Good point, Rick. I think it was the forum at Classical Singer that recently
(within the last month?) had comments about the Albanese Competition - seemed to
be interested only in under 30 voices, although there aren't any stated age
restrictions.
Diane
RRicciardi@S... wrote:
> I also would like to know what people do when they are not "babies" and they
> wish to pursue an operatic career. I, for one am aware of several young
> artist programs that do not have age restrictions (is that really true
> though...?) for instance, Chicago Lyric has a program without age
> restrictions. I know there are others.
>
> this is all I know...
>
> Rick
>
> > -----Original Message-----
> > From: Diane Moore [SMTP:adinca@i...]
> > Sent: Wednesday, May 03, 2000 3:15 PM
> > To: vocalist-temporary@egroups.com
> > Subject: Re: [vocalist-temporary] Met Auditions
> >
> > Isabelle, thanks very much for your observations. How very interesting
> > for
> > those of us hoping to teach rather than push good voices.
> >
> > May I propose another topic: What do the later (30 to 40) maturing voices
> > do to build a career without the Met?
> >
> > D. Moore
> > vocaltech@i...
> > N. CA
> >
> > Isabelle Bracamonte wrote:
> >
> > > Sarah,
> > >
> > > Good topic. I haven't competed in them yet, but I
> > > have gone to the Regional finals in San Francisco a
> > > couple of times.
> > >
> > > Could you share what you've observed about your
> > > friends who have won? I'm very curious to hear what
> > > happens to these winners afterward.
> > >
> > > I have a friend who won the Finals and became a Met
> > > apprentice (he was, I believe, 24). He received
> > > excellent training, mainstage performance
> > > opportunities (small parts), and is now in the process
> > > of building a career. It didn't rocket him to
> > > stardom, but it gave him polishing and a boost, so now
> > > he is singing large parts in small cities.
> > >
> > > The competition I observed this year in SF was
> > > strange. There were six or seven singers, most of
> > > whom were sopranos, and they were mostly in their
> > > mid-twenties, polished although not perfect vocally,
> > > and boring, boring, boring to listen to. There was
> > > only one voice there that had an exciting bite to it,
> > > an edge -- and she was a 22-year-old soprano, singing
> > > two fachs too big for her, with what sounded like not
> > > enough technical training or physical stage presence.
> > > She won. The judges, who took a LONG time to decide,
> > > included Runnicles (maestro for SFO) and Jonathan
> > > Friend (stage director for the Met), and someone else.
> > >
> > > The singer chooses an aria, and then the panel
> > > requests one. They almost always asked for a Mozart.
> > > Every single person was asked to sing something that
> > > showed agility.
> > >
> > > The rumor is that the Met apprenticeships take only
> > > the youngest, most precocious superstars. Early
> > > twenties is good; naturally big, early-maturing voices
> > > are good. Although I think this serves a small,
> > > promising segment of the singing population well, it
> > > unfortunately overlooks the dramatic voices, the
> > > spinto voices, the voices who fully mature in the late
> > > twenties and early thirties... in other words, the Met
> > > competition have the reputation of favoring the babies
> > > in the field. Which is great if you're a 23-year-old
> > > Violetta, but not very realistic in terms of the
> > > singing population as a whole.
> > >
> > > Just my observations. I look forward to hearing what
> > > Sarah's friends' experiences with the program were.
> > >
> > > Isabelle B.
> > >
> > > =====
> > > Isabelle Bracamonte
> > > San Francisco, CA
> > > ibracamonte@y...
> > >
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