In conversation with Zenaida des Aubris

Based in Berlin, Zenaida des Aubris, has over 45 years’ experience in artist management and the production of classical music and opera in the United States, South America, Europe and Asia.

Through her coaching, Zenaida provides the tools for artists to manage themselves and kickstart their careers. Her territory of expertise is Europe, focusing particularly on Germany, Austria and Switzerland.

What advice would you give young singers starting their careers today?

There is always room at the top! However, the reality today is the amount of work for opera singers remains less than pre-Covid, even in Germany, which has the highest concentration of opera houses in the world, with theatres in nearly every major city and region. Although Berlin remains a hub for emerging artists, there are major cuts across the capital with one fewer production in each of the three state-funded opera houses, fewer performances and fees going down 20-30%. Young singers need to be aware that this is not a booming economy and should realistically plan how much time they are able to give, how they can exist financially and what that means for their future.

I would advise setting a goal of, say, 4 years and working hard to fully realise that ambition. Then re-assess and consider what the alternatives are if that doesn’t work out. The earlier you can think about a plan B, C & even D, the better. You may endeavour to join a Young Artist Programme, undertake one or more Fest contracts or freelance as a guest on the continent. If you already have existing relationships with conductors or orchestras, you may choose to build performance opportunities in the concert sector, or with specialist touring ensembles. Do not underestimate getting a position in a Chorus, which may be the most fulfilling choice in terms of stability, starting a family and work-life balance.

In terms of goal setting, ask yourself what you’re good at, what you feel most comfortable with (which might not be the stages of the Metropolitan Opera or La Scala!) and then create a plan for how to get there. Consider your existing network as a starting point. Reach out to singers and opera studio alumni who may be able to offer insights and introductions. For exposure with larger houses, this might involve taking part in high visibility competitions, but it’s not just about winning – that’s a by-product. Casting directors and agents will attend the final rounds, giving you invaluable exposure. Use these opportunities to expand your network and follow up with emails after.

When you are specific with your plan, ambiguity is removed and tangible actions become far less onerous. Through your career, maintain an awareness of where you want to get to and how you get there. In these uncertain times, this is more important now than ever.

How should singers approach auditioning in German-speaking countries?

When putting together new recordings, ensure you invest in good quality audio with a professional sound technician. Music conservatoires and universities usually have these facilities, with many other recording packages now available at a reasonable price. As a tax-deductible expense, this is an investment well worth making.

Have at least three varied recordings to include a piece of well-known repertoire (perhaps a Mozart), something that pushes you (that you do well) and something more esoteric (showing the breadth of what you can offer). Ensure you include a German and an Italian piece. English is also fine and can include Britten, Purcell, Handel, depending on your preferred repertoire. Just put your best foot forward and show what you do well now, not something you are working on.

Opera Studios

Applying to Opera Studios is a key step to building a career in the German-speaking opera system. They offer intensive training, stage experience, and exposure to professional environments, often with opportunities for comprimario roles and covers within your Fach. Application, repertoire and deadline requirements are detailed on the relevant websites, and the age limit is usually under 28-30 years (sometimes higher for low voice types). You must have a strong vocal technique and stage presence, with an ability to sing in multiple languages. Ensure you tailor repertoire to your current vocal abilities, not your future potential, and complete all application materials carefully.

Festvertrag

A Fest contract means you are part of a theatre’s resident ensemble, typically 1-2 years, though it can be extended. The benefits include having a salary where you’re entitled to benefits like health insurance, pension contributions and paid holidays. This is considered a strong foundation for building a long-lasting opera career and you will be assigned a set number of roles per season in your Fach, participating in rehearsals, performances and sometimes outreach or education programmes.

On Oct 31st German-speaking theatres need to confirm whether their ensemble contracts will be renewed for the following season, so auditions usually run Oct-Nov, stretching to mid-Dec, then mid-Jan through to May (except the periods before and after Easter). You can audition for Fest contracts directly with theatres, via ZAV Künstlervermittlung (see below), through domestic agents who specialise in Fest placements or apply first to Opera Studios that might feed into Fest contracts.

Zentrale Auslands- und Fachvermittlung (ZAV)

The ZAV Künstlervermittlung (Artist Placement Service) has dedicated offices to guide singers to appropriate auditions in Germany as they are part of the Federal Employment Agency, thus not charging commission. Often, they know casting directors and solo agents personally and primarily work with mid-level and smaller theatres to place artists into smaller roles in opera, operetta, musical and chorus positions. With offices in Berlin, Munich, Cologne, Hamburg, Stuttgart and Leipzig, you can contact one or multiple offices, depending on your travel plans or preferred location. To request an audition, send a complete bio, repertoire list, and links to recent high-quality recordings and a website.

Künstlerisches Betriebsbüro (KBB)

Unlike some countries, German-speaking opera houses are open to direct contact from singers. In the first instance you should email the KBB (Artistic Operations Office), a central organizational unit within many German theatres. You can find the website addresses of opera houses online, along with the name of the person casting (avoid using generic Sir/Madam – make the effort of finding out the name of the person in charge). You should use German language if possible and mention your availability for auditions, your travel plans as well as your repertoire and what you consider your strengths. Include links to your recent materials (avoid large attachments). Information is key, if you know what they are planning in future seasons, reference that.

Agents

Casting directors usually like personal recommendations and value good relationships with agents, with most agents having stronger contacts in one region than another. Remember that agents are only as good as their network – usually this is language or territory based (UK, US, Italian, French, Scandinavia, Germany/Austria/Switzerland), but you might consider larger agencies who work globally across all territories.

When writing to agents in Germany, write a short and concise email, preferably in German, introducing yourself with your digital materials attached. The chances of getting replies are slim - agents are often saturated, it’s nothing personal. Follow up once to confirm receipt, maximum twice. Always refer to a mutual contact where you can.

How might a singer continue to develop a network of contacts in those regions throughout their career?

Maintain a strong network and presence in the region where you can, perhaps working with local vocal coaches who are connected to theatres. Perhaps staying in contact with fellow singers, conductors, and directors you've worked with. Continue to be a supportive colleague. Beyond that, regularly update local agents, casting departments and the KBB with your materials, while maintaining relationships with the ZAV Künstlervermittlung offices. You should also keep checking Operabase and Audition Oracle for information about open auditions and seasonal ensemble auditions. YAP Tracker is also an excellent source of information, well worth the yearly subscription fee.

In terms of German language, you need to work with a coach to achieve fluency in the roles and spoken dialogue that you’ll sing. You will also need to learn conversational German so you can communicate confidently in rehearsals and auditions, build rapport with local colleagues and show commitment to the culture. In the larger cities like Hamburg, Cologne, Munich and Berlin you might get by with English, but that will be harder in smaller cities like Bonn, Mannheim and Augsburg. Remember, when relocating it is a place to base yourself, not just a job. One of the most fulfilling aspects of being part of a studio, ensemble or production is the work off the stage; interacting with musicians, backstage, wigs etc. Getting immersed in the language will greatly contribute to your sense of happiness and belonging.

To find out more about Zenaida and how she can help you develop your career as an opera singer, please visit her website: https://operacareercoach.com/