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THE PHANTOM OF THE OPERA - Majestic Theater Auditions

Posted: June 25, 2012

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THE PHANTOM OF THE OPERA

– Equity Principal Auditions

BroadwayProduction Contract; $1703/week minimum

Producers:Cameron Mackintosh and The Really Useful Company

Music:Andrew Lloyd Webber

Lyrics:Charles Hart

Book:Richard Stilgoe and Andrew Lloyd Webber

Director:Harold Prince

Choreographer:Gillian Lynne

Production Supervisor:Seth Sklar-Hyne

Production Musical Supervisors:Kristen Blodgette and David Caddick

Production Dance Supervisor:Denny Berry

General Manager:Alan Wasser Associates

Casting:Tara Rubin Casting

Equity Principal Auditions:

Thursday, July 12, 2012atPearl Studios519

10AM – 5:30PM519 8thAve., 12thFloor

Lunch 1:30 – 2:00New York City

Preparea brief song from legit musical theatre repertoire. Do not sing pop or rock music. Please bring your book of music in case you are asked to sing a second selection. An accompanist will be provided.

Please bring a current picture and resume, stapled together.

Seeking future replacements for the Broadway company.

Women should be sopranos (lyric or coloratura), mezzo sopranos, or contraltos, with strong legit musical theatre or opera voices.

Men should be strong legit musical theatre or opera tenors, baritones, or basses. Two of the basses in the chorus must sing to low F.

PLEASE NOTE: OPERA SINGERS ANDALL ETHNICITIESARE ENCOURAGED TO ATTEND.

CHRISTINE DAAE:

20s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floaty soprano. She sings briefly to high E.

THE PHANTOM:

30s – 40s: 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.

RAOUL, VICOMTE de CHAGNY:

Late 20s – early 30s: dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat).

FIRMAN & ANDRE:

Late 30s – 50ish; the managers of the Paris Opera House. Trying to be elegant, they are slightly befuddle and bumbling. Need good instincts for stylish comedy. Good supporting roles. Baritones; one sings to A, one to G.

CARLOTTA GIUDICELLI:

30s – EARLY 40s; the prima donna of The Paris Opera. A diva in every sense of the word. Coloratura soprano, to high E. Requires opera training.

MADAME GIRY:

Late 30s – early 50s; the Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat.

MEG GIRY:

Late teens – early 20s; a member of the Corps de Ballet. Must dance on pointe and sing mezzo soprano to G.

UBALDO PIANGI:

Late 30s – 50s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training.


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