Call Type
Equity Principal
Date of Audition
3/3/2011
Location
Fern Adair Conservatory for the Arts
3265 East Patrick Lane
Las Vegas, NV
Time(s)
Thursday, March 3rd
10am-4pm
Sign-in begins at 9am
Lunch 12-1pm
· EPA Rules are in effect.
· A monitor will be provided.
Appointments
Please bring a picture & resume, stapled together.
|
Contract
Casino
$1,500/wk
Seeking
Please see breakdown.
Preparation
Please see breakdown for preparation.
Other Dates
Wednesday, March 2, 2011 – Dancer ECC
Friday, March 4, 2011 - Singer ECC
Other
This 90 minute version is currently playing at the Venetian Hotel in Las Vegas. (6 day week - 8 performances)
Personnel
Dale Brown, Tara Rubin Casting
Jack Gaughan, Musical Director
|
| Breakdown
Please be prepared to sing a song from the standard opera/operetta/legit musical theatre repertoire, preferably in English, that shows off your voice and range. Do not sing pop or rock music. Please bring your book of music with you, in case you are asked for a second selection. Please bring sheet music in your key. An accompanist will be provided. Women should be sopranos (lyric or coloratura), mezzo sopranos, or contraltos with strong legit musical theater or opera voices. Men should be strong legit musical theater or opera tenors, baritones, or basses. Opera singers and minorities are encouraged to attend.
CHRISTINE DAAE: 20’s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floaty soprano. She sings briefly to high E. Principal Role.
THE PHANTOM: 30’s – 40’s: high baritone or tenor (with a good low range) from low A flat to high A flat. Needs a dynamic, bravura, “star” performance, both frightening and irresistible. Principal Role.
RAOUL, VICOMTE de CHAGNY: Late 20’s – early 30’s: dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat). Principal Role.
FIRMAN & ANDRE: Late 30’s – 50ish; the managers of the Paris Opera House. Trying to be elegant, they are slightly befuddled and bumbling. Need good instincts for stylish comedy. Good supporting roles. Baritones; one sings to A, one to G. Principal Role.
CARLOTTA GIUDICELLI: 30’s – EARLY 40’s; the prima donna of The Paris Opera. A diva in every sense of the word. Coloratura soprano, to high E. Requires opera training. Principal Role.
MADAME GIRY: Late 30’s – early 50’s; the Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat. Principal Role.
UBALDO PIANGI: Late 30’s – 50’s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training. Principal Role.
DON ATTILIO/PASSARINO: (Chorus contract – excellent small specialty role) 30’s – 40’s. Bass or Bass baritone with a solid and legitimate low F. Should be a physically interesting character man with a good sense of comedy.
WARDROBE MISTRESS/CONFIDANTE: (Chorus contract –excellent small specialty role) 30’s – 40’s. Contralto or low mezzo. Physically interesting character woman. Short and round or tall and thin.
MONSIEUR REYER: (Chorus contract-excellent small specialty role) 30’s – 40’s. Tenor. Character role. The repetiteur (vocal coach) of the Paris Opera. An agitated, finicky, meticulous fellow. A strict disciplinarian. . always on the verge of hysteria.
LEFEVRE: (Chorus contract - excellent small specialty role) Late 30’s – early 50’s: Manager of the Paris Opera House who is handing over his position at the top of the show. Eager to be rid of the whole situation. Good instincts for stylish comedy.
|
