BRIDGING THE GAP Transitioning Vocalists from Academia to Career DMA Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Laura Michele Portune Cordell, B.A., M.M. Graduate Program in Music The Ohio State University 2011 Committee: Robin Rice, Advisor Joseph Duchi Jere Forsythe Copyright by Laura Michele Portune Cordell 2011 Abstract Each year, promising students graduate from universities with degree in hand and sights set on a career in the arts but without the necessary information to achieve this goal. In a demanding, competitive field such as vocal performance, additional preparation and knowledge can make the difference between success and missed opportunities. Bridging the Gap is intended to provide information, teach necessary skills, and act as a resource for talented students transitioning into the professional world. It draws from information learned in academia and integrates it with information necessary for a career in the music industry. By accumulating past experience, advice from professionals in the field, and common expectations, students can use this information to better prepare themselves and gain an edge for a professional career in the arts. Although intended specifically for vocal performance majors in classical voice, many of the topics in this document are applicable to other instruments or fields in the realm of music. This information can serve as a graduate level class text on preparatory career information for students entering a professional career in voice, or can be useful to an individual looking to further his/her own development. ii To my husband iii Acknowledgments Robin Rice, Advisor – Joseph Duchi, committee – Jere Forsythe, committee – Charles Klopp, committee – Sandra Stroot, defense committee – L. Arick Forrest, M.D. – Karen Peeler, Singing Health Specialization – Michael D. Trudeau, CCC-SLP – Kerrie Obert, CCC-SLP – Joseph C.Stemple – Maestro John Apeitos – Tom Bankston, Dayton Opera – Leon Natker, Lyric Opera San Diego – William Forsthoefel, CPA – Benjamin Cordell iv Vita 1976................................................................Born Dayton, Ohio 1998................................................................B.A. Music (Voice) cum laude, University of Notre Dame, South Bend, IN 1999................................................................RECIPIENT, Margaret Speaks Distinguished Singer Award, The Ohio State University 2000................................................................M.M. Vocal Performance, The Ohio State University, Columbus, OH 2002................................................................District Finalist, Metropolitan Opera National Council Awards, San Diego, CA 2002................................................................LOCAA Finalist, Lyric Opera Center, Chicago Lyric 2003................................................................Certificate of Language and Culture, L‘Università per Stranieri di Perugia, Perugia, Italy 2005................................................................Visiting Professor, University of Notre Dame v 2007................................................................Master Class, St. Mary‘s College, Notre Dame , IN 2007................................................................Master Class, University of Notre Dame 2008................................................................Adjudicator, Dayton Opera Association, Vocal Competition 2008................................................................Master Class, The Ohio State University 2008................................................................Opera Business Lecture, The Ohio State University 2009-2010 ......................................................Graduate Teaching Associate, Department of Music, The Ohio State University 2010................................................................Singing Health Specialist Certification, The Ohio State University 2010-2011 ......................................................Graduate Teaching Associate, Department of Music, The Ohio State University vi Publications Portune, Laura. ―L‘Universita di Stranieri di Perugia.‖ Classical Singer, January 2007, 52-55. Recordings Prophets of Joy, Notre Dame Folk Choir, Ave Maria Press, South Bend, IN, 1997 Broadway, Dusing, The Muse Machine, Dayton, OH, 1997 Joy on Earth, Taize Comunauté, Taize Press, Cluny, France, 1998 Animal Opera (SISTER MOUSE), Myron Fink, San Diego Opera, 2001 Fields of Study Major Field: Music Studies in Applied Voice: J. Robin Rice, D.M.A. (2009-2011) Singing Health Specialization: L. Arick Forrest, M.D., Kerrie Obert M.A., CCC-SLP, Karen Peeler, D.M.A., Michael Trudeau, Ph.D., CCC-SLP (2009-2010) Studies in Opera Directing: Peter Kozma (2009-2010) vii Table of Contents Abstract .............................................................................. Error! Bookmark not defined. Acknowledgments.............................................................................................................. iv Vita ...................................................................................................................................... v CHAPTER ONE: GETTING TO KNOW THE BUSINESS ............................................ 1 Understanding The Career .............................................................................................. 1 What It Takes .................................................................................................................. 2 Dealing With Rejection ................................................................................................... 3 Building The Repertoire .................................................................................................. 4 Familiarize Yourself With Singers .................................................................................. 5 Attend Live Performances ............................................................................................... 6 Building Relationships .................................................................................................... 7 Building Skills ................................................................................................................. 9 Empower Yourself ........................................................................................................ 10 CHAPTER TWO: EXPLORING OPPORTUNITIES...................................................... 11 Work Opportunities ....................................................................................................... 11 viii Artist Diploma (AD) Programs ................................................................................. 11 Young Artist Programs .............................................................................................. 12 Pay To Sing Programs ............................................................................................... 12 Competitions .............................................................................................................. 14 Opera Chorus ............................................................................................................. 18 Church Soloist ........................................................................................................... 19 Colleagues ................................................................................................................. 20 Finding Information ...................................................................................................... 21 Do Your Homework ...................................................................................................... 22 Be Discerning ................................................................................................................ 23 CHAPTER THREE: CHOOSING AUDITION REPERTOIRE ...................................... 24 How To Choose Appropriate Repertoire ...................................................................... 24 ‗Selling‘ A Piece: .......................................................................................................... 25 Prepare The Role, Not Just The Aria ............................................................................ 26 Building The ‗Fab Five‘ Package.................................................................................. 27 Choosing A Good Starter .............................................................................................. 28 Combination Of Repertoire ........................................................................................... 29 Starting Out................................................................................................................ 29 Big House, Small House ............................................................................................ 30 ix Crossover Repertoire ................................................................................................. 30 Competition Repertoire ............................................................................................. 30 Symphonic Repertoire ............................................................................................... 30 Must Do‘s ...................................................................................................................... 31 CHAPTER FOUR: PRACTICING EFFICIENTLY ........................................................ 32 Creating