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Stagetime Resource: Free Opera Resume Template (Canva) + Industry Guide

Updated: 3 minutes ago


Let’s be honest — building a performance resume can feel tougher than perfecting your technique. In a competitive field, a clear, polished resume is as essential as your headshot or recordings.


This free, editable resume template and how-to guide break down the process and offer straightforward advice from the industry professionals who actually read your resume.


Resume template and guide prepared by Gretchen Krupp, with expert contributions from: Alison Moritz, Artistic Director, Central City Opera |

Allen Perriello, Director of Artistic Administration, Des Moines Metro Opera | Chandler Johnson, Director of the Apprentice Program for Singers,

The Santa Fe Opera | Meredith Wallace, Director of Artistic Administration, The Atlanta Opera



Start Here: Get the Free Resume Template


Stagetime’s editable opera resume — a free Canva template — is available at no cost for all members of our community and was built specifically for opera singers, with input from leading arts administrators.


Already a Stagetime member? Log in to your homepage to access the template.


New to Stagetime? Create a free account to access the editable Canva file from your homepage and start polishing your professional materials today.



Building and Formatting Your Resume


Clarity is kindness, as they say. The easier your resume is to read, the more likely it is to be read. Keep it to one page, with these 4-5 sections based on your experience:


  • Opera experience: roles/covers, show title, organization/company & date 

  • Concert experience: similar to above, ‘role’ (example: soprano soloist), piece, organization/company & date

  • Awards: award title, awarding organization & date

  • Education: institutional education and training programs should be separated (list most relevant section first), & date

  • Professional affiliations: coaches, conductors, directors, and teachers in their own columns at the bottom of your resume (individuals should be listed in alphabetical order, not by relevance)


Organizing this information in columns clearly delineates repetitive information, making it easier for reviewers to locate. For example, the opera section will contain respective columns for role, show title or piece, organization or company, and date. 

Role/Cover

Show Title/Piece

Organization/Company

Date (Year)

Gilda

Rigoletto

Sarasota Opera

2024

Lucia (cover)

Lucia di Lammermoor

Oldenburgisches Staatstheater

2023

Marie (partial role)

La fille du régiment

Indiana University

2022

List resume credits in each section chronologically, with the most recent at the top. Meredith Wallace, the Director of Artistic Administration at The Atlanta Opera, says, “I'm usually looking at the roles they have most recently sung. I prefer for roles to be listed newest to oldest [and] not everyone does this.” Easy win!


Format each section using the same column structure and reverse-chronological logic as above. Your goal: to make every experience easy to find, scan, and understand.



Experience That Supports Your Work Onstage


Onstage performance is the core of your resume, but it is helpful for the panel to see a complete picture of your experience. 


  • Additional Performance Experience: “In the beginning stages of your career, any time on stage is valuable! Feel free to include opera chorus experience on your resume early on,” says Allen Periello, Director of Artistic Administration, Des Moines Metro Opera.

  • Education & Training:  When experiences overlap, maintain reverse chronological order by listing graduation years for degrees, year ranges (e.g., 2021-2022) for Young Artist Programs, and individual years (e.g., 2019, 2020, 2021) for repeat summer festivals; the latest year determines its position.

  • Awards: Don’t have any? No sweat. Omit this section.

  • Conductors, Directors, Teachers, and Coaches: “In listing conductors and directors, make sure to list people you have worked with individually in a way that can speak on your behalf” (Allen). Since these people may be helping you land a job, make sure you have a good working relationship. If you’re unsure or require a specific recommendation, ask first.

  • Special Skills: As room allows, administrators appreciate seeing other experiences included. “If you have any related skills that a panel should know about, don’t be afraid to list them. That might include fluency in a language, dance experience, or playing certain instruments.” You never know what may lead to a friendly audition conversation.


What if you’ve changed Fach? No problem. 


Allen says, “If you have changed voice type or Fach, you may keep your previous experiences on your resume. Audition panels appreciate seeing what experiences have led you to this point, even if it means including repertoire that you might not perform going forward.”



The One-Page Rule: What Stays, What Goes


You’ve polished your resume and gained more experience – now you’re running out of space. To keep things concise, we asked which information becomes less of a priority as your career progresses. Here’s what we learned: 


  • If the font size isn’t legible, you MUST start cutting. 

  • Remove experiences from farther in the past (i.e., school performances).

  • As your solo experience increases, remove chorus work.

  • Only list the most recent performances of a role, if done multiple times



Common Resume Mistakes to Avoid


Even the best voices can be undermined by a resume error that distracts the panel from your artistry and potential. Don’t let something fixable keep you from getting the gig.


The biggest red flag — and the easiest to avoid — is industry-specific typos.


Typos, typos, typos. Opera involves a lot of niche, high-stakes information spanning languages and continents, and every single administrator we spoke with pointed out spelling errors as a recurring issue.


Allen sees “Sour Angelica” at least once a season (the one about the nuns who grow lemon trees at the convent). Don’t be that person! 


It’s critical to proofread your resume with an industry-informed eye:


  • “Methodically go through all titles, people’s names, and organizations and ensure they are spelled correctly.” (Chandler)

  • “Spellcheck doesn’t really cut it for opera. Ask a friend or mentor from the business to review everything — not just opera titles, but also colleagues’ names.” (Alison)

  • Give extra care to people, as both administrators emphasized above. Nobody wants to see their name spelled wrong on a resume — especially someone in a position to recommend you.

  • Diacritical marks should also receive equal attention and importance. Are you positive you know which way the accent goes in Così fan tutte? 


Pro Tip: When Googling a title in a foreign language, be sure that AI suggestions for capitalization standards are accurate before copy-and-pasting them into your resume. While AI can be helpful, it isn’t always accurate for international operatic grammar conventions.



You’re Done! Now One Last Proofread… 


Your resume is often your first impression — and it should reflect both your experience and your professionalism. While there’s no “one-size-fits-all” format for opera singers, the key elements discussed here should always be prioritized.


A thoughtful resume is a key step in landing the gig: it keeps the focus on your voice and ensures you’re taken seriously from before you set foot in the audition room.


Special thanks to these generous administrators who shared their insights for this guide:

  • Alison Moritz, Artistic Director, Central City Opera

  • Allen Perriello, Director of Artistic Administration, Des Moines Metro Opera

  • Chandler Johnson, Director of the Apprentice Program for Singers, The Santa Fe Opera

  • Meredith Wallace, Director of Artistic Administration, The Atlanta Opera


 
 
 
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