Round Two Recordings & Comments

Jamie Muscato

"Electricity"
from Billy Elliot

Amy says: "What a great show/song choice! You have a great contemporary sensibility about you. I could tell you really enjoy singing this song, which makes me enjoy listening! The only thing I would advise you to watch is to open your "ah" vowels a little more, but nice job!"

Helen says: "You didn't seem quite as confident with this song as the in the last round. The story was told quite well, though overall it lacked the spark of electricity: the excitement it needed. I think you are very talented, Jamie, and you have a great voice, especially for someone so young, but I think you've done yourself a disservice here."

Ray says: "I really enjoyed the more mellow side of your voice this time. You have a nice pop quality that should serve you well in many things in this biz. I know that sometimes it's hard to derive the maening of a song but you will always help yourself by knowing what the important words or word in a song might be. In this case it's not 'electricity'...it's 'free'. and the very meaning of your life has to be released in that one word. Billy is filled with life when he dances...he's totally 'free"...that sound must come through! Really nice job on this song!"

Marie Rivest

"See I'm Smiling"
from The Last Five Years

Amy says: "Nice acting job and I think that you got more confident as the song went on. Make sure you are well warmed-up before you start so that doesn't happen. You have a nice high register. Good job!"

Helen says: "Thank you for rectifying the problem you had in the last round with regard to vocal tightness. I like to see progression! This piece seemed so much more natural and free. The acting was solid and the shape of the piece managed well. I thought this was a good choice for you."

Ray says: "First! I'm delighted to hear a song I haven't heard before and Second! I'm delighted to hear the interpretation that made the song so interesting! I think the freedom in your voice (and every singers voice) comes with a commitment and understanding of the text as you have just proved. Great song selection and great job singing it!"

Jessica Mennella

"The Meadowlark"
from The Baker's Wife

Amy says: "This song is no easy challenge--and you lived up to it! I loved your acting choices, and the urgency in which you sang it in. Jessica, this was a fantastic performance!"

Helen says: "This song was a great choice for you. You captured the mood so well and there was a good shape created, building towards the climax. You still need to make the notes sound freer and watch your mic technique, but overall, this is your best effort so far."

Ray says: "She swings for the fences and it's a home run! Yes! Great song choice and great rendition of the song. This is not an easy piece to sing because this is a song about walking away from someone who loves you to be with someone whom you believe can bring you real happiness. The metaphor of the King and the Sun God shows that some choices are made at great sacrifice and your vocal choices reflected that wonderfully. Great job!"

Joe Amato

"Make Them Hear You"
from Ragtime

Amy says: "What a nice baritone you have in there! I wasn't able to hear that gloriousness in the earlier rounds. I think you have a nice career ahead of you as a leading baritone type. Nice acting, great job. Watch the round vowels--get them open but nice job!"

Helen says: "Hooray! The pitch was so much more definite in this performance. I loved your top notes and you really made an effort to be the character. Next time, try to start the piece with more confidence. What a surprising performance! Keep it up."

Ray says: "Really enjoyed that push to the end and the energy you showed and it would have served you better to have that same energy at the beginning albeit more covered and suppressed. Vocally this song contains a trap that you'll need to be aware of in future choices. The operative phrase in this song is "make them hear you" but you'll notice it's low in the range and repeated over and over. The challenge you face is to take on the determination of a preacher to give voice to something that has been ignored for much too long. Make them hear you...make us hear you. Make us understand the injustice inherent in the song. I think vocally this is your strongest contribution so far. Keep up the good work."

Pamela Wong

"Goodbye Until Tomorrow"
from The Last Five Years

Amy says: "You have such a listenable voice, and I appreciated how you put your own stamp on a song very identified with a certain singer/style. Great diction. Watch some of the pitchings, but a very solid performance!"

Helen says: "Be careful of some of your vowels: they need to be more rounded to avoid sounding nasal. Prepare a little bit more thoroughly next time for a more solid pitch. Good diction, good shape to the song, good energetic performance. Good luck for the next round."

Ray says: "I just really enjoy your voice and your interpretation of your songs. I enjoy the energy you put into all the songs thus far. In this case the song is a little tougher for you because of range and the repetitive nature of the song but good for you for being up to the challenge. Obviously this song is about a kiss that the end of all kisses. I want to hear more about the entire range of emotions in this moment...there's gotta be doubt there somewhere, there has to be a little fear. Look deep. Really great job."

Annie Forrest

"Your Daddy's Son"
from Ragtime

Amy says: "OK, first of all same advice as to others: in this business you HAVE to pick songs for auditions that you could actually sing in a performance setting. There was some sort of auxilliary noise in the recording that detracted from your performance. I think you have a very special instrument, a very nice mix, nice acting choices, and generally good diction, but please be more choosy with your song selections in future rounds and in future auditions, too! Keep up the good work!"

Helen says: "You started off well. There is a lot to like about your voice. There were some pitch issues in the climax where you let the acting get in the way of your singing. Your storytelling was quite good, but I don't think you truly connected with the character, as the performance lacked honesty and subtlety. You don't always have to go full out to convey an intense emotion."

Ray says: "My philosophy about auditions is a little different. I choose songs that show off what I do best and hide what I do worst...LOL! It seems so common sensical! I have a whole portion in the concerts I do of "songs I'll never sing in a performance". I sing them because I sing them well. I think this is a great song for you because it allows you to immerse yourself in to the character and really wail that pain you feel. That...you did well. On the other end of the spectrum...sometimes it's best to sing quietly and with control. And singing quietly requires as much control as singing loudly if not more and definitely better breath control. You have a beautiful voice. Remember when you perform this song again (and you should) that you are singing to a child in your arms at the start of the song. There is nothing more powerful onstage than quiet heartbreak. Beautiful job."

Kathleen Sera

"Your Daddy's Son"
from Ragtime

Amy says: "OK, first of all same advice as to some others: please pick songs that you could actually sing. You will never be cast in this role, either.....even if you sing it amazingly! You have a very nice ingenue quality to your voice, but I think you missed the urgency for this piece. I think your voice could have been showcased nicely in this round in a Schwartz piece. You have a lovely voice with nice connectivity, so I hope to hear something better suited for you in the next round."

Helen says: "I don't think this was the best choice for you. You have a lovely voice, and you sang it technically well, but you haven't connected with the character and your voice doesn't sound right for the role. Please pick something that suits you next round if you get through: something sweeter and younger and have fun with it!"

Ray says: "I'm not going to ramble on about whether a song is inappropriate because it has to work for YOU. As lovely as your voice is it's not right for this song for the simple fact that you're not understanding the text and conveying that knowledge to us. Technique is a great thing but the opera world is filled with singers with great technique and nobody cares. This is theatre and the message is tantamount...tell the story. If you're not telling the story you're losing your audience. So! Very pretty voice but not right for this."

Erik Scott

"Run Away With Me"
from The Autobiography of Samantha Brown

Amy says: "Great song choice. I could tell it was very personal to you. I thought this was your best performance so far. I would try to watch your vowel similarity--ie, try to make the differences between them as small as possible. Great job, though!"

Helen says: "This style is obviously more your thing. This song really showed off what you can do. You really connected with the lyrics, which connected with me. I actually had a 'shiver down my spine' moment. Be careful on that big note near the end, though, as it sounded a little forced, but overall, fantastic!"

Ray says: "JUST...RIGHT. I'd like to know a little more about this show for one simple reason. Just as no conversation has a single, simple intent...neither does any song. A tiny seed of the result of this relationship must exist in this song at this moment in the show. How does the show end? Was it in your song? Loved your vocal technique in this one because the sound and the intent clearly supported each other. Great work!"

Matt Newhard

"If I Can't Love Her"
from Beauty & The Beast

Amy says: "I thought this was your best peformance so far! What a rich sound, and the key was perfect for you. Very well acted, as well. I could imagine hearing that exact performance in a professional theatre setting. Great job!!!"

Helen says: "The more I hear your voice, the more I love it. This was such a perfect choice for you! I could just see you there on stage in full costume, singing this. Excellent characterisation, excellent vocal quality. Fabulous!"

Ray says: "Excellent job on this song. Great demonstration of range (nice resonance in the lower register). Nice contrast between the lyrical and more dynamic sections. Good choice of a song for you. I'm a gonna harp on two points again. Beware of elisions! The word 'no' in English has two vowel sounds..."o" and "oo". Leave out the last "oo"...the human ear will fill it in! And make sure that a long note is held that there's ever so slight a crescendo. Otherwise you'll choke yourself. And don't do that! You're doing GREAT!"

Megan Herzing

"As If We Never Said Goodbye"
from Sunset Boulevard

Amy says: "I have to tell you the same thing I've said to other contestants in this and other rounds--song choice is just as important as song performance, and this character is probably 40-50 years older than you. You have such a great performance quality and energy, but I would have liked to see you do an age-appropriate song. You are very talented, and I enjoy listening to your voice, but this song takes a maturity and fluidness I think you lacked in this performance. Keep going--there is a true talent here!"

Helen says: "Sweetheart, you are at the start of your career, not the end of it! You have a great raw talent here, but you are doing yourself a disservice by picking a song that is so far removed from your experiences that you have no chance of doing a truthful representation. That said, you did a fine job of storytelling and your pitch and diction were great."

Ray says: "I'm afraid I'll have to agree with the other judges on this one but not because it's song that's age-inappropriate. I still say that you do what features you best and this song simply does not do that for you. You must understand what's happening in the time this song takes to sing and nobody is buying this performance. I know also that the ballady stuff is more difficult for you 'cause at this point your voice just ain't that. But I'm still waving your flag!"

Kaitlyn Stobbe

"There's A Fine, Fine Line"
from Avenue Q

Amy says: "I loved that this was very different from you other rounds. I thought this performance was very well sung, very polished, but very "safe". I would like to have seen a little more of your very special personality throughout the song. BUT--it was a lovely performance and very well sung!"

Helen says: "What a versatile performer you are! This was so different to what I expected you to do. Your voice has a real effortlessness about it. However, I don't think this was the best choice for you: it seemed beyond your years and because of that, I don't think you really connected truthfully with the content and context. Very well sung, but not quite there as a package."

Ray says: "You'd look great as a muppet! LOL! Such a lovely voice and I thought you sang it very well. I'm still asking myself how many 16 year-olds could even make this sound as thoughtful as you made it. I did feel it lacked a little dynamic movement but you can help that by understanding who you're speaking to...this is, after all, a 'goodbye' song. we want to know how you feel about it. We heard what you thought about it...was it more painful than that? inquiring minds want to know. I want to know that you 'felt' it...(sorry, that's a really bad muppet pun). nice job!"

Tabitha Judy

"Your Daddy's Son"
from Ragtime

Amy says: "I am usually against singers singing songs for auditions that are songs they would never be able to sing in a performance setting (ie you could not play Sarah Brown Eyes in RAGTIME) but this song seemed to work in this context, and I think this was a very strong performance by you. Nice acting--I would like to hear a little more connectivity in the through lines and felt it was a bit too high in places. But I thought this was a very nice performance by you!"

Helen says: "Lovely opening. Take care to connect the notes right through the phrases more. This performance was very emotional, but try not to let yourself get so involved in the acting that your technique falls apart (not that it totally fell apart, but there were some dicey moments!). You are a very interesting performer and I hope you stay in the comp!"

Ray says: "It's always a fascination to me the idea of interpretation. Here we have the third version of this song and sung by someone who has lived a little longer and experienced a little more and it makes a huge difference in a performance. That is what makes or breaks a performance. This was a lovely, heartfelt rendition of this well known song and sung beautifully. Whatever you're doing with your voice teacher and whomever you're working with it's the right thing. Lovely."

Michael Campbell

"Shouldn't I Be Less In Love With You?"
from I Love You, You're Perfect, Now Change

Amy says: "Due to the context and way this show is set up with casting, you can get away with singing it....I thought this was your best performance so far! Nice build to the urgency, and I thought most of your vowels were very nice and open. Nice job!"

Helen says: "You've got the balance right this time. Hooray! You captured the essence of the song with an honest and subtle performance. You really showed us what you can do. Check your "ee" vowels, but otherwise, great job! I really enjoyed it."

Ray says: "Yep! You deserve to march right into the next round with a focused performance like that. This is not my favorite score but it don't make no difference...you go, mister."