Auditions, Competitions, & Repertoire: Build Menus That Book

drmarcreynolds

7 months ago

Why It Matters

Panels aren’t guessing; they’re verifying. The best auditions make your lane obvious, then show range without chaos. In opera, the Laffont Competition baseline: four operatic arias in two+ languages of varying styles that fit your current level. MT rooms still use 16/32-bar shorthand—translated into time (≈30–45s and ≈1:15–1:30). Competitions (NATS, Lenya) post exact rules—honor them to the letter.

The Audition Arc (Opera & MT)

Think in lanes (center strengths) and contrast (style, tempo, language, emotional temperature).

Opener (you-in-one-minute). Castable, comfortable, and story-forward from note 1.
Contrast. Flip language/tempo/style (Romantic → Contemporary; legit → pop/rock; comedy → drama).
Closer. Ring the bell, then button with control (don’t sprint past the applause).
Wild card (if asked). A color that expands you but still fits the show/season.

Build two 8-minute menus (A/B) tailored to different rooms. Time them, label cuts, rehearse transitions. Panels feel professionalism in the air gaps—how you reset, count in, and exit. (NATS and OPERA America both emphasize posted time limits and clear submission practice.)

Opera: Requirements, Repertoire, Prep

Typical asks (examples you’ll see)

Met Opera Laffont (District/Region): bring 4 operatic arias, 2+ languages, varying styles (no oratorio/MT). Rules update annually—re-check before applying.
YAPs & company auditions: they’ll list number of arias, languages, and any required choices. Read the notice like a contract.

Opera menu—example (Lyric Soprano)

Menu A (Romantic center):

“Je veux vivre” (Gounod) — Opener 1:30
“Deh vieni, non tardar” (Mozart) — Contrast 2:30
“Ach, ich fühl’s” (Mozart) — Closer 3:00
Contemporary aria (Wild card) — 1:00

Menu B (Contemporary center): Invert: start with new-music showpiece, then flip to Mozart/Bel canto, close with the steal.

Rep list (separate doc)

Keep a Rep List PDF (same header as your résumé) with 4–6 current arias, languages, and composers. Bring two marked scores for the pianist if live. (Opera America materials standardize the “separate rep list” convention.)

Musical Theatre: Book-Building & Cuts

Your MT book (minimum viable)

Two “openers”: center-lane up-tempo and ballad.
Two “contrasts”: style/era flip (Golden Age legit + contemporary mix/belt).
Two “variable” slots: show-specific or skill showpiece (comic patter, high mix, pop/rock).

Cuts (go by time, not measure-math)

16-bar ≈ 30–45s; 32-bar ≈ 1:15–1:30. Lead with lyric hook and narrative turn, not just high notes. Backstage and major coaches echo this timing guidance.

MT menu—example (Bari/Tenor)

Menu A (Golden Age forward):

“Younger Than Springtime” (16-bar, 0:35) → Opener
“Waving Through a Window” (32-bar, 1:20) → Contrast
“Something’s Coming” (cut, 1:15) → Closer
Pop/Rock 00s (0:45) → Wild card (if asked)

Menu B (Contemporary center): Start with pop/rock or Pasek & Paul, then contrast with Golden Age legit.

Competitions (Know the Rule Sheet)

NATS (National Student Auditions): divisions with strict time limits and prescribed number/style of selections; you choose the first piece, judges may select the rest. Download the current regs.
Lotte Lenya Competition (Kurt Weill): four selections spanning Weill, Golden Age, contemporary MT/opera/operetta; total video ≤ 15 minutes (2025 app). It’s designed for singing actors—plan an arc.

Self-Tapes & Remote Auditions (Opera + MT)

When you can’t be in the room, the frame is the room.

Checklist (from OPERA America’s Remote Audition Guidelines):

Framing: chest-up, landscape, stable camera.
Light: key light from front/45°, neutral background.
Audio: clean gain staging; room or close mic; tasteful reverb if any.
Titles/Labels: follow the company’s requested format (YouTube/Vimeo/Drive/YAP Tracker); post unlisted links with clear file names.
Attire: simple, honest; the voice/story do the talking.

MT self-tapes: treat like an audition cut—hook early, keep the slate brief, eye line level with camera. (Backstage has an updated self-tape technical guide.)

Paper Goods & Logistics (Don’t Get Dinked)

Headshot + one-page résumé (stapled back-to-back for in-person MT; opera often electronic).
Scores: pianist copies cleanly marked; tempo and cuts written; count-in ready.
Shoes & silence: quiet soles, no jewelry noise, phone off.
Timeline: arrive early; breathe; first 10 seconds set the story.

Directors’ Corner (for Stage Directors)

You “audition” with packets and reels: 5–8 minutes of scene captures (or paper portfolio) + a one-page process brief (“What problem did you solve? How did the room run?”). For opera AD/DA posts and fellowships, companies reference OPERA America’s remote-audition norms for video submissions—mirror that quality bar.

Common Mistakes (And Easy Fixes)

Over-long cuts. Time by seconds; build to a button inside 0:30/1:15.
“Any song works.” No—fit the room (house, season, style).
Dead air. Rehearse transitions: how you hand music, count in, and reset.
Rule violations. One missed requirement = auto-ding (see NATS/Lenya rule sheets).
Tech slop (remote). Follow OPERA America’s framing/audio basics.

Pro Tips

Buttons book. End where the room wants to clap, then stop.
One idea per cut. Story beat, not a medley.
Carry an A/B menu. If panel asks, “Something lighter/darker?”—you pivot without panic.
Document the data. Track which opener gets more “May we hear…?” requests; update menus monthly.

Assignments (Ship This Week)

Build two 8-minute menus (A/B). Label Opener / Contrast / Closer / Wild card; mark cuts and tempi. Film each menu straight-through.
Audit your MT cuts. Ensure you have 16-bar (~0:30–0:45) and 32-bar (~1:15–1:30) versions ready that tell a complete beat.
Remote-ready. Record one self-tape to OPERA America specs; name files clearly; upload unlisted links.
Competition calendar. Pick one (NATS/Lenya/local). Put deadlines on the calendar; draft the set list; rehearse with a coach.

References & Further Reading (Topic 5)

Opera requirements & guidance

The Metropolitan Opera Laffont Competition — “Are You Ready?” (repertoire overview): https://www.metopera.org/about/auditions/competition/apply-to-audition2/are-you-ready/
Laffont Competition — Application/Eligibility: https://www.metopera.org/competitionapp
OPERA America — Remote Audition Guidelines (PDF): https://www.operaamerica.org/media/br5jsqfz/remoteauditionsoa.pdf
OPERA America — Recording Resources for Virtual Auditions: https://www.operaamerica.org/industry-resources/2020/202006/recording-resources-for-virtual-auditions/

Competitions

NATS — National Student Auditions (2025–26 regulations PDF linked on page): https://www.nats.org/national_student_auditions.html (Regs PDF: https://www.nats.org/_Library/NSA_Files/2025-26_NSA_Full_Regulations.pdf)
Kurt Weill Foundation — Lotte Lenya Competition Guidelines: https://www.kwf.org/lotte-lenya-competition/contestant-resources/guidelines/ and 2025 application (video ≤ 15 min): https://thekurtweillfoundationformusic.submittable.com/submit/304170/2025-lotte-lenya-competition-application

Musical Theatre cuts & practice

Backstage — “Key Musical Theater Terms to Know Before Your Audition” (16/32-bar timing): https://www.backstage.com/magazine/article/must-know-musical-theater-audition-terms-5719/
Backstage — “How to Choose an Audition Song” (timed cuts advice): https://www.backstage.com/magazine/article/pick-song-material-musical-theater-auditions-4203/
Backstage — “How to Make a Perfect Self-Tape”: https://www.backstage.com/magazine/article/guide-perfect-self-tape-1758/

Examples & notices

Met Opera Laffont Competition (overview): https://www.metopera.org/about/auditions/competition/
Opera Theatre of Saint Louis — YAP audition notice linking to OA remote guidelines: https://opera-stl.org/about-us/work-with-us/job-posting-gerdine-young-artist-program-singer-auditions/