Dear Patience auditioners,
Below you will find my selected list of preferred audition pieces for each role, as well as the ensemble passages I will be hearing at callbacks, along with some helpful suggestions for your audition.
Vocal Range: It will save time if you already know your highest and lowest reliable note, so that you (or I) can jot them on the audition sheet. If you don't know, we'll find them during the audition.
Chorus: As always, those auditioning for chorus may sing anything they wish. "My Country 'Tis of Thee" is a favorite fall-back choice. Or "Happy Birthday To You." Or whatever. Be as plain or as fancy as you like, from any style of repertoire you like, but remember, brevity is a virtue! Two minutes or less, please. Choose something you know without thinking about it, just so we can hear the general quality of your voice. Please bring sheet music in the correct key, unless you plan to sing without accompaniment or to accompany yourself.
Royal Chorus: Once again, we hope to place choristers in the boxes alongside the stage to serve as additional singing forces. These are crucial reinforcements to the choral sound, for which we need good solid self-sufficient singers. The time commitment is much less for Royal Chorus than for stage chorus, so please give a thought to auditioning for the Royals, even if you can't make time for the full rehearsal schedule. Or please consider keeping this as an option during auditions. You'll have a good seat for every performance, plus the fun of singing along.
Principals: The remainder of this notice refers to auditions for principal singing roles. As with last year's auditions, I would prefer for principals to sing the selection indicated for each role of interest. Last year I gave a primary selection plus a minimal excerpt in case you chose some alternate piece as your main selection. This year I am only indicating the main selection. With few exceptions, everyone complied with the preferred list, and I hope you will enjoy doing so again.
But the choice remains yours. You may use the listed selection (which is my strong preference), or you may sing another Gilbert and Sullivan piece of your own choosing if you feel that it demonstrates your ability to sing the role more favorably than my choice. If you sing the preferred selection, we will already have sheet music for the accompanist. If you use an alternate selection, please bring sheet music in the correct key, the key in which you will be singing. Please limit your selection to two minutes, even if you need to start within your piece to highlight the passages that best display your abilities.
Preferred Audition Selections:
There are two vocal score editions in general use: one published by G. Schirmer and edited by Edmond W. Rickett, the other published by Kalmus. Each selection described below includes a link (click on the role name) to a PDF* excerpt from the Kalmus edition. References to the Schirmer edition are in red, and are followed by references to the Kalmus edition in green. Each reference includes page number (p./pp.) and measure number (m.) as counted from the beginning of that page.
Patience: Act 1 No. 2 (song), the 2nd verse ("If love is a thorn...") in its entirety. Sing the cadenza at the end as indicated for the 2nd time. [pp.19-22] [pp.19-21]
Bunthorne: Act 1 No. 6 (song), the 1st verse ("If you're anxious for to shine...") in its entirety. At the end, please sing the rall. as if it were the last time. [pp.55-58] [pp.52-54]
Grosvenor: Act 2 No. 4 (song), beginning at "And Iron and Steel expressed surprise...". You may sing the maidens' lines if you wish, or rest through them. [p.141, m.6 through p.144] [p.122, m.14 through p.124]
Lady Jane: Act 2 No. 2 (song), beginning at "Fading is the tapered waist". (Yes, I think the word is really "tapered" unless someone convinces me otherwise.) You may interpolate a brief cadenza in the fermata measure near the end if you wish, or sing the notes as given. [p.132, last measure through p.133] [p.114 m.15 through p.115
Col. Calverley and Major Murgatroyd: Act 1 No. 5 (song), 1st verse ("When I first put this uniform on..."). Stop just before the chorus entrance. (Major Murgatroyd has no appropriately excerptable solo, so we'll just use the Colonel's passage for both roles.) [pp. 49-50] [pp. 47-48]
Lieut. The Duke of Dunstable: Act 1 finale, beginning at "Your maiden hearts..." through "Weep, weep, all weep!". [p. 82, m. 1, through p. 84, m. 5] [p.76, m.9, through p.77, m.16]
Lady Angela: Act 1 No. 1, beginning at "Love feeds on hope..." through "Ah, miserie!". No need to sing the chorus interjections, but notice that the last "Ah, miserie" is Angela. [p.12 at B, through p.13 at C] [p.8 at B, through p.9 at C]
Lady Saphir: Act 1 No. 4, 2nd verse "Though so excellently wise..." through "Each is kneeling on her knee!" [p.38, m.9 through p.39, m.6] [p.38, m.2-13]
Lady Ella: Act 1 No. 1, beginning at "Go, breaking heart..." through final "Forget that thou art breaking!" with rall. [p.13, last measure, through p.15, m.8] [p.10, m.7 (D), through p.11]
Callbacks: During the initial auditions, we will be winnowing down to a small pool of likely candidates, usually two to four per role. Callbacks will be an opportunity to put combinations together to assess blend and variety of expression. (Derrick will also have acting and movement points to consider, either at the audition, the callbacks, or both.) We will go over each passage as a group before we begin hearing it in combinations, so it is not strictly necessary for you to practice them ahead of time. But if you'd like to review them, please do so. If you are called back for more than one role, you may be asked to sing different vocal lines in the same passage. I will need to hear the correct notes for whichever role you are singing at the time. Please plan accordingly, insofar as possible.
Ella, Saphir, Angela, Duke, Major, Colonel: Act 1 finale, beginning at "I hear the soft note...". [p.100 at A, through p.103 at B] [p.90 at A, through p.93 at B]
Saphir, Angela, Duke, Major, Colonel: Act 2 No. 8 (quintet), last verse beginning at the tutti "In that case unprecedented...". [p.171, m.5, through p.173] [pp.148, m.9, through p.150]
Duke, Major, Colonel: Act 2 No. 7 (trio), beginning at "You hold yourself like this..." (2nd verse words). [p.160, m.6 through p.162] [p.140, m.7 through p.141]
Patience, Angela: Act 2 No. 7 (duet), beginning at "Ah, yes, in spite of all my pains...". [p.64, pickup to E, to the end of the page] [p.60, pickup to E, to the end of the page]
Patience, Grosvenor: Act 1 No. 8a (duet) Entire number (one page only) [p.70, whole page] [p.67, whole page]
Bunthorne, Grosvenor: Act 2 No. 9 (duet), beginning at "Conceive me if you can...". [p.182, m.4, through p.183] [p.157, m.14, through p.158]
Jane, Bunthorne: Act 2 No. 6 (duet), beginning at "Sing Hey to you...", 2nd verse (including alternate small notes in the last couple of measures). [p.154, last two measures, through p.157] [p.133, last two measures, through p.135]
I'm looking forward to a great show once again this year. See you at the sing-through, the auditions, the callbacks, and all the glorious times that go with them.
Alan Riley Jones