Portal de Periódicos da CAPES

Bookshelf

2021; Routledge; Volume: 78; Issue: 3 Linguagem: Inglês

10.53830/fyfc4391

2769-4046

Debra Greschner,

Diverse Musicological Studies

Bookshelf Debra Greschner (bio) Friedlander, Claudia. The Singer's Audition and Career Handbook. Lanham, MD: Rowman & Littlefield, 2019. Paper, xiv, 235 pp., $42.00. ISBN 978-1-5381-0989-2. www.rowman.com In 2014, when Carnegie Hall announced that mezzo soprano Joyce DiDonato would present a series of master classes in that storied venue, the organizers produced blog posts entitled "The Singer's Audition Handbook" to provide prospective participants with resources for the audition process, and to offer interactive feedback on their application materials and repertoire selections. Claudia Friedlander, who is on the faculty of the Weill Music Institute, assisted in the creation of the content by soliciting advice from professionals in the opera industry. Friedlander contacted singers, conductors, coaches, teachers, publicists, photographers, recording engineers, stage managers, arts managers, directors, and educators—in short, anyone who could offer practical tutelage to aspiring singers. More than seventy professionals responded to her invitation, and their answers, as well as observations by some of the emerging artists who were selected for the ensuing master classes, are compiled in this volume. In the foreword, DiDonato underlines that the skill set required of singers is vast and varied, and there are no shortcuts around the hard work and discipline necessary for a career in singing. She exhorts singers to nurture their passion for singing because it will sustain them. To that end, applicants for the master class were asked, "Why do you sing?," and some of the responses appear in the volume. The handbook is divided into three parts. The first section, entitled "Learning the Craft," details specific skills needed for a career in singing. From the outset, Friedlander emphasizes the importance of self-assessment, and she includes a worksheet to encourage singers to make an honest evaluation of their strengths and weaknesses. Advice about specific skills are proffered by experts in the field such as pedagogues W. Stephen Smith and David Jones, who discuss vocal technique and how to select a voice teacher; coach and collaborative pianist Martin Katz, who expounds upon learning artistry and performance practice; diction specialist and coach Thomas Grubb, who addresses foreign language comprehension and diction; and Ann Baltz, founder of OperaWorks, who offers insight into acting for singers. On the topic of audition preparation and presentation, former General Director of Wolf Trap Opera Kim Pensinger Witman gives detailed information about how to dress and what to sing. Julie Baron, cofounder and managing director of YAP Tracker, offers a checklist of questions to consider before applying for programs. There is also advice on finding performance opportunities and factors to weigh when considering pay-to-sing programs. The second section discusses various forms of apprenticeship, including resident artist programs, competitions, and other performance opportunities, such as public master classes, that may provide career advancement. Collaborative pianist and coach Michael Heaston underlines the importance of self-sufficiency. Heaston, who currently serves as music director of the Houston Grand Opera Studio, writes about the singers in training programs, "we're ultimately teaching them to teach themselves." (122) Additionally, the volume presents a pragmatic overview of how to earn a living while making the transition to a full time career in music, and offers examples of contemporary patronage, such as crowdfunding and other sources of financial assistance for research and training in the form of grants. The final section of the book, "Going Pro," addresses facets of the job of an opera singer, from contract negotiation to career choices. Singers learn what to expect in production, from rehearsal scheduling to performance venues. Brian August, stage manager for the Atlanta Opera and the Des Moines Metro Opera, offers detailed advice to singers as they begin work on a new production. Photographer Daniel Welch discusses branding and marketing. A chapter devoted to the topic of management explains how to self-manage and when to pursue management. Josh Shaw, director of the Pacific Opera Project, shares the perspective of the companies who audition [End Page 413] and hire singers, and delineates criteria used for casting. This final section also encompasses advice from singers who created unique career niches; it echoes guidance offered by DiDonato in the foreword to the book. She urges singers to follow their...