Editorial

Ashutosh Khandekar - Editor
From the current issue of Opera Now

Are singing competitions an appropriate vehicle for seeking out new talent? Whenever I have sat on a competition jury, I’ve been impressed by what I’ve encountered: young artists displaying commitment, professionalism and determination, in spite of their lack of experience and under testing conditions.

Competitions don’t, of course, tell the whole story. Lists of past prizewinners, even from the biggest competitions, are often filled with names you’ve never heard. The winner is well-groomed to perform on the day, but in fact, it is often the runner-up, or the singer who just missed being placed, who go on to be the really big stars.

Competitions measure the ability to deliver under pressure, a vital asset in any opera singer’s armoury. More difficult to gauge, though, is a sense of the ‘complete artist’ – how singers will respond to months of rehearsals in an opera house; whether they can inhabit major roles and stamp them with individuality; and whether they have the stamina and maturity to manage their vocal resources over a long career.

The opera calendar is filled with competitions, from huge international events, such as Plácido Domingo’s Operalia and Cardiff Singer of the World, to important specialist competitions commemorating the artistry of legendary singers. Often off the radar, but worth seeking out, are small college affairs providing a platform for young artists in their formative years.
 
Many of these competitions are open to public audiences, and I would recommend them highly to anyone interested in opera. They provide a fascinating insight into the trials and tribulations of performing, and the budding artistry of young contestants, some of whom will go on to have significant careers. On page 14 of our February issue, we profile some influential international competitions taking place in the near future...