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Acting in Plays, Singing/Choosing a legitimate audition piece

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Expert: - 10/5/2008


Question
Hello!
I'm a fifteen year old female and I need some help choosing a legitimate song for the audition for the musical my high school will be putting on this spring. I'm a soprano and I'm not too sure about how low I can go but I know that I can hit above a high C.
For the audition we are to choose a contemporary and legitimate. My contemporary piece is 'Green Finch and Linnet bird' from the Broadway production Sweeney Todd. [The Choral director at my school said that it was a bit of both but a bit more contemporary.] Though I'm still having a bit of trouble finding another piece to sing.
Oh and no one auditioning knows the musical that we will be putting on yet... So that makes choosing a piece a bit difficult for me as well. Any suggestions?
Thanks!  

Answer
Hello, Tiffany –

Thank you for a great question.

The "legitimate" song sits a few notches above the demands of most standard repertoire.  It challenges the singer's range, technique, and musicianship.  Legitimate sopranos need to maintain a legitimate High C or they will starve.  Simple.  None of my legitimate sopranos sound like the Little Mermaid.

"Green Finch and Linnet Bird" is a lovely song that requires impeccable musicianship and superb acting skills.  I agree with your teacher – the song leans toward the "contemporary" side.  That includes the discussion of the microphone.  Anyone performing the role of "Johanna" will wear a microphone.  That variety of "sound" is expected.  But a song such as "Why Do I Love You?" from SHOWBOAT was a premium role for a young soprano who didn't need a microphone and wallowed in the strength of at least her High A and then threw in a few optional higher notes that were, like, really-really beautiful and not pinched-way-up in her nose like the Little Mermaid.  No shame sitting up in the last row of the highest balcony in THOSE days.  Everyone knew the sound was better up there.  Sometimes, the show's investors would be up there during the auditions.  You have to know how to sing to convince guys like that to risk their money on you.

That same soprano would also have in her songbook: "One Kiss" from Sigmund Romberg's THE NEW MOON, "And This Is My Beloved" and "Baubles, Bangles, and Beads" from KISMET, also "Kiss Me Again" (including its introduction) from Victor Herbert's "MLLE. MODISTE".  You have to breathe starting yesterday.  And make it look easy and very desirable.

You're on your own for the contemporary.  Choose anything from 1983 until yesterday.  Sing the best soprano song from the role you would realistically be hired for – including at your school.  I would eliminate "Green Finch" from that list as well.

I am a professional singing teacher and vocal coach in San Francisco.  To book an appointment, contact me through Craig's List – http://sfbay.craigslist.org/sfc/lss/864554850.html I am also the fine arts critc for SanFranciscoSentinel.com.  All my articles and interviews provide a link to my personal e-mail.

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Acting in Plays, Singing

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Sean Martinfield

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I am a professional vocal coach in San Francisco. In addition to answers from a previous web site (Askme.com - where my "tag" was "VocalCoach") I have published over 2000 responses related to vocal training - particularly as it relates to Musical Theatre and Opera. I have 24 years of experience as Personal Trainer to singers and actors in the San Francisco Bay Area. I sang professionally for 20 years and know what it means to live the life of a musician. I can determine your voice category, i.e., Tenor, Baritone, Bass, Soprano, Mezzo-Soprano, Alto, Alto Belter, etc., and how to broaden and strengthen your range. Need an audition song for a Broadway Musical? I will give you suggestions that are appropriate to your vocal category and to requirements specified in the audition notice. I have also created a vocal methodology, "The Belter`s Method". It will enable those in Musical Theatre to practice more efficiently because it focuses on the demands of professional performers as well as to those auditioning for school and community productions, and as University and Conservatory performing arts majors. If what you want is a better voice and more control over your career moves and choices, contact me. Also, as the Editor of SanFranciscoSentinel.com, it is my privilege to review productions at the San Francisco Opera, Ballet and Symphony, as well as Broadway National Tours booked into San Francisco's Orpheum, Golden Gate and Curran Theatres. I also review works by A.C.T (the American Conservatory Theatre) and Magic Theatre. I cover select films, tributes and retrospects, and various international film festivals – particulary those booked into The City's opulent Castro Theatre – including the LGBT Frameline Festival, International Film Festival, Silent Film Festival, Jewish Film Festival, etc. For private vocal instruction, I can be contacted through SanFranciscoSentinel.com. Look under: Seán Martinfield, Sentinel Editor and Publisher.

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As a vocal coach, I work primarily with singers and actors throughout the San Francisco Bay Area. My students range from absolute beginners to working professionals, from pre-schoolers to senior citizens. The vast majority of my clients come to me through recommendation. I know how to identify any singer's vocal category, i.e., soprano, tenor, alto, baritone, etc. I know how to muscle-up every singer's vocal range and to expand it beyond conventional definitions. I have developed a vocal methodology for those who want to know how to belt, THE BELTER'S METHOD. As a singer who spent half of his career doing Bel Canto, I know that classical or Italian methodologies do not work in Standard American music. Bel Canto cannot be "adapted" to meet the needs of contemporary American music, including the demands of the Musical Theatre. There are a number of major components to my work as a vocal coach. The first is to identify the client's vocal category and to strengthen and maximize the vocal range accordingly. Then it's about teaching a reliable vocal workout that will enable the client to gain better control of their musicianship. That includes scale work to expand the vocal range and to improve placement, breath control, and diction. Then we work on material for the audition portfolio, the immediate job or assignment, a recording session, etc. My task to is to better equip singers and actors who are hoping to or relying upon their performance skills and vocal endurance to maintain a career in the Performing Arts. My clients regularly appear in cabarets and musical productions throughout the San Francisco Bay Area. Some have worked in New York and gone on National Tours. For more information, Contact me at: Broadwaybelters@yahoo.com

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San Francisco State University – BA in Theatre Arts; graduate work in Theatre, Philosophy, and Comparative Reiligion. Pacific School of Religion, Berkeley – Graduate work in Ethics

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