this-file:  frhl-experts-audition-2009-04-14

(err, ahm, you do realise that i can't carry a
tune/song past 2 or 3 bars)...

So, that being said,...

As with any trial and such, you should try to
speak to your own strengths. Since you mentioned
that you're twixt and tween Soparano and Alto,
you need to find something that you feel comfortable
with. This means that if you get into areas that
you don't feel comfortable with, then this will
be reflected in your performance; as we say in
theatre:  The actor is only human. 

So, mainly let your voice be heard - NO pun intended.
We should see (hear) something that IS you expressing
yourself. Well, to a certain extent we can't see 
anything but that now can we? The idea is that even
if you don't get a major role, doesn't mean you
aren't a member of the choir. And every part is 
needed. Even a "walk on" part (even one with NO
spoken lines) is often crucial to the bigger 
picture. We add "just that bit" that brings the
entire work just a step closer to total reality.
(Hope that makes sense.)

As regards the audition itself. My daughter tried
out for several plays before she got a part at
all (this was in High School, her sophmore
year). And the *main* thing that kept her in
mind of the director is that when the director
would give a hint/request (louder, slower, or
could you try it this way?, etc) - my daughter
did what the director asked. The director IS
the director, and your job is to make their
life easier - if they know that you can take
and follow directions then they will automatically
enjoy working with you all the more.

Another thing might be to find out what sort
of things the choir director likes, etc. The
old "if they want fish, then give them fish"
philosophy. Within what ever talents you have,
pick out those that seem to be what you think
or understand that the director likes. This 
could be to try to perform a work similar to
the production at hand or to try and go into
another area that you are more familar with.
Ideally these two things are the same; but
as is usually the case, you'll have to 
stretch a bit to get to where they need you
to do.

Like i said, if you follow directions then you'll
be half way there. Also, i wouldn't worry so
much about your breathing, the director may
simply put it off to being a bit nervous during
the audition. One way might be if you find 
something that you think you might want to
sing, listen to other performers singing it
and try to find their breathing pattern for
the piece. But, again there isn't anything
such as a perfect performance - if there
was, then it'd be boring. Everything comes
magically together as the entire group/ensemble
practices and begins to knitt the work together.

Of course (again i wish i knew more about voice)
in orchestral or larger work, the idea is that
the instruments playing the same voice (eg,
3rd violin, 3rd harmony, etc) need to blend
together. I assume the same in choir and 
vocal work of that sort. Again, goes back to
being someone that the director can count on
-- the perfection thing will come about as
the group practices.

Also, if you know the work that's being planned
find a copy of it to read/listen to. That way
in addition to the work that you are specifically
preparing, you will be prepared in case they
call you back to do a "cold reading" - which
i assume (dangerous word: assume) they have
something like in choir/vocal work. That is,
after you do a prepared piece, they ask you
to do a piece from the play or a specific 
work that they are using to decide who to
use. Some directors are looking for people who
they can use again and again and others are
just looking for someone to fill a specific
slot and/or performance.

As for *what* to sing, you might look at 
something that you particularly like and 
know that you are good at. Again, your best
bet is to find out as much as possible as
to what they want to hear at the audition.
If it's a specific piece - then do that,
but have another work ready to go as well.
If they want to hear something that you've
picked out, then do that, but again have
something close to what is in the performance
itself. This also gives the director the
idea that you are trying to match what you
do to what they need/want - again goes back
to being able to solve problems. Not being
the prima donna is the best thing; in every
thing i've the easiest people to work with
are the ones that are professional, try to
work with everyone else, and not go "over 
the top".

Hope that at least some of this helps, as
we say in theatre:  Knock 'em dead. (Or
break a leg - since it's considered bad
luck to wish a person luck).

- frank.