OPERA DIVISION

UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN SCHOOL OF MUSIC OPERA DIVISION 2013-2014 Daniel Catán. Florencia en el Amazonas. Tryon Festival Theatre, KCPA. November 2012. Photo: Laurent Gasquet

August 2013 Dear New and Returning Students: Welcome to another year in the UI Opera Division! I am truly thrilled that we are off on another exciting annual adventure through the marvelous world of Opera with our productions of Falstaff and Orpheus in the Underworld! In this Handbook, you will find information that should make life easier for you. Please make time to read it! School of Music Dr. Jeffrey Magee is the Director of the School of Music. His assistant is Lori Caroll Melchi. Dr. Joyce Griggs is the School of Music Associate Director. James Gortner is the Assistant Director for Operations & Finance of the School. Sandy Horn and Jennifer Phillips, are the personnel in the graduate and undergraduate office respectively, who can answer most academic questions. Opera Division I, Eduardo Diazmuñoz, am the Artistic Director and Principal Conductor (Head and/or Chair) of the Opera Division, also known as Illinois Opera Theatre and Opera at Illinois. Professor Cara Chowning is our valued and experienced Principal Coach, Assistant Conductor, and Chorus Master. Professors Ricardo Herrera and Dawn Harris are our energetic and imaginative Opera Studio Directors. Nathan Gunn brilliantly provides Voice and Acting counseling. All three Professors are part of the Voice Division as well. Phone calls and questions can be directed to my office or to Prof. Chowning, Prof. Herrera, Prof. Harris, or to Prof. Gunn. Casey Baker, Filippo Ciabatti, and Byul Nim La, will be our coaches this year. Phone numbers and E-Mails: Diazmuñoz, Eduardo [Phone] 333-8773 edzmz@illinois.edu [Fax] 244-3069 Chowning, Cara 244-6255 chownin2@illinois.edu Herrera, Ricardo (Opera Studio) 244-3339 rherrera@illinois.edu Harris, Dawn (Opera Studio) 333-8555 dawnh@illinois.edu Stone, Sylvia (Voice Chair) 244-3338 sstone1@illinois.edu Gunn, Nathan 244-9130 ngunn@illinois.edu Helmrich, Dennis (Accompanying Chair) 333-1252 HelmrichD@aol.com Jordan Gunn, Julie (Accompanying) 244-9122 gunn@illinois.edu Syer, Katherine (Opera Related Courses) 244-6485 kyser@illinois.edu Korder, Tom (Production Director) 300-6250 kordertv@illinois.edu De Velder, Anne (Costume Shop Director) 333-9717 avelder@illinois.edu Martell, Beth (Tech Director) 300-6255 bmartell@illinois.edu Lillig, Lisa (Hair/Wigs/Make-up) 244-6298 lillig@illinois.edu Casey Baker (810) 250-1448 cbaker10@illinois.edu Filippo Ciabatti (630) 777-6607 ciabatt2@illinois.ed Byul Nim La 493-9111 la3@illinois.edu Cline, Phyllis (IOTE) 344-4806 plcline@comcast.net - 1

Phone numbers and Locations of Shops: Stage Management (2-123) 333-8295 Costume Shop (2-312) 244-4086 Scene Shop (2-119) 333-3718 Prop Shop (2-121) 333-9720 Makeup/Wigs (4-105) 333-7519 Abbreviations: KCPA Krannert Center for the Performing Arts SOM School of Music MB Music Building OpRR Opera Rehearsal Room (2-418) OpS Opera Suite (4-501) Maestro Diazmuñoz (4-501C) Prof. Chowning (4-501-A) Prof. Herrera and Coaches (4-501B) TFT Tryon Festival Theatre FGH Foellinger Great Hall CPH Colwell Playhouse GRm Tryon Festival Theatre Green Room EnsA Ensemble A Room (4-506) EnsB Ensemble B Room (4-503) OrRR Orchestra Rehearsal Room (2-310) SH Smith Hall SRH Smith Recital Hall IOTE Illinois Opera Theatre Enthusiasts Krannert Center is open from 7:00am 12:00 midnight each day. But on holiday weekends, such as Labor Day, it is completely closed from 7:00pm the Friday before until 7:00am on the following Tuesday. MAKE SURE you do not leave precious items that you might need during those times. Be sure to check the bulletin boards outside the Opera Suite on Level 4 and opposite the Production Office on Level 2 of Krannert Center on a daily basis as well as on Krannert s Resident Production Online Kiosk link at http://kcparesprod.weebly.com If you have further questions, do not hesitate to ask! Once more, welcome and my very best wishes for the school year! Sincerely, Maestro Eduardo Diazmuñoz Artistic and Music Director of UI Opera Division - 2 -

THE OPERA CLASS OF 2013-2014 WELCOME to the Opera Division of the School of Music at the University of Illinois at Urbana-Champaign!!! If you have an assistantship within the Opera Division you will be assigned to spend 180 hours per semester (12 hours per week approx.) working in two different areas of our production departments: the Scene Shop or the Costume Shop. You may also be assigned to work as an Opera Administrative Assistant. You all have a mailbox in the Opera Suite (KCPA 4-501) for your convenience. Check it regularly. Assignments are made by me in consultation with the Director of the School of Music according to needs. You will be asked to adhere to an agreed schedule. If you have to be absent, you may discuss this matter in advance with the supervisor AND with me. If you are cast in one of the operas, you may enroll in class 450B (Graduate students) or 265A (Undergraduates). You can also register for Opera Chorus (450 B1) and/or Proseminar in Music which is Opera Studio (468) provided you pass the required audition. Being an Opera Assistant means that you are also available for special projects within the Division. You may be called upon to sing assigned roles and/or chorus if needed, or other performance opportunities as they come up. The main idea behind all this is that you gain as much experience as possible in the field of opera as we can provide for your advancement and growth. Because of that, you should make me and/or Professor Cara Chowning aware of all your other artistic activities such as recitals, concerts on and off campus, competitions, auditions and so forth. You can always put a note in Professor Chowning s box, or mine. If you are cast in a major role, the Opera must be given priority. All of us will do our very best to enable you to take advantage of all other performing opportunities which might arise for you during your time at the University. We have done so in the past with the professional orchestra of the region, the Champaign-Urbana Symphony, and with the Krannert Center Resident Orchestra, Sinfonia da Camera, among others. We are committed to helping YOU excel in every aspect of the activities within the Division. Everyone here, myself, Professors Chowning, Herrera, and Harris, coaches, stage directors, choreographers, shop directors, etc., are focused in offering you a professional experience with all the exigencies that you will face once you leave the University. The big difference is that you will be in a training environment in which - 3

you will learn from your successes as well as from your mistakes. We all are here to help you realize what went well and what went wrong, and why and how you can improve on this or that matter. The MAIN difference with the professional world, is that here at the UI Opera Division, you won t get fired. All singers enrolled in Opera Production (450B and 265A) are actively involved in all facets of performing, back stage and ON stage. It is your enthusiastic cooperation in this matter, that will enable us to continue producing the high quality productions we have been able to achieve in the past. This involvement in all levels of the physical performance will provide you with the proper insight into a production and interaction with the technical staff and crew, giving you an overall view of what it takes to produce that magic in the theatre called opera. You can also sign up for coachings with any of our staff coaches during posted scheduled times. Prof. Chowning has been doing this for some years, and this is only one of her many valuable facets as Principal Coach within the Opera Division, as you will experience. You can also coach with her and myself as regularly as you wish, provided you make the specific arrangements to do so with her and/or with me. I sincerely hope that this will be an exciting year, and that you will learn a great deal. PIANISTS / COACHES All three pianists/coaches will be assigned on a weekly basis to coach singers and to play for music and staging rehearsals. We are very careful in scheduling 8-10 hours per week out of your assigned 12, since we know that the other 2-4 must be used to prepare the scores you are given, so that you always come in top shape to each rehearsal. However, during the two weeks prior to opening night (Tech Rehearsals, Piano Dresses, etc.) you may be called more than the usual 8-10 hours for other matters pertaining to the production in course. A Coach Guidelines Handbook will be handed to each one of you, please read it carefully. Since you are not called for each music/staging rehearsals, you should follow these simple rules for the benefit of the entire Division: 1. Right after a rehearsal has finished, e-mail all pertinent notes given to you by the Conductor or the Stage Director to your two peers, Stage Manager, Prof. Chowning, Stage Director, Music Director, and Artistic Director, in regards to markings, breaths, rallentandi, accelerandi, pronunciation, changes, cuts, beating patterns and so forth, all of which were instructed by the Music Director to the company during that particular rehearsal. By doing so, we are all on the same page, and save valuable rehearsal time when we rehearse that same excerpt with any other pianist. 2. You will be trained by Professor Cara Chowning to run supertitles for each production. We usually begin running them at the second Piano Dress Rehearsal. - 4 -

3. You are expected to purchase your own pianist/vocal score for each production however, should you prefer for the School of Music to purchase it, you will be allowed to use it but must return it to Prof. Chowning once the production closes. 3. Being an Opera Pianist/Coach means that you are also available for special projects within the Division within your assigned weekly hours. 4. You all have a mailbox in the Opera Suite (KCPA 4-501) for your convenience. Check it regularly, you may receive important information there, besides e-mails. 5. After the General Opera Meeting (8/26/13) the Opera Staff will meet with all three coaches to have a brief meeting where you will be given a Coaches Handbook with specifics pertaining to your role within the Division. CASTING AUDITIONS Auditions are a crucial aspect of every musician s life. Therefore, we treat them as professionally as possible. - Have your material well learned. - Present yourself in the best possible light by preparing your music and rehearsing it in advance with the person who will be accompanying you. - Show up on time or even earlier than signed-up, if you are on time, you are late. - Show up looking your best. Auditions serve many purposes but mainly the following two: - They give us an idea of your capabilities and progress. - Based on the above, we classify you for consideration for roles and scenes. After cast lists are completed, you may want to make an appointment with me or with Cara Chowning to discuss the outcome (in addition to going over it with your own voice professor) if you wish to do so. CASTING POLICY The Division s casting policy is based on vocal and physical suitability of the singers who auditioned at the beginning of the fall semester. The casting is done foremost with the student s progress and with his/her vocal well being in mind. Naturally, concerns about matching and balancing ensembles are part of the decision making. This year s Opera Season consists of only two titles Fall and Winter- however, there will be other activities in lieu of the Spring production which we will let you know in advance. We will probably have covers assigned to some roles. If we designate students as covers, these covers will receive coaching, rehearsal and stage time to fully prepare their roles in case they must go on stage during a performance however, performing is not guaranteed. - 5 -

This cover program got started four years ago and it has worked beautifully. You may also want to understudy a role. There are various differences between being a cover and being an understudy. You may choose to understudy any role if it meets the approval of your Voice Professor and myself. The main differences between being a cover and an understudy, aside from the fact that you may be designated as an understudy but also, you may ask to understudy a role, are: You do not get coaching time yet, you may attend all or as many coaching sessions of the singers who have been cast in the role you chose. You don t get stage time, you don t get a costume, you don t get extra credit. Basically, if you decide to understudy a role, is because you want to do it for your own sake and growth, with no strings attached to the Division and/or the Production. Covers need to be fully prepared to jump on stage on a last minute notice, they are a third cast if needed, and, as such, they do get coachings, stage time, costumes, and so forth. Cast lists and credits in the Opera programs ALWAYS appear in alphabetical order, and do not, therefore, indicate performing casts. That decision will be made approximately three weeks before opening night, though the time frame is subject to change. There is a policy regarding the order in which singers may be chosen in case the Audition Committee and its Director feel that no suitable singers are found for the required roles. The priority in casting roles is as follows:.- Regular students.- Alumni.- Faculty.- Outside singers including professionals (when absolutely needed) REHEARSALS Rehearsal times are posted on a daily basis on Krannert s Resident Production Online Kiosk link at http://kcparesprod.weebly.com. Successful participation in the rehearsals enhances the student s crafts and tools. If you are enrolled in MUS 450B/MUS 265A, you are excused from attending a class or a coaching ONLY if you are called for a rehearsal at the very same time. Since all the work done in this program is ensemble work, it is IMPERATIVE that all participants observe a few simple (yet important) matters of working together: - Always be on time! Remember, if you think you are on time, you are late! - Learn your parts thoroughly and NOT at the last moment! - Make sure you can do what you agreed to do! - Think of yourself as a team player first, since you cannot even sing a duet without the help of other people. - Respect all colleagues and every member of the production, from your fellow singers to the staff, from the stage management and the crew, to the orchestra musicians, etc. You will realize that in every production, you build a temporary family; as such, relationships tighten and emotions can be on edge at specific times, - 6

so think twice or count to ten before you say or do anything! - Respect everyone s time and effort! COACHING As members of Class 450B and 265A you are entitled to sign up for coachings with any of our coaches as mentioned before. See the Online Kiosk schedule for details. To coach with Professor Chowning or with me, please make an appointment. OPERA STUDIO AND PERFORMING OPPORTUNITIES Professors Herrera and Harris explore different composers and their styles to offer you opportunities to perform scenes and/or short operas from a diverse array of the operatic repertoire from different epochs in their Opera Studio Class (MUS 468). At the end of each semester, two performances of these works will take place applying in practice the crafts you ve learned in this course; from acting to good diction; from breathing to singing convincingly in character and so forth. In addition to these activities, the Opera Studio Class brings performances to selected K-12 schools, as part of the Opera Outreach Program. We highly encourage you to enroll in this class, not only for the credit hours (2 hours) but mainly, for the training you will receive in all areas of opera performance as mentioned above. Once you take this class for at least two semesters, your opportunities to be cast in major opera roles will undoubtedly increase. OPERA CHORUS For each production we join forces with different choral groups in the SOM. However, if you are not enrolled in that particular group and wish to participate as a member of the chorus, you must first sing an audition for the Chorus Master of the specific production as well as for the Opera Director. If you are accepted, then you must register immediately for course MUS 450 B1 or the Music Course of the assigned Chorus for that particular production, to get proper credit. Your opera audition will count to be considered as an Opera Chorus member. COSTUMES Stage Managers or their assistants and/or representatives will set times for your costume/wig/fittings. If you do not show, or arrive late for the agreed time, a fine from $35 to $50 will be collected to recover costs for additional time. (Remember to respect other people s time and effort!) GRADING Grading will be affected by attendance, participation, actual comprehension of the assigned material, and performance. It is our goal to give each participant an opportunity to work at his/her highest level. STRIKE Following the last performance of every production, cast (MUS 450 B) and chorus members (MUS 450 B1) and all those enrolled in Opera Studio (MUS 468), are required to participate in the STRIKE. The strike takes place after the Sunday - 7 -

performance of each production, and it is posted on the annual calendar. If you need to be excused from strike you must direct your petition to Professor Chowning and/or myself ONLY. Again, if you have questions, please ask! PERFORMING For this Season, we will not provide scores for each participant except for chorus members. Piano vocal scores should be purchased by each student. If you wish to understudy a role you are not listed for, please ask to do so. Between your voice professor and the Opera Director, arrangements will be made to make it happen. You will be asked to be present at every coaching and rehearsal with no stage time guaranteed, as explained in pages 4 and 5 though. Be sure to let us know if this interests you. In agreeing to perform a role, you have to be available for ALL rehearsals, which take place as follows: Mondays / From 3pm to 6pm and from 7pm to 10pm [*10:30pm] Wednesdays and Fridays / From 3pm to 6 pm Tuesdays and Thursdays / From 1pm to 4pm and 6pm to 10pm [*10:30pm] * Tech rehearsals will usually run until 10:30pm. There are two or three per production. Shift rehearsals run until 11:00 pm, there is one for each production. You MAY BE needed for these latter ones. Please check the calendar for these announcements, as well as the weekly schedule and the daily. These only apply for sitzprobes during the week prior to production week, which means there is only one Tuesday and one Thursday per semester that you will be called from 1pm to 4pm. There may be additional rehearsals in the two weeks prior to the first performance for which you have to be available. Refer to the included calendar and to the weekly updated Opera Bulletin Board, the Production Bulletin Board as well as the Online Kiosk. In case of conflict only I can release you from rehearsals. No release from performances can be granted, even if you are not singing that very night. Once more, IT IS UNDERSTOOD THAT NO REHEARSAL musical or staging- CAN BE MISSED WITHOUT PRIOR CONSENT BY ME and if I am absent, BY PROFESSOR CHOWNING. Opera Studio Class meets on: Tuesdays and Thursdays / From 3pm to 5pm in OpRR unless indicated otherwise. Performances at the end of each term may take place at different times and days. IMPORTANT NOTE: Since the 2009-2010 Season, we have been printing headshots along with the resumes of all selected singers in the opera productions - 8 -

therefore, once you know in which opera you have been cast, you MUST SUBMIT a head shot in black and white, along with your resume, to the Stage Manager assigned to that particular production following the guidelines for doing so. SECOND IMPORTANT NOTE: All participants have to be in the theatre for ALL performances and dress rehearsals. If you are not performing that night you may be called for back stage assistance. If not, you may still learn a great deal by watching your colleagues on stage. For double cast roles: During your off-nights, you must be in the theatre during Dress Rehearsals, and during performances you must be either at the TFT Green Room or in the theatre, provided you will get a ticket from Stage Management with a row-seat number, so that Stage Management can get a hold of you should an emergency happen and you would be needed to sub for your counterpart. Please mark in the annual calendar the requested date to be off-book for each production. This deadline, as many others, are to be taken extremely seriously. Failing to comply with it may result in a lowering of your grade. THIRD IMPORTANT NOTE: The favorite sport on and off campus is RUMORING, as you ll find out. Please do not contribute to it, please do not enforce it or spread it. It is fun perhaps- but it does not help anybody and only causes confusion and sometimes, unjustifiable fear and infuses insecurity. It also makes you waste valuable time! The best solution to stop it, is to ask, to always ASK. There will be all sorts of rumors coming your way and if you ask other people, including your peers and even faculty, the rumor only gets bigger and spreads faster. Please help all of us at the Opera Division to stop this terrible sport/illness that only causes anguish, and worries students for no reason in particular. The official information about Opera matters can be easily found out by calling or e-mailing Professor Chowning or myself. Be sure that no one else on campus, not even the Director of the School of Music, will tell you the truth about Opera matters. Only Prof. Chowning and myself, period. Thank you for your cooperation to eliminate this dreadful practice/sport/illness. FOURTH IMPORTANT NOTE: Singers must be at the Theatre at least one hour before curtain call for all rehearsals and performances during the last two production weeks. This is crucial for you to have enough time to be in costume and make-up as well as for warming up, unless you are instructed otherwise. FIFTH IMPORTANT NOTE: Any student who misses a rehearsal during the two weeks prior to opening night, will be OUT of the production. All students must attend all Tech Rehearsals, all Sitzprobes, all Piano Dress Rehearsals and both Orchestra Dress Rehearsals. He/she may be excused ONLY under extraordinary circumstances with my approval or Professor Chowning s in my absence. In accepting participation in the productions listed below, you agree to adhere to the above rules. - 9

University of Illinois School of Music 2013-2014 Opera Season Fall Production Falstaff * Giuseppe Verdi Artistic Director and Conductor: Eduardo Diazmuñoz Stage Director: Kathleen Conlin Chorus Master: Cara Chowning 1893 G. Ricordi Edition. Re-printed in 1980 Piano vocal score # 96342 Sung in Italian with English supertitles Spring Production Orpheus In The Underworld Jacques Offenbach Artistic Director: Eduardo Diazmuñoz Conductor: TBA Stage Director: Ricardo Herrera Chorus Master: Cara Chowning Choreographer: Rebecca Nettl-Fiol Boosey & Hawkes Offenbach Edition Keck [OEK] (ISMN M-2025-3042-9) Sung in French with English supertitles * Verdi s Bicentennial - 10

PRELIMINARY 2013-2014 PRODUCTION CALENDAR DAY TIME PLACE ACTIVITY CAST 8/26 3:00-5:00 OpRR General Opera Meeting 8/30 3:00-6:30 FGH Auditions 9/2 Labor Day Building closed 9/3 3:00-10:00 FGH Auditions 9/4 3:00-10:00 FGH Auditions and Call Backs 9/9 7:00-10:00 OpRR FALSTAFF Company Meeting and Libretto Read-Through 9/24 6:00-7:00 OpRR Falstaff Designer Presentation to Cast 9/24 7:00-10:00 OpRR Falstaff staging begins 10/15 7:00-10:00 OpRR Designer Run 10/22 OFF BOOK Falstaff to be fully memorized 10/24 7:00-10:00 TFT Falstaff Dress Parade OpRR Followed by Music Rehearsal 10/31 6:00-10:30 TFT Shift Rehearsal 11/4 7:00-10:30 TFT Falstaff Tech 1 Orange 11/5 1:00-4:00 TFT Falstaff Orchestra Sitz 1 Orange 11/5 7:00-10:30 TFT Falstaff Tech 2 Blue 11/7 1:00-4:00 TFT Falstaff Orchestra Sitz 2 Blue 11/7 7:00 TFT Falstaff Piano Dress Tech 1 Orange 11/8 7:00 TFT Falstaff Piano Dress Tech 2 Blue 11/10 2:00 TFT Falstaff Piano Dress Tech 3 Mixed 11/12 7:00 TFT Falstaff Orchestra Dress 1 Blue 11/13 7:30 TFT Falstaff Orchestra Dress 2 Orange Invited Dress 11/14 7:30 TFT Falstaff Performance 1 Blue 11/15 7:30 TFT Falstaff Performance 2 Orange 11/16 7:30 TFT Falstaff Performance 3 Blue 11/17 3:00 TFT Falstaff Performance 4 STRIKE 11/18 Opera DAY-OFF 11/19 6:00-7:00 OpRR ORPHÉE AUX ENFERS Designer Presentation to Cast 11/19 7:00-10:00 OpRR ORPHÉE AUX ENFERS Company Meeting and Libretto Read-Through - 11 Orange

DAY TIME PLACE ACTIVITY CAST 11/23 THANKSGIVING 12/2 3:00-6:00 CPH ORPHÉE AUX ENFERS 7:00-10:00 Coachings Resume 12/8 6:00-10:00 CPH Opera Studio Dress 1 12/9 6:00-10:00 CPH Opera Studio Dress 2 12/10 4:00 CPH Opera Studio Warm-up 12/10 7:30 CPH Opera Studio Performance 1 12/11 4:00 CPH Opera Studio Warm-up 12/11 7:30 CPH Opera Studio Performance 2 12/20 Classes End 12/21 WINTER BREAK 1/21 3:00-6:00 OpRR Classes Resume 7:00-10:00 Orphée Staging begins 2/6 OFF BOOK Orphée to be fully memorized 2/6 7:00 OpRR Designer Run 2/18 7:00 TFT Orphée Dress Parade OpRR Followed by Music Rehearsal 2/20 7:00-10:30 TFT Shift Rehearsal 2/21 7:00-10:30 TFT Orphée Piano Tech 1 Orange 2/24 7:00-10:30 TFT Orphée Piano Tech 2 Blue 2/25 1:00-4:00 TFT Orphée Sitz 1 Orange 2/25 7:00 TFT Orphée Piano Tech 3 Mixed 2/27 1:00-4:00 TFT Orphée Sitz 2 Blue 2/27 7:00 TFT Orphée Piano Dress Tech 1 Orange 2/28 7:00 TFT Orphée Piano Dress Tech 2 Blue 3/2 2:00 TFT Orphée Piano Dress Tech 3 Mixed 3/4 7:00 TFT Orphée Orchestra Dress 1 Blue 3/5 7:30 TFT Orphée Orchestra Dress 2 Orange Invited Dress 3/6 7:30 TFT Orphée Performance 1 Blue 3/7 7:30 TFT Orphée Performance 2 Orange - 12

DAY TIME PLACE ACTIVITY CAST 3/8 7:30 TFT Orphée Performance 3 Blue 3/9 3:00 TFT Orphée Performance 4 Orange STRIKE 4/27 7:00-11:00 CPH Opera Studio Dress 1 4/28 6:00-11:00 CPH Opera Studio Dress 2 4/29 4:00 CPH Opera Studio Warm-up 4/29 7:30 CPH Opera Studio Performance 1 4/30 6:00 CPH Opera Studio Warm-up 4/30 7:30 CPH Opera Studio Performance 2 5/17 Classes end Subject to change Blue and Orange refer to one of our two usual casts assigned to that production. When during production there is reference to a White cast, it means that there is one cast only, which usually are the roles that have not been double cast. Please remember that BOTH STRIKES on the Sundays following the last performance of each production are MANDATORY for all cast members and those enrolled in Opera Studio (MUS 468) and Opera Chorus (MUS 450 B1) as well. Elaborated by: Mº Eduardo Diazmuñoz - 13

PARTICIPATION FORM Competition-Performance Please complete this form if you have participated in a competition and/or have won a prize, a recognition, or performed with an organization other than IOTE. Make copies of this form as needed, or get additional copies from Cara Chowning in the Opera Office. Name Undergrad [ ] Grad [ ] DMA [ ] I have sung in the following: Work Composer Role Where When I have participated in the following competitions: Competition When Where Won/Placed/Took part PLEASE KEEP THE DIVISION INFORMED ABOUT YOUR ACTIVITIES AS THEY OCCUR!!! - 14

OPERA DIVISION AUDITION INFORMATION 2013-2014 PLEASE PRINT CLEARLY Audition date: Time: Name (as you would like it to appear in print): Year in School (Freshman, Sophomore, etc.): Voice Professor: Local Address: St. City State Zip Phone: Home Work e-mail Voice type: [Soprano] [Mezzo] [Alto] [Tenor] [Baritone] [Bass] Please specify your vocal range: Age: Height: Weight: Clothing size: Hair color: Most recent roles performed: Character Title Where / When 1. 2. 3. Will you be enrolled in the University both semesters? Do you want to be considered for Opera Studio (MUS 468 Tues & Thurs 3p-5p)? Please circle one: YES NO If YES, what term? FALL SPRING BOTH What ensembles are you enrolled in during the Fall and Spring semester: Do you have training in [Ballet] [Ballroom] [Gymnastics] [Other/Specify: ] What other theatre related activities have you been part of? [Stagehand] [Lighting] [Props] [Costume] [Other/Explain: ] Do you have any medical restrictions? (Allergies, etc.) If yes, please explain: Are you afraid of heights? Material prepared for this audition: Aria/Song From (Show) By (Composer) 1. 2. 3. - 15 -

STRIKE CONTRACT/AGREEMENT All singers who are cast as soli (MUS 450 B and MUS 265 A) or chorus (MUS 450 B1), as well as those enrolled in Opera Studio (MUS 468 A), are required to help STRIKE productions of the Opera Division, during the 2013-2014 season. Strike dates are: November 17, 2013 March 9, 2014 Falstaff Orphée aux enfers To strike a production means you help clear the stage, pit, and other assigned places to assist the crew in taking every bit of the production down. It is highly recommended that you bring old, yet comfortable clothes. No excuses can be accepted An unexcused absence lowers your grade by one degree If, for a very special reason, you are unable to participate in an assigned strike, you will have to make it up at a strike for the other resident productions. Opera strikes take place at the conclusion of the Sunday performance, approximately 5-5:30 pm and lasts from 3 to 5 hours, depending on the size of the production. I have read this contract/agreement and understand the implications. Name Allergies (Dust, etc.?) Fear of heights? Anything else you think we need to be aware of? Signature Please hand this page with your audition form. Thank You. - 16 -