The Glimmerglass Festival

Pianist/Coach Application (2022)

This application closed on Tuesday September 28, 2021.


Please note you must be fully vaccinated (with proof) by your audition date. Information about showing proof of vaccination will be sent with audition notifications.

Before submitting, please check if anything may have been auto-filled incorrectly. Incorrect information submitted due to an auto-fill error may result in a voided application. 

Please contact Emmet Sellars at with any questions regarding this application. For technical help, please contact

If you are available for more than one audition location, please indicate here. Additionally, please indicate all dates for which you are available to audition.
No spaces, dashes etc. phone number fields
This information is for data purposes only and will not be used in the awarding of auditions or contracts. For more information on the categories below, please visit appendix 4 on the following page:
Please specify: Name of teacher, length of study, and affiliation (if applicable). Most current teacher first.
Specify languages and year of study or proficiency.
Please specify: Name of teacher, length of study, and affiliation (if applicable). Most current teacher first.
Education 1
Education 2
Education 3
Education 4
Education 5

Professional References

Please give details of three artistic authorities with whom you have worked and who may act as references. No written recommendations are accepted.
Number of selections required: 3.
Selection 1
Selection 2
Selection 3

Video Selections

Two video files are required with your application. Please submit two video files which display you in collaboration with one or more singers, made within 12 months of the application deadline.

Please verify that all video files work before submitting. Video files that do not work will result in a voided application. Number of selections required: 2.

You must be signed in to add videos.
Please include all coaching experience (any opera and musical theater).
You must be signed in to add your resume.

Please upload one high-resolution photograph.

You must be signed in to add your headshot.
**Please note: pianist/coach auditions are usually scheduled for the first slots of each day.

If you are selected for a live audition, please prepare one selection from each of the following four lists.
• Candidates should be prepared to sing and play all operatic excerpts, to follow a conductor, to translate each extract without reference to notes, and to respond to musical direction.
• Auditions may also involve sight-reading and verbal interviews.

Prepare one of the following:
1. Bernstein: West Side Story – Act I “The Dance at the Gym”: Section 4b (Mambo)
2. Tchaikovsky: Polonaise from Eugene Onegin (beginning of Act III, #19)
3. A short solo piano piece of your choice of comparable difficulty to the above extracts

Prepare one of the following:
1. Le nozze di Figaro – Act II Finale from the entrance of Antonio (Scene X, Allegro molto) until the end of the act
2. Così fan tutte – Act I Finale from the entrance of Despina and Don Alfonso (Scene XVI, Allegro) until the end of the act
3. Don Giovanni– Act I Finale from Allegro 6/8 “Riposate, vezzose ragazze” until the end of the act
4. Die Zauberflöte – Act I Finale from Tamino’s aria “Wie stark ist nicht dein Zauberton” (m. 160) until the end of the act
5. Don Giovanni– Act II Sextet “Sola, sola in buio loco”

Prepare one of the following:
1. Puccini: La bohème – Act I up until the entrance of Benoit OR Act IV up until the entrance of Musetta
2. Puccini: Tosca – Act I up until figure 40
3. Puccini: Madama Butterfly – Act I up until Figure 37
4. Verdi: Rigoletto – Act 2 Scena and aria “Povero Rigoletto...Cortigiani, vil razza dannata” AND Act 3 Quartet “Un dì, sebben rammentomi…Bella figlia dell’amore”. (Ricordi Scenes 9 and 12)
5. Bizet: Carmen – Act II, #15 quintet “Nous avons en tête une affaire” AND Act II, #20 trio “Mêlons! – Coupons!”

Prepare one of the following:
1. Ravel: L’enfant et les sortilèges – Fire’s aria (8 before Rehearsal 40 - Rehearsal 48; Durand 25/5/1 – 30/3/4) AND L’heure espagnole – Concepcion’s aria “Oh! La pitoyable aventure!” Scene XVII
2. Poulenc: Les mamelles de Tirésias “Non, Monsieur mon mari” (Act I Scene I from figure 20 - figure 34)
3. Strauss: Der Rosenkavalier – “Wie du warst” from rehearsal 12 to four measures after rehearsal 25
4. Strauss: Ariadne auf Naxos – Zerbinetta’s recitative and aria, from 5 before #117 (“So war es mit Pagliazzo”) to #144
5. Strauss: Ariadne auf Naxos – Komponist’s aria from from “Sehr lebhaft” (rehearsal 108) until the end of the Prologue.
6. Stravinsky: The Rake’s Progress – “No Word from Tom…I go, I go to him!”