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AUDITION FORUM

Questions & Answers

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Audition burnout, normal part of the process?

I've been working with a coach and practicing at any available hour for the past year+ to win a job, but not only has my progress stalled, but random health problems are starting to set me back.


In the past burnout has just been a normal part of the process, and I wouldn't be worried about feeling strained. Heck, my peers who are now working in orchestras often described the dark places they had to go through in order to be winners. But insomnia, brain fog, and headaches are getting in the way of practicing.


If I'm not the most talented I am committed to being the hardest worker in an audition roster, but there are days I just want to quit because I don't get feedback on why I don't advance. I don't know if I'm putting enough effort in, need to swallow my pride and double down, orโ€ฆ

1641 Views
Prelimloser
Apr 17, 2025

A counterintuitive strategy. Looking forward to giving this a spin.

Committee members, what made the winner stand out?

On the increasingly rare occasions I do get feedback from my prelims, it's always a technical shortcoming that holds me back. Positive feedback is either a "good" or a checkmark but little else.


I never hear about committees describing the winner's audition performances. What makes them stand out? Technical polish? Stylistic literacy and knowledge? Creativity? Flexibility on immediate feedback?


It would be good for me to spend some time pursuing what sets the winners apart as opposed to my typical mode of avoiding mistakes.

1766 Views
violin18
Apr 28, 2025

Consistency is SO key. Especially with committees where the ensemble's CBA rules dictate anonymous voting and discussion only within a certain percentage of votes. If you really nail a couple excerpts but mess up/show some clear weaknesses on others, someone else who played more "average" but without any obvious "mistakes" is more likely to advance, especially in preliminary rounds. Not saying that's necessarily the way it should be, but often the way it is.

It's also very important to show clear stylistic differences and approaches between composers. We need to be able to tell that you listened to the piece, you understand what's going on in the other parts, you have a sense of what the excerpt is "about" (sounding light and sparkly, sounding rich, being rhythmically rigid OR FLUID - especially in opera excerpts, etc). I was on a panel once where we eliminated a lot of people because they didn't sound rough and ugly enough on one particular excerpt, where it was really called for! Not every excerpt should be painted with the same brush, it's about clarity of interpretation.

Summer Festival Rejections

I did not get into any of the summer festivals I applied to this year. This is especially difficult since I went to a well-known festival last summer and had such an amazing experience. I wanted to know if anyone is/was in a similar situation. Any ways I can spend my summer productively outside of practicing?

2164 Views
Broccoli
Apr 17, 2025

Summer festivals specifically are a crapshoot for admissions. Everyone records on a completely different playing field of equipment, rooms, accompanists etc. Then add that teachers often have ideas of who they want to get in as well.


I had summers of zero success as a student. Then I found success in real-world blind orchestra auditions soon afterwards. The two are unrelated. Sometimes a summer off could actually be beneficial, since you can practice what you want, or even live life outside of music a little. Try not to get down on yourself, summer festival admissions are not a measure of your progress.

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Sought-After Violin Pedagogues

Are there any violin studios that you recommend based on my level of playing? I'm not a prodigy, but I'm attending a solid music school (similar level as Michigan, Eastman, Oberlin, IU). I would really love to get my violin playing to the next level with a great teacher.

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