Any Questions?

As part of the registration process for What To Know/What I Wish I’d Known About College AuditionsI have had people fill out an intake form asking, specifically, what burning questions they have about the college audition process. I will be compiling those questions into some organized format to posit to the panel.

Some of the questions I’ve received so far include the following (which I’ve divided into categories):

  • Repertoire
    • Is it ok to use songs outside of the originally intended gender of who the song was written for in college rep?
    • How important is it to you to choose rep that is not ‘overdone’?
    • What is on the Classical Do Not Sing list?
    • Do you have repertoire you never want to hear again ?
    • Are self-composed songs appropriate for the pop song selection?
    • What are the most over-sung audition songs for MT, CCM, and Classical?
    • If you absolutely had to choose, does it matter more if students sing songs that are relevant to their age or their range?
    • Since Music Theater encompasses so many styles of music, are singers choosing just a few to show or are they still expect to have representation from many they “auditions books” (Golden Age, 50s, 60s, rock, pop, rap, legit, belt, etc et?)
    • What is the best way to form your audition repertoire?
  • Demeanor/Dress
    • Is weight/body type a consideration for your program?
    • What is the appropriate dress code for MT/CCM programs vs. Classical?
    • In a live setting, do you want the individual to approach the panelists and shake hands?
    • How should students interact with faculty outside of and inside an audition – asking questions, advocating for their needs, etc.
  • Prescreen videos
    • What makes a prescreen really stand out?
    • What’s the strangest wildcard video you’ve received? Has a wildcard video ever changed your mind about a student?
  • The Audition Process
    • BA vs BFA MT programs– do auditions differ?
    • Flow of a typical audition
    • Tips/tricks to auditioning in person v. virtual
    • Do you think that virtual auditions will remain? Or will in-person auditions resume?
    • Did you prefer virtual auditions over live auditions?
    • For the student: What do you wish you’d known before your audition?
    • For the student (I think):How do you deal with performance anxiety and feel confident in your performances?
  • The Interview
    • For the student: What was the most shocking/strange question you were asked in the audition process? [I didn’t know this was a thing]
    • What should classical students prepare for interview questions?
    • How do I best prepare for conversations with the people behind the table?
  • Admission
    • How important is sight singing and music theory in the admissions process for MT, CCM, and Classical?
    • How are schools dealing with the over saturation of singers in the music industry? How does each school help students prepare for a market that’s in transition especially in classical music?
    • If you have three equally talented voices for one role and you have to make a final decision, what’s the one thing you look for when making your final decision
    • How do you think college acceptances are going to change since the pandemic has stolen 2 years worth of performance opportunities away from so many high schoolers? This will inevitably create a gap in their resumes and I know I for one am somewhat anxious about how to present myself after losing so much time and experience.
    • What are typical acceptance rates?
  • The Decision-Making 
    • Will the lack of a strong dance background prevent the student from getting into a musical theater program?
    • What is the truth about how valuable it is to be a triple threat? (When going into Musical Theatre)
    • What are some of the most surprising moments in an audition that helped a student stand out and ultimately get accepted?
    • Are there any big NO’s in auditioning? Dealbreakers?
    • How can you make an impression without trying too hard?
    • What makes certain auditions stand out from others?
    • And what are the true expectations of high school aged students in their auditions?

And my FAVORITE question:

Tell me about an audition that EXCITED you!

I have 21 people registered so far, and there is plenty of room for more! The sooner you register, the more likely it is that I’ll be able to include your question, especially if it’s an juicy one. You can register HERE.

So – as Dr. Pangloss asks at the end of Bernstein’s Candide – any questions? (FYI, this video is supposed to be copied to start at 4 minutes in but if it doesn’t, either advance yourself over there or enjoy the whole song, because it’s my favorite choral piece in the world anyway.)

Published by Mezzoid Voice Studio

Christine Thomas-O'Meally, a mezzo soprano and voice teacher currently based in the Baltimore-DC area, has performed everything from the motets of J.S. Bach to the melodies of Irving Berlin to the minimalism of Philip Glass. As an opera singer and actress, she has appeared with companies such as Charm City Players, Spotlighters Theatre, Chicago Opera Theater, Opera Theater of Northern Virginia, Opera North, the Washington Savoyards, In Tandem Theatre, Windfall Theater, The Young Victorian Theater of Baltimore, and Skylight Opera Theatre. She created the role of The Woman in Red in Dominick Argento’s Dream of Valentino in its world premiere with the Washington Opera and Mary Pickersgill in O'er the Ramparts at its world premiere during the Bicentennial of Battle of Baltimore at the Community College of Baltimore County. Other roles include Mrs. Paroo in Music Man, Mother Abbess in Sound of Music, Dorabella in Cosi Fan Tutte, Marcellina in Le Nozze di Figaro, both Hansel and the Witch in Hansel & Gretel, and many roles in Gilbert & Sullivan operettas. Her performance as the Housekeeper in Man of La Mancha was honored with a WATCH award nomination. Ms. Thomas-O'Meally received an M.M. in vocal performance from the Peabody Conservatory in Baltimore. She regularly attends master classes and workshops in both performance and vocal pedagogy, and is certified in all three Levels of Somatic Voicework™ The LoVetri Method. Her students have performed on national and international tours of Broadway productions, at prestigious conservatories, and in regional theater throughout the country.

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