A couple of big things happen today. First, my callback audition at the Met is at 3:00! JD and I met yesterday to go over everything. We decided not to put in Glitter or Zerb; they just don’t fit right now. We’ve added “Quando m’en vo” (from La Boheme) and – drum roll – have decided to start with “Du gai soleil” (Werther) instead of Nannetta. I love this aria more every time I sing it, and today I feel like starting with something a bit more upbeat. It has long lines, too, and ends with the most joyful high-A, so it shows off everything that Nannetta does, plus a bit of unaffected perkiness. I love this character, and I find myself wishing that more companies staged Werther.
Before and after the audition, though, I will be singing today’s rehearsals for Nuria! Jessica has a performance back in LA tomorrow night, so I’m singing today and tomorrow. These days are our first rehearsals with orchestra, including the Sitzprobe; usually all the “big wigs” show up for the Sitz, so it’s a great opportunity for me to show my stuff. Of course, I kept myself awake for an extra hour or so after getting to bed, going over blocking and texts in my head. I did a lot of visualization, trying to see the blocking from the inside (with Nuria’s eyes) rather than the outside (watching Nuria from the ensemble). We’ll see how well it worked at this morning’s staging rehearsal.
Today I am reminded of a conversation I had with my flatmates here in NYC the other day. We were talking about auditions, and one of them commented that she didn’t think she’d get to audition, per se, for the Big Wig at her upcoming summer program. I said, no, probably not officially, but you’ll be working with him. “That’s not the same.” Right, it’s not, but in a lot of ways, it’s better! How nervous do most people get at an audition? Are they that nervous in rehearsals or coachings? Probably (hopefully!) not. Rehearsals and coachings, even performances, are great ways to “audition” without the stress of facing a panel in an unnatural environment.
I’ve always tried to view my auditions as performances, albeit performances for a very small, very critical group of people! Now I see that all of my performances are also auditions. I suppose I’ve known that all along: I’ve gotten several gigs from people who were in the audience of another gig; I didn’t even know I was auditioning.
In these rehearsals today and tomorrow, I’ll be “auditioning” for Peter Sellars, Miguel Harth-Bedoya, Osvaldo Golijov, Dawn Upshaw, plus an array of producers from Lincoln Center and St. Luke’s Orchestra. At my audition this afternoon, I’ll be “performing” for several administrators of the Metropolitan Opera. Not a bad day’s work.