“Many books offer advice to singers on what to do in auditions, but “Nail Your Next Audition” breaks down the preparation process into specific tasks and exercises – and, most importantly, it includes a timetable.”

Lisa Houston,
Classical Singer Magazine Review

“I was so impressed with Nail Your Next Audition that I gave several of the exercises to students who had juries coming up. It made a tremendous difference in their performances. This book is a “must-have” for young singers.“

Vinson Cole, Tenor:
MET, Paris Opera, Vienna, La Scala,Chicago Lyric
Professor of Voice, University of Washington

“Janet, I read the book. I think you’ve nailed it!!! You have nailed what’s universal about the audition experience and should apply to any singer seeking to walk into a room, size it up, and go for it, with the right dosage of performance vis a vis concert presentation. What makes a good audition is the appearance of knocking it off as if it were no problem at all, while actually enjoying it, and expecting to be liked. That may not always be the case, but when it LOOKS like that, it is very seductive to the viewer.”

Christine Bullin, President/General Manager, Chanticleer,
Former Director of the Opera Training Center, Paris National Opera
and the San Francisco Opera Center

“I am one of those rare singers who loves to audition. (No director, conductor, gets to tell me what to do!) In reading NAIL YOUR NEXT AUDITION, I was shocked to see what I ‘ve been doing all these years to enjoy myself, brilliantly and succinctly written down! The next time I am asked my secret, I plan to say with insouciance: oh, check out that new book by Janet Williams on auditioning.”

Steven Cole, Tenor: Salzburg Festival, Liceu, Paris Opera,
MET, Rome, Geneva, San Francisco, Innsbruck Baroque Festival

“In the world of vocal training the subject of audition techniques is rarely addressed in such intricate detail as in “Nail Your Next Audition”. This book contains concepts that are extremely important to any young singer’s training and can be very useful for the seasoned performer as well. Not only does Janet Williams have excellent ideas on audition techniques, but she also has outlined a 30 day plan, a built-in discipline for the singer involving the ‘how to’s’ of personalized audition preparation. This book should be in every voice teacher’s studio, every singer’s library, and in every University library!”

David L. Jones / International Vocal Pedagogue

“Your ideas…sure struck home with me. I had to get an engagement without having sung an audition with New York City Opera in 2002, to realize that [in the U.S.] I was quite unknown. That reality check coincided with my 50th birthday, and I realized I would never sing at the Met or anyplace in the U.S. either without getting heard. What to do? For over ten years I had sworn off auditioning as useless and bad for my mental health! I avoided them as costly, time-and-energy consuming, and even depressing. Of course, they are a little of all that. But I was also missing the point: Today, if you are not one of the five chosen products on the dying CD market, you have to go where the house directors are, they won’t come to you where you’re singing.”

Gregory Reinhart, Bass: MET, NYCO, Paris Opera

“I am totally inspired by what you wrote and intend to incorporate it into my own career planning. (In fact, I’ve never really even had a career plan, so your book points me completely in the direction I need to go!)”

Daniel Gundlach, Counter-Tenor: Paris Opera, Chicago Lyric Opera,
New York City Oper

“Dein Workbook ist fantastisch. Es ist warmherzig, humorvoll und macht unglaublich viel Lust zu arbeiten. Durch die kleinen Anekdoten ist es wie ein guter Freund, der Dir mit einem lächelnden Auge zur Seite steht und immer wieder sagt: “Du bist nicht allein”. Inhaltlich findet man in erstaunlich komprimierter Form Erklärungen und praktische Anleitung zum Verstehen und Training der absolut unabdingbaren Komponenten einer allumfassenden Auditions Vorbereitung. Complimenti!!!”

Margitta Rosales, Soprano: Teatro Guimera di Santa Cruz, Teatro Verdi Padova,
Junge Oper Köln, Schillertheater, Prinz Regent Theater