I mentionerd that I sat in on a few of Minnesota's young artist auditions last Saturday. It is quite educational to be on the other side of the table. Whether the singer is feeling confident, terrified, unprepared or cocky it is instantly telegraphed to the panel. You can almost always tell if they are going to be any good LONG before they open their mouth to start singing. Watching the interplay between singer and the provided pianist was also fascinating.
It has given me some food for thought about my upcoming auditions- how I want to present myself.
Speaking of auditioning, there is a certain time in our lives as singers where we find ourselves, by necessity, in the darkest of the dark, the most toxic, the dankest underbelly of the audition world: NOLA studios (cue Hammond organ glissando and spooky diminished chord).
For the unitiated, NOLA is a small little hallway in midtown with 7 or 8 studios in it, all of them bangy and loud, like you're singing in a racqetball court. The real ugliness of NOLA however is the hallway. It's sort of like a micro-mini singer version of the New York Stock Exchange. Dozens of singers crammed into it, all making (faking) nice, trying to quietly vocalize, finding a place for their coat and boots, angling for information about who else is auditioning this week, buttering up agents, and, most importantly, attempting to CRASH. That is, worm into an audition without an appointment. It happens al the time, and most panels are usually cool with it if things are otherwise running smoothly. But it can be dicey.
I'm going to attempt a NOLA crash today. I think I've maybe crashed one audition ever in my career. It's not my style and I don't like it. But today I'm throwing caution to the wind. I'll keep you posted.
My thumbs are tired. I might need to buy a wifi card.