Page 26 - Classical Singer Magazine November/December 2019

Dorothy Danner
to unfold in the safety of the workshop situation—and then the composer can rewrite as we go. For traditional repertory, I try to serve the piece rather than superimposing something on top.
In auditions, what is it you are looking for?
Above all, there’s a certain thing we need to see: an openness. With auditions, here is an important thing to learn: we are not up there looking for faults. We are looking for help.
We want you to reveal as much as you can in the audition rather than striving to be correct. I’m seeking someone who knows more about the role than I do. Don’t play it safe in an audition. I look for commitment to the text.
I also watch body language. If there is a lot of tension in the body and the chest is closed, then I feel
Loren L. Zachary
48th National Vocal Competition
New York
• March 2-6, 2020
Los Angeles
• March 23-25, 2020
GRAND FINALS
Los Angeles
• May 17, 2020
unsure about how open the artist
will be to exploration in rehearsal. We want to know who you are and who the character is and what you can express. From the entrance, we want to be able to say, “This will be interesting.” Reveal that you will help us tell the story.
What is your planning process for a standard opera you’ve never directed before in a foreign language?
With Nico Castel! The rst thing is to enter the literal translation.
For me, the research comes at the same time as translating—and also listening to the music over and over. Let your thoughts ow. Sometimes ideas pop into my head as I’m driving or ironing.
I love to undertake the historical, sociological, cultural, and artistic background research. I use art
TOP PRIZE RANGE
$18,000 - $20,000
Opera Singers ages 21-35
history books and study the art of the time period. I watch lms set in that time period. What did ladies do for entertainment in that time period? How did servants behave in that time period?
I question people. I study
groups of people in paintings and photographs, which helps me to create meaningful compositions on the stage. And then, you know, I love working with a chorus—the dramatic support they give, the colors they
can add—maybe because I was in
the Broadway chorus myself at rst. There, you learned that you must pull your weight and add theatricality to every scene—but to add it responsibly. When I go to the Met, it’s a special thrill to recognize my former students not only performing exciting leading roles, but also to see others doing outstanding work in the chorus.
Application Deadlines
New York
• January 17, 2020
Los Angeles
• February 5, 2020
Application at
www.zacharysociety.org
26 Classical Singer | November/December 2019