The stipend breakdown is as follows:

TBA

The audition locations are as follows:

Nov 7: University of Denver - Lamont School of Music
Nov 9: University of Denver - Lamont School of Music

Nov 17: Michigan State University - Cook Recital Hall
Nov 20: Michigan State University - Cook Recital Hall

Dec 16: TBA
Dec 18: TBA
Dec 16: TBA

Jan 6: Hunter College - Brecher Hall
Jan 6: Hunter College - Brecher Hall
Jan 7: Hunter College - Brecher Hall
Jan 8: Hunter College - Brecher Hall
Jan 28: Hunter College - Brecher Hall
Jan 29: Hunter College - Brecher Hall

Feb 3: Hunter College - Lang Hall
Feb 4: Hunter College - Brecher Hall
Feb 5: Hunter College - Brecher Hall
Feb 17: Hunter College - Lang Hall
Feb 18: Hunter College - Brecher Hall
Feb 19: Hunter College - Brecher Hall

Note: Hunter College is located on 68th St between Park and Lexington Aves. Also you will have to enter the Visitors Center (which is on the S/W corner of Lex and 68th to get a visitor pass to access the building. You should be prepared to show photo ID if asked. You name should be on a list provided to the security office.

Yes the audition requirements are as follows:

Here are the required selections for the particular role: (Note: Only the arias have to be memorized. Other requirements can be done with score in head).
Audition Repertoire CARMEN - Schirmer edition

Carmen
1) SÉGUEDILLE (with recitative): Schirmer pp 93 - 105, including the exchanges with Don José ! NOTE: Do NOT use the version found in the Schirmer aria anthology!
2) GYPSY SONG ("Les tringles des sistres tintaient") - Schirmer pp115 - 123
3) CARD ARIA (from "Voyons, que j'essaie à mon tour") - Schirmer pp 271 - 278
4) FINAL SCENE - pp. 373 - end (omitting chorus parts)

Don José
1) FLOWER SONG - pp 200 - 203
2) FINAL SCENE - beginning p. 374 - end ("Je ne menace pas...")

Escamillo
1) TORÉADOR SONG - pp. 134 - 150 (including p. 149!) NOTE: Do NOT use the version found in the Schirmer aria anthology!

Micaëla
1) JE DIS... pp.299 - 306 (including recitative following the aria) For the other characters, applicant should sing something similar to the style of the role or "type" of character

SUOR ANGELICA - Ricordi edition
Angelica
1) SENZA MAMMA
2) FROM REHEARSAL # 75 to end of opera (omitting chorus part)

Principessa
1) FROM REHEARSAL # 50 to 52

Genovieffa
1) FROM REHEARSAL # 9 ("O sorelle, sorelle...") or another aria that has similar characteristics

La Suora Zelatrice
FROM REHEARSAL # 3 TO REHEARSAL # 8 ...") or an aria that has authoritative characteristics

GIANNI SCHICCHI - Ricordi edition
Schicchi
ARIA - pp. 89 - 96 (beginning "Era eguale la voce")

Lauretta
1) O MIO BABBINO CARO (p.71)
2) DUET - pp 176 - 178

Rinuccio
1) AVETE TORTO - pp 49 - 55
2) DUET - pp 176 - 178

For the other characters, applicant should sing something similar to the style of the role or "type" of character, preferably something comic.

First it should be noted that it is also possible to arrange a private audition depending on availablity. If coming to the New York area would represent a major financial hardship which you can not handle, or your schedule would not permit you to be able to attend any of the scheduled audition dates, it is permissible to submit urls (possibly Youtube) samples (2). It is also permitted to submit or email mp3 audio samples. When you fill out the application, either with YapTracker or the "Registration Form" on this website, there will be a place for this submission. However if you should be selected to participate in the 2015 summer program, and we deem once you ave arrived for the beginning of the program, that the voice which was submitted on the sample was not representative of the voice that is presented in person or that the sample had been altered (for volume or sound), we reserve the option of rescinding the invitation to participate in the program!

You must first fill out an application as if you are going to be auditioning in person. Make sure that you upload at least 2 audio or video samples (see requirements for auditions above) and the 2 letters of recommendation with your application. After the audition as been granted, you can email the foundation asking for a private audition. No private audition request will be granted without these files whether on Yaptracker or on our website. While we will make every effort to accommodate private audition requests, it is not always possible. If we find that it is not possible, we will accept your A/V files as an audition. Please note that no audition is as good as personal audition. However as rare as it might be, individuals in the past have been accepted to the program using A/V.

Yes can pay by credit card. However to do so, you will need to register and apply for the program via YapTracker. This year we are not allowing application by check.

We begin staging in the first week, and musical read-throughs on the first day of the program. Also it is not possible for our participants to take advantage of the wealth of information that our instructors provide if a participant is constantly having to reference their score. Therefore all participants must come with the roles completely memorized and "OFF BOOK" by the first day of the program! Lastly, it should also be noted that if a participant should arrive unprepared we reserve the option of releasing the participant from the program!

A "Cover" simply stated does everything that the program has to offer. The "Cover" attends and participates in all of the classes, all of the applicable rehearsals, and the same amount of coachings (1 per week) as the Principal Artists gets. The "Cover" will also perform in our Highlights Concert (this is however contingent on time and what scenes are selected). The "Cover" may also be selected to perform on one of our masterclasses. The only thing that the "Cover" does not do is get stage time in the theater. Lastly, as in any other professional cover situation, if the Principal Artist should become incapacitated for any reason in a rehearsal or before a performance, the "Cover" will immediately replace said individual. However, none of this will happen if the "Cover" is not prepared musically.

An "Auditor" simply stated does everything that the program has to offer. The "Auditor" attends all of the classes, all of the applicable rehearsals (However there is no obligation by the director to have the "Auditor" participate), and the same amount of coachings (1 per week) as the "Cover" gets. The "Auditor" MAYBE chosen to perform in our Highlights Concert (this is however contingent on time and what scenes are selected). The "Auditor" may also be selected to perform on one of our masterclasses. The only thing that the "Cover" does not do is perform in the production of the role they are studing unless needed in some capacity such as chorus or super. However, none of this will happen if the "Auditor" is not prepared musically.

The fee for being a "Auditor" is $1,500.00. However if you sing in the chorus we will deduct the sum of $300.00. Therefore you will only be responsible for $1,200.00. A deposit of $400.00 will be needed at the signing and return of the contract. Please note that any and all deposits made to hold a place as a "Cover" are non-refundable. Also the remainder of fees are due on the first day of the program (unless other arrangements have been made with the Arroyo Office). Lastly, once the program begins NO refunds are possible.

In the past "Covers" and "Auditors" have appeared in the "Highlights" concert and have also appeared on stage as supers. There have also been occasions that the covers/auditors have been able to participate in the masterclasses. However these are NOT guaranteed situations. These appearances depend on the directors/conductors and if there is time in the "Hightlights" concert to include the covers and auditors. There are also times that the individual might be asked to get up in rehearsal and participate in the staging. However none of these opportunites are possible unless the music for the role that you are studing/covering is memorized and completely off book!

"I'm currently doing my Masters at the Conservatory of Vienna, and I'm really enjoying my studies and experiences here in Europe. The Conservatory is doing Cosi fan tutte for our March production, and I feel that the Prelude to Performance program has prepared me so well for the role of Dorabella and my ability to develop and portray a character through the music and the text. I feel truly blessed to have had the opportunity to be part of the Prelude family last summer." Wendy Wang - Auditor-2012

The Prelude choruses are totally separate and because of scheduling difficulties, auditors are only able to be in the chorus of the opera that they are studying a role in. For instance: If you are studying Alamviva, you would only be eligible for the chorus of Il Barbiere di Siviglia. It should also be noted that if you are studying Rosina or Berta, you will not be able to participate in the chorus at all since there are no female chorus parts in Il Barbiere di Siviglia. Covers are generally not allowed in the Chorus.

If you would like to be considered for the Chorus of the 2016 productions of Puccini's La Bohème and Strauss's Die Fledermaus, contact our Chorus Contractor Professor Gregory Hopkins at gregoryhhopkins@aol.com. If you have never sung with our chorus before, he may ask for an mp3 file of your singing. However this is at his discretion.

Chorus rehearsals are start in the later part of May with the last performances in the middle of July. Exact chorus schedule is TBA.

Yes. There is a $250.00 honorarium for one opera. Please note that participation in both operas is not possible because of scheduling difficulties.

While Prelude to Performance doesn't actually have it's own housing situation. We do try and assist the participants whenever possible. However the following links are to housing that we have recommended in the past.

1) Music and Mentoring House is a wonderful housing situation run by the great Metropolitan Opera soprano Lauren Flanigan. http://www.musicandmentoringhouse.com

As other situations come available we will post them here.