It is time for a radical shift in
how professional opera young artist programs audition singers!
It is clear that artists of color
have been facing racism in opera. It is clear that singers who come from lesser
socio-economic backgrounds are facing financial barriers that singers who come
from money, or are privileged in other ways, do not face. It is also clear that
the Victorian legacy of requiring "letters of recommendation" places
a burden on many singers who are outside of, or cannot access, the regular power
hierarchy of academic or professional opera programs.
It is clear that the current state
of the art is not where it should be regarding finding more equitable ways to
counter these crippling issues.
These issues (and there are many
more like them) need to be examined in open spaces to keep the conversation
from hiding behind closed doors – yet another hindrance to open communication.
Systemic inequities in the field need to change, and this will take time.
However, there might be one area where change could be quickly and effectively
implemented to increase the accessibility and equity in opera: How we audition
young artists!
My Thesis: Companies should hold
blind audio auditions via a controlled YAP Tracker-type platform where the
identity of the singer is entirely withheld from the person or company holding
the auditions.
What?! Blind auditions?! But we
must see the singer to be able to cast them appropriately!
Really? Well, yes and no.
This is how my idea might would
work:
1) A singer uploads an audio file
with an identifying number that is secured by an outside platform (perhaps provided by YAP
Tracker). They also upload a separate video file of a certain number of arias,
as required by the company.
2) The company rep (or even better,
a committee) listens to the audio files (note: without knowing anything except
the ID number). Once all of the files have been downloaded and listened to, the
company then picks a certain % of files to move forward on, based solely on the
sound of the singer's voice. I already hear the chorus of lamentations: “But
opera is more than singing.” Yes, of course it is. I'm a stage director. I get
that. But let me tell you -- you can HEAR quite a lot of acting choices in the
voice. You can HEAR connection to text. Just listen to any great singer and you
can see with your ears. (I've blogged about seeing with your ears and hearing
with your eyes before, so this should not be a surprise to anyone who knows my
writing, or has sat in a masterclass with me.)
THEN -- This next "round"
of auditions moves to video. Again, just ID numbers. No CV, no bio, no agent information.
3) The company then decides who
will be granted live auditions. After selecting, the company gets the info -
any CVs, bios, or letters of rec (although I believe that these are truly a remnant
of colonial tradition to keep privilege within the power hierarchy and should
be tossed aside as soon as possible!)
This way, the selection of singers
for a live audition has been given a much better hand in bringing all singers -
the wealthy, the privileged, the disadvantaged, the poor, to a much more leveled
field. At least initially. For the first round, just like in professional
orchestra auditions, there would be no bias against or for singers based on
their race, no discrimination against disabled singers, no preference given for
singers from a certain pedigree of voice studio or conservatory, no preference
given for singers who have spent money on prestigious (and expensive)
pay-to-sing summer programs. The field would be leveled a lot more than the
current state of YAP auditions.
More ideas:
4) For the live audition, companies
would provide pianists (unless a singer wants to bring their own, which should
be an okay thing still).
5) No application fees. No audition
fees. Companies need to create a business plan for human resourcing. Make this
part of the budget. Make the work load of listening to auditions part of a
staff's load. Yes, many companies don’t have young artist programs – especially
here in Canada. Yet even very small companies in the states have YA programs.
You don’t have to start big, maybe one or two. Look to communities like Fargo
and see what they’ve done. Look at smaller companies throughout the states and
see their innovations with young artist programming – from Memphis to Omaha. YA
Programs can become a vital component of a business plan, but potential young
artists shouldn’t have to shoulder the burden of a company looking for its
employees.
6) If a company can't find the
money for live auditions, they should consider virtual auditions. Most
companies looking to cast into YA programs for 2021 will be holding virtual
auditions this fall. If it's okay now, why not later?
7) Companies should consider
holding more local auditions to look for local talent. Local talent is
WONDERFUL. There are great singers in Toronto who have sung at Opéra de
Montreal but who have never sung on the COC stage (and vice-versa). It's time
to think about nurturing local singers to build their careers and experiences -
not just in choruses, but in small roles, outreach contracts, and on the
mainstage. Local audiences LOVE to know their singers. Do audiences really care who is being
flown in from who-knows-where to sing a Frasquita in a production of Carmen?
But if they are local -- what a story AND you have them there year-round! Put
them on your stage in other roles, build them an audience with your audiences!
Florida Grand Opera did this with one of their Young Artists (Leah Partridge).
She started out in their young artist program and moved through the ranks,
eventually singing numerous lead roles in many, many productions. She sold
tickets in Miami because audiences knew her (the marketing director actually documented
her fan base).
8) Problems with some of these
ideas? I’m sure there are a few. The glaring one might be access to tech to
create good audio and video recordings. There are solutions. If a singer is at
a school, they should have access to loaned cameras and access to online
software for editing. They should also have access to spaces in which to
record. Perhaps companies themselves could create funding for singers without
access to tech to help them either acquire it, or find spaces where that tech
is located. Even at the company itself, perhaps? Many singers will now also be
investing in mics due to remote learning and lessons happening due to the COVID-19
crisis. Another problem is that some voices simply do not record well - particularly voices of size. Perhaps one solution for this would be to have clear fach classifications so if a soprano submitted an aria from Tannhaüser, it could be assumed that their voice might be sizeable and perhaps needs to be heard live and in person.
SO -- If I were running an opera
company, I'd be trying out the above things. Why not try?!
I'd also be creating a Fest style
group of singers under contract who would live in the community year-round.
This small cadre of singers would perform numerous roles onstage, be given a
livable wage, be seen in educational and community outreach performances, and
would - most importantly - be given a voice at the artistic table to give their
input into everything -- from what operas should be produced, to the design elements,
to what communities should be engaged. In this way, companies could make sure IBPoC
artists would not just be represented, but be centered in the life of the opera
company. That's how change happens. These local Fest singers would also put money back into their communities, unlike many aritsts flown in, provided housing, and then when they are done they fly out taking their fees with them.
Finding talent requires an
investment. Singers have already invested tens of thousands of dollars into
nurturing their talent. Why should they also be financially burdened with the
costs of job interviews when they currently have to access so much that is
based on their own socio-economic privilege: finding those in power to write
them letters of recommendation, paying for pianists and coaches to prepare the
audition, buying an education at prestigious programs in order to find the
right pedigree of teacher or program, investing in audition wear, shoes, and
makeup (and in masterclasses about how to do all of that – helpful hint: don’t pay for those masterclasses), paying for the
pianist at the audition, paying to apply to get an audition, sometimes even
paying to help defray the cost of the audition space, or the travel/hotel for
those holding the auditions. Heck – why not create bursaries for singers to
help them pay for traveling to the company callbacks? Creating a fund for IBPOC singers would go a long way to helping balance things. COC and Opéra de Montreal
already do this for their callbacks (via their big fundraising galas that also double for their YAP finals.) Could the larger programs in the states
follow suit I wonder? I’m sure there are donors who would love to see their
money spent to discover talent where it might normally go hidden. It is time for this burden to be shifted, and
it is a great way for companies to look for new sources of funding from
patrons, foundations, and government organizations.
Those are my ideas. I obviously can't force
changes on the opera business, but I can make suggestions and get a dialogue
going. If you think this is a good idea, share it. If not, imagine what your solutions
might be and publish them!
A post-script: Over a year ago I blogged about the need to evolve auditions, i.e. the process of auditioning. Creating 15 minute "working sessions" instead of the traditional one or two aria audition. I still believe that the longer a singer gets to audition, the more they feel they have some sort of agency in the audition. Having "working sessions" is a great way to do this. Opera McGill did it a year ago for our April 2019 auditions and we loved it. Yes, it took a LOT more time to do, and it was hard sometimes, but I believe in them and can't wait to return to them once this crisis is over. Here's the link for that blog: Audition Evolution Blog
