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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