From the Rehearsal Magazine article In Conversation with: Sarah Ampil
“For my own peace of mind, I try to treat competitions as the means to an end as opposed to the goal itself. Performing for a competition panel is a great simulation audition – a skill that all singers will need to polish and review throughout their careers. I try to treat these panels like any other job interview: I evaluate if the opportunities offered are appropriate for me at that point in my development, just as the panel try to determine if each singer is suitable for the available prizes. Eisteddfods and competitions offering cash prizes can be unpredictable beasts, because pitting singers against one another directly opposes the collaborative nature of the art form. They’re a great opportunity to try out new repertoire and practice managing performance anxiety, but any wins or prizes are just a bonus. I haven’t attempted an eisteddfod or public competition since my last major role debut, so I will have to wait and see if that experience has affected my preparation process. I can only imagine that the more immersed you become in the process (as with learning a role), the easier it is to conquer the self-talk and self-criticism that can burden developing artists. That said, I certainly think there is a place for competitions in the industry, because they also promote the profile of classical performance by showcasing some incredible feats of athleticism by young performers – I think it’s important that we redefine these processes as an opportunity to promote the art form, not just individual artists.”
Sarah is a previous Australian Singing Competition Semi-Finalist and was a featured singer in our 2017 production, Musica Lirica.