The national regulations require three selections for those categories. Perhaps a combination of two new selections and one older piece is the solution. Other NATS entities have made this change (from two to three selections) for both the high school and freshman divisions and it is challenging but workable.
As long as the operetta aria meets the definition of staged and “On” or “Off” Broadway it is allowed.
Memorization of all selections is required in all levels of NATS student auditions.
All of the “judicious cuts” that you have listed below are acceptable, except number 4. We should attempt to represent the vocal line of each piece in its entirety, except where there are traditional cuts, as you mention in operatic arias. So, in the case of strophic pieces, all verses that are traditionally included should remain. The specific rule states: Piano introductions, piano interludes, piano music after the vocal solo is completed, and internal cuts of opera arias and music theater selections are allowed as in common performance practice. Cuts of verse or verses of selections are not allowed. In the case of strophic pieces, all verses should remain that are traditionally included.
As the rule states: Any student may register to sing for comments only and participate in the preliminary audition round.
Selections from movie musicals may not be used in Music Theater categories for NATS auditions. All repertoire must be from staged Broadway and Off-‐Broadway productions. The production may be a musical, revue, or song cycle but MUST have been staged AND Broadway or Off-‐Broadway.
If the singer is in one of the High School or Lower College Classical Divisions (III, IV, VII, VIII), ANY repertoire found in the 24/26/28 Italian Songs and Arias books may be considered as art songs AND/OR as operatic arias, regardless of origin. If the singer is in category IX or above (Upper College and Graduate), ANY repertoire found in the 24/26/28 Italian Songs and Arias books may be considered as art songs ONLY, regardless of origin. Any comparable literature found outside the 24/26/28 Italian Songs and Arias books, regardless of composer, will be considered only as the composer originally intended, either as an aria OR an art song.
There is not a list of arias for singers of any age. The aria choice is made by the teacher and student. The choice of appropriate arias and art songs should be made based on the vocal development and maturity level of the singer.
The rationale the Regulations Committee employed for determining the repertoire for Music Theater Categories in the new regulations included considerations beyond those of individual members, their voice students and local Chapters/Districts. We looked at these requirements from the perspective of auditions personnel, consistency with other NATS auditions, adjudication concerns, differences in the many NATS Chapters, districts and regions across the US and Canada, and framed requirements that best suited the many constituencies that make up our entire organization. The committee noted the following:
The regulations are posted on the website.
The categories can be combined with a category the closest in age, years of study and repertoire requirements. The category numbering system and other requirements should be retained. Both categories could be adjudicated by the same group of adjudicators.
Yes, singers should use the entire time limit unless the total of all selections is less than the time limit. You have the option for a shorter total time limit if you want to limit the number of selections in that way.
The minimum/maximum in time limits is in the regulations to accommodate entities that may already have shorter or longer time requirements in their categories. Teachers and students should be encouraged (but not required) to select repertoire that fills the time parameter assigned to a particular category. Each singer should use the entire time limit unless their repertoire does not fill the entire time. Audition personnel can keep the audition on time by assigning nine minute intervals to eight minute singing time slots. There should be no penalties assigned to time limits.
At the Chapter/District auditions, semi and final rounds are not required. See Options #1 and #3 on pages 9-10.
The singer category age limits for the National Student Auditions are as of the dates for the Regional Auditions. The singer category age limits for Chapter and District auditions can vary from the NSA and Regional Auditions as long as their respective Regional Auditions are not progressive to NSA. If they do progress to NSA then the Regional Audition eligibility dates would apply.
Yes, the logos are on page 4 of the document and will be available on the NATS web site. The auditions names are: “Chapter and District auditions shall be known as:
“NATS Student Auditions: _____________Chapter” or
“NATS Student Auditions: _____________District”
Those teachers should contact the NSA Coordinator, Dan Johnson-Wilmot firstname.lastname@example.org
There is no requirement to include this category but all entities are encouraged to include it in their offerings to student singers.
Yes, as stated on page 10 “Monetary prizes and other awards will be developed at the discretion of the entity holding auditions.” There is one regulation pertaining to ties in categories:
“Ties: Should there be more than one first place winner, the awards for the first and second places will be pooled and divided equally among the winners. All will be called First Place Winners. This policy holds for ties in all the places. In the event that there are more than five finalists, a certificate of "Honorable Mention" will be awarded to other finalists.”
All NATS regions means all entities within NATS regions—Chapter, District, Region, and National auditions. Therefore all student NATS auditions will use the same scoring system.
The Chapter should decide the number finalists for the audition. This number can be the current practice that the Chapter has used in the past using the new scoring system.
The rubrics define a national standard with common definition of terms and standards and would be progressive as singers age both physically and musically just as the repertoire and time limits progress in the category charts. The rubric is not the score sheet—it is for reference—to inform teachers about common definitions and reference points---educators use assessment tools all of the time and an audition is an assessment of a performance. In vocal performance we do compare apples to oranges—no two voices are alike and no two sets of adjudicator’s ears are alike but we must have a meeting of the minds: common understanding of terms-especially in pedagogy-this is not something to fear or mistrust. Some NATS entities have been using rubrics for more than ten years—the adjudication of those auditions has improved.
On page nine it states under “Adjudicating Standard”
“The national standard is stated in the first column of the adjudication rubric. (See pp. 14-‐15) The language describes the qualities an ideal singer will have. As adjudicators hear singers they should compare the singer’s performance against the general standard for the category they are adjudicating. One way this could be addressed would be to add the clause “ for a xxx category singer” to each standard.”
There are NATS entities (chapters/districts) that have established policies regarding adjudicating--either requiring a member who is not in attendance to find a substitute and/or pay an absentee fee. Some entities limit the use of the absenteeism or the number of students the teacher may enter when they are not present. NATS entities should develop policies that best suit the needs of their auditions and their membership.
Contact Dan Johnson-Wilmot, NSA Coordinator, at .