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Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
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Positive Communication
Pelham Pearce
Audition Connection10/1/2004

Editor's Note: This article is excerpted from an interview between Mr. Pearce and Jennifer Spitulnik, former Artistic Services & Fellowship Coordinator, regarding what he looks for in an audition.

The most important thing to me is how you sing. Obviously, I gain a first impression not so much from how you’re dressed as what your bearing is when you walk in. However, there are a lot of singers who have a real problem with auditions: They’re not comfortable until they get on the stage and are performing. So, while your entrance into the room gives a first impression, I really wait until I see what you brought that day and how you present it. I am predisposed positively by someone who acts like they want to be there, someone who “sings happy.” That may sound strange, but a lot of times people don’t act like they want to be there.

About the Author: General Director, Central City Opera

Spring 2014 Magazine Issue
  • From Gold Rush to Google
  • Before, After and During Opera Conference 2014
  • OPERA America's New Works Forum Expands and Explores
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