YAP Online Program - Session 2 - Understanding German YAPs - Thomas Hermann

Summary
Michael Pegher and Thomas Hermann discussed key parts of the German opera world: young artist programs, casting philosophy, and audition expectations. Thomas Hermann outlined their career path, their approach to casting Mozart, and what German young artist programs expect from singers, stressing technical readiness, language, and preparation for the market. They also spoke about common mistakes American singers make in auditions, the German audition system, and the value of live auditions and summer programs for exposure. A Student asked about video submissions.

Details

Meeting Recording and Purpose
Michael Pegher explained that the meeting is being recorded because it takes place on a Saturday and many students couldn’t attend live. The recording ensures every Student has access to the discussion and the pre-submitted questions. Thomas Hermann noted they were aware of the recording (00:00:00).

Introduction of Thomas Hermann
Michael Pegher introduced Thomas Hermann, the opera director of the Nationaltheater Mannheim, as someone who can give singers a clear picture of the German opera world and its young artist programs. Pegher underscored the importance of the German market in an operatic career (00:02:22). Thomas Hermann expressed gratitude for the invitation and enthusiasm for the topic (00:03:38).

German Weather and Oktoberfest
Michael Pegher asked about the late-summer weather in Germany. Thomas Hermann said Mannheim was at 30°C, soon dropping to 11°C as summer ends (00:03:38). They also mentioned the start of their season and the beginning of Oktoberfest in Bavaria (00:04:54).

Thomas Hermann’s Musical Background
Michael Pegher noted that Hermann is a musician, which he values in an opera director. Hermann confirmed they studied flute and singing in Vienna, were a principal flutist for 20 years, and sang in the Vienna radio chorus and other ensembles (00:05:58). They continue to sing, especially during holidays in Passau, where they sang as a tenor for 25 years (00:07:22).

Career Path
Thomas Hermann began in the opera choir at 17, thanks to an opera-singer neighbor who gave them tickets and scores (00:08:40). They studied flute, singing, and teaching in Vienna before joining orchestras. Hermann also taught flute for many years, stopping only when theater responsibilities expanded after moves to Nuremberg and then Mannheim. They now conduct audition coachings and help university students gain a realistic view of the market (00:10:01).

Dream Role and Casting Philosophy
Asked about a dream role, Hermann—once nicknamed the Bavarian Tamino—said they gravitate toward Mozart, early music, Puccini, and Verdi (00:11:00). For Mozart casting, they avoid very large voices suited to giant American houses, preferring voices with clarity, clean intonation, emotional presence, and an instrumental quality, shaped by their own early-music training (00:13:40).

Young Artist Programs in Germany
Hermann explained that singers entering German YAPs need to be technically ready, though some young voices need protection (00:15:25). Mannheim’s program is a two-year educational contract with coaching twice a week and masterclasses (00:18:31). Studio singers are cast in mainstage productions and revivals and are treated like regular company members once cast. They must learn the German repertoire system (00:19:57). The program aims to prepare singers for the market and encourages them to audition during the two years (00:22:40).

Age Limits and Talent Selection
Hermann said their age limit is 30, though they have accepted younger singers as well as a 30-year-old tenor and a 27-year-old baritone (00:31:10). They choose singers who can realistically become market-ready within two years, describing the program as a launchpad, not a holding pattern (00:33:57). Regular stage time and interaction with experienced colleagues are central to the program (00:27:08, 00:35:18).

Common Mistakes by American Singers
Hermann noted that American training often emphasizes volume at the expense of musical nuance (00:36:38). Vibrato preferences can also differ from European tastes. Michael Pegher added an example of a singer who focused on vocal size instead of expression and language for Pamina, a misalignment with German expectations (00:38:04).

Importance of Language and Diction
German opera studios require one of the five audition arias to be in German, plus a Mozart piece (00:40:38). Fluency isn’t required at entry, but learning German is expected. Michael Pegher added that IPA is a useful start, but true mastery usually comes from guidance specific to German diction and nuance (00:42:02). Hermann emphasized the need to understand language to convey meaning in the music (00:44:23).

German Audition System and Competitions
German houses, including Mannheim, audition when there is a specific casting need (00:45:49). They prefer auditions on the main stage. Hermann mentioned the ZBF, a free public agency that helps distribute singers for auditions (00:47:31). Competitions also help them find talent because judges hear singers in multiple rounds across varied repertoire (00:50:27). Reaching a competition’s finals is useful because agencies attend (00:53:09).

Summer Programs and Exposure
Hermann pointed to summer programs, such as the mastersinger academy in Weimar, as excellent exposure opportunities. These programs often organize auditions for many directors and agencies at once, making them highly efficient (00:54:27). Being heard live on stage remains the best way to be evaluated.

Opera Studio Systems and Regulations
Opera studios vary because there is no universal regulation for them; unlike full company singers, studio participants are considered students or post-graduates, not contracted employees (00:56:56).

American Singers in Europe
Hermann remarked that although many Americans seem eager to enter the European market, Mannheim received only about 20 American applications out of 550 total, with more than half of all applicants being sopranos (00:58:10). Michael Pegher stressed that a singer who wants to be seriously considered should plan to live in Germany because established guests are usually engaged at the house’s expense (01:01:12).

Live Auditions and Preparation
Hermann said live auditions are essential except in emergencies, which is difficult for Americans who are not based in Europe (00:59:35). They advised singers to be well-prepared, healthy, and authentic, noting that the first 20 seconds on stage often shape the decision (01:15:07).

Audition Repertoire and Video Submissions
Hermann urged singers to present only repertoire they can perform on stage immediately, not aspirational roles (01:18:16). A Student asked about tailoring video submissions for the US versus Europe. Hermann said unedited videos are preferred. Michael Pegher added that German houses generally value finesse and artistry over sheer volume (01:07:00, 01:12:47).

Closing
Michael Pegher thanked Thomas Hermann for their insight and reminded Students of the scheduled quick consultations following the session (01:06:18, 01:20:38).