Friday, March 13, 2015
Interesting
It must be hard and a frustration raising an Asian kid. I think my voice wasn't good enough at 5 when I wanted to be a singer.
It's funny you all like to submit to my dad. I grew up following all his rules, when you didn't. I surpassed him when I could morally.
It's funny you all like to submit to my dad. I grew up following all his rules, when you didn't. I surpassed him when I could morally.
TPotO
THE PHANTOM OF THE OPERA - 25th Anniversary Tour Auditions
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BWW Social
Posted: February 26, 2013
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THE PHANTOM OF THE OPERA (Tour)
– Equity Chorus Call for Singers
25th Anniversary TourProduction Contract; $1754
Produced by Cameron Mackintosh and The Really Useful Theater Company in association with NETworks Tours
Music: Andrew Lloyd Webber
Lyrics: Charles Hart
Additional Lyrics: Richard Stilgoe
Book: Richard Stilgoe & Andrew Lloyd Webber
Based on the novel ‘Le Fantôme de l’Opéra’ by Gaston Leroux
Orchestrations: David Cullen & Andrew Lloyd Webber
Musical Supervisor: John Rigby
General Manager: Gentry & Assoc.
Casting: Tara Rubin Casting
Choreographer: Scott Ambler
Director: Laurence Connor
Production overseen by Matthew Bourne & Cameron Mackintosh
Equity Chorus Call / SINGERS:
Tuesday, March 12, 2013
9:30 – Equity female singersat Pearl Studios 500
1:30 PM – Equity male singers500 8th Ave.Penthouse
Prepare a BRIEF song from legit musical theatre/standard opera or operetta repertoire, preferably in English. Do not sing pop or rock music. Please bring your book of music with you, in case you are asked for a second selection. An accompanist will be provided.
Please bring a picture and resume, STAPLED TOGETHER.
Women should be sopranos (lyric or coloratura), mezzo sopranos, or contraltos, with strong legit musical theatre or opera voices; a range of character players
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; a range of character players
Seeking male and female singers for all vocal chorus ensemble positions (tenors, baritones, basses, lyric and coloratura sopranos, mezzos and contraltos) and to understudy the following in the new Touring Production:
CHRISTING DAAE:20s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. Sings G below middle C to high E
THE PHANTOM:30s – 40s: high baritone or tenor (with a strong low range) with a contemporary sound. Able to sustain high G# with ease in full voice and high C# in falsetto. Looking for a truly dynamic actor with excellent acting and singing ability.
RAOUL, VICOMTE de CHAGNY:20s – 30s: dashing, handsome young aristocratic man who falls in love with Christine. Contemporary high baritone/tenor (2 octave range from A flat to A flat).
MONSIEURS FIRMIN (the hard money man – Baritone with high E/F)& ANDRE(charming with artistic temperament – Baritone: high G with ease): 30s – 50ish; the managers of the Paris Opera House. Trying to be elegant, they are slightly befuddled and bumbling. Need good instincts for stylish comedy.
CARLOTTA GIUDICELLI:30s – 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 with no discernible break between head and chest
MEG GIRY:Should convincingly play late teens to early 20s; A young, petite ballet dancer with a strong mezzo soprano to G. Needs strong classical dance technique and excellent pointe work
UBALDO PIANGI:30s – 50s; the opera’s leading tenor, Italian operatic tenor, companion to Carlotta. Sings to high C. Requires opera training.
BUQUET:MIDDLE aged to elderly “character man”. The head flyman of the Opera Populaire. Bass baritone but required to sing to E.
Casting for The Phantom of the Opera is interracial. Singers of all ethnic backgrounds and races are encouraged to attend.
SECTIONS
SHOWS
MESSAGE BOARDS
JOBS
STUDENTS
TRAVEL
BWW Social
Posted: February 26, 2013
Back to All Listings
Tweet
EmailEmail Audition
THE PHANTOM OF THE OPERA (Tour)
– Equity Chorus Call for Singers
25th Anniversary TourProduction Contract; $1754
Produced by Cameron Mackintosh and The Really Useful Theater Company in association with NETworks Tours
Music: Andrew Lloyd Webber
Lyrics: Charles Hart
Additional Lyrics: Richard Stilgoe
Book: Richard Stilgoe & Andrew Lloyd Webber
Based on the novel ‘Le Fantôme de l’Opéra’ by Gaston Leroux
Orchestrations: David Cullen & Andrew Lloyd Webber
Musical Supervisor: John Rigby
General Manager: Gentry & Assoc.
Casting: Tara Rubin Casting
Choreographer: Scott Ambler
Director: Laurence Connor
Production overseen by Matthew Bourne & Cameron Mackintosh
Equity Chorus Call / SINGERS:
Tuesday, March 12, 2013
9:30 – Equity female singersat Pearl Studios 500
1:30 PM – Equity male singers500 8th Ave.Penthouse
Prepare a BRIEF song from legit musical theatre/standard opera or operetta repertoire, preferably in English. Do not sing pop or rock music. Please bring your book of music with you, in case you are asked for a second selection. An accompanist will be provided.
Please bring a picture and resume, STAPLED TOGETHER.
Women should be sopranos (lyric or coloratura), mezzo sopranos, or contraltos, with strong legit musical theatre or opera voices; a range of character players
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; a range of character players
Seeking male and female singers for all vocal chorus ensemble positions (tenors, baritones, basses, lyric and coloratura sopranos, mezzos and contraltos) and to understudy the following in the new Touring Production:
CHRISTING DAAE:20s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. Sings G below middle C to high E
THE PHANTOM:30s – 40s: high baritone or tenor (with a strong low range) with a contemporary sound. Able to sustain high G# with ease in full voice and high C# in falsetto. Looking for a truly dynamic actor with excellent acting and singing ability.
RAOUL, VICOMTE de CHAGNY:20s – 30s: dashing, handsome young aristocratic man who falls in love with Christine. Contemporary high baritone/tenor (2 octave range from A flat to A flat).
MONSIEURS FIRMIN (the hard money man – Baritone with high E/F)& ANDRE(charming with artistic temperament – Baritone: high G with ease): 30s – 50ish; the managers of the Paris Opera House. Trying to be elegant, they are slightly befuddled and bumbling. Need good instincts for stylish comedy.
CARLOTTA GIUDICELLI:30s – 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 with no discernible break between head and chest
MEG GIRY:Should convincingly play late teens to early 20s; A young, petite ballet dancer with a strong mezzo soprano to G. Needs strong classical dance technique and excellent pointe work
UBALDO PIANGI:30s – 50s; the opera’s leading tenor, Italian operatic tenor, companion to Carlotta. Sings to high C. Requires opera training.
BUQUET:MIDDLE aged to elderly “character man”. The head flyman of the Opera Populaire. Bass baritone but required to sing to E.
Casting for The Phantom of the Opera is interracial. Singers of all ethnic backgrounds and races are encouraged to attend.
TPotO
link
The Phantom of the OperaOne of the original British mega-musicals, The Phantom of the Opera is approaching its 30th anniversary on Broadway. Despite almost three decades under its belt, the Harold Prince-directed spectacle still brings it, with a sweeping love story set on the stage and in the shadows of the opulent Paris Opera House. The Andrew Lloyd Webber score still soars, the show’s grandeur still delights — and oh yeah, there’s that chandelier drop that ups the drama and excitement at every performance. Even major Broadway fans have managed to skip it over the years when newer musicals came on the scene or when short-run, Hollywood-star-driven vehicles distracted them. Which makes this the year to finally see it for yourself. The musical currently stars Tony nominee Norm Lewis, most recently seen in one of the title roles in The Gershwin’s Porgy and Bess, as Broadway’s first African-American Phantom. Get tickets
I would be honored to work with him. I wonder who Christine is. In The Nutcracker they had the Royal Ballet with a girl who looked mixed as Clara, seemed mixed with African. I saw it in theaters around the world live, like they did the 25th anniversary of The Phantom of the Opera.
The Phantom of the OperaOne of the original British mega-musicals, The Phantom of the Opera is approaching its 30th anniversary on Broadway. Despite almost three decades under its belt, the Harold Prince-directed spectacle still brings it, with a sweeping love story set on the stage and in the shadows of the opulent Paris Opera House. The Andrew Lloyd Webber score still soars, the show’s grandeur still delights — and oh yeah, there’s that chandelier drop that ups the drama and excitement at every performance. Even major Broadway fans have managed to skip it over the years when newer musicals came on the scene or when short-run, Hollywood-star-driven vehicles distracted them. Which makes this the year to finally see it for yourself. The musical currently stars Tony nominee Norm Lewis, most recently seen in one of the title roles in The Gershwin’s Porgy and Bess, as Broadway’s first African-American Phantom. Get tickets
I would be honored to work with him. I wonder who Christine is. In The Nutcracker they had the Royal Ballet with a girl who looked mixed as Clara, seemed mixed with African. I saw it in theaters around the world live, like they did the 25th anniversary of The Phantom of the Opera.
Thursday, March 12, 2015
K
Bout to watch Ellen, worried what will happen online when I do. I didn't exactly leave off on the best contemporary note. I feel I'm dragging on and on.
Dr. Phil - Facebook
- Sue Ann Sivone I think she did a poor job raising her kids is what i think, what mess of a family!
- Christina Ann Joanna Barrett Yea, it's not like someone has problems and they think they have to be better than everyone else.
Dr. Phil - Facebook
For getting at us for every little thing wrong, they sure have taken a turn towards others themselves.
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