CM or MT? Classical or Spiritual?
​Crossover and Cuts

From the NSA Resource Center 


Should a selection be performed in the CM or MT category?

1. Is the singer performing a song as originated in or arranged for a musical theatre production? 
—If yes, then the song should be performed in the MT category.
For example: "Taylor, the latte boy" is from the Goldrich & Heisler musical ADVENTURES IN LOVE and belongs in the MT category, unless performed in a CM arrangement altering the original style of music. Another example would be pre-existing songs arranged for MT productions of jukebox musicals like MOTOWN: THE MUSICAL, ALL SHOOK UP, SMOKEY JOE'S CAFE, etc. These songs belong in the MT category, when performed as performed in the MT production as reflected on the cast recording. While these songs require specific CM stylisms, they also demand the MT performance criteria of portraying a character as well as theatrical acting/staging.

OR
2. Is the singer performing an arrangement not performed in the context of a musical theatre production? 
—If yes, then the song should be performed in the CM category.
Some accepted CM examples from Musical Theatre Repertoire: 
  1. Pop versions of Disney solos clearly marked pop version on the published sheet music—these songs are often heard in the film's credit crawl
  2. Songs from MT arranged for solo recordings by Ella Fitzgerald, Michael Bublé, Hayley Westenra, Josh Groban, Jane Monheit, or other recording artists
  3. Songs performed from lead sheets to create an original interpretation
NOTE: Many personality/performer folios are published by Hal Leonard and other publishers containing songs included on solo recordings. Sometimes these folios republish scores identical to the original MT publications requiring the singer and their pianist to deliver a specific CM style in their interpretation. The NSA CM audition selection must be interpreted in a specific CM style to be successful in the CM category. This is impossible to determine from a repertoire entry—but would be addressed in the adjudicators' comments via the CM rubric.
May a singer use the same repertoire in more than one NSA category?Singers entering more than one NSA category (Classical, Commercial Music, Musical Theatre, and/or Spirituals) are allowed to enter the same selection in more than one category provided the repertoire requirements of each category are met. A successful audition in one category will not necessarily produce success in a second category—unless the performance is altered to address the different standards of performance. Standards are defined in each NSA adjudication rubric. REMINDER: If a singer advances in NATS Student Auditions (chapter, regional, national rounds) in more than one category, they may not sing the same selection in multiple finals.


MUSICAL THEATRE, CLASSICAL, and COMMERCIAL MUSIC \Category Crossover Repertoire:
Crossover repertoire may be judiciously entered in MT and additional categories. For example, “Lonely House” from Street Scene may be entered as a selection in an MT category and as an opera aria in a CL category. Similarly, “If I loved you” from Carousel may be entered in both MT and CM categories, but in the CM category, the song must be performed in a specific CM style different from the musical’s original style of music. Teachers and students are reminded that the standards in these genre categories are different.

CLASSICAL and SPIRITUAL Category Crossover Repertoire
The Spiritual Categories and Classical Categories are adjudicated by the same rubric of classical performance standards. Spirituals may be entered as the English language art song in a Classical Category and also as a selection in a Spirituals Category and be adjudicated by different panels using the same rubric and standards of performance.

CROSSOVER REPERTOIRE CLARIFICATIONS:
  1. Solos or arias from Kurt Weill’s STREET SCENE may be accepted in CL, MT, or CM Categories in NSA, but will be adjudicated with starkly different standards of performance in each category. The premiere production of STREET SCENE played 148 performances on Broadway. Weill received the inaugural Tony Award for The Best Original Score for this work, after the Broadway premiere of STREET SCENE in 1947. For these reasons solos from STREET SCENE are accepted in MT categories. NSA also accepts arias from STREET SCENE in CL categories because Weill referred to STREET SCENE as an "American opera." There are published quotes of Weill’s saying that he intended for STREET SCENE to be a genre-defying synthesis of European traditional opera and American musical theatre. STREET SCENE is regularly produced by professional opera companies from New York City Opera’s 1959 production through the present day. A documented history of jazz and blues arrangements of some of the solos in STREET SCENE justifies any commercial music (jazz, blues, country, etc.) arrangement or interpretation of solos from STREET SCENE as also acceptable in CM categories.
  2. The songs of Tom Lehrer are now in the Public Domain as of October 2020. With Lehrer's permission, Cameron MackIntosh took Lehrer's pre-existing songs and created the musical Tomfoolery. Lehrer never set out to compose a musical. He knew musical theatre and taught musical theatre history, but Tomfoolery is the only musical featuring Lehrer's songs. Lehrer’s songs in the MTI musical TOMFOOLERY including “Poisoning Pigeons in the Park” are eligible to enter the MT or CM categories only, if interpreted by the performance standards in the rubrics for the category entered. Although sometimes performed in classical recitals, these selections are not accepted in the NSA as English language art songs.
  3. The vocal solos of Marc Blitzstein will be considered opera aria if larger work is listed as an opera on his website. His operas include THE HARPIES, I’VE GOT THE TUNE, NO FOR AN ANSWER, TRIPLE SEC, and REGINA. Solos from REGINA, which debuted on Broadway and subsequently many opera houses may be entered in CL, CM and MT categories if performed to the standards of the chosen category. All other vocal solos will be from Musicals or Art Songs when settings of pre-existing poetry. Despite, its title Weill, Brecht & Blitzstein’s English translation THE THREEPENNY OPERA is a play with music. In the case of Blitzstein’s song “The New Suit” aka “Zipperfly,” which is not listed on the official Blitzstein website because it is from an unfinished larger work which had three incarnations in its early development THE NEW YORK OPERA its final incarnation, NINE DAYS WONDER previously, and began as THE HAPPY FAMILY: A 2-Act Musical. Since this song’s larger work never came to fruition and since the song sets lyrics by the composer, “Zipperfly” will be accepted as either an opera aria or a musical theatre solo in NSA, but it cannot be accepted as an art song.
  4. The vocal solos of Leonard Bernstein will be considered as cited on his website. There you will find arias, art songs, and musical theatre. Since Bernstein titled the following large work, MASS: A THEATRE PIECE FOR SINGERS, PLAYERS, AND DANCERS, but also based this work in liturgy, solos from Bernstein’s MASS may be entered in CL categories as an oratorio aria or in MT as a song. Selections from Bernstein’s MASS may not be entered as English language art songs. Since his CANDIDE is designated as a comic operetta, solos from CANDIDE will be accepted as operetta arias in either a CL category entry or as the one acceptable operetta aria in a MT category entry.
Operetta is listed under the definition of aria, so is an operetta aria perhaps from a Sigmund Romberg or Victor Herbert show allowed in musical theatre categories?An operetta aria may be used as one selection in a musical theatre category entry.
May songs from Disney movie musicals be used in the musical theatre categories?Yes!
Considering the 12-minute requirement for 4 selections and 10-minute requirement for 3 selections, may we have permission to make judicious cuts of: piano introductions, piano interludes, piano music after the vocal solo is completed, verse or verses of selections, internal cuts of opera arias as historically and successfully made on many professional recordings?Classical Repertoire:
Piano introductions, piano interludes, piano music after the vocal solo is completed, and internal cuts of opera arias are allowed as is common performance practice. Cuts of verse or verses of selections are not allowed. In the case of strophic pieces, all verses should remain that are traditionally included.
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Musical Theatre Repertoire
As found in common professional performance practice, cuts in piano introductions, piano interludes, piano music after the vocal solo is completed, and dance breaks in musical theatre selections are allowed. In the case of numerous verses, some verses may be cut.
Commercial Music Repertoire
An entire song. No internal cuts of vocals; intros and outros may be abbreviated to accommodate audition’s time limits; instrumental breaks as well as repeat and fade tags may be cut, abbreviated, or kept to accommodate the audition's time limits. When performing an original song or an arrangement of a pre-existing Commercial Music song, the song should approximate a full song in duration.
Is it possible to use a score during the performance of an oratorio aria for reference only during a NATS Student Audition?All repertoire must be performed from memory with the exception of Oratorio, Mass, Requiem, and Cantata Arias. Singers may hold music scores for these types of arias as is traditional performance practice.
May a pop treatment of "She Used to Be Mine" (Bareilles), be entered in the Commercial Music Categories?YES, that is acceptable, if performed in a new pop arrangement, but NO, if performed in the pop-influenced musical theatre arrangement used in the musical Waitress.
What category is appropriate for the pre-existing pop/rock songs in Broadway’s many jukebox musicals?Broadway shows frequently include new arrangements of pre-existing songs. If you are singing a Broadway a