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Acting in Plays, Singing/Les Miserables
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Hello! My name is Elizabeth, I am a first soprano and am thirteen years old, although I look almost sixteen. I am 5'6", with dirty blonde hair and hazel eyes. This Febuary I want to audition for Cosette in Les Miserables School Edition at a local community theater. I have never worked there before, have never seen any productions, and do not know too much on the director or casting. Nonetheless, I can't resist! They asked for an uptempo and a ballad to sing, and also said to sing a song from the show if you are auditioning for a lead. I want to sing "A Heart Full of Love", but I can't think of an uptempo. Do you think "I Could Have Danced All Night" would be acceptable? The songs are very alike in range, tone, and character, so I'm doubting whether it is a good decision. What do you think? Should I switch songs? What to?
Also, my little sister Marie is auditioning for Young Cosette XD. She's eleven, 5'3"ish, brunette and adorable. She wants to sing Castle on a Cloud, which I think sounds very good for her voice, but she's in the same predicament I am in: what about the uptempo? She's a very funny person, and can display a cute, childish character well. She would be adorable singing something from "You're a Good Man, Charlie Brown", such as Little Known facts or My New Philosophy, but do you think that's too off-character for Young Cosette?
Thank you so much!
Elizabeth
Hi, Elizabeth
Thank you for the question.
"A Heart Full of Love" is definitely the role of a lyric soprano. The range sits between F4 and Bb-5, i.e., an octave and a major fourth. Many lyric sopranos could also sing the role of "Eliza" in MY FAIR LADY. But I would not recommend "I Could Have Danced All Night" as your up-tempo. It may be the choice of a whole lot of other sopranos standing in line ahead of you.
Given your lack of experience, but appreciating your determination you want to make a good showing as a Soprano. That is what you'll be remembered for, especially for the show coming up after LES MISERABLES. If it were my theatre company, I may have already asked a number of sopranos to audition or have one I'm going to cast no matter who shows up.
Consider "Ten Minutes Ago" from CINDERELLA by Rodgers and Hammerstein. Sing it in the key of C Major, perhaps B-flat. Go to this web site:
http://www.musicnotes.com/sheetmusic/scorch.asp?ppn=SC0148489&
You will see the first page of the song printed in G Major (one sharp). Notice the tool bar above the title. Click on the transpose icon, indicated as 2 flats. A window opens that reads "Perfect 4th (5 half-steps). That's what you want. Click "OK". You will then see the song printed out in the key of C. If you have it performance-ready that day, sing High G at the end of the song on the first syllable of "a--gain". Keep the tempo moving, don't dawdle. Also consider "It's A Most Unusual Day". Again, keep it moving, don't sing the introduction.
Whatever you choose to sing, remember that "Cosette" is a sexually attractive ingenue, not a schoolgirl.
As for "Young Cosette" NO to anything from CHARLIE BROWN. In the middle of the French Revolution, no one is concerned about cute and adorable.
"Castle on a Cloud" ranges from A3 C5. For the optional up-tempo, consider "It's Only A Paper Moon". Go to the same web site. The URL is:
http://www.musicnotes.com/sheetmusic/mtdFPE.asp?ppn=MN0051790_D4
Transpose the song down to Eb Major.
I am a vocal coach to working singers in the San Francisco Bay Area. I'm also the Music and Theatre critic for SanFranciscoSentinel.com and Classical music reviewer for Examiner.com: http://www.examiner.com/user/4557381/articles
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Answers by Expert:
Sean Martinfield
Expertise
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: Seแn 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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