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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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Complete Audition Folder Preparation: A Pianist's Perspective
Tyson Deaton, pianist
ArtistLink • 9/14/2009

In the business of opera, it is a given that a singer must focus on a myriad of things in preparation for an audition. Solid technique, thorough coaching, an impressive set of arias, dramatic interpretation, an excellent headshot and resume, an eye for smart fashion choices and comfortable interaction with the audition panel are important tools to have at your command. As complex as all these aspects may seem, it is likely that many have lost sight of a crucial element of a well-prepared audition: the audition folder.

We've all heard the stories of audition disasters where a pianist seems to have problems even when they have played the last few auditions well. These situations often arise due to poor organization of the repertoire they are given. So limited is the time spent in coachings and rehearsals that it is no wonder this detail falls by the wayside. After years of hearing these tales from disgruntled pianists, the time has come to level on this subject!

About the Author: Based in New York City, Tyson Deaton has gained attention as one of the busiest young collaborative artists and coaches of opera and recital literature. He is sought out by singers and instrumentalists alike who perform regularly on major opera and concert stages in the U.S. and abroad. Having performed in many venues worldwide, Mr. Deaton has garnered critical acclaim with Opera News, along with various other publications.

Spring 2013 Magazine Issue
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