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Audition Pad

The document outlines the audition process for the position of Section Principal Trumpet with Scottish Opera in 2023. It consists of three rounds: a digital submission round requiring recordings of excerpts from Stravinsky, Verdi, and Wagner; an in-person round involving a set piece by Honneger and additional excerpts; and an in-person ensemble round with selections from Britten, Mozart, Strauss, Verdi, and Wagner.

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33 views32 pages

Audition Pad

The document outlines the audition process for the position of Section Principal Trumpet with Scottish Opera in 2023. It consists of three rounds: a digital submission round requiring recordings of excerpts from Stravinsky, Verdi, and Wagner; an in-person round involving a set piece by Honneger and additional excerpts; and an in-person ensemble round with selections from Britten, Mozart, Strauss, Verdi, and Wagner.

Uploaded by

Stefano
Copyright
© © All Rights Reserved
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Scottish Opera

Section Principal Trumpet auditions, 2023

1st round: Digital Submission (screened audio-visual recording)

 Stravinsky Petrushka, Fig.134 to Fig.139


 Verdi Rigoletto, Fig.36 to end of excerpt
 Wagner Lohengrin, Act 1, to Fig.52

2nd Round: in-person audition

Set piece
 Honneger Intrada, beginning to Allegro before Fig. 4

Excerpts

 Britten A Midsummer Night’s Dream, Act 1 from Fig.6


 Donizetti Don Pasquale, Act 2
 Stravinsky Petrushka, Fig.134 to Fig.139
 Stravinsky The Rake’s Progress, Act 2, Scene 2
 R. Strauss Daphne, two excerpts
 R. Strauss Der Rosenkavalier, Act 3, Fig.284 to Fig.296
 Verdi Il trovatore, two excerpts
 Wagner Lohengrin, Act 1, to Fig.52
 Wagner Parsifal, Prelude

3rd Round – in-person ensemble audition

 Britten Four Sea Interludes from Peter Grimes


 No.2 Sunday Morning [NOTE: TRUMPET 3]
 No.4 Storm, Fig.3 to end

 Mozart Le nozze di Figaro, No. 9, b.89 to end


[NOTE: on natural trumpet]

 R. Strauss Der Rosenkavalier, Act 3, Fig.284 to Fig.296

 Verdi La Forza del Destino, Overture, Fig. H to Fig. L

 Verdi Rigoletto, Préludio

 Wagner Gotterdammerung, Act 3, Fig.40B to Fig.44


1st round: Digital Submission (screened audio-visual recording)

 Stravinsky Petrushka, Fig.134 to Fig.139


 Verdi Rigoletto, Fig.36 to end of excerpt
 Wagner Lohengrin, Act 1, to Fig.52
2nd Round: in-person audition

Set piece
 Honneger Intrada, beginning to Allegro before Fig. 4

Excerpts

 Britten A Midsummer Night’s Dream, Act 1 from Fig.6


 Donizetti Don Pasquale, Act 2
 Stravinsky Petrushka, Fig.134 to Fig.139
 Stravinsky The Rake’s Progress, Act 2, Scene 2
 R. Strauss Daphne, two excerpts
 R. Strauss Der Rosenkavalier, Act 3, Fig.284 to Fig.296
 Verdi Il trovatore, two excerpts
 Wagner Lohengrin, Act 1, to Fig.52
 Wagner Parsifal, Prelude
3rd Round – in-person ensemble audition

 Britten Four Sea Interludes from Peter Grimes


 No.2 Sunday Morning [NOTE: TRUMPET 3]
 No.4 Storm, Fig.3 to end

 Mozart Le nozze di Figaro, No. 9, b.89 to end


[NOTE: on natural trumpet]

 R. Strauss Der Rosenkavalier, Act 3, Fig.284 to Fig.296

 Verdi La Forza del Destino, Overture, Fig. H to Fig. L

 Verdi Rigoletto, Préludio

 Wagner Gotterdammerung, Act 3, Fig.40B to Fig.44

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