How do I determine if a work is an opera or a musical?
As many works may “cross over” and fit more than one genre, there is not always a clear answer to this question. In general, remember the aim of the competition is to show versatility as a performer across a variety of idioms. For each of your repertoire selections, be sure to choose something that is representative of each of the genres required by the competition guidelines. Therefore, regardless of labels, ensure that your program effectively demonstrates your ability to idiomatically perform Golden Age musical theater, opera, contemporary musical theater, etc. Take a look at our
tips page
for advice on creating a program.
Why are two musical theater selections required, and what is the significance of the year 1968?
1968 was the year the musical
Hair
premiered on Broadway, and in many respects marked a stylistic shift from earlier periods of musical theater, including the so-called “Golden Age” of American musical theater. The intention behind requiring musical theater selections from these two periods is to encourage performances that demonstrate the stylistic differences found throughout the history of musical theater. Pairing a selection from a musical from the 1920s with one that imitates that style but written after 1968 does not illustrate the diversity celebrated by the Lenya Competition, and should be avoided. A musical such as
The Drowsy Chaperone
postdates 1968, but as it is largely written “in the style” of a musical from an earlier period, they do not really afford a contestant the opportunity to demonstrate the ability to perform in a post-1968 style of musical theater.
What does the “original version” of a selection mean?
An original version of a selection refers to the stage version of a song as it is contained in the piano-vocal score of the show. Be advised that many aria and song anthologies do not always reprint selections in their original versions. If unable to locate a show’s piano-vocal score, you may need to verify that what you are presenting is indeed the original version of the song.
Do my selections have to be sung in the original key?
Selections from opera/operetta repertoire must be sung in the original key, in keeping with standard performance practice. Musical theater numbers may be transposed, but any transpositions should not be so extreme as to alter the perceived age, type, or character of the role.
Can I make cuts?
Cuts should be considered only if your program would otherwise exceed the fifteen-minute time limit. However, bear in mind the overarching objective of the competition to “sing the story.” Cuts should be made in such a way as to not disrupt the narrative arc of a particular song or selection. Also be advised that semifinalists and finalists may be called upon to sing unabridged versions.
I need help finding the vocal score for my Weill selection(s). What should I do?
Vocal scores for many of Weill’s works are available in print and may be purchased through major music retailers. However, some are out of print or have never been published (for example,
Love Life
and
One Touch of Venus
). We are happy to assist in locating the appropriate version of any Weill numbers for your use in the Lenya Competition; please email us at
kwfinfo@kwf.org
with any such requests.
Keep in mind that all Weill selections must be sung in their original theatrical versions and languages (with the exception of numbers from authorized English translations of
The Threepenny Opera
and
Happy End
; see
GUIDELINES
for more information). Please note that many selections printed in the two-volume
Kurt Weill: A Centennial Anthology
(Warner, 2000) are popular sheet-music arrangements that differ from the original piano-vocal scores and are therefore not eligible for presentation in the Lenya Competition.