The art of auditioning

elisabeth meister

I have been a professional singer for over twenty years, and one thing I and my many hundreds of operatic colleagues have observed is that one of the most tricky things we have to negotiate in our profession is:


There are two main types of audition we do: one to get an agent, and one to get a job with an opera company.

In order to get an agent, you might start by writing round all the agents who have a great reputation for looking after their clients. But the only way you’ll get their interest is if you can invite them to a concert or show. And there’s your first problem: you don’t have any gigs in the diary to invite them to. It’s a Catch 22.
But for now, let’s say you have an agent, and they want you to go and do an audition for…

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