The fact that SJM has always loved Taylor Swift - and now her son is obsessed with her too (that’s so freaking cute 🤏🥹✨mini swiftie)
"Taran is obsessed with Taylor Swift. Aren't we all?"
"I've always loved her. I think she's an incredible creator and like businesswoman and I have so much respect for her."
“But now that Taran is obsessed with her- like, we've only listened to her music in the car. That's it, like all summer long."
I also love TS and I LOVE that SJM made Gwyn a mezzo-soprano too so that I can imagine Gwyn singing every time I listen to a Taylor Swift song 🥹🩵
So proud of the work I’ve gotten to do on my collegiate opera debut! Iolanthe opens TONIGHT, and I can’t wait to introduce everyone to my interpretation of this sweet, courageous and free spirited fairy that I’ve grown to love so much.
I’m looking forward to a production of Into the Woods. I’m a teenager in high school and the eldest person auditioning. I don’t know much about singing. My range is G5-A3. Apparently my voice is very sweet sounding and whenever I sing I sound sad.
My main question is knowing which role to go for and maybe recommendations for the song for the role. I’m sorry if this is too much to ask. Also if you have any additional questions please ask.
That's exciting! Based on your range and the description you've given, Little Red, Jack's Mother, and Cindy's Step Family (Step mother, Florinda, and Lucinda) are all within your range (Granny is also possible, but since she only really sings in an ensemble capacity, we'll leave her out in terms of audition material). Sweet and sad may also get you considered for Cinderella's Mother (a little high for you as it goes up to an A5, but don't count yourself out. A whole step is a totally possible stretch to make at that place in the voice. And if you can stretch up to that, Rapunzel is also possible and fitting for your tone quality).
For Little Red: The Glamorous Life from A Little Night Music (the film version--one of the few good things about that film adaptation. Audra McDonald has a beautiful rendition you can reference); Everlasting from Tuck Everlasting; or, if you can find a solo cut, I Know It's Today from Shrek (this cut of Morning Person would also work well)
For Jack's Mother and/or Cinderella's Stepmother: Wait from Sweeney Todd or Sensitivity from Once Upon a Mattress
Cinderella's Mother/Rapunzel: Come to my Garden from the Secret Garden or One More Kiss from Follies.
Florinda/Lucinda: Stepsister's Lament from the R&H Cinderella (very on the nose as a choice, but fun) or (perhaps a little young and bratty, but so very step sisters) I Want it Now from Willy Wonka and the Chocolate Factory.
As for which one to go for, that's something I can't really advise on without knowing how tall you are compared to the other kids auditioning, how old you read next to them, actually hearing your voice, etc. Go for the role that most speaks to you.
Mezzo-soprano Grace Bumbry was known for her fiery passion and dramatic performances on the stage. With a career spanning over 60 years, she was part of the pioneering generation of Black opera singers that followed Marian Anderson, paving the road for later classical musicians and opera singers. With her mastery of the bel canto technique, Bumbry is one of the more successful singers who made the difficult transition from mezzo-soprano to high soprano. She performed at such opera houses at Royal Opera House, La Scala, Met Opera, Basel Opera, and Philadelphia Lyric Opera Company among many others. - LA Opera org
Grace Bumbry as Venus in Richard Wagner's "Tannhäuser" at the 1961 Bayreuth Festival, at age 24, the first black singer to appear there, which earned her the nickname "Black Venus". And she caused a sensation: while conservative opera-goers were outraged at the idea, Bumbry's performance was so moving that by the end of the opera she had won the audience over and they applauded for 30 minutes, necessitating 42 curtain calls. ✨️
On this postcard from 1904 we see Mary Garden (1874-1967) as Manon in the Royal Opera, Covent Garden. She was supported by Claude Debussy and was the Mélisande in the world premiere in 1902.
She was known as the “Sarah Bernhardt” of the opera and was an ideal of beauty of her time.
Can you compare Violetta and Leon's voices? I know it's a little weird to compare female to male vocals but anyway
Uhhhh, I’ll give it a shot!😅
So after some research, I can say that Violetta is a mezzo soprano. This means that she is in the middle of an alto and a soprano, giving her a higher range than altos but a lower range than sopranos. A mezzo soprano’s range is usually G3-B5.
Violetta’s head voice is phenomenal! When you listen to Underneath it All, I mean- I just …. *chef’s kiss* It’s such a perfect example of her agility vocally and her head voice. Her transitions are very nice from chest to head, no breakage. She has a wonderful belt; Habla Si Puedes is a good example of her belting. In fact, her voice is just an all around powerful one, her head voice is very strong and her chest voice is full.
Her enunciation is very nice and clear, not slurred at all.
Violetta has a very clear and bright tone when in the upper part of her register but when she’s in mid and low range, her voice has a rich, rounder, darker quality. En Mi Mundo is a good example of this difference in tone - listening to her lower notes, you can hear the dark rich round quality and when she hits her high notes, you can really hear how it brightens up.
Now, I already talked about León but I don’t know how to do a link so … oh well🤷🏻♀️ Here’s a quick recap:
So León’s a tenor and their range is C3-B4. León has remarkable control over his voice, his belts are powerful, his falsettos are marvelous, and his range is wide though he tends to sing on the higher side of his register. He has a clear, bright, pingy tone in his voice. His transitions are so seamless, no cracks or faltering, he just slides into his head voice like it’s nothing. His runs are a pleasure, no flat notes.
NOW, for both of them together. I loveeeee it when Violetta and León sing together because they blend and harmonize like nobody’s business. They have such powerful voices that it’s easy for them to over power a weaker voice (I hate to say it but Violetta overpowers Tomás in Tienes Todo). Again, I offer up Yo Te Amo A Ti as a prime example of their blending and agility capabilities, but really, I feel like all their songs are decent to wonderful at showing off their harmonies.
Hi! So I'm thinking of auditioning for a production of Sweeney Todd, I'm a mezzo soprano and I need a 32 bar cut of a song in the style of the show! I have no idea of any songs to use besides ones from the show, so I need help lol
Hi! That's fantastic :)
Stay With Me from Into the Woods has two fantastic 32s in it depending on how unhinged you want to get. The first 32 is from "What did I clearly say! Children should listen" to "You don't understand" beautiful acting shift at the end, very Sweeney in both the dissonances in the accompaniment and the melody line. The more legato part "Don't you know what's out there in the world" to the end is great if you really want to show off your voice (obv also fantastic acting beats in that section, though a little more hinged).
I Remember from Evening Primrose can be absolutely shattering in the right hands as an actor (I actually have this one in my own book, though I haven't had a chance to use it yet). My cut takes the intro 4 bars and then jumps to "I remember leaves" to the end. For both time and dramatic effect, you'll want to really drive the tempo at "And parks and bridges" (Think more in a big 1 than the 4 it's written in) pull back to your original tempo at "I remember days" (at least this what I do with it). This is definitely on the longer end of a 32 bar cut, but Sondheim tends to be kind of hard to cut in general.
An uptempo option (thought it may be a little mature depending on your age and the age group you're auditioning with--few things make a team more uncomfy than a kid or even a teen singing a more suggestive song): The Miller's Son from A Little Night Music (the musical similarity to Poor Thing is definitely there). The last verse "Or I shall marry the Prince of Wales" to the end (another that's a touch on the long side of 32 at 1:25 but still pretty do-able). I'd also caution you on the accompaniment for this. Unless you've got a great accompanist or can use a track it may be a little risky as it is a tricky read in places.