Acting in Plays, Singing/Audition

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Question
I am a soprano and I can't find a song to sing for an audition. Nothing seems to fit my vocal range right.  I tried popular from wicked and a few songs from Rogers and Hammerstein's Cinderella but it just isn't right. Any suggestions?

Answer
Hello, Melissa –

Thank you for the question.

Throw "Popular" from Stephen Schwartz's WICKED into the shredder and don't look back.

The role of "Cinderella" does not suit a soprano.  The highest note is 4th-line D.  All my sopranos exercise to at least High D, some go higher.  None of them dream about "Cinderella" nor can they use the songs in their original keys to show off their soprano vocal chops.  However, if you're bent on singing "Ten Minutes Ago", etc. – either as an audition piece for some other show or as your spot on a concert tribute to Rodgers and Hammerstein or as a selection for your CD demo – then get the song transposed up a minor third.  Thus, your high-note becomes 5th-line F.  A day on the beach.  Nevertheless, you're singing something They all know, demonstrating something of your stuff as a soprano, and not scaring anyone with too high a note that some might lable as: "operatic".  (Oh, no!)

I want you to get these anthologies: The Singer's Musical Theatre Anthology, Soprano.
Volume 1
Volume 2
Volume 3

The links will take you to the separate volumes.  The songs are published in the same key as the original score.  They don't contain every solo or ensemble number assigned to the particular character.  Shop the same site for the Original Score after you have listened to the Original Broadway Cast recording.

What every Broadway-bound legitimate soprano must deal with is the increasing lack of quality soprano repertoire.  Blame the current crop of composers who don't know how to write for a soprano and all the producers who are afraid of women with high voices.  They used to be afraid of women with low voices.

If you hope to pay your bills with your soprano skills, then you must diversify both your repertoire and your career strategy.  Otherwise, you will starve.  The Classical World is loaded with soprano repertoire.  The well-trained and well-informed soprano can work regularly if she really wants to.  Waiting around for some musical to be produced that might have something higher than a G-flat is a waste of her gifts and her life.

I am a professional singing teacher and vocal coach in San Francisco.  When you are in the San Francisco Bay Area and want to book a coaching session, you can contact me through Craig's List – http://sfbay.craigslist.org/sfc/lss/752973810.html — and at www.SanFranciscoSentinel.com.

Take a look at my You Tubes:
Lorena Feijóo - A Look at "Giselle" with Seán Martinfield
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SAMSON & DELILAH – Meet Seán Martinfield
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I am also the fine arts critc for the San Francisco Sentinel.  Below are some links to recent articles and reviews:

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http://www.sanfranciscosentinel.com/?p=14777

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Best regards,
Seán Martinfield

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.

Experience

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

Education/Credentials
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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