Angelique
Tot

This weekend I had the pleasure of competing at the Wollongong Eisteddfod, performing seven pieces across a wide range of styles throughout the day.

My results were:

• 2nd Place, Major Aria
• 2nd Place, Musical Theatre
• 2nd Place, Own Choice Vocal Solo
• 3rd Place, Lieder
• 3rd Place, French Song
• Highly Commended, Art Song

While there were no first places this time, I left feeling incredibly proud of what I achieved and full of admiration for the winners. Congratulations to everyone who performed, and especially those who took home the top awards.

As performers, it is natural to feel a little disappointed when you come close. The questions creep in. Should I have chosen a different piece? Was my interpretation too big? Too restrained? Could I have done something differently?

Those thoughts are part of the process, but they are not the whole story.

This is something I try to teach all of my students. Competitions are not ultimately about winning. They are about growth, courage, preparation, and learning to perform under pressure. Success is not measured only by a trophy or a first-place ribbon. Sometimes success is standing on stage and delivering your best work. Sometimes it is taking a risk with repertoire. Sometimes it is simply returning year after year and continuing to improve.

When I look back on the day, what stands out most is not the placings. It is the stamina required to perform seven contrasting works at a high level, moving between languages, styles, and characters while remaining focused and present. That is something I am genuinely proud of.

I was also thrilled to have my dad, Steve, in the audience. He has been one of the greatest supporters of my musical journey and is the most wonderful father. Sharing days like these with family makes the experience even more special.

Competitions come and go, but the lessons they teach us remain. This weekend reminded me that progress is worth celebrating, that resilience matters, and that there is always something to learn. For that, I am grateful.

One thing that continues to puzzle me in junior eisteddfod sections is the number of children performing songs with lyrics, themes, and innuendos that are clearly beyond their years. Whether it is Olivia Rodrigo, Michael Jackson, or other popular artists, many young performers are presenting material that raises questions about age appropriateness.

The reality is that these students are often singing music they enjoy. Their parents may play it at home, they may hear it on the radio, and they may genuinely love singing along to it. However, there is a significant difference between casually enjoying a song and choosing it as a performance piece that represents them as an artist on stage.

This issue often becomes a dividing point for adjudicators. Some will take a strict view and may choose not to award a placing, regardless of the performer’s technical ability. Others may acknowledge strong vocal skills with a Highly Commended award. In some cases, the performer may still place on the podium. The inconsistency can make repertoire selection an important consideration for teachers and families.

More broadly, I believe the safeguarding of children’s repertoire has weakened in recent years. We have a well established movie classification system that helps guide what content is suitable for different age groups. I believe similar thought should be given when selecting music for young performers in competitions and eisteddfods.

Seeing an Under 12 performer sing about intense heartbreak, adult relationships, or finding love on a wild night out can feel uncomfortable and inappropriate. It also raises a larger discussion about where teachers and parents can find repertoire that is engaging, age appropriate, and still artistically rewarding.

One resource I regularly recommend is Full Voice Music. Their catalogue provides a wonderful starting point for teachers looking for repertoire that is wholesome, imaginative, and unique. It offers excellent alternatives to the standard Disney selections that often dominate children’s musical theatre anthologies, while still giving young singers meaningful opportunities to develop their artistry and storytelling skills.