Auditioning for opera, from a pianist’s perspective

As the audition period for the upcoming Halifax Summer Opera Festival has begun, it is my pleasure to share some of my thoughts on auditioning as a singer from a pianist’s perspective. Having been at the piano or at the jury table for countless auditions, I find that one of the most (if not THE most) important aspect of the whole audition process is choosing the right repertoire.

Sing what best represents your voice. This seems like a very obvious statement but how many times have I sat there convinced that the singer could have made a much better impression had she or he sang something else! Bring a few selections that feel good to you and consult your teachers or coaches. If you know something from the role of the opera you are auditioning for, including it is great but if a standard Mozart, Puccini or Verdi aria suits you better, do not be scared to sing that instead. Keep in mind that judges know if they are interested from the first 30 seconds, so pick strategically what you really think is best from start to end.

Besides the quality of singing, also choose something that shows who you are as an actor. I have played many French and German operetta auditions and these usually include a spoken monologue or dialogue since there is quite a bit of text in these works. I’ll admit that opera doesn’t always involve these long spoken bits and many auditions don’t even ask for a text. However, opera is a staged art form and a beautiful voice that doesn’t bring to life their character on stage only offers half of the package. Choose an aria that lets you really dive into the character and convey clear emotions. You don’t need to run around the stage or audition space but you can do more than simply stand at the piano and sing. Give as much as you judge necessary but always remember that singing an opera is not only about singing.

Regarding the pianist playing your audition, if the company provides a pianist this pianist should be (and is probably) familiar with vocal repertoire. The operatic repertoire is huge though so it is impossible that the pianist has played every single aria out there. My advice would be to try and bring selections from the standard repertoire and also pieces that are not very demanding pianistically. Pieces from the anthologies are a pretty good bet but there are many more other “standard” pieces as well. Certain pieces like Largo al factotum, l’Air des Bijoux and the Composer’s aria are standard but since you don’t always know the pianist who is playing, it would be best to generally avoid them. Think of it this way, try to increase all the chances of a successful audition. If the pianist plays well, you are supported and will sing better. Try to make his or her life easier and your life will automatically be easier as well. I also encourage that you have a short conversation with the pianist regarding tempi before singing rather than marking metronomic numbers on the score. Panels will understand that you may have never performed with the pianist present so it is much better to have that conversation prior to starting rather then regret not having it halfway through your audition.

Auditions can be stressful so making good choices beforehand can only help. Best of luck!

Giancarlo Scalia
Pianist Composer
Collaborative pianist for Don Giovanni 2018

Advice on auditioning: 1. Picking opera audition repertoire

Stephen Bell as Orontë in Alcina (2010).

Dear terrified/intimidated/resigned/fatalistic/anxious opera singer:

Audition season is upon us once again, the time of year when a young opera singer’s fancy turns lightly to thoughts of baring oneself (artistically) in front of a panel of professional judges who stand between the singer and further experience.  It’s a time of scrambling to find an obscure audition venue, of trying to find which door is open, of warming up in a stairwell or a bathroom stall, of walking into an unfamiliar room which is either ludicrously big or uncomfortably tiny, of dealing with spaces that are either inadequately or over-enthusiastically heated. It’s a joyous, laugh-a-minute romp of performing arias with unfamiliar accompanists on no rehearsal time, of wardrobe malfunctions and the dreaded audition season sickness.

Most of all it’s a chance to pay startlingly large amounts of money to submit oneself to judgement by an increasingly blurry stream of people sitting on the other side of a table that seems to divide friends from foes. This process may be character-buliding, and it’s certainly an unavoidable part of the business but it’s not often fun. You may sometimes feel that those people judging you are positively inimical or at the very least completely uninterested in you.

Whether one is singing for a YAP, for a summer workshop, for entrance to a master’s program, for a professional gig or for a role in a university or community production, we often feel that the power is all on the other side of that table.

I’m here to say that the more you can take back that power and control those things that you can control, the more enjoyable the audition process can become.

I’m also here to say that many of us on the other side of the table are actually rooting for you like crazy.

In this series of blog posts, I’m going to share some of my thoughts about auditioning. I’ve been listening to  young singers audition for twenty or so years, both in my role as artistic director of a regional Canadian opera company and as I annually listen to and cast singers for my pay-to-sing summer opera workshop.

As always, these are my personal opinions. Comments, suggestions, other points of view are very welcome, from both sides of the table.

First Step: Pick your audition repertoire

This is number one for many reasons, but I sometimes get the feeling that for a surprising number of young singers not enough thought goes into those aria choices. There are actually few things more important than picking the right audition arias to offer. Seriously.

Your basic goal is to be able to offer five arias which contrast in terms of style, mood, character, language and period.  (The exception to this is when you’re well-established and have a rather narrow range that fits you like a glove and from which you can build an entire career).

Eventually, as a professional singer, you’re going to have a larger raft of audition arias from which you can pick the most appropriate or current 5 (or 4 or 3 or 2) to offer at a specific audition or competition. These arias will change as your voice/Fach* changes, as you add roles to your c.v. and as you zero in on the best pieces for your voice and personality.


* Be passionately in love with every single piece you offer.

* Include some Mozart if it’s a good fit for you. That’s a big “if”. While Mozart is generally considered appropriate for young voices, his music is actually freaking hard to sing, and ruthlessly betrays every gap in our technique. I beg of you, please don’t sing “Ach, ich fühls” unless you can really do it.  If you can offer Mozart and do him justice, then go for it.

* Make sure you can sing the piece really well. I mean really well. Be careful of pieces like “Meine Sehnen” from Korngold’s Die Tote Stadt, or  “Eccomi…O quante volte” from I Capuletti — they’re hella hard to pull off well.

* Make sure that the role would be appropriate for you as a whole. You may be able to sing “Chi il bel sogno di Doretta” from La rondine but could you really sing Magda’s entire role?

* Know what you will sing first if you’re given the choice (as you often are), and make the choice count. I think it’s smart to make this first number short and fabulous, because it gives more time for a second number. Whether it’s super short or not, make sure you adore it, sing it like a boss and have coached it so thoroughly that you could sing it in your sleep.

* Have your teacher and coach approve the list. They may be able to catch something that would look odd to an auditioner.


* Sing something that’s way beyond where you are technically.  I know this is basically the same as #3 above, but it’s important enough to say twice. Yeah, you may love a certain piece, and maybe you willl be able to sing the crap out of it in a couple of years, but unless you can nail it now, don’t offer it. I will personally cut young singers some slack for developing technique, but total lack of judgement is more than a tad worrying.   The competition is fierce enough, even for pay-to-sing workshops such as the ones I cast, that you really can’t afford to make a mistake like this.

* Think you have to showcase only unusual or rarely-heard arias. Make sure you have a fair number of arias drawn from standard repertoire (unless you’re auditioning for a very specific program for cutting-edge contemporary or early music). Standard arias are the best guideposts the people listening to you can have when weighing the relative merits of different singers. Having said that, I really enjoy hearing new pieces myself, especially English language opera repertoire. Go figure.

* Pick arias from mutually-exclusive Fächer. For example, if I see a mezzo offering both Stride la vampa and Que fais-tu blanche tourterelle I’m going to question her judgement if not her sanity. (True confession, I was that mezzo once, and, no, I didn’t get the gig:) I was in transition between lyric and dramatic. Also I was stupid).  In general you want to pick a Fach for a particular audition cycle and stick with it. Don’t confuse the auditioners (we’re often a little dazed due to lack of REM sleep and too many “Deh vieni non tardars”). You don’t want to give us any reason to put a question mark next to your name.

* List any aria that you’re not totally prepared to sing that day. If you’ve got an aria that’s a real stretch for you, and you know you’re not going to be able to do it justice on a particular day, then leave it off your rep list. If you’ve got an aria on your list and you’re praying the audition panel doesn’t pick it, then maybe it shouldn’t be on your list in the first place.

Some special problems:

Help! My Fach has changed!

Okay, it can definitely be a bit freaky to find yourself totally Fached-up, but if you’re singing for a summer program or any opportunity for young singers, then the people auditioning you should understand that this happens. Take a deep breath and regroup.

First of all, you need to assemble a new set of arias that reflect your new category. If it’s been a big change, like from baritone to tenor, there’s no way around it — you’ve got to have fresh material. Depending on the program hearing you, you may be able to substitute an art song in a different key for one of your foreign language arias. If it’s a really big, important audition than you may be better off leaving it a year until you’ve polished your new repertoire.

I’m Zwischenfach. What the hell do I do?

You may have the ability to sing a wide range of roles, but you’ve got to be smart about how you market yourself. You have to make a conscious and educated decision about what arias you should offer, based on what you sing best, your vocal colour, your acting ability and what engagers are most likely to cast you as. This is an opportunity for you to show your audition panel, by your brilliant selection of audition repertoire, that you know exactly who you are and how to market yourself.  Zwischenfächer high mezzos can reasonably offer  Cherubino, Despina, Der Komponist and maybe Santuzza, for example. There are definitely high baritones who can sing some bari-tenor roles: like Eisenstein in Die Fledermaus or Danilo in The Merry Widow.  Just don’t put down choices that will confuse your auditioners.


* Fach (plural Fächer) is the German word for a cubby-hole or container and is used to describe the system of categories used in German opera casting. It’s a kind of typecasting which takes into account not only your voice, its size, colour and tessitura, but also your physical presence and acting abilities. While it’s not used in North America the way it is in the German house system, it’s still a useful way of describing our voices and choosing appropriate repertoire, which is why it’s achieved quite a bit of traction outside the German-speaking opera world.

Some reference material:

I’m sure you already know this, but the Wolf Trap Aria Frequency lists are a wonderful source of information about what arias singers have offered WTO in any given audition cycle. The Wolf Trap blog is a brilliant thing, too. Love those guys.

There’s an excellent breakdown of the Fach system with aria lists at IPA Source. Note that the aria lists are limited to the arias most often chosen by European agents and Intendanten and so leave off many common North American audition arias.

Fach Me can be a great source of role ideas for people who already know what roles fit them well and want other suggestions. It’s role-based, not aria-based and it’s a bit of a blunt instrument, but it’s fun.

We’ve also posted the modified text of a booklet I wrote a few years ago on roles for various Fächer: The Fach System of Vocal Classification

Originally published in 2013 — updated October 2017


Applications now being accepted for Toronto, Halifax, Montreal, Sackville and London

The Halifax Summer Opera Festival in Nova Scotia, Canada is preparing for its 14th season in 2018 — with main stage productions of Mozart’s Don Giovanni, Britten’s A Midsummer Night’s Dream and Monteverdi’s L’Incoronazione di Poppea.

All in-person audition dates are open for applicants now — as well as distance applications by digital upload which will stay open until all roles are cast.


LONDON, ON — Sunday November 5,
Western University, Faculty of Music, Room MB254, 1:30 pm to 6:00 pm
TORONTO, ON — Saturday November 11
, University of Toronto, Edward Johnson Building, Rm 109, 11 am to 3 pm
MONTREAL QC — Monday November 13, Opera de Montréal, Place des Arts,  5 to 7 pm
Tuesday November 14, McGill University, Wirth Opera Studio, 555 Sherbrooke Avenue West, 2 to 6 pm
SACKVILLE, NB — Wednesday November 15, 
Mount Allison University, Department of Music, 134 Main Street, Room 100, 7:30 to 9:30 pm
HALIFAX, NS — Saturday November 18, Maritime Conservatory of Performing Arts, 6199 Chebucto Road, Room `12, 2 to 5 pm.

In all cases you must arrange for your own accompanist. In Montreal, our head collaborative pianist, Giancarlo Scalia, is available both days for auditions — email him in advance at


2018 Applications live for LONDON (November 5) and DISTANCE

Our 2018 Season currently features Monteverdi’s L’Incoronazione di Poppea, Britten’s A Midsummer Night’s Dream and Mozart’s Don Giovanni.

We’re now accepting applications online for distance applications (by upload) and in person auditions in London, ON on Sunday November 5 at Western University. Other in person auditions in Canada will be announced in the next few days, and will include dates in Toronto, Montreal, Halifax, Wolfville and Sackville.

You can apply online now at our APPLICATION FORM

Learn more here about how to apply and what to sing for your distance or in person audition: HOW TO APPLY

You can learn more here about the 2018 SEASON


Distance application deadline November 26 for first round of Halifax Summer Opera Festival auditions


The deadline for distance materials for the first round of auditions is coming up — this Saturday November 26. We will accept distance applications until all roles are filled, but to be considered in the first round, on an equal basis with all the live auditions we’ve done this month, please have your materials to us on Saturday.

We accept digital submissions by file upload or file sharing or by links to content already on the web.

Don’t know what to send? Here are some guidelines: HOW TO APPLY