Training for a Marathon: How to Win Your Voice Audition
You're standing in a room, about to launch into a performance — or sitting in front of a camera, about to record one. It feels like a dream. But when it's a college audition, the stakes are real, and the nerves are real too.
The antidote to audition anxiety is preparation — not just more hours of practice, but smarter preparation. Soprano Anna Atkinson, a student in the Master of Music in Opera and Voice program at McGill University's Schulich School of Music, has been through this process many times. Here's what she's learned about preparing to win.
What Should You Sing?
Most programs require four pieces in four languages — though requirements vary, so always check each school's specific guidelines. The temptation is to choose pieces that sound impressive on paper. The better instinct is to choose pieces you genuinely love singing.
“Follow their requirements, but make sure it's your version of their requirements. I would choose pieces that you love singing, but also pieces that show off what you can do.”
— Anna Atkinson, soprano, MMus Opera & Voice, McGill University
"Showing off what you can do" means thinking honestly about your voice type and current technical strengths. A well-sung piece that fits your voice will always land better than an ambitious piece performed under strain. Work with your teacher to identify repertoire that checks both boxes: program requirements and genuine vocal strength.
What is the Best Way to Practice?
Start with your established warm-up routine every single time — never skip it. More importantly, start early. Audition repertoire needs months of preparation, not weeks. The goal is to have the pieces so deeply in your body that nerves don't have anywhere to live.
As audition season approaches, change the order in which you run through your pieces. Always open with your first audition piece, but then randomly select from the rest rather than running them in the same sequence each day. Panels hear singers back-to-back; your energy and presence in piece four matter just as much as in piece one, and rehearsing randomly trains your stamina for the real thing.
Can You Over-Practice?
Yes — and this is one of the most common mistakes singers make. Pushing hard right up to audition day doesn't build peak performance; it builds fatigue. Tired singing is risky singing: poor breath support increases the chance of strain and, in severe cases, nodules.
“It's like training for an Olympic race or a marathon. You build it up, work really hard, and then a week before your actual race you start to back off so your body has recovery and rest time — so you can be in peak performance ability for your audition.”
— Anna Atkinson
Plan a taper. In the final week before your audition, reduce your practice intensity significantly. Maintain your warm-up routine and do light run-throughs, but prioritize rest, sleep, hydration, and vocal health. You're not going to learn anything new the week before — you're just protecting what you've built.
IHow to Prepare for a Recorded Pre-Screening?
Most college voice programs now require a pre-screening recording before inviting students to live auditions. This means your recording isn't just practice — it's the first thing a panel will judge you on. Start recording yourself from the very beginning of your preparation, not just at the end.
“See what you're doing with your hands, or maybe you're doing something funky with your eyebrows, or you look angry, and you were trying to look like you're in love. All of those things can happen — and it gets really frustrating if you put it off to the week before your audition and you're just making recording after recording, and you start to lose your mind a little bit.”
— Anna Atkinson
Treat every recording session as a real performance: dress appropriately, set up your frame correctly, and commit fully. The more you record, the more natural it becomes — and the less the camera will throw you when it actually counts.
The Technical Side of a Recording Audition
Audio quality can make or break a recording submission. Invest in a quality microphone designed for singing — Anna recommends the Shure MV88, which connects directly to an iPhone and is widely used by singers for audition recordings. For accompaniment, record yourself with the backing track playing through headphones, then combine the two audio tracks on your computer.
Beyond audio: pay attention to your recording space. A room with soft furnishings (rugs, curtains, upholstered furniture) absorbs echo and produces a cleaner sound than a bare room with hard surfaces. Keep your background neutral and uncluttered, and make sure your face is well-lit from the front. Technical issues send a subtle signal about your professionalism — a clean, well-produced recording says you take this seriously.
Managing Nerves on Audition Day
Preparation is the deepest source of calm — but even well-prepared singers get nervous. In the days before your audition, try to maintain your normal routine rather than overhauling everything. Eat well, sleep enough, and avoid any activities that put your voice at risk (loud environments, alcohol, talking too much).
On the day itself, arrive early so you're not rushing. Give yourself time to warm up privately before you go in. When you're in the room or in front of the camera, remember: the panel wants you to succeed. They are rooting for the person in front of them. Your one job is to sing the music you've been preparing for months — let it carry you.
Hear more from Anna Atkinson (@anna_atkinson96) on her podcast “Are We All Met”.
Preparing for college voice auditions is a process that takes time, planning, and the right guidance. At Best Fit Education, we work with singers and performing arts students to navigate the full application process — from building a school list to audition preparation to final submissions. Get in touch to learn how we can help.