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Wolf Trap Opera Company
Kim Pensinger
The Future of Opera
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It's a good thing it's Expert Friday, because I have been rendered completely inarticulate by the last 50 hours of application processing. Can't even hold a simple phone conversation. Have no English.


David Holloway is the Director of the Apprentice Singers Program for Santa Fe Opera and Head of the Voice Department at the Chicago College of Performing Arts at Roosevelt University. He offers this description of how the Santa Fe Opera Apprentice Programs helps its singers prepare for auditions:

I work with the Santa Fe Opera apprentices on the MainStage Auditions that they all do every summer for representatives of opera companies and managements, helping them find their unique “voice” that will hopefully give each of them an edge, but at the same time, help make the entire group look “special.” This past August so many people told me afterward how wonderful the singers did in their auditions and talked about how much that auditions situation has improved over the last few years. But that improvement hasn’t happened without a large measure of intention on our parts.

The coaches play an important role, of course, and we asked stage director Kristine McIntyre to work with each of them individually, helping them express the character of the person who sings the aria. We didn’t want them “staged,” but just to express the essence of that unique situation in the opera in their 5 minutes on stage. In some cases it involved minimal movement, in most cases it could be handled within that magic circle near the crook of the piano. Most of the time we are not trying to create stage animals, but rather, performers who seem to be able to find that still, small center, be themselves, stay simple, and show the intention of a character.

We also do mock auditions the week before these auditions where they can show what they have been practicing, and we ask them to dress as if they were doing it so that we can get a sense of what they will do. We took long enough after each audition to speak briefly with the singers, mostly acknowledging anything positive we saw, and in a few cases suggesting what we thought they might do even better. In a few cases we suggested that a change in aria might be in order. Our intention is to help them differentiate themselves one from another. At the same time, we encourage them to support their colleagues in any way they can, to help them deal with their own nervousness and anxiety.


I recently had a brief discussion with Gianna Rolandi, Director of the Ryan Opera Center at the Lyric Opera of Chicago. On the topic of audition attire and appearance, she noted that hair obscuring a singer's face is a huge liability. We also agree that forcing a too-familiar and hyper-friendly approach to the panel is a bad idea. It comes of nervousness, I know, but it's probably best to adopt a relaxed professional demeanor. And Gianna reminds us that it's not a great idea to shake hands with the panel before or after the audition. (Especially during flu and cold season!)


And finally, for thoughts on auditions from Chicago Opera Theater's General Director Brian Dickie, check out this entry on his terrific blog.


Week 5 will start on Tuesday, for I'll be spending Columbus Day at home cranking through the New York audition site applications that are coming in today. Have a great weekend!
3 years ago | |
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Now that that's settled...

FINAL DEADLINE for audition applications for summer 2010 is this Friday, October 9 at midnight.
Start here.
3 years ago | |
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What does your audition aria look like from behind the table? Singers worry endlessly about the extent to which they can move in an audition situation.


Should You "Block" Your Aria?

Well strictly speaking, no. You shouldn't perform your audition in the same way you would approach a staged performance. But the exercise of staging your scene has potential to teach you things about it from which you will benefit even when you're standing in one place. So go ahead and play with it - work with a directing coach, explore some options yourself. Then figure out how to make it seem as vivid without traveling all over the room, without furniture, and without props.


One Step Left, One Step Right...

Please don't pace. I know how hard it is. I don't sing, but when I give lectures, I have an extremely hard time keeping the pacing down to a low roar. It's extraordinarily difficult to turn off the auto-pilot and stand in one place. But learning how to do it is worth its weight in gold.

That doesn't mean you can never take a step. If your gestures and movements are purposeful (as opposed to random and/or nervous) and completely integrated with the music and the character in both in quantity and quality, then by all means, take a few steps now and then. Change your focus. But don't pace. If you have any doubt, ask any unbiased observer to tell you whether or not you are pacing. Or make a video and watch it with the sound off and the action speeded up.

Thre's absolutely nothing wrong with operating within a small area if it's done well, But until you can skillfully incorporate purposeful changes of location into your audition, best to stay put.

(Corollaries: Whatever you do, don't stray so far that your pianist loses contact with you. And don't get closer and closer to the audition table - it's a little creepy and it's dysfunctional, for we need to hear what you sound like from at least a few feet away.)


Gestures

It's very difficult to talk about this out of context, but I think I can best contribute by describing the three types of movement that don't work.

1. Technical. Don't conduct yourself. Don't remind yourself about what you need to do in the passaggio by miming through it with your hands.

2. Random. If your arms look as if they belong to someone else, and their movements are not integrated in any way with what you're communicating, we have a problem. So often we see singers whose bodies seem to be completely disconnected from their voices. This is a larger issue, and one that should concern almost everyone. Take every opportunity to work with movement specialists, dancers, and anyone who can help you own your physical space and be comfortable in your own skin. This skill is difficult and surprisingly uncommon.

3. Semaphoric. In which you look as if you're landing an airplane, performing ASL for the hearing impaired, or playing charades. Relax. We don't want to straight-jacket you, but showing what the aria is about in your voice and face is always preferrable to having it mimed for us, and being simple and still can be extremely powerful.


The Spectrum

It's a sliding scale. I've seen plenty of kick-a** auditions that go much further in physicality than I would have advised, and I've seen other unsuccessful auditions that fall well within what we would consider normal limits. Just about the time I figure out where I stand, I change my mind because someone will give a totally successful audition by doing something I didn’t advocate.

Just be aware that if you make a bold choice, it will invariably be intriguing and exciting to some panels and off-putting to others. Believe in it, and be ready to take the credit and the blame.



Tomorrow:


3 years ago | |
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When I crafted the outline for this set of audition posts, I threw in a day called "Musical Preparation." Well, duh. That's sort of what you do most days every day. I know that, but I just want to call attention to a few specific vocal/musical issues, to make sure they are never overlooked or given short shrift.

First, and foremost:

Intonation

I know that this is a difficult topic, and that it's never something that is scientifically conquerable. It's not as if we need everyone to sound as if they've been put through auto-tune. But get some really honest and reliable feedback from coaches, teachers, colleagues as to whether you are approaching your singing in a way that 1) allows you to center on a pitch and 2) allows that center to be in the right place.

I don't like haranguing, but this is a big deal. A teacher or a school can hear a developing voice with pitch issues, hear the many positives surrounding the problem, and put themselves behind that singer. Pitch problems are not a death sentence, just another challenging component of a technique. But we and many other YAPs and companies are listening to you for the purpose of putting you on a stage. That's what you want after all, right? And we can't put you there if you are a quarter tone flat all the time. Or sharp. Or a little of both. Or with a vibrato with amplitude so large that we don't know where the bullseye is.

Developing a technique is a process, and occasionally you may be in transition, or working through something that wreaks temporary havoc with tuning. But singers must realize that even if we appreciate everything else about your artistry - dramatic depth, musical instincts, exquisite phrasing, impeccable language - if you can't sing on pitch, we can't hire you. Frustrating for both of us.

Next:

Coloratura

Your coaches and teachers have told you. It has to mean something. It must be motivated, have intention, color, detail. We know that you know this. But we very rarely see it put into practice. It’s astonishing how easy it is to see the eyes glaze over, the face go blank, the arms and hands begin to clench. Don’t disappear on us. Trust me, I know how difficult it is. But most of these composers knew what they were doing. We’re not asking you to treat these challenging passages as if they were easy. They exist for musical and dramatic reasons. 1) Figure out exactly what those reasons are, 2) Merge the composer's intentions with your technique and approach to the coloratura, and (this is the hardest one) 3) Make it more than an intellectual exercise. It must, as they say, “read” all the way to the back row.

This isn't an irrelevant task that your coach is giving you; it's for real.

As is the next one:

Text

Please be sure we can understand you, and even more importantly, know what you're singing about. Translate, paraphrase, reinvent, improvise - singers are given the tool of words for a reason. They need to seem as if they come from the very center of your being - from the same place the music lives. While you're singing them, they are yours and only yours. Own them.



We are in the claws of the database this week, with the goal of 60-80 applications and resumes a day. We're working through all of the paperwork for LA, Chicago, Cincinnati, and Houston. If you intend to apply for an audition in one of the remaining cities (New York, Philadelphia, Vienna) the deadline is this Friday, October 9 at midnight.

I'll see you tomorrow with a brief discussion on what your audition arias look like from the other end of the room.
3 years ago | |
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Coming up this week in our Fall 2009 Audition Mini-Course:

  • Monday - The Second Aria
  • Tuesday - Musical Preparation
  • Wednesday - Physicalization
  • Thursday - Props
  • Expert Friday - Chicago-based colleagues weigh in

Do You Have Any Mozart?

Much of the time, you'll get to choose your first audition aria. Sometimes it'll be your only aria, but occasionally, you'll be lucky enough to get to sing two. Or three!

You've gotta love that brief yet amazingly angst-filled moment after you finish your first audition aria. Waiting for the panel to say "Thank you" (translated: "We don't need to hear another aria") or to ask for another selection.

We try to minimize the awkwardness by being ready to ask for your second piece in fairly short order after you finish your opener. (Often, we do this by conferring with each other about the 2nd aria choice via instant message on our computers. Look for a discussion of technology in the audition room next week.) Frankly, I'd rather you take the 15-30 seconds in between to gather your thoughts and prepare yourself, rather than spend it discussing amongst ourselves while you hang out in the front of the room trying not to appear as if you're listening to us argue.

It's one thing to be ready to fully invest yourself, dramatically and vocally, in the first aria of your choice upon which you can focus even before you enter the room. But giving up control and allowing the panel to choose the second piece from among your list of 4 or 5 requires a different skill set.

I only have one main piece of advice: Don't second-guess.

Given the chance, singers grill me endlessly about how we pick second arias. Yes, there is something of a system to it. If your first aria doesn't address very specific issues like coloratura, or legato, or specific language fluency, or extremes of range, we'll often gravitate toward a second aria that answers those questions. But often there are multiple ways to address those questions, and the choice is often less than scientific - sometimes even based on instinct.

No amount of deduction will reveal what you'll be asked for. So stay loose and find a way to look forward to singing whatever it is that gets picked.

I do have one more suggestion: Don't be visibly disappointed in the panel's pick (even if you are), and don't put anything on your list that you aren't completely willing and able to sing. You might be surprised to know that at least a dozen times a season, our request for the second piece is met with shaking of the head, muttering under the breath, exasperated sighing, and actual expressions of disbelief. ("I can't believe you picked that...")

And as I mentioned before, just be glad you won't be judged solely on your best 16 bars in a Broadway cattle call!

3 years ago | |
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A few choice words of audition advice from Darren Keith Woods, General Director, Fort Worth Opera & Artistic Director, Seagle Music Colony. (And, it just so happens, an alumnus of the WTOC!)

The main piece of advice I would give to a young singer is to sing what they sing best and do not play to the repertoire. Learning an aria for an audition that you haven’t lived with for awhile can be treacherous. You will never sing it as well as something you have coached and worked out – musically and dramatically.

I also like the artist to give me a sense of the dramatic arch of the aria. Don’t just stand and sing – this is not a concert we are hiring you for, we need to see what you bring to the aria dramatically so that we can adequately judge the artist’s ability to put a character across on stage.

Lastly – enjoy yourself. Opera is an amazing, wonderful thing and we are all fortunate to make our livings this way. Perform, enjoy and show us your gifts! That’s all we want.


Enjoy your weekend! If you're applying for an audition spot in LA, Chicago, Cincinnati, or Houston, the deadline is midnight tonight!
3 years ago | |
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Today's opera blog episode, in which KPW and Rahree channel Clinton Kelly and Stacy London. (Yeah, I had to ask who they were, too.)

Before we get to the fashion advice...

DEADLINE WARNING!

Tomorrow (Friday October 2) at midnight is the application deadline for an audition in LA, Chicago, Cincinnati or Houston. Please don't overwhelm the internet server at 11:59pm.

If you do apply and you have any doubt about whether or not your payment went through, send us an email before you hit "submit" multiple times. We'll write back and let you know if everything's OK. We don't want to have to process reimbursements for multiple payments. (Some folks believe that paying once is more than enough; paying twice is certainly not a good idea.)






Just like Tuesday's post about headshots, today's entry is highly unscientific. But it comes out of discussions with colleagues, conventional wisdom about audition attire, and from observing over 6,ooo singers in the audition room over the last 15 years.

(Demographic description of contributors: Rahree is a hip 30-something with fabulous taste in clothes. KPW is, uh, well, older than that, and tends to retreat into nondescript black things.)

General Guidelines

Be professional. Wear something that is the singer equivalent of what a 9-5 person would wear to a job interview. Or think about it as Sitzprobe clothes. Within the industry, there's a fairly widespread custom of wearing something polished for a Sitz rehearsal. That's the general category of clothing we're aiming for.

No formal wear. Leave the tuxes and the full-length evening gowns in their dry-cleaning bags. Same with sequins and other über-glitzy options.

Color. Solid, vibrant colors are always welcome. Busy prints add a level of visual white noise that is somehow distracting. Few people make strong statements in washed-out pastels. And, although black is an always defensible choice, it's rarely memorable.

Confidence. Feel like a million bucks in your audition clothes. Don't wear something that someone else prescribes if you feel you're apologizing for your appearance in any way. You and your friends/teacher/circle should agree that you look terrific - there is an intersection, and you can find it.

Comfort. Be able to move. Nothing should constrict your freedom of movement, for both vocal/technical reasons, and for general ease and fluidity of motion.

Familiarity. Don't wear your new stuff for the first time in front of an important panel. Get to know it, so it isn't another variable on a stressful day.




Guys Only

You get to go first because you're easier.

Tie. Probably, but if you can look fabulously turned out with an open collar and jacket, we can be convinced. If you wear a tie, bold colors can work wonders. No cravats, please.

Jacket. Probably, but if you can look irresistible in a crisp shirt and tie, we won't complain.

Neither? You really shouldn't abandon both jacket and tie. Let's just say it's risky.

Hair. Out of your eyes. Usually more of a problem for the ladies, but if you sport some serious locks, make sure they're not obscuring your face.

Accent. Bold tie. Fun socks. An amazing suit. Colorful pocket square if you can bring it off. Helps us remember you.



OK, Ladies...

Foundation. It all starts here. Undergarments. If you have less than 10% body fat and we won't be distracted by jiggling lumps and bumps, then you're safe. Otherwise, be conservative. I don't really want to know that much about what's under your stretchy tight wrap dress, and I don't want to spend the aria wondering if your girls are going to fall out. And if you haven't watched your torso in a mirror during coloratura lately, perhaps it's time to see what we see. There are athletic aspects to your chosen craft, and you should dress for them.

Shoes. Be sure you can walk easily in them and support your singing. We don't really care about open vs. closed toes, but I guess some people do. And character shoes almost never come off well.

Pants are fine. Mezzos or sopranos. They should look classy, and they should fit you well.

Length. Above the knee is dicey, but not impossible. Just be sure you're not going to be singing on a stage well above the panel. (If you're not sure, don't chance it.) And don't delude yourself about whether or not you look good in a short(er) skirt.

Hair. Not in your face. Not overwhelming. Doesn't have to be "pulled back," it just has to not be the mane [sic:)] event.

Accessories. Be careful about shawls and scarves and other things that are not stabilized or otherwise affixed to your person. I don't want to be distracted by wondering how you're going to catch it next. But an accessory that sets you apart is a marvelous thing... an unusual cut to a dress, a vibrant touch of color, an interesting piece (pin, necklace) that doesn't overwhelm. It helps us remember you visually, and it adds energy and detail to your presence.



Come As You Are Tour 2009 !
[WARNING: THIS IS A JOKE. GOT IT. RIGHT? DO NOT TAKE US SERIOUSLY. SERIOUSLY.]

Don’t worry about dressing up – you sing better in grubbies anyway, right?

If we hire you, chances are that we’ll make you wear something fairly crazy anyway, so looking your prettiest/most handsome isn’t really a selling point for us. (This will also keep Rahree from paying too much attention to your cute shoes and not enough to la voce.) Come as you are, and blow us out of the water with your amazing musical talents! And don’t forget to say “hi” on your way in. We’ll be the folks sitting behind the table…

…in our sweats.

3 years ago | |
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Let's talk about the printed music that comes in the audition room with you. Just a few guidelines - no rocket science here, but you'd be surprised how many folks create stumbling blocks for themselves by ignoring this basic advice.


Music That Stays Open
If you bring actual scores (anthologies or piano/vocal scores), please be sure that they stay open easily. My library science friends cringe when I break the spines of my scores, but that's one of the things they made us do in Piano School to toughen us up. If the book won't stay open, the pianist can barely play, let alone collaborate with you on a higher musical/artistic level.

Hide & Seek
Regardless of whether you bring a book or a notebook, please mark all of the pages carefully - with easy-to-read and clearly marked tabs. If the panel asks for the Donizetti aria, you don't want to have to retreat to the rack to thumb through the book for the pianist. You want to use those precious seconds to prepare yourself for the next aria.

Page Turns
All copied music should be double-sided.

Sheet Protectors
Generally, avoid sheet-protectors. Strictly, if they are non-reflective, they should work, and some pianists don't mind them. But it's always dicey to know which plastic is going to be reflective in which light situations.

Cuts
Mark your cuts extremely carefully. There can be no ambiguity about where a cut begins or ends. Cover cut material with white paper. (Then don't change your mind about wanting to sing what's covered up.)

Cadenzas
Please write in your cadenzas (or at least an approximation of how they end) so the pianist doesn't have to guess about when to meet you at the finish line.

TMI
Don't use a copy of the music that has every single note that you or your teacher has ever written in it. It's hard to read past all of that stuff, and some of it is downright misleading.

Missing Music
At least once every season, someone offers an aria that's not in his/her book. Or sings something that's missing a page (usually the last page.) It sounds so basic, but it's alarmingly easy to do. The notebook does a lot of work for you during the audition season, and it requires careful, thoughtful attention. It's the most basic stuff that'll get you every time.


Short and sweet today. We'll talk about the pianist him/herself in week 5.

Tomorrow, another highly subjective discussion: audition attire.
3 years ago | |
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Ansel Adams offers consolation as I try to figure out what guidance we could possibly give about headshots. In preparation, my colleague and I surfed through all of the photos that have been submitted to date (about 420), trying to get some sense of current trends and articulate some caveats that we could share. It was surprisingly difficult to draw global conclusions, for the range of acceptable shots was quite wide. We share these observations - take them or leave them, as you wish. (Most of the good stuff is Rahree's. This is not an area in which I have any expertise - the fact that I have opinions about this at all is scary...)


Highly Subjective Random Headshot Advice

Your headshot should bear some resemblance to what you actually look like. Simple. We're not always as well put-together in person as we are in our headshots, but you shouldn't make yourself over so completely that we don't recognize you at all.

Makeup should accentuate, not overpower. The first impression should not be all about the makeup.

Solid color tops, no patterns. Or very gentle ones. They overwhelm facial features so easily.

Here's a weird one: It's actually somewhat useful to have your facial expression telegraph something about your Fach - in a general sense. I find it reassuring to know that the soubrette looking out at me from the computer screen can radiate energy in her headshot. Or that the dramatic soprano or bass-baritone can throw out some intensity. But not too much intensity... see next...

A level of "pleasantness" (yeah, I know, that's probably not a legit word, but I can't come up with anything better) is appreciated. If when asked to write a caption for your headshot, the first things that occur to me are unprintable, this is a problem. And truly, a few photos look like they would spit nails if they could. Angry, pissy, people. Some look as if they were caught in the split second after they smelled something really bad. You don't have to show all your teeth or look as if you're ready to start a clown act, but it's helpful if you look like someone of whom I shouldn't be afraid.

Technical photographic things:

  • Shoot for sufficient contrast to reveal your facial features. You don't want to look like you've had some unfortunate plastic surgery.
  • Shadows shouldn't obscure your features.
  • No need to do extensive artsy post-production. I'm not sure that sepia or an extreme soft focus gradient is helpful.

We want to hire you, not be seduced by you. Yes, your headshot can be too sexy.

Completely subjective on our part, but photos shot looking into the camera seem more communicative. I guess aloof has its place, but as a default headshot, I get far less of a feeling for you than I do when I can see your eyes.

Environmental settings and extra context are great, but be sure that you - and not the gak around you - are the primary focus of the shot.

Above all, please try not to radiate craziness. When you have a satellite headshot taken to use in the Playbill when you sing Elettra, you can trot it out. But for a general audition, it just makes me scared.



The quality of the headshots we see these days is exponentially better than it was just five years ago. There are two sides to this scenario, though.

The good news is that due to digitals formats and the availability of good equipment, even dedicated amateurs are doing some fabulous work. And it costs far less to get yourself a good shot - easily down into the mid-3-figures, where it used to be well over $1,000 just to start.

The tough thing is that the bar is being raised for everyone. I used to see an unfortunate shot and shake my head, suspecting that the aspiring singer probably simply didn't have the money to get a decent one. Now that's not necessarily the case. It's still not terribly cheap, but it's within most people's reach. And you tend to be judged a bit more harshly if your shot isn't competitive.




Eat.Sweat.Blog

Since my own most recent headshot session was not a rousing success due to the 30 extra pounds that have crept back on my frame, I am forcing the entire fall fulltime staff of the WTOC (well, that's Rahree and me...) to take the October Eat.Sweat.Blog challenge. 20 days of workouts, 10 Feats of Healthy Eating, and opportunity to whine about it online! (Not here, of course.) Looking for a kick start for a healthier you? Join us. We'll be the ones on the audition tour with stinky luggage reeking of gym clothes.
3 years ago | |
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Inspirational pep talks and creative problem-solving on the shelf for the next few days. Get your left brain in gear, and let's tackle:

The Preparation of Things (Audition Mini-Course Week 3)
  • Monday - Résumé
  • Tuesday - Headshot
  • Wednesday - Aria Notebook
  • Thursday - Clothes
  • Expert Friday - We hear from Darren Keith Woods of Fort Worth Opera and Seagle Music Colony.


Your Résumé

We care about this on two levels - one functional (format), and the other less tangible (professionalism/accuracy).

Format

We need to be able to find information fast. If something is buried or not represented cleanly, I may miss it entirely or misinterpret it.

  • Color: Dark/black only. If your résumé gets printed or photocopied, the sexy light lavender text disappears.
  • Font: I don't really care about sans serif etc, but don't get too creative. Save the faux cursive fonts for personal correspondence.
  • Columns: Please please use columns! In addition to reading the information horizontally, it's extraordinarily useful to scan vertically for companies, roles, etc. Putting the role/opera/company/date in an unbroken line of text is most emphatically not a good idea.
  • Abbreviations: When you list the venue/organization for a role you've performed, please don't write "Opera Theatre." It may be apparent to you which Opera Theatre you mean, but it's terribly confusing for us until we match it up with the name of your conservatory, etc. Find a better way to abbreviate so that it fits in the column.
  • Order: Most recent things first within categories. Put performances, degrees, etc in reverse chronological order.
  • Photo: The presence of a thumbnail photo on the résumé itself is fairly new - we've only been seeing it a lot recently, since it has become easier to include a small sharp-resolution image. Personally, I like it. Not enough to urge everyone to do it, but enough to appreciate it when it's there. I'm sure someone out there disagrees, but I haven't heard from any detractors yet.
  • Length: Resist the urge to tell us everything you've ever done. One page please. A 3-page resumé is hardly ever to your advantage. If you desire to be inclusive, get a website and put everything there. (Oh, and while we're on the topic, get a website as soon as you can. Manage your online identity. This isn't really an audition-specific topic, but an increasingly important one. Will try to remember to discuss on the blog this winter.)

Accuracy

  • Roles/Operas/Arias: We want you to sing well, first and foremost. You’re not applying to be a writer, editor, or any other sort of wordsmith. If you don’t know how to spell the name of the role you performed or the opera it occurred in, it’s not unreasonable for us to wonder about the level of care with which you prepared the important details of that role. So please please please ask a handful of people – professors, teachers, coaches, highly literate friends – to proofread your paperwork. Spelling may not be your thing, and if you sing well enough, eventually I won't care. Indeed, if a company hires you to sing, they won’t ask you to edit copy. But you don't want your first impression to be diluted by messiness.
  • People: Look up the names of coaches, directors, conductors, institutions. My name ends up misspelled on résumés with alarming frequency. If your contact with me wasn't long or detailed enough for you to figure out how to spell my name, it begs the question as to how much impact I could've had on your development.
  • References: When you list mentors and colleagues who might be able to attest to your work, please be sure that those folks will remember you. If you worked once with someone in a master class, chances are s/he might not be able to speak eloquently on your behalf.

On the Other Hand...

Some singers are so busy being their own publicists that they forget that their main task is to learn to sing. When you're just too tired or frustrated to deal with one more practice session, I know it's far easier to tweak the fonts on your résumé, write glowing prose for your bio, or photoshop your latest production shots for your website. These things are important and useful, but they don't take the place of those long hours in the practice room or with a score. Don't spend an inordinate amount of time polishing your image instead of your singing.


Back tomorrow, with a brief discussion of headshots.

3 years ago | |
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