After the long audition process you've gone through (well, long
enough, anyway!), you have to make decisions as to who's in your
choir(s). Difficult choices will always be a part of this if you have an
auditioned choir. What do you prioritize? How do you make these
choices?
The comments here are for those who have relatively advanced
singers, so this (as with much of this series) might not speak to as
large a number of conductors. But I hope it's still helpful and of
interest.
First, how do you treat returning members of the ensemble? Are they
automatically in? Do they have any "skin in the game" during auditions?
I've almost always required re-auditions, but it's been incredibly rare
for me not to take a previous member of the choir. Loyalty (assuming
they've been a responsible member of the choir) goes both ways!
However, I've known of a few conductors who rate their singers on a
scale and take the top rated singers, without regard to previous
membership. A legitimate choice--but what do you think? Do you do this? Could you do this?
Second, one can prioritize (this is broadly stated!) either vocal
sound or musicianship/ear. What's most important to you? The very best
voices? The best sightreaders?
Obviously, this is a vast oversimplification, but there is an
element here that is important--your choices will have consequences. If
you find yourself frustrated with the speed with which your choir can
work, did you prioritze quality of voice too highly? Or, if you're
unhappy with the sound of your choir, did you leave some really fine
singers with great instruments out of your choir because their reading
was poor?
If we all had the perfect situation, we'd have fantastic voices
connected with unbelievable musicianship and experience--but then we
probably wouldn't be a good enough conductor to work with them!
In reality, choices are a balance--one looks for the combination of
voice/musicianship which will create the best choir. The real choices
are at the margins--with the majority of the singers it'll be pretty
clear whether they belong in the choir or not. But decisions for the
last few singers in each section can be difficult (even agonizing) and
here's where the needs of the ensemble can help with the decision. Do
you need a particular voice type (a high soprano? soprano with a warm
lower voice?)? Have you already chosen some beautiful voices for the
section, but some whose reading is poor? In that case, you might choose a
fantastic reader (without a great voice) who can help that section
learn more quickly and give musical leadership. On the other hand, you
might need a voice that other voices can use as a model of the kind of
sound you need--even if their musicianship isn't of the highest level.
And what about the intangibles (perhaps not so
intangible!)--personality, leadership qualities--those things we might
put into the overall term, "character." Is the singer committed,
enthusiastic, energetic, a good leader? These are elements we also
should consider.
If you have thoughts about how you make your final choices, please share them!
All the best with your choirs this year--may your audition choices turn out to be wonderful ones.
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