Vocal Fellows 2017
June 26 - July 15, 2017
Audition for the 2017 season are now closed.
Please check back in the autumn for 2018 audition details.
The Vocal Fellows program is designed to provide solo opportunities, coaching, and artistic mentorship to emerging professionals in the early stages of a solo career. Fellows work with the full artistic staff of the Festival all under the direction and coordination of program director Scott Allen Jarrett. In 2017, Vocal Fellows will be featured throughout the festival enjoying the fullness of performance opportunities as soloists and ensemble members. Vocal Fellows will appear as soloists or understudies in the annual Discovery Series performances of JS Bach's St. John Passion, principal casting in a concert performance of John Blow's Venus and Adonis with the Berwick Academy, and participation in the Festival's opening performance of JS Bach's St. Matthew Passion, and the closing performance featuring Beethoven's Missa Solemnes with the OBF Chorus and OBF Orchestra.
Vocal Fellows are compensated for their work during the festival and receive single room and board during their stay.
We are pleased to accept auditions for the following voice parts for the 2017 season:
If you have any questions about the audition process, contact Camille Lively at (541) 346-1320or firstname.lastname@example.org.
Submit your audition HERE!
OBF Vocal Fellow Audition Requirements
Please note: if you are a current member of the OBF Chorus who has done an on-site, live audition in the last 2 years, you only need to complete requirements 1 & 2. The cum sancto, German pronunciation, and vocal exercises are not required for you.
(Click here to download a copy of these requirements.)
Deadline for application is December 1, 2016, and there is no cost to audition.
Auditions are submitted via an online portal through Slideroom. If you have any questions about the audition process, contact Camille Lively at (541) 346-1320 or email@example.com.
Please prepare the following:
- Recorded audition requirements listed below
- Provide a current resumè outlining education, training, onstage experience
- The names and contact information of three professional references.
- Provide a repertoire list of operatic and/or oratorio music performed or studied.
Please note that a total of 3 audio files or links from YouTube, Vimeo, or SoundCloud may be uploaded to the site, so plan and label your recordings accordingly. Please identify yourself and the part for which you are auditioning (e.g., soprano 1, tenor 2) on each file.
We recommend delineating the recordings as follows:
- Bach aria and contrasting aria in English, as listed below in Recorded Audition Requirements 1 & 2
- Your voice part to the “cum sancto spiritu” fugue from the Bach Mass in B Minor, as listed below in Recorded Audition Requirements 3.
- German text selection and vocal exercises 5 - 7, as listed below in Recorded Audition Requirements 3-7.
Recorded Audition Requirements:
- Bach aria, in German. Inclusion of recitative is preferred, and arias from the Matthew Passion are recommended.
- Contrasting aria in English by Handel, Blow, or Purcell demonstrating both dramatic capability and stylistic sensitivity.
- Your voice part to the “cum sancto spiritu” fugue from the Bach Mass in B Minor (mm. 37-63, Bärenreiter measure numbering), with accompaniment. The purpose of this exercise is to determine your flexibility at a very fast tempo. Please sing the passage as close to quarter note=110 as you can. All sopranos should do soprano 1. Those wishing to be considered for soprano 2 should perform that part also.
- Read aloud the following German text:
Zwar ist solche Herzensstube wohl kein schöner Fürstensaal, sondern eine finstre Grube; doch sobald dein Gnadenstrahl in dieselbe nur wird blinken, wird sie voller Sonnen dünken.
- Sing exercise #1 on “ah” (no initial consonants) in the following ways. You may repeat individual exercises if you wish.
staccato, as fast as you can
- Sing exercise #2 on “ah,” beginning in the middle of your range. Repeat the exercise, each time a half step higher, until you have reached the upper limit of your useful range. Please announce at the beginning the key you are starting in.
- Sing exercise #3 on whatever vowel you wish, starting in the middle of your range, at the same tempo as exercise #2. Repeat the exercise, each time a half step lower, until you have reached the lower limit of your useful range. Please announce at the beginning the key you are starting in.