Obviously I haven't posted in a while, but I have decided to start writing again, although perhaps not as frequently as I did while in Germany. I haven't written because, well, I haven't really had many opera-related adventures since I got back, and nothing else in my life seemed worthy of sharing on the internet.
However, a few things have happened lately that would fall into the category of adventures for Opera Girl. I am planning to go back to Germany and audition. There are a lot of logistics surrounding that, of course, and I guess I will write about some of them as they come up. I imagine other singers considering auditioning there might find it helpful. Currently, the practical part of my plan is quite straightforward: I'm saving as much money as I can and practicing German as much as I can. I'm also trying to work regular German study into my daily schedule (that has been a little less successful than the random practice whenever I get a chance).
But to explain for the non-singers...auditioning in Germany is not as far-fetched as it may sound. For an American singer, Germany is actually Mecca. There are hundreds of professional opera companies who have full-time positions for singers, and they do often hire foreigners (unlike in some other countries, at least according to the Opera Grapevine). In America, as a singer, the best you can hope for is to be booked for the next few months, or the next year. That's if you're a big star singing in top opera houses and practically a household name (at least in the houses of opera fans). When you audition and get hired, congratulations! You're employed. For a month or two. During that time, you will be in rehearsals or performances and will probably not have time to search or audition for your next job. After that show is done, you're unemployed again. Here's your check, have a nice day. How many zero's are on that check can vary a lot, depending on your level, but once you finish the gig, you have to find the next one. And while some gigs may include perks like housing or food allowances or the opportunity to go to fancy parties as the celebrity guest and rub shoulders with rich patrons, you still are constantly looking for the next gig, and in the meantime spending a lot of your money on voice lessons, coachings, travel, and probably buying your own health insurance. You travel all the time--unless you're unemployed, in which case you're probably traveling to auditions to try to get work, and spending money you may not have on those trips.
Got the picture? Ok, now let's compare. In Germany they have a system called Repertory Houses. There are theater companies in the US that operate under this principal, but very few opera companies (and the ones I know of are only summer seasonal theaters). In a repertory company, you can get hired for a season--a year or maybe two. (Or, especially in the US, a summer season.) During the season, you will sing a variety of roles that are appropriate for your voice and character type. You receive a salary (which is a living wage) and health benefits (ok, Germany has completely different health care, but that's another topic entirely). You can live in the town where you work and be part of a community. You get six weeks paid vacation and regular national holidays. Oh, and everyone speaks German.
Yeah, that sounds really good to me! So here's my oh-so-perfectly-worked-out plan...
1. Save money
2. Learn (more) German
3. Prepare 5 - 7 arias for German auditions until I can sing them really, really well.
4.. Go back to Germany during audition season
5. Write as many companies as I can find that might have openings for a singer like me and request an audition
6. Hopefully, get some auditions.
7. Sing really, really well.
8. See what happens!
Easy as pie, right? Anyway, the pumpkin pie I made (from scratch! from a local pumpkin! and sweetened with local honey!) for Thanksgiving this year turned out a lot better than last year's pie. So maybe I've learned something...
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