Rachelle M. Hulme and Professor Lawrence Vincent, Music

Many students of music struggle once they have reached the critical point in their training where they are expected to make their way in the professional world. They find a substantial gap between their opportunities as university students and the seemingly unattainable status of professional musicians. I proposed to study the tools to help students to bridge that gap by attending a six-week opera program called AIMS in Graz, Austria.

My research for this project did not go exactly as planned. Due to some vast changes in my personal life this year, I found myself unable to leave home for the summer. Therefore, my plans to attend the AIMS program in Graz will have to be postponed. I did learn some valuable things this year, however, which aided me in my research on successfully navigating the path from student to paid musician. This knowledge came primarily as a result of my participation in the Metropolitan Opera Competition from January to March of 2001.

I learned that in preparation for a career in music, successful auditions are the key. Preparing for auditions requires sufficient musical training, as well as a sturdy physical, mental and emotional foundation. I learned through sore experience that all of these elements are essential for a high quality audition. During my audition for the AIMS program, I struggled singing an aria that I had performed numerous times without problems. I knew that failure directly resulted from my lack of physical preparation, namely a lack of sleep. I found that in order to be sufficiently prepared to enter the professional world, students must take care of their bodies, so they may perform to the best of their ability. My body is my instrument, and I must treat it that way.

Auditions and competitions cause a financial stress on the performer as well. Audition fees, travel costs and accompanist fees definitely take their toll on musicians’ pocketbooks. The funding for the ORCA scholarship became extremely helpful in deferring these costs as I progressed in the levels of the competition; first in Salt Lake City for the Utah competitions, and finally in Denver, Colorado for the Regional level.

Emotionally, musicians must learn how to remain positive and stable in various circumstances. I never knew when I would sing on the program until I arrived. I sang anywhere from second to third from the end, and had to control my nerves accordingly. I sang in an extremely dry climate, sometimes to a full house, and other times a half-empty auditorium. I learned that I can only control so many factors of my performance. After I have exhausted the control that I have, I need to let go of whatever stress is caused by circumstances beyond my power to change. During the performance, I learned to keep my mind in the music, and not wonder what the judges were thinking or how the competition would turn out.

Remaining flexible to change became a key point in my auditions. At the regional level, for example, I had planned to sing a specific aria as my first selection. Then, as I listened from backstage, I heard another soprano sing the two pieces that I had planned on performing. I thought quickly, and decided it would be in my best interest to change my first aria to another I had sung in the previous level of competition. Though that decision only gave me ten minutes to mentally prepare for my new aria, I found that I had more success singing this new choice than I would have if I had stuck with my first selection.

After the competition, the winners were invited to attend a dinner with the judges and members of the community who patronized opera. Having placed second in the regional competition, I was invited to attend the dinner and sing an aria. My experience at the dinner also enhanced my research regarding preparing for the professional world of music. I sat at a table with one of the judges, and several people connected with various operas in the country. I was able to ask many questions regarding my own level of singing and the improvements I need to make in order to be better prepared for professional auditions. The feedback I received has proven extremely valuable in my studies. I also had the opportunity to ask questions about the music business. I spoke with directors of various operas and found out valuable information regarding what they look for in potential candidates, how the companies are run, and what to expect in the future. This dinner widened my perspective of professional opera; both what I need to do to prepare personally, and more details of the music business.

I have learned that every opportunity in music can be beneficial, as long as something is learned from it. Even when I have a horrible audition, and do not get the part I am seeking or advance in a competition, so much can be learned from the experience. I plan to expand on the knowledge I have gained thus far in future competitions, auditions, and performances. I still plan to attend the AIMS Institute in Austria either this summer or the next, and feel that I will become better prepared to begin my professional musical career as a result. Every step I take brings me closer to crossing that bridge from student to performer.