Create a Sound Sampler that is Irresistible By Diana Hossack, Managing Director, Artistic & Audience Initiatives (Click here for printer friendly version) Artistic merit of the proposed work and creative artists is the top review criterion for all Repertoire Development Grants. Biographies and narrative description of the work are imperative to a successful application, but the most effective way to present the artistic merit of your project is through compelling audio excerpts. Panelists from the two previous grant rounds repeatedly commented that the work sample is the only way to truly measure the artistic value of a work. In this competitive field, your work sample can make or break your application. Here are things to consider when putting together audio excerpts. Select Carefully While it is mandatory when applying for a Production Grant that work samples be from the proposed work, it is also strongly encouraged for all other categories, including Partnership, Development, and Documentation grants. In cases where recordings of proposed projects do not exist or are of questionable quality, offer selections that correspond musically to the proposed project. If you are proposing a project that is a comedy, don’t offer a work sample from a requiem. If you are proposing a project with traditional orchestration, don’t showcase a work that uses electronic instrumentation. The work samples should be representational of the proposed project. Offer Variety Applicants may submit up to 20 minutes of musical samples. Applicants are encouraged to offer a variety of styles within the allotted 20 minutes. For example, provide orchestrated excerpts, vocal samples (solo and ensemble), and sections with various tempi, colors, or moods. Provide Quality Always err on the side of providing quality recordings, even if that means you can’t offer an excerpt from the proposed work. Don’t offer archival tapes if the ambient noise overpowers the musical excerpt, or if they were originally recorded in mono and have transferred poorly to digital. Finally, be sure to listen to the recording before you send it! Label Clearly Provide a table of contents that clearly explains your samples. Include company name, name of project, and names of creative artists. You should also consider providing information about orchestra and/or performer names, venue, dates of recording, etc. Provide a thorough description of the samples you are offering. For example: Create a Sound Sampler that is Irresistible By Diana Hossack, Managing Director, Artistic & Audience Initiatives • Track one: Aria sung by Rita Regatta w/piano (3’30") • Track two: Second act chorus sung by resident chorus w/piano (4’50") • Track three: Excerpt of overture performed by university orchestra (2’00")—showcases lyrical style • Track four: Excerpt from overture—same performance (3’00")—showcases bombastic rhythmic section If using a CD, provide track numbers. If using a cassette or video tape, provide counter numbers. Include score excerpts that correspond with the audio excerpts. Panelists are better able to evaluate the music when they are able to connect both visually and aurally. Attention! Guideline Revisions Given that the work samples have proven essential to the selection process, OPERA America and Opera.ca have responded by revising the adjudication process. In addition to providing the accompanying scores, applicants will also be required to send three copies of the audio/video samples. Previously, panelists have listened to the excerpts onsite within a significant time constraint. Providing the additional work samples will allow OPERA America and Opera.ca to send copies to primary readers of each application in advance of the panel, giving each adjudicator time to become familiar with the work in a process that is most comfortable for him or her. Finally, think about your work samples as you would want a singer to think about an audition tape. Many of the same rules apply, including time constraints and quality guidelines. There is, however, one distinct difference: Audition tapes generally feature standard repertoire, which opera professionals can easily scan to hear whether the singer can hit the high note of a well-known aria or navigate the coloratura in a famous cabaletta. But panelists for The Opera Fund and The Canadian Opera Creation Program are hearing the music for the first time. They may not know the composer or librettist. They want to be excited about your project, and the music, and they are open to as much guidance as you can provide. If you have any questions, please feel free to contact Peter McDowell, director of programs, at 212-796-8620, ext. 204, or PMcDowell@operaamerica.org.