On January 14th 2015, Soprano Amy Owens was a second place winner at the Region Finals. Since then, she has spent the summer at Wolf Trap Opera as a Filene Artist, where she has been singing Florestine in The Ghosts of Versailles and Barbarina in Le nozze di Figaro. She also sang a recital in collaboration with the Phillip’s Collection in Washington D.C.
If you want to catch her next performance:
"Come to Utah Opera/Utah Symphony’s production of L’enfant et les sortilèges in November, where I will be singing the roles of la Princesse, le Feu, and le Rossignol! I am excited to go back to Abravanel Hall and work with conductor Thierry Fischer."
Opera Idols: What did participating in the National Council Auditions teach you?
Amy Owens: As in all competitions, expect the unexpected! I also learned that I should be very sensitive to how I’m feeling on competition day and to choose an appropriate starting piece, even if it’s different than what I was originally thinking. The most important thing is to show up with energy and confidence and good singing, no matter what the song is! If I’m tired, I should try to sing a peppy song first, nothing too slow or delicate. Because as most singers know, it takes a lot more energy to sing delicately than it does to sing “energetic” songs.
OI: How has participating changed your career?
AO: While I haven’t had any obvious career changes from my participation in the MONCA, its presence on my résumé adds clout that people take notice of, particularly European companies who recognize the name of the Metropolitan Opera.
OI: What was your experience like auditioning?
AO: Auditioning was altogether a very positive experience. The hall was lovely, the judges gave great feedback, and the personnel helping out backstage were delightful. I enjoyed every part of it.
OI: What did winning mean to you?
AO: Any money that a freelance singer receives from gigs and competitions is needed and received with gratitude. So from a purely financial standpoint, winning competition money made a huge difference in my year. I am so grateful for competitions like this that allow a singer to get exposure as well as provide assistance for voice lessons, travel expenses, and much more. The direct impact of competition funds is immense for a young singer like me. Thank you!
OI: What advice would you give to this year's singers?
AO: Don’t put a lot of stock in a win or a loss in a competition. Treat the experience like a performance and try to help everyone have a good time while you are singing. That is what singing is about. Desperation to win or be complemented is a death sentence for any performance. If you win, that’s great! It doesn’t mean you don’t have work to do. If you don’t win, it’s no loss. It doesn’t mean you are a terrible singer. Just sing and have fun! You never know what will happen, and you should never let feedback dictate the kind of singer you are. Don’t give anyone else your power. You need it to continue being the beautiful artist you are.