Rachel Mellman, Soprano

During the 2023-2024 audition cycle, I was finishing my masters degree and decided to just dip my toe in by applying to a few summer programs. This did led me to my first in-person program audition, but, as I had expected, no program offers. It was a low pressure way to start of my auditioning journey and taught me some key lessons:

1. Plan your “Audition Package“

When I began applying to programs, I did not have a great understanding of what I video needs would be. I knew that an operatic audition package generally contained 4-5 arias covering the main languages (English, Italian, French, and German) and that it should show off different time periods and areas of vocal skill. However, while I did have a list of arias that I knew and had sung before, I didn’t have a solid list of 4-5 I would feel great bringing to any audition (In truth, I don’t think I had my basic package performance ready until after the Laffont Competition District Round forced me to have 4 pieces at the top of their game). Now, however, I have a better idea of what my package is at its most basic and what I also need to have ready to add in. To better explain, here is my audition package and the roles each piece plays for me:

• “The Transport from Holland” from Another Sunrise by Jake Heggie
  • My starter: acting heavy, English and 21st century
• “Mi tradi quell’ alma ingrata” from Don Giovanni by Mozart
  • Italian, Mozart, coloratura passages
• “Je dis” from Carmen by Bizet
  • French, high B, legato lines
• “Meine Lippen sie küssen so heiß” from Giuditta by Lehàr (when operetta is allowed)
  • German, acting heavy, legato lines, high B

These are the pieces I am ready to sing for every audition. However, although this is a complete enough package, there are a few key elements that I have notices I must add to it: musical theatre and a Puccini or Puccini-style aria. More and more often, to my inner theatre kid’s delight, opera companies and festivals are adding musicals into their seasons. As a result, I find it imperative that I have MT pieces I can include.* Additionally, I find it necessary to have a recording of a Puccini aria, what would be my 5th piece in my package if needed, given that my Italian piece would not be helpful in showing how I sing that style.

Next season, these pieces will hopefully join the rest of my package as prepared rep:

• “Somebody, Somewhere” from The Most Happy Fella by Frank Loesser
  • Golden age MT that allows me to show a little more mixing
• “Si, mi chiamano Mimì” from La Boheme by Puccini

*As someone with a lot of MT knowledge and years of picking audition songs for that rep, I don’t find it as difficult to have to record a musical theatre piece last minute, especially if it means giving them a piece from the show, however, it is part of my goal to have at least one solid, golden-age MT recording I can submit.

2. Don’t film audition videos as the deadlines come up

During this first audition season, I generally filmed videos as I needed them. As a result, I definitely missed out on programs to apply to because I didn’t have time to film something or didn’t like what I already had. Now, my goal going forward is simpler: to have my entire basic package filmed ahead of time. While I wasn’t able to execute this entirely this season, having a few videos that I always feel good about sending in has made throwing my hat in the ring for countless programs much easier.

3. When you can avoid it, don’t fit in filming days last minute

I am a planner and I want to have the time to mentally and physically prepare before I record. Even if the only time I can get with my collaborative pianist is the week the application is due, I want to know that enough in advance so that I don’t feel the time crunch.

4. Don’t try to film too much in one day

The goal with our preliminary videos is to show of our abilities in the best light possible. Given that they are filmed and not live, this means we can do multiple takes and fine tune what we present. However this is also a double edged sword. Although it is in theory great to get endless tried at the high note or that tricky run, it often means we are singing through the rep way more than we ever would normally. This can be very emotionally and physically tiring. Although some people like the 3 take rule where you get three shots and then move on, I find that stressful and, especially with the length of soprano arias, rarely find myself needing that hard stop. Rather, I want to warn against the idea of singing your entire package in one recording day. Even if you got every piece in the first take, that’s still between 4-6 pieces in a row to sing and that sounds exhausting! Instead, try scheduling multiple recording days and doing a few each time, matching up pieces that don’t use the same parts of the voice to minimize fatigue.

5. Rejections are not personal

Although this feels like the least helpful thing to say, especially when you wanted to get into a program so badly, it really is true. Opera, as with all performing arts, if a career where we here no more than yes and we rarely get to know why, if ever. After attending my first resident artist program audition this year, I had a huge revelation about rejection. Sometimes, even if there is a spot open for a soprano, you might just not be the right flavor of soprano. If the repertoire the company is considering needs a light, high voice, I am going to be at the bottom of their list of sopranos, even if they liked me, because that’s not my fach.

However, the best fix I have found for the post-rejection blues is a strong community. My absolute favorite auditions are the ones where I get to chat with super cool people, follow them on socials, and leave with a connection in the opera world I didn’t have before. Even if the audition says no, I met an awesome person and, hopefully, I’ll get to run into them again at another audition. Similarly, the Facebook group Young Artist Community Tracker (YAC Tracker) has been a big comfort. It’s a great space to ask for help, get advice, and just be a fly on the wall seeing other people in the same position as me.

As of now, my post audition process looks something like this:

• Reflect on how I felt, what I was happy with, and if there is anything I’d like to keep an eye on/bring into lessons
• Text my family that I’m done (often there’s a happy dog picture waiting for me in that group chat)
• Text my teacher that I’m done and a little vibe check

It’s short and simple, but I’ve actually found that just doing this little check in has helped me reduce how much I think about auditions after they are done.

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Now, in the middle of my first full audition cycle, I am still learning every day. I’m building out databases in Notion to keep track of my applications, my rep, and who I meet at auditions. I’m learning how to track my music-related expenses for when tax season comes around, and I’m realizing that I still have so much more to learn through each experience. If you read this, I hope you find some of my realizations and systems helpful and, if you are auditioning, toi toi toi!