- Your electronic application must be submitted AND the printed portion postmarked by midnight January 7, 2015.  Audition appointments will not be made until all materials, including the application fee, have been received.

- We will make an effort to hear ALL first-time applicants in the first round of auditions; we reserve the right not to hear a previous applicant (fee returned via US Mail). No application fee refunds in any other case.

- Preliminary Auditions will be held on January 17, 18, 23, 24, and 25.  If a scheduling conflict develops with your audition time after it is assigned, we will do our best to accommodate a request for a change.  ALL communication regarding auditions should be via email sent to; please avoid calling.

- Callback Auditions will be held on February 7 and 8.  Please indicate in the conflicts item on your application if you are not available during this time.

- Please plan to arrive and sign in at least 15 minutes prior to your audition time.  We do our best to run on-time, but ask for your patience if we do fall a little behind.  We do not guarantee to hear auditionees who arrive late to their appointment, but will make efforts to hear singers early if a slot opens up.

- We provide a pianist for all regularly scheduled auditions at no additional cost, and prefer that you use their services instead of bringing your own accompanist.  Pianists are not provided for auditions outside of the regularly scheduled dates.  The pianist for this year's auditions is ERIC MALSON. Please feel free to contact him directly if you wish to arrange a preparation session (at your cost).

- As a part of the audition process, you may be asked to speak the text of any of your arias as a monologue either in the original language or in your English translation.

- Dress for auditions is not formal (ladies, please no gowns).  Dress as you would for any professional audition.

- Listening to auditions will be Christopher Fecteau, Artistic Director of dell'Arte Opera Ensemble, who is responsible for all casting choices.  Directing staff already hired for the program may also be in attendance, but any other adjudicators will be announced on the day of your audition.  Directors from other opera companies do sometimes "sit in."  Feel free to ask the monitor if there are any guests in the audition room.

- Warm up rooms are not provided.  Please contact Studio 353 if you wish to book one for yourself.  212 757 2539;


- The 2015 Season will feature three operas based on Beaumarchais' "Figaro" trilogy.
Casting Breakdown is on the auditions FAQ

     Paisiello: Il barbiere di Siviglia (1782, in Italian)
     Mozart: Le nozze di Figaro (1786, in Italian)
     Hiram Titus: Rosina (1980, with text in English)

- You do not need to bring the same repertoire you listed on your application, nor are you required to provide us with a repertoire sheet. 

- Your arias should represent you at your best.  Please do not feel obligated to present repertoire from the operas being presented.

- Please bring at least one selection in Italian and at least one other selection in another language. (Art songs are acceptable options for applicants auditioning for placement in the ensemble/chorus.)

- In general, we allow you to pick your first selection.  In rare instances, Maestro Fecteau might ask for a different choice.  Unless the piece is very long, you will be allowed to complete your first selection and you may be invited to sing another aria or part of an aria.  Please choose a first selection that reflects the center of your vocal category, not a 'stretch' piece.  For instance, do not offer either of the Queen of the Night arias unless you are a dramatic coloratura.

- Out-of-town applicants who are being seriously considered for a principal role may be given the opportunity to sing additional material.


- If we need to hear you a second time, you will be notified as soon as possible.  Please, no inquiries.

what we're looking for

- Solid, reliable vocal technique
- Accurate, expressive diction
- Ability to convey the musical and textual structure and syntax of a piece
- Informed, intelligent, clear dramatic choices (specificity of intent, gesture, focus, physicality)
- A balanced approach to your craft!

Questions:  Please check out the FAQ  (Frequently Asked Questions) page. If you have read all of the materials on this site and still have questions, please direct them to ""


Maestro Christopher Fecteau, Artistic Director