Singing Audition Quotes

Valek leaned back in his chair and said to me, “I don’t think I would have made it past the audition,Yelena. I probably would have set my hair on fire by this point.” “What’s a singed head for the sake of art?” I teased. He laughed.

See, some people politely encourage their tone-deaf friends to sing. Some people even convince them to go on live television and audition for national competitions. But me? I am not that friend.

Her voice was trained, supple as leather, precise as a knife thrower's blade. Singing or talking, it had the same graceful quality, and an accent I thought at first was English, but then realized was the old-fashioned American of a thirties movie, a person who could get away with saying 'grand.' Too classic, they told her when she went out on auditions. It didn't mean old. It meant too beautiful for the times, when anything that lasted longer than six months was considered passe. I loved to listen to her sing, or tell me stories about her childhood in suburban Connecticut, it sounded like heaven.

Focus,” Mary muttered, chastising herself and her wandering mind. From her stereo came the soothing sounds of monks, vocalizing an ancient hymn meant to bring one closer to enlightenment. Credit where it was due, they were pretty good. Mary couldn’t remember ever hearing a bad singing monk, though. Was it just a byproduct of monkhood that one gained a great singing voice? Or maybe they had auditions before one got in. “Great, great, you want enlightenment, but I’ll need to hear you belt out some show tunes before we let you in.” Were there scouts out there scouring the vocal talents of a new generation and recruiting them to top-notch monasteries?

How did people come to chant rude poems while pulling certain ropes or gathering certain fruit, and why did nobody do anything of the kind while producing any of the modern things? Why is a modern newspaper never printed by singing in chorus? Why do shopmen seldom, if ever, sing? If reapers sing while reaping, why should not auditors sing while auditing and bankers while banking?

Tell me a story and let's laugh like it's the only think keeping us alive. Play a song and give the stereo permission to use its outside voice. Let's sing loudly, offbeat and out of tune. Let the world know we don't care how it sounds because the only key we need is already in the ignition. Let the sky turn the windshield into a stage. Watch it dance like he scenery is auditioning to be part of our story. Let's just go. Drive until our troubles phantom in the rearview mirror and we forget the exist, at least for a moment.

Hope, though; now there’s a real pest. Hope doesn’t just nibble your cheese and chew holes in your skirting boards. Hope keeps you plodding on when it really is time to call it quits. Hope drags you to sixteen auditions in a single day, when there’s a nice job in your brother-in-law’s tannery just waiting for you. Hope keeps you going in Old Stairs or Paradise, even though there’s no money and nothing to eat and the landlord just took your chair and your chamber pot. Personally, I can see no great merit in simply being alive if you’re miserable and in pain, but Hope won’t let you go. She’s a tease, like bad children teasing a dumb animal, and I’ve made a point of avoiding her whenever I can. Still, sometimes she runs you down and there’s nowhere left for you to go. You can turn and fight her and lose, or let her scoop you up and turn your brain to mush. Hope against hope. We had human chains shifting those blocks with levers and rollers, through the narrow alleys where carts couldn’t go. We had shifts digging the ditch by lamplight, in the rain. And in every working party there was at least one man who cheerfully announced that it wasn’t going to work, the whole idea was stupid, the enemy’ll find a way round this in two shakes, just you see; and even he didn’t really believe it, because of Hope. Hope turns a hundred men and women ripping the skin off their hands on a coarse hemp rope into a street party. Someone tells a joke, or clowns around, or starts singing a favourite song from one of the shows, and Hope bursts through, like sappers, and next thing you know she’s everywhere, like smoke, or floodwater, or rats. We’re going to beat Ogus, she whispers in every ear, and this time it’ll be different.

Sam Moore had scuffled his way into hosting a talent show at a nightclub, the King of Hearts, in his hometown of Miami. Dave Prater was a bread baker. Sam remembers that when Dave signed up for that week’s show, he was wearing his baker’s whites; wherever he walked, he left behind white flour shoe prints. At the auditions, Dave sang a Jackie Wilson song, “Doggin’ Around,” but realized he didn’t know the verses. Sam, whose job depended on selecting acts that would produce a good show, agreed to stay close during the performance and feed him the lines. But that night, Sam’s foot caught the microphone cable, and as the mike began to fall, Dave went down to catch it and Sam went down to catch Dave. Choreographers couldn’t have written it better: They came up together, singing and with the mike in hand. In that little mix-up, an act was born that would last the better part of twenty-two years and would remain forever a part of the public consciousness.

I was not able to sleep that night. To be honest, I didn’t even try. I stood in front of my living room window, staring out at the bright lights of New York City. I don’t know how long I stood there; in fact, I didn’t see the millions of multicolored lights or the never-ending streams of headlights and taillights on the busy streets below. Instead, I saw, in my mind’s eye, the crowded high school classrooms and halls where my friends and I had shared triumphs and tragedies, where the ghosts of our past still reside. Images flickered in my mind. I saw the faces of teachers and fellow students I hadn’t seen in years. I heard snatches of songs I had rehearsed in third period chorus. I saw the library where I had spent long hours studying after school. Most of all, I saw Marty. Marty as a shy sophomore, auditioning for Mrs. Quincy, the school choir director. Marty singing her first solo at the 1981 Christmas concert. Marty at the 1982 Homecoming Dance, looking radiant after being selected as Junior Princess. Marty sitting alone in the chorus practice room on the last day of our senior year. I stared long and hard at those sepia-colored memories. And as my mind carried me back to the place I had sworn I’d never return to, I remembered.

Carajo!" Paco says, throwing down his lunch. "They think they can buy a U-shaped shell, stuff it, and call it a taco, but those cafeteria workers wouldn't know taco meat from a piece of shit. That's what this tastes like, Alex." "You're makin' me sick, man," I tell him. I stare uncomfortably at the food I brought from home. Thanks to Paco everything looks like mierda now. Disgusted, I shove what's left of my lunch into my brown paper bag. "Want some of it?" Paco says with a grin as he holds out the shitty taco to me. "Bring that one inch closer to me and you'll be sorry," I threaten. "I'm shakin' in my pants." Paco wiggles the offending taco, goading me. He should seriously know better. "If any of that gets on me--" "What'cha gonna do, kick my ass?" Paco sings sarcastically, still shaking the taco. Maybe I should punch him in the face, knocking him out so I won't have to deal with him right now. As I have that thought, I feel something drop on my pants. I look down even though I know what I'll see. Yes, a big blob of wet, gloppy stuff passing as taco meat lands right on the crotch of my faded jeans. "Fuck," Paco says, his face quickly turning from amusement to shock. "Want me to clean it off for you?" "If your fingers get anywhere close to my dick, I'm gonna personally shoot you in the huevos," I growl through clenched teeth. I flick the mystery meat off my crotch. A big, greasy stain lingers. I turn back to Paco. "You got ten minutes to get me a new pair of pants." "How the hell am I s'posed to do that?" "Be creative." "Take mine." Paco stands and brings his fingers to the waistband of his jeans, unbuttoning right in the middle of the courtyard. "Maybe I wasn't specific enough," I tell him, wondering how I'm going to act like the cool guy in chem class when it looks like I've peed in my pants. "I meant, get me a new pair of pants that will fit me, pendejo. You're so short you could audition to be one of Santa Claus's elves." "I'm toleratin' your insults because we're like brothers." "Nine minutes and thirty seconds." It doesn't take Paco more than that to start running toward the school parking lot.

In the early '90s a beautiful young Russian soprano who loved music was studying opera at the St. Petersburg Conservatory. She told us how despite her single-minded focus on developing her voice, her teachers thought that perhaps, at best, one day she could sing in a chorus somewhere. But the soprano wasn't going to let her teachers' low opinion of her stop her from achieving her goal. While becoming a part-time janitor may not seem like a brilliant career move for an aspiring opera star, she took a job mopping floors at St. Petersburg's Kirov Opera, the greatest opera company in Russia. Still working hard in the conservatory, she earned the chance to audition for the Kirov and was accepted into the ensemble. During rehearsals, when the lead singer became ill, the stage director asked the soprano if she knew the part. "Of course I knew it", she told us. "I knew all the parts. I was ready." She had worked hard; she had worked smart by putting herself in the right place at the right time. And she performed well. Her once-skeptical teachers never could have imagined the career that the soprano, Anna Netrebko, would go on to have, becoming an operatic superstar and the reigning diva of the twenty-first century.

As well as Alex, there’s another kid in our grade who is kind of overweight and dorky looking. But it turns out that he has an awesome voice. I had no idea that our school has so much talent and it certainly came as a huge surprise to find out that Liam can actually sing really well. The look of amazement when we heard his audition pretty much spread like wild fire. I even caught the teachers raising their eyebrows in astonishment. It just goes to show you that you can’t judge a book by its cover! I never really understood what that meant until hearing Liam sing. Now, I don’t

As well as Alex, there’s another kid in our grade who is kind of overweight and dorky looking. But it turns out that he has an awesome voice. I had no idea that our school has so much talent and it certainly came as a huge surprise to find out that Liam can actually sing really well. The look of amazement when we heard his audition pretty much spread like wild fire. I even caught the teachers raising their eyebrows in astonishment. It just goes to show you that you can’t judge a book by its cover! I never really understood what that meant until hearing Liam sing. Now, I don’t think I’ll ever look at him in the same way again. It’s also a really big lesson for me.

¡Carajoǃ” Paco says, throwing down his lunch. “They think they can buy a U-shaped shell, stuff it, and call it a taco, but those cafeteria workers wouldn’t know taco meat from a piece of shit. That’s what this tastes like, Alex.” “You’re makin’ me sick, man,” I tell him. I stare uncomfortably at the food I brought from home. Thanks to Paco everything looks like mierda now. Disgusted, I shove what’s left of my lunch into my brown paper bag. “Want some of it?” Paco says with a grin as he holds out the shitty taco to me. “Bring that one inch closer to me and you’ll be sorry,” I threaten. “I’m shakin’ in my pants.” Paco wiggles the offending taco, goading me. He should seriously know better. “If any of that gets on me--” “What’cha gonna do, kick my ass?” Paco sings sarcastically, still shaking the taco. Maybe I should punch him in the face, knocking him out so I won’t have to deal with him right now. As I have that thought, I feel something drop on my pants. I look down even though I know what I’ll see. Yes, a big blob of wet, gloppy stuff passing as taco meat lands right on the crotch of my faded jeans. “Fuck,” Paco says, his face quickly turning from amusement to shock. “Want me to clean it off for you?” “If your fingers come anywhere close to my dick, I’m gonna personally shoot you in the huevos,” I growl through clenched teeth. I flick the mystery meat off my crotch. A big, greasy stain lingers. I turn back to Paco. “You got ten minutes to get me a new pair of pants.” “How the hell am I s’posed to do that?” “Be creative.” “Take mine.” Paco stands and brings his fingers to the waistband of his jeans, unbuttoning right in the middle of the courtyard. “Maybe I wasn’t specific enough,” I tell him, wondering how I’m going to act like the cool guy in chem class when it looks like I’ve peed in my pants. “I meant, get me a new pair of pants that will fit me, pendejo. You’re so short you could audition to be one of Santa Claus’s elves.” “I’m toleratin’ your insults because we’re like brothers.” “Nine minutes and thirty seconds.” It doesn’t take Paco more than that to start running toward the school parking lot. I seriously don’t give a crap how I get the pants; just that I get ‘em before my next class. A wet crotch is not the way to show Brittany I’m a stud.

One of my incidental tasks at the radio station was to hire talent to build up the programs. One evening a couple of fellows who called themselves Sam and Henry came in to audition. They gave me their routine, a few songs and vaudevillian patter. Their singing was lousy but the jokes weren’t too bad, so I hired them for five dollars apiece. They kept working on their characters and developed a Southern Negro dialogue that was a huge success. That team went on to make show business history, later changing the name of their act to Amos and Andy.

Jung Kook had already received business cards from seven different entertainment companies during the Superstar K3 auditions. ______None of them really told me why they wanted to sign me. I remember one of the companies wanted me to come to a hotel room near the Superstar K3 audition site for an audition. They wanted to get a video of me singing.

One evening, I was in my room singing, “The sun’ll come out tomorrow,” when Dad came in for supper. He chewed his meatloaf quietly, and listened. “I’ll find the money,” he told Mother when they went to bed that night. “You get her to that audition.

Carnival Cruise Lines has its own successful way of doing things, which in this case involved creating a musical group called “The Hot Shots!” The word “Fantastic” comes to mind when thinking of this musical group! Each member auditioned separately at the Carnival rehearsal facility in Miami and then rehearsed as a group until they were ready for the big leagues aboard ship. Fortunately for me and my team, which includes Jorge Fernandez, a former guitar player from Cuba and now a top flight structural engineer in the Tampa Bay area, who helps me with much of my technical work; Lucy Shaw, Chief Copy Editor; Ursula Bracker, Proofer, and lucky me Captain Hank Bracker, award winning author (including multiple gold medals), were aboard the Carnival Legend and were privileged to listen to and enjoy, quite by chance, music that covered everything from Classical Rock, to Disco, to Mo Town and the years in between. Talented Judith Mullally, Carnival’s Entertainment Director, was on hand to encourage and partake in the music with her outstanding voice and, not to be left out, were members of the ship’s repertory cast, as well as the ship’s Cruise Director. The popular Red Frog lounge on the Carnival Legend was packed to the point that one of the performances had to be held on the expansive Lido deck. However, for the rest of the nights, the lounge was packed with young and old, singing and dancing to “The Hot Shots!” - a musical group that would totally pack any venue in Florida. Pheona Baranda, from the Philippines, is cute as a button and is the lead female singer, with a pitch-perfect soprano voice. Lucas Pedreira, from Argentina, is the lead male singer and guitar player who displayed endless energy and the ability to keep the audience hopping! Paulo Baranda, Pheona’s younger brother, plays the lead guitar to perfection and behind the scenes is the band’s musical director and of course is also from the Philippines. Ygor, from Israel, is the “on the money” drummer who puts so much into what he is doing, that at one point he hurt his hand, but refused to slow down. Nick is the bass guitar player, from down under New Zealand, and Marina, the piano and keyboard player, hails from the Ukraine. As a disclaimer I admit that I hold shares in Carnival stock but there is nothing in it for me other than the pleasure of listening to this ultra-talented group which cannot and should not be denied. They were and still are the very best! However, I am sorry that just as a “Super Nova” they unfortunately can’t last. Their bright shining light is presently flaring, but this will only be for a fleeting moment and then will permanently go to black next year on January 2, 2020. That’s just the way it is, but my crew and I, as well as the many guests aboard the Carnival Legend, experienced music seldom heard anywhere, any longer…. It was a treat we will remember for years to come and we hope to see them again, as individual musical artists, or as perhaps with a new group sometime in the near future!

I still miss those days of putting on an actual costume to sing, dance, and be someone else. I have thought about going back and doing theater, or even starting a drama club at whatever school I end up at long term. I occasionally look up approaching auditions while I toy with those thoughts.

And aren’t you leaving the life of a Chagga? Five years from now, your plan is to become an American citizen, audition for the American Idol TV singing competition series, be a contestant, win, and become a famous pop singer.

It was as if, when I sang, Dad forgot for a moment that the world was a frightening place, that it would corrupt me, that I should be kept safe, sheltered, at home. He wanted my voice to be heard. The theater in town was putting on a play, Annie, and my teacher said that if the director heard me sing, he would give me the lead. Mother warned me not to get my hopes up. She said we couldn’t afford to drive the twelve miles to town four nights a week for rehearsals, and that even if we could, Dad would never allow me to spend time in town, alone, with who knows what kind of people. I practiced the songs anyway because I liked them. One evening, I was in my room singing, “The sun’ll come out tomorrow,” when Dad came in for supper. He chewed his meatloaf quietly, and listened. “I’ll find the money,” he told Mother when they went to bed that night. “You get her to that audition.

There are some great dancers in our grade; even some of the boys are particularly good. One boy named Alex has been dancing pretty much his entire life and is probably the best dancer in the whole school. When he was younger, he said that the other kids had bullied him and called him a girl as well as a heap of horrible names that he really didn’t want to mention. But I could see that everyone had finally developed a huge amount of respect for Alex and those who were still unaware of his talents were in for a big surprise. Hip hop is his specialty and he’s so cool to watch. I kept telling him that when he’s old enough, he should audition for “So You Think You Can Dance” and he told me that he’d really like to. As well as Alex, there’s another kid in our grade who is kind of overweight and dorky looking. But it turns out that he has an awesome voice. I had no idea that our school has so much talent and it certainly came as a huge surprise to find out that Liam can actually sing really well. The look of amazement when we heard his audition pretty much spread like wild fire. I even caught the teachers raising their eyebrows in astonishment. It just goes to show you that you can’t judge a book by its cover! I never really understood what that meant until hearing Liam sing. Now, I don’t think I’ll ever look at him in the same way again. It’s also a really big lesson for me. From now on, I will never judge a person by their looks alone. I’ll wait till I get to know them because I’ve found out that until you do get to know people, you really don’t know what type of person they are or what hidden talents they might have. Anyway, the musical was shaping up to be a huge success. The dance troupe we had put together was really coming along and we rehearsed during every lunch break and sometimes even after school. Then one afternoon, an amazing thing happened; Blake Jansen, who I’ve had a secret crush on since the fourth grade, turned up at rehearsals with his friend, Jack.

Crazy for You opens backstage at the Zangler Theatre, New York, where Bobby, desperate to break into showbusiness, performs an impromptu audition for the great impresario Bella Zangler. This is not a ‘book number’ – that’s to say, the music is not an expression of character or plot point arising from the dialogue, the defining convention of musical theatre. Instead, more prosaically, it’s a real number, a ‘prop number’: Bobby is backstage and doing the song for Zangler. So it’s sparely orchestrated – little more than a rehearsal piano and some support; it’s one chorus; and its tap-break ends with Bobby stamping on Zangler’s foot. This is grim reality: Bobby is expelled from the theatre. Outside, he makes a decision, and sings ‘I Can’t Be Bothered Now’ – the second song, but the real opening number: the first ‘book number’ in the show. There is an automobile onstage (it’s the 1930s) and, as Bobby opens the door, one showgirl, pretty in pink, steps out, then another, and another, and more and more, far more than could fit in any motor car; finally, Bobby raises the hood of the vehicle and the last chorine emerges. The audience leans back, reassured and content: Susan Stroman’s fizzy, inventive choreography has told them that what’s about to follow is romantic fantasy. More to the point, it’s true to the character of the song, and the choice of song is true to Bobby’s character and the engine of the drama: My bonds and shares May fall downstairs Who cares? Who cares? I’m dancing and I Can’t Be Bothered Now … This lyric captures the philosophy of Ira Gershwin’s entire oeuvre – which is important: the show is a celebration of Gershwin. But it’s also an exact expression of Bobby’s feelings and the reason why he heads to Dead Rock, Arkansas. So the number does everything it should: it defines the principal’s motivation; it kick-starts the plot; and it communicates the spirit of the score and the staging. Audiences don’t reason it out like that; we just eat it up. But that’s why.

Adelina Patti was the highest paid soprano of her time. She made her debut as a child in New York and sang at Covent Garden for twenty-five seasons. When asked for her rates to perform, the theater manager replied, “Why, Madame, that is four times as much as we pay the President of the United States for a full year.” Patti replied, “Well, then, why don’t you get the President to sing for you?