(think: Jafar accent from Aladdin).
Ok, my thought of the day (or thoughts, as this always turns into some kind of tangent).
My auditions are usually low-stress.
I have my routine, I know how much time I need, I get ready, get there early, warm up if I haven't already, and then just sing what I sing best.
I don't think too much into it, I do sometimes offer pieces that are in the season if they are already in my rep., but pretty much I don't stress too much about it.
I do my thing and basta.
But this year for some reason I'm feeling especially comfortable in the process.
It's not like I walk in there with the "FU" attitude. Not at all.
I'm relaxed, calm, looking forward to singing my first piece, and genuinely happy when they ask for my 2nd...to sing something completely different and show other things.
Which brings me to my thought of the day. Patience. In transitions.
I see or hear a lot of singers do this (when they are asked for a piece):
Head down to signal start to the pianist, head up, pop, go.
Second piece is asked for: Yes, absolutely.
Head down, pop up, go.
I used to think I shouldn't waste the panel's time. I should be prepared quickly, as long as I have my breath under me I should "go".
But no- this time around I find that I'm realizing that a truly great performance, at an audition, can be given when I take the time to REALLY change characters in between my pieces.
If that means 10 seconds, so be it.
It feels GOOD to make that transition.
It feels like I'm not just singing an audition. I'm singing the role like I'd sing it onstage.
And that's a great feeling, when that is exactly what I'm trying to convey at an audition.
No games, no peering over at the table to see what they are reacting to, no playing TO the table. Just me and an audience imagined as I see my reflection in those side mirrors of NOLA, the back mirrors of Liderkranz, and the ring or the dead of the other venues.
It's not about the room anymore--and that's a really great thing to come to. Perhaps it comes with year number z in the business. Perhaps it comes because I'm in a zen vocal and physical and emotional state about it. Perhaps it has always been there but I've never let myself feel it before.
It's this patience and calmness about the whole process.
These next two weeks could have been the most high-stress of the season.
Bottom line is, I am looking for a job, like all of the other sopranos out there.
I'm not perfect for every company, and they are not perfect for me.
But maybe a good match can be made, and we'll both be the happier for it come 2008-2009 season.