Revitalising Your Repertoire: Audition songs by Sondheim
As a treat for our followers this week we thought we’d talk about some songs by the master of music theatre himself- Stephen Sondheim. But even better, these songs feature piano accompaniments that are readable, logical and simple enough for most audition pianists to play on sight. And, as they should know the repertoire anyway and how it sounds, if they leave out a detail or two, you will still hear the song as you know it.
Remember to warm up fully before your audition - think about putting together a Warm Me Up playlist that works on some of the skills you'll use with this repertoire such as smooth legato line, intonation and articulation.
“I Remember” from Evening Primrose
This wonderful ballad requires long phrases and great control to do well. The character singing lives in a shopping mall, and is remembering the real world outside. It was originally written for the female voice:
And a man can sing it too:
“So Many People” from Saturday Night
Again, here is a ballad requiring support and phrasing, tending towards a more legit sound. It can be sung by all voice types, but sopranos should really be aware in this song to be expressive on their lower notes- so in your warm up make sure this is included!
“Class” from Saturday Night
This charming mid tempo song is rarely heard, yet offers a great opportunity for a singer to be charming, fun, and likeable. It's from Sondheim's first musical, Saturday Night, and is written in a traditional Broadway style (but ofcourse, with Sondheim's cheeky and clever lyrics). For an audition don't worry about using the verse, just start up at the song proper. In this recording that's at about the 1:00 mark. It will need another cut as three minutes is a little long for an audition but it's easy enough to cut - just choose your favourite lyrics!
“Not a Day Goes By” from Merrily We Roll Along
This song is commonly found in both male and female keys, and indeed in the show it is sung twice, once by a man and once by a woman. As such, you have two choices of lyric - one that is set in the initial glow of love and one that is looking at a relationship past that just won't heal. Take a look at the master of Sondheim, Bernadette Peters, singing the latter lyric. For an audition, you may wish to move the tempo along a little from this recording (Bernadette under a spotlight can get away with more than one of us mere mortals in a hall with an upright piano!)
“Green Finch and Linnet Bird” from Sweeney Todd
One for the true sopranos, focus on a bright ‘birdy’ tone in this song, as the central character of Johanna likens herself to a bird in a cage. On the long notes at the end of each phrase, try not to decrescendo. Check out this concert version with the wonderful Harolyn Blackwell… how does she support that last note?!
Or this more theatrical version from the Kennedy Centre Production: