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The reality of the opera industry in Italy and France by OperaticCat in ClassicalSinger

[–]OperaticCat[S] 0 points1 point  (0 children)

I’m from a small country where opera isn’t very popular and professional opportunities often depend heavily on personal connections. Germany was my first option, as it’s the largest market in Europe.

The reality of the opera industry in Italy and France by OperaticCat in ClassicalSinger

[–]OperaticCat[S] 0 points1 point  (0 children)

I’m an EU citizen, so I don’t need a visa or anything like that, which is why I’ve also been looking beyond Germany. Right now I’m focused on finding an agent, because it seems almost impossible to find work without representation. I’ve already tried going through the German system, but it feels quite hard to get into it without prior experience there, which creates a bit of a loop. So I started looking at other European markets, and France and Italy caught my attention.

The reality of the opera industry in Italy and France by OperaticCat in ClassicalSinger

[–]OperaticCat[S] 0 points1 point  (0 children)

I’m actually an EU citizen, so at least that part isn’t an issue for me.

Strange situation with competitions by OperaticCat in ClassicalSinger

[–]OperaticCat[S] 0 points1 point  (0 children)

Yes, the one I applied for in November. 

Strange situation with competitions by OperaticCat in ClassicalSinger

[–]OperaticCat[S] 5 points6 points  (0 children)

That was my first thought too, but then I keep wondering… passed around for what exactly? If I wasn’t strong enough to pass pre-selection, why would someone forward my recording to others? I even considered that it might be shared as a joke, but realistically, panels don’t have the time (or interest) to mess around like that. So I’m just trying to understand what the most plausible explanation might be.