Houston Grand Opera

2022-23 Houston Grand Opera Studio: Pianist/Coach Application

This application closed on Sunday October 10, 2021.

REMINDER - Deadline for both applicants and references is Sunday, October 10, 2021.

To keep in touch with developments, please join our Facebook group at www.facebook.com/hgostudio. Thank you for applying to the HGO Studio.

We are working together with other young artist programs on a coordinated repertoire list for this year's auditions. Steps are outlined below to guide your understanding of the audition process. 

Step 1: Apply to each program as you normally would. Applications are due Sunday, October 10, 2021.

Step 2: Notification of auditions granted by Friday, October 15, 2021.

Step 3: Live auditions – November 21, 2021 (New York City); November 22, 2021 (Cincinnati); November – December 2021, by appointment (Houston)

Please note that to have a live audition, you must be fully vaccinated (with proof) by your audition date. 

Step 4: Notification of results by Monday, February 28, 2022

Please contact the HGO Studio at studio@houstongrandopera.org with any questions regarding this application. For technical help, please contact help@yaptracker.com.

Personal Information

Number of selections required: 1.

Contact Information

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 studio contracts. For more information on the categories below, please visit appendix 4 on the following page: https://eeocdata.org/eeo1/howto/instructionbooklet


Please request these now as the deadline for receipt of references is October 10, 2021.
If you answered yes to the question above, you do not have to resubmit your references from last year unless you want to. Otherwise, we'll use the submissions from the last application.

If you applied prior to 2020, or have never applied before, you are required to submit 3 references: one from your current/most recent primary teacher and two others from established music professionals.

Maximum number permitted: 3 Allowed method(s): Online.

You must be signed in to add recommendations.

Education and Training

Languages - indicate languages you have studied grammatically and the length of your study in years.


Include musical theater or oratorio work, if any*:
(All fields must be completed. Use N/A where necessary. RESUMES WILL NOT BE ACCEPTED IN LIEU OF A COMPLETED APPLICATION)
Role 1

Role 2

Role 3

Role 4

Role 5

Role 6

Role 7

Role 8

Video Selections

Candidates must submit at least two different video clips of their playing, which may be a combination of solo pieces, clips of the candidate singing and playing an operatic excerpt, or of the candidate accompanying a singer in an aria or song of their choice (live or remote). If possible, videos should be no more than 12 months old. Number of selections required: 2.

You must be signed in to add videos.


HEADSHOT: Files must be less than 2MB and in the .jpg/.jpeg format. Your filename must contain your full name and may not contain any special characters (ampersands, apostrophes, etc.)
You must be signed in to add your headshot.

Live Audition Requirements

• Candidates should prepare one selection from each of the following five lists.
• Please note that in extract I and extract IV, some options that may appear in the application for other companies are omitted.
• 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 short solo piano piece of your choice of comparable difficulty to the below extracts

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”

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!”

1. Strauss: Der Rosenkavalier – “Wie du warst” from rehearsal 12 to four measures after rehearsal 25
2. Strauss: Ariadne auf Naxos – Zerbinetta’s recitative and aria, from 5 before #117 (“So war es mit Pagliazzo”) to #144
3. Strauss: Ariadne auf Naxos – Komponist’s aria from from “Sehr lebhaft” (rehearsal 108) until the end of the Prologue.
4. Stravinsky: The Rake’s Progress – “No Word from Tom…I go, I go to him!”

1. A 5’-10’ operatic excerpt from a work written after 1940 in English.

HGO has issued a COVID vaccination requirement for all staff and artists.