Make sure your contact information header is on this list, as well. List the 4–6 arias that you are prepared to perform for a current audition by aria title, opera title and composer. In other words, don’t list every masterclass teacher you have ever worked with.įeel free to list opera-related skills, including languages, instrumental, dance/movement training and theater experience. Only list professionals who would be willing to speak favorably about you. Consider this section comparable to the reference list on an administrative resume. List names of voice teachers, coaches and other professionals. Even if your performing experience section alludes to this information, spell it out. If you have participated in any professional training programs, please include that information and be specific: which program(s), at what level(s) and in what year(s). Your resume should highlight your training experience, including both academic and professional training as it relates to a career in opera. With each role, include the opera title, composer (in the case of contemporary or lesser-known works), organization where the role was performed and year performed. Utilize this header on all of your materials in case they are separated.Įvery resume should prominently feature a chronological list of complete roles performed to date, with the most recent date at the top. In creating this essential document, please consider the following outline:Įvery resume and repertoire list should include your name, voice category and contact information (e-mail address, phone number and website address), including a digital headshot. Resume exaggerations can be viewed as deliberate untruthfulness (not a good character assessment), and missing information can raise flags. Typos and misspellings can be an indicator of your thoroughness in preparing a role. Auditioners, who will see hundreds of resumes, are looking for clues not only about your training and performing experience, but also about who you are as a professional. This sounds like a simple task, but there are many things to consider. Your resume should be a one-page representation of your performance and training experience to date. (Organizations and individuals listed on the samples are fictitious.) Resume You should cover the sections listed below, but your materials should ultimately reflect your unique experiences and personality. While these samples represent recommended standards from the field, remember that there is more than one way to create an effective cover letter, and these documents are intended solely to be a model as you create or review your materials. Kuchler Concertino in D (Style of Vivaldi) all 3 mvts.The sample resume, repertoire list and cover letter included on this page were created by OPERA America staff utilizing the compiled advice of hundreds of professionals from the opera field. Wieniawski, Polonaise Brillante in A major, Op. Wieniawski, Polonaise de Concert in D major, Op. Sarasate, Malaguena (in Heifetz – New Favorite Encore Folio) Sarasate, Zapateado (in Heifetz – New Favorite Encore Folio) Saint-Saens, Introduction and Rondo Capriccioso Kreisler Pieces (from collections) and Volume 2 and Volume 3īach, Solo Sonatas and Partitas (Szeryng Ed.) 49īartok, Rumanian Folk Dances (in Solos for Young Violinists, Vol 6) Heifetz-Dinicu, Hora Staccato or in Heifietz Collection Kreisler Praeludium and Allegro or Kreisler Collection Kreisler, Sicilienne and Rigaudon or in Collectionĭvorak, Sonatina or in Solos For Young Violinists Vol. Kreisler/Gluck, Melodie or in Kreisler Collection 1īela Bartok, 44 Duos for Two Violins and Vol 2 Gabriel-Marie, La Cinquantaine in Solos for Young Violinists Vol. Bohm, Introduction and Polanaise in Solos for Young Violinists, Vol. Mollenhauer, The Boy Paganini in Solos for Young VIolinists, Vol. Josef Gingold, Solos for the Violin Player(Allegro Spiritoso, The Bells)Į. Whistler, Introducing the Positions, Bk 1 Kuchler, Concerto in D, (Style of Vivaldi) in Solos for Young Violinists Vol. Karl Bohm, Perpetual Motion from String Festival Solos, Vol IIį. Kabalevsky, Album Pieces for 1 and 2 Violins and PianoĬharles Dancla, 12 Easy Fantasies, Op. Stanley Fletcher, New Tunes for Strings, Book 2Īlfred Moffat, Old Masters for Young PlayersĬonstance Seely Brown, J.S. Stanley Fletcher, New Tunes for Strings, Book 1 Sequence of Violin Repertoire by Mimi Zweig Sequence of Repertoire from Suzuki Books IV-VI.Sequence of Violin Repertoire by Mimi Zweig.You find that most of the titles are links that will bring you directly to a website where you may purchase the music in our preferred editions. They serve as a foundation for much of our instruction at the String Academy and we provide them as a resource for other teachers and students alike. The following violin repertoire lists have been compiled over many years of teaching and experience by Mimi Zweig and Dorothy Delay.
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