you are interested you can buy a Selfie Ring Light which is quite affordable and has different light settings, but it is not necessary.
  2. Your phone video should be good enough, or your iPad or tablet. You want to make sure the sound is as good as possible, so play around with settings. The main concern is distortion in the high notes, you will want clarity of tone but no buzzing. Some phones have these settings, but some don’t. If you can’t seem to control this, I suggest using an extra audio recording device (most singers have this). Your device should have an option to upload tracks to your computer and/or tablet.
  3. Using your video program like iMovie or Movavi (Windows), you can then add the audio to video by syncing them together. I am a low tech person, so what I found helpful is that before every take someone claps their hands once, and that will serve as a starting point to start synchronizing both video and audio, then everything just falls into place.
  4. It does not have to be fancy, but try to find a nice neutral background. You don’t want to distract the people you are singing for with a lot of bookshelves, or photos in the background. Most important is that the acoustic is as good as it can be. In these times, most of us are doing this from home. I know it may be tempting to sing in your bathroom, but maybe stick to another location.
  5. Too much video editing can be distracting to a panel. If you are doing an online performance, then you can go all out, make your own choices, but for a serious audition, keep it simple so we can focus on the beautiful tone of your voice and what you are doing artistically.
  6. Try not to stare directly into the camera, it is off-putting. Just as in a live audition, too much direct eye contact with your panel can make people feel uncomfortable, the same is true on screen. Find a neutral point by looking at your camera viewer. Do a couple of test shots to see what it looks like. Give the impression that you are looking in our direction and communicating without doing a full stare-down.
  7. As is form in a live audition, it is a good idea to introduce yourself at the beginning of your clip. It gives a personal touch. However, if you prefer not to, you can just add a title to the clip in our editing program by typing the title of your selection (watch out for tipos…oops, I mean typos!) along with your name and the names of the other musicians who feature in the clip.
  8. You should pay attention to your attire just as you would for a live audition. Do a couple of test shots, ask your teacher, coach or people you trust to give an honest opinion on the colors you are wearing. Do you look washed out? Do you need more make-up….or less? Are the colors too bright?
  9. Please make sure you include the pianist or other musicians in the shot. It is considered bad form not to do so, and it just looks odd.
  10. Finally, you will want to upload your videos for schools or theaters to view onto YouTube. It is easier this way, but do not make them public unless you absolutely want to, and only if you have the agreement of the other musicians featured in the clip. Make the video unlisted. This way the link is easy to share, you just send it via email, and only the people you send it to can see the video, again be sure to add the names of all other musicians to the post and/or video description.

You got through the first round, and now you have an online interview.

So you got through the first round with your excellent video, and the school or organisation wants to speak to you in an online interwiew. Here are a few things to consider:

  1. Familiarize yourself with the platform which the school is using. This could be Teams, Skype, Whatsapp or what seems to be the most popular, Zoom. You want to be sure how the platform works in order not to have any complications on your side, so a few days before the inteview, experiment with a friend or family member. There could be delays or complications on the panel’s side, and if that happens, just patiently wait.
  2. Try not to over-dress. Wear something nice, but don’t overdo it. Think buisness-casual. You want to look professional, but not over-the-top.
  3. Be in a well lit place with a very secure and strong internet connection. Needless to say, busy cafés and such places are not a good idea. Think in the same way as when you recorded your video: natural warm lighting and show your face clearly.
  4. Be early for your appointment and ready as soon as the panel is ready for you. Just as in a live audition-never make your panel wait! Some platforms have a waiting room, which is great. You just enter and wait until you are let in by the panel.
  5. Finally, try not to be nervous, act natural and be yourself. It is a weird situation for all involved so just know that everyone is doing their best. Answer the questions to the best of your ability. Have some questions of your own ready, if you get the invitation to do so, ask one or two of them. It is important at this point that the panel has a good feeling about you as a person which will make them want to work with you in the long term. Hard to believe, but this can be achieved on screen!

What happens when you have to sing with a pre recorded track?

When restricitons don’t allow you to work in person with a pianist, you have to get creative. Some people opt for a split screen video: You make a video of yourself singing and the pianist makes a video of themselves playing and you synchronise them. There are many tutorials online showing you how to do this. Another option is to use a pre-recorded audio track and sing with it. Either way, if you are lucky enough to work with someone who wants to make a recording of the piano part for you to use, it is possible to do so and acceptable to use it for an audition. I would suggest to keep the following in mind:

  1. Have in-depth discussions with the pianist about tempo, rubato, breath as well as the meaning of the text and the mood you wish to convey. You may have to do a few drafts to make sure you have enough space to breathe. You can also try different things, experiment with singing over the phone while the pianist records with your voice in their earphones. Afterwards, you can sing with the recording of the piano for your video recording. The point is, experiment! What I remember seeing were singers struggling to get a breath while singing with pre-recorded tracks, and as a collaborative pianist, that is so hard to watch!
  2. There are apps that exist like Appcompanist, it is not free and sounds a bit rigid, but you can control rubato, tempo, breaths. You can also find some resources on Youtube, again, you have to try and see what fits best for you. I have noticed that panels are more forgiving of ensemble issues, because of the situation we are in which we find ourselves at the moment.
  3. Again, as mentionned above, always include the names of your collaborative musicians even if it is a pre-recorded track. I will say from experience, that it takes me quite a lot of work to record one track. Maybe, I am too much of a perfectionnist, but quality takes time, so if you have someone on your team who will do this with you, that is just amazing!

As singers, this is a very different and difficult situation because you need someone else to play with you in order to do your job and unfortunately in this time, this is not always possible. Auditioning online is daunting, and unnatural, but it doesn’t have to feel too rigid or difficult. Be prepared, do your homework and test it out first. Remember to show yourself at your best and don’t be afraid to try new things, you never know what is waiting for you on the other side!