Your Career: Just One Click Away (Part I)

A web service in the UK can lead you to opera auditions throughout Europe.

According to the Cambridge Dictionary, an oracle was a female priest in ancient Greece who gave people “wise advice.” Nowadays, advice for singers comes from the London-based digital casting-book Audition Oracle. Its programming system is designed to offer the wisest help that can be given to singers: connecting them with organisers of musical events. In a two-part interview with AIF, Melanie Lodge, founder of Audition Oracle, lays out the benefits of a membership and gives advice to aspiring singers who want to make it in the opera world.

Melanie Lodge
Melanie Lodge, founder Audition Oracle

AIF: How do singers and the organisers of music events use Audition Oracle to come together?

Melanie Lodge: There are several ways that Audition Oracle connects people. Organisers can post a vacancy and professional singers who meet the criteria can apply with our one click application process. Organisers can then offer a job directly or select which candidates they would like to invite for audition. Alternatively, organisers can browse our database of professional artists and offer work directly, or invite to audition, any artist(s) that they feel might be suitable.

AIF: What is the benefit for professional singers?

Melanie Lodge: Membership of Adition Oracle gives professional singers access to the latest vocal auditions and opportunities in the industry. We are the largest source of professional opera, classical and choral auditions in Europe. Artists can upload their CV, publicity materials and media to enable employers to find and view them based on their experience, voice type and more.

AIF: How much does the membership cost?

Melanie Lodge: Student professional membership costs £54/year and professional, £99/year. Audition Oracle offers a free 30-day trial to singers so they can experience directly how beneficial the service is before becoming a full member. Membership to the service includes access to a mobile friendly work and auditions board that keeps them up to date with hundreds of auditions, work and Young Artists Program opportunities throughout the UK, Europe and North America every day.


AIF: Presenting a centuries old art form, Opera houses and agencies might be hesitant to embrace the use of digital technology. How do you convince opera houses and agencies to change their habits of recruiting singers the traditional way?

Melanie Lodge: We find that once we have helped a company or an individual employer out, they have been swift to embrace our system and continue to use it without prompting in the future. Many companies have registered their own account and choose to receive applications for their opportunities exclusively via Audition Oracle.

AIF: What happen when singers apply?

Melanie Lodge: When singers apply via the website for an opportunity, they can do so at a click of a button as their CV’s, media files and experience are automatically attached to the application. This saves companies precious admin time, protects their email inbox and organises applications into one format in one designated space. Here companies can clearly view individuals name, head shot, voice type, cover letter, CV and all associated media from their applications and sort them to follow up as required.

More information can be found at

Soon: Read part 2 of this interview – Melanie Lodge’s advice for auditions and how to get hired again.



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Bernd Hendricks. Born in Duisburg, Germany. Based in Berlin. Writer, German Language Educator. I was six years old when I went to the opera for the first time. My Grandma took me to Hänsel und Gretel at the Deutsche Oper am Rhein in Duisburg. The first time I met an opera singer personally was during my time as foreign correspondent in New York when at a Christmas party a baritone pelted me with questions about the language of Zauberflöte. He was preparing for his role as Papageno. After my return to Berlin in September 2010, I have been giving German lessons to singers on their audition tours. My workshops in Berlin, Vienna, and London are based on my widely read book Ach, ich fühl’s—German for Opera Singers in Three Acts: Studying, Speaking, Singing. My latest book, Die Frist ist um—Navigate the Language of 10 German Operas, takes you on a journey through the language of the most popular and often performed operas in the German-speaking countries. I am also the author of several non-fiction books and two novels.

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