I'm not making it in the US --- should I go to Europe?

 

Short answer? If the only reason you want to go to Europe is because you can't get hired in the States, then no.

 

Europe is a can of worms. In the past, it was often said that American singers were welcome and even prized. With the fall of the Berlin Wall and the opening of many communist borders, that's not as true as it once was. Add to the many fine Western European singers already in the German market, a large number of experienced and accomplished Eastern European singers. On top of that, post 9/11 the world market is just not what it was. Being an American singer in Europe probably won't be a disadvantage, but it won't be an advantage either.

 

It's not my intention to be brutal, but this is something you have to think long and hard about, because if you go to Europe you will be spending months of your life and thousands of dollars. Consider: if you aren't getting hired here, is Europe going to be any better for you? And are you ready to handle the difficulties of the audition process (which are not any easier overseas) in a foreign environment and language?

 

Here are several factors to consider in deciding whether to go to Europe.

 

- How good are your languages? You will need to sign contracts, take direction, and sing convincingly in the native language.

 

- Do you have several months and the money it takes to stay and travel in Europe for the audition season (usually the fall)?

 

- How solid is your technique, and can it withstand the rigors of a repertory-style house? European houses (particularly German) are notorious for running their singers into the ground with lots of performances and a rigid fach system which may require you to sing roles that you wouldn't normally consider in the US.

 

- Are you prepared to sing roles outside your usual fach? European houses are, in general, much smaller, so if you're usually a Musetta, you might find yourself singing Mimi over there. And you will need to prepare those things for your auditions.

 

- Are you prepared to do unusual, even bizarre concept productions? They're the norm in Europe, as opposed to more traditional stagings. I mention this because it's a difficult adjustment for some Americans.

 

- Are you allergic to smoke and can you deal, as a singer, with being in the presence of smoke on a regular basis? Many Europeans smoke like chimneys and it is EVERYWHERE, even backstage at the opera, even in rehearsals.

 

- How fit are you? European houses are as much, or more, looks-conscious than American ones. They want svelte singers.

 

Here's some resources for information about auditioning in Europe. I only auditioned in Germany and Austria, so most of my info is slanted that way.

 

1. The Musical America directory has a listing of many European houses and agents. You can subscribe online or get a hard copy, or both. Get it cheaper as a Classical Singer Magazine subscriber. www.musicalamerica.com

 

2. The Deutches Buehnen Jahrbuch has listings of all the theaters in Germany. Unfortunately, I don't know how you can get this outside of Germany. If you can find a colleague working there, s/he might be able to tell you.

 

3. The Musical Occasion is a service run by a singer. She provides letters and addresses for hundreds of European theaters. She gave you the letters already printed and ready to mail, in the appropriate language for the country in which you were applying. The URL is www.musicentral.com/opera-singers.

 

4. Classical Singer has a book called "Kein' Angst, Baby" about auditioning in Germany. It's a bit outdated but still has some useful information.

 

5. Also see my resources page under European Auditions for lots of good information and tips from singers who have been there, done that.

 

From my (admittedly limited) personal experience with auditioning overseas, what you need to do is

 

1. Get an overseas cell phone (called a "Handi" in Germany) BEFORE you go and use this as your contact number. This is not easy to accomplish. Deutsche Telekom will do it for you, but only if you have a German bank account. You can also get a World Phone from AT&T, but it is monstrously expensive. I've recently been advised by another singer who's been to buy a callback service, which can be used with your handi. See the resources page for details.

 

2. Establish a European address BEFORE you get there and be sure to include the apartment # or name of the person you're subletting from. German companies will send back your materials if they don't choose to hear you.

 

3. You also absolutely MUST have a European fax number, because a lot of business is done by fax.

 

4. Contact agents first. Unlike in America, you can have multiple agents and you pay whoever gets you the contract. In Germany, there is a pecking order for agents and if you want to be heard by the top guy, you have to sing for him first. Sing for them, and then let them set up your auditions.

 

5. Get a Eurail pass BEFORE going over; you can't get them once there and they save you tons of money; plus they are all first class!

 

6. You need a 4 x 6 smiling headshot. They want to see you looking friendly and accessible. The standard American 8 x 10 is too flashy for Europe.

 

7. Europeans don't dress up as much as Americans do for auditions. Keep your audition outfit modest and simple. Under no circumstance wear anything sparkly! Don't wear too much makeup or do a fancy hairstyle either. They prefer a more natural look.

 

8. The typical German audition season is October - November, so you'll want to send out your materials early September. You'll probably need to be there October - December in order to be considered for roles. They want you THERE, where they can send you out on auditions. You can't come back to the US and wait for calls.

 

You will need to do lots and lots of research. See if you can find friends or colleagues who have worked in Europe and pick their brains! The best way to learn is to talk to people who have been or are now over there doing it.