29 Best Musical Theatre Audition Songs For Sopranos

If you have a higher vocal range, there are so many possibilities for your auditions. Some songs won’t properly display this range, which is why if you’re a soprano, you’ll want to pick a song that does your vocals justice.

Here are the best musical theatre audition songs for sopranos.

“In My Dreams” by Christy Altomare

Song Year: 2017

If you're looking for a piece to sing when trying out for a leading role, “In My Dreams,” featured in the musical Anastasia, is your best pick. It’s relatively modern, but it emulates the stirring beats of classic musical theatre tunes from decades ago.

The lyrics describe Anya recounting her limited memories, unaware of her origins as the lost princess. Its slower tempo enhances how she feels in her situation, making it an excellent challenge for sopranos looking to leave an impression on the casting directors.

“I Could Have Danced All Night” by Julie Andrews

Song Year: 1956

Can’t find a tune to showcase your musical skills for a more light-hearted role or show? One of the best musical theatre audition songs for a soprano you should consider practicing is “I Could Have Danced All Night” from My Fair Lady.

Sung by leading lady Eliza Doolittle, “I Could Have Danced All Night” narrates her excitement about dancing earlier in the day and how it keeps her from sleeping. This classic song’s upbeat tempo is infectious and is sure to leave an audience smiling.

“Flowers” by Eva Noblezada

Song Year: 2019

“Flowers” from Hadestown is sung by Eurydice, who laments about the life she threw away, from flowery pastures to her love, Orpheous, slowly forgetting her past while in Hades' grasp. Tragic yet sweet, this song emphasizes Eurydice's belief that she brought her situation upon herself, hoping that someone will help her escape her fate.

“The Light in the Piazza” by Kelli O'Hara

Song Year: 2005

“The Light in the Piazza,” from the show of the same name, is a touching anthem that shows vulnerability and love in a performer’s voice. Sung by Clara Johnson to her mother Margaret, she reflects on her romantic desire for Fabrizio, comparing him to light.

Sopranos who don't struggle with higher notes will find this song easy to learn but should practice it several times to match each note perfectly.

“Will He Like Me?” by Barbara Cook

Song Year: 1963

Many quality audition songs for sopranos revolve around a character’s desire for romance and the obstacles they face, and “Will He Like Me?” from She Loves Me is no exception. In this song, Amalia Balash prepares for a date with her “dear friend,” wondering if she's good enough for him as her introverted insecurities flood her mind.

Despite being a song delving into a character’s insecurities and fear of judgment, it features a simple yet effective melody for singers to memorize.

“Astonishing” by Mindi Dickstein

Song Year: 2005

“Astonishing” is a bold and confident song that lifts any vocalist’s spirits when all seems lost. Featured in the musical Little Women, Jo March sings about finding her place in the world after watching her relationships get challenged, specifically after rejecting a marriage proposal.

Dickstein’s lyrics embody the feelings of an independent, optimistic dreamer looking for something better, acting as the finale to the musical’s first act.

“Far From the Home I Love” by Julia Migenes

Song Year: 1964

Originating from the classic musical Fiddler on the Roof, “Far From the Home I Love”is layered symbolism you can identify after reading between the lines of its lyrics. It has a bittersweet tone and a sweeping, slow tempo.

In this song, Hodel tells her father, Tevye, that she can't be without the man she loves after getting exiled. She also expresses how much she cares about her family, no matter how far she goes.

“I Still Believe” by Erin Mackey

Song Year: 2015

“I Still Believe” from Amazing Grace is brimming with empathy. In this song, John Newton reads a note from his old friend, Mary Catlett, expressing how she believes he’s still the same person she always knew, despite the choices he made throughout his life. It’s a shorter number with higher notes, but it retains its impact through the singer’s passionate performance.

“One Boy” by Susan Watson

Song Year: 1960

Songs revolving around romance are nothing new to musical theatre, but “One Boy” is a great sentimental number that stands out from similar fare. Featured in Bye Bye Birdie, it's sung by teenager Kim MacAfee, who still loves her boyfriend, Hugo, and is certain he's the only one for her.

It’s best suited for adult and teenage sopranos who can hit higher notes while retaining character in a youthful yet versatile vocal range.

“Soon” by Ramona Mallory

Song Year: 2010

Although this song from A Little Night Music is performed by three characters as it continues, sopranos can sing the beginning section without worrying about harmonizing with others. It's sung by Anne Egerman, a young woman who tells her older husband how she'll eventually have sex with him.

This song requires a strong vocal performance, with hints of vulnerability and uncertainty, reflecting the character’s inexperience with intimacy.

“Pulled” by Krysta Rodriguez

Song Year: 2010

If you prefer songs with a faster tempo and comedic tone over slower romantic ones, “Pulled” from The Addams Family is a contemporary tune that’s worth performing. It explores Wednesday Addams’ romantic feelings for a guy, nervous that his lifestyle will conflict with her family's. The vocals are expressive and comedically light-hearted.

“Wishing You Were Somehow Here Again” by Sarah Brightman

Song Year: 1986

As one of the most iconic musicals of all time, Phantom of the Opera has plenty of instantly recognizable pieces. However, “Wishing You Were Somehow Here Again” offers something a little different for an audition, as it doesn’t have the same profile as signature tunes like “The Phantom of the Opera” or the “The Music of the Night.”

The song has a slow and melancholy tone that becomes triumphant and hopeful near the end. Christine Daaé, the singer of this number, visits her father's grave, expressing how she wishes he was with her to guide her. She realizes she can’t move forward if she dwells on the past.

“So In Love” by Patricia Morison

Song Year: 1949

“So In Love” from Kiss Me, Kate is another with the kind of love-centric themes often found in musicals, but this one has hints of dramatic irony. Its lyrics reveal how Lilli Vanessi still loves her ex-husband, Fred Graham, believing he sent her a bouquet, unaware it's for another actress he fancies.

The slower tempo and gradual build-up from low-range to high-range notes encourage singers to flex their vocal skills with this classic music number.

“Goodbye, Little Dream, Goodbye” by Laura Osnes

Song Year: 2011

Heartbreaking songs during a musical’s second act typically emphasize rising stakes, and “Goodbye, Little Dream, Goodbye” from Anything Goes is a perfect example of that. In this number, Hope Harcourt sings about how her chances of love have fallen after Billy Crocker gets arrested. The song has a consistent, subdued, and solemn tone and a slow tempo.

“When There’s No One” by Marin Mazzie

Song Year: 2012

“When There’s No One” from Carrie has an unconventional tragic kick that makes it stand out from other ballads. Sung during the show’s second act, Margaret White contemplates killing Carrie, her daughter, believing it will save her. Despite its dark context, the dynamic lyrics perfectly capture the character’s internal struggles.

“A Call from the Vatican” by Anita Morris

Song Year: 1982

Originating from the musical Nine, “A Call from the Vatican” is a song overflowing with confident and flirtatious energy. Its lyrics depict Carla Albanese, mistress of Guido Contini, calling him to show how much she wants all – all while he talks to his wife. The song starts out slow yet sultry before transitioning to flexible sections suitable for dynamic belting.

“Many a New Day” by Joan Roberts

Song Year: 1943

The lyrics for this uptempo classic from Oklahoma! are simple yet effective, making it easy to memorize. It has a comfortable higher range that singers can reach without sounding too operatic.

“Many a New Day” describes Laury denying that she isn't upset about Curly dating someone else, although she does feel sad about it. Instead of opening up, she uses her confidence in moving on as a mask for her true feelings.

“Look at All the People” by Christiane Noll

Song Year: 2012

This opening number from Chaplin: The Musical is as passionate as it is heartwarming. In this light-hearted song, Hannah Chaplin tells her son, a young Charlie Chaplin, that everyone has more than one side to them, acting one way to hide their true nature, emphasizing her empathetic and motherly traits.

“If I Were A Bell” by Isabel Bigley

Song Year: 1950

“If I Were A Bell” from Guys and Dolls is a classic uptempo tune best suited for singers looking for something in their range that lets them flex their comedic side and belting abilities. During this song, Sister Sarah Brown, while drunk, expresses how happy she feels about Sky Masterson, comparing her joy to several things after growing close to him.

“This Is All Very New To Me” by Barbara Cook

Song Year: 1955

Like many classic soprano ballads, “This Is All Very New To Me” from Plain and Fancy starts soft and isolated before building gradually. The lyrics describe young Amish woman Hilda Miller experiencing romantic feelings for the first time, a staple in musical theatre. Tone-wise, it’s charming and whimsical.

“The Finer Things” by Elizabeth DeGrazia

Song Year: 2000

If you're a coloratura soprano, “The Finer Things” from Jane Eyre is a great way to practice hitting notes at a higher register. In this song, the wealthy and beautiful Blanche Ingram expresses how she's more desirable than tangible riches. It incorporates operatic vocalizations, making performances extra challenging for even the most-dedicated sopranos.

“I Don’t Know What I’d Do Without You” by Lisa O'Hare

Song Year: 2012

Short yet iconic, “I Don't Know What I'd Do Without You” from A Gentleman's Guide to Love and Murder introduces Sibella Holland, establishing her relationship with Monty Navarro. It's a comedic song that lets sopranos delve into their flirtatious and self-absorbed side, perfect for performing in a supporting or leading romantic role.

“A Very Nice Man” by Anna Maria Alberghetti

Song Year: 1961

“A Very Nice Man” is a short yet upbeat number embodying the traditional innocence found in many soprano roles. It gives the audience a glimpse of how the character’s worldview will get challenged throughout their journey.

Featured in Carnival as an introductory number for the main character, Lili, it centers on her desire for success and love, That yearning leads her to believe the first person she meets at the carnival is trustworthy, starting her gradual character development throughout the show.

“So Far” by Gloria Wills

Song Year: 1947

When trying out for a major or supporting role, you can’t go wrong with tunes from a Rodgers and Hammerstein musical. “So Far” from Allegro is sung by Beulah while on a date with Joseph Taylor, Jr., who’s thinking of another woman. The song’s slower tempo gives it a bittersweet vibe that’s ensured its enduring popularity with audiences.

“Pink” by Christine Ebersole

Song Year: 2017

“Pink” from War Paint is a dramatic yet powerful piece that perfectly captures the feeling of someone looking for recognition beyond their lifelong accomplishments. Sung by Elizabeth Arden, a hard-working businesswoman, who looks back on her cosmetic legacy, defined by the song’s titular color.

The lyrics embody Arden’s pent-up desperation for recognition beyond the color, contrasting her humble beginnings with her growing success.

“Never” by Madeline Kahn

Song Year: 1978

“Never” from On the Twentieth Century is best suited for sassy and bold sopranos that can hit the highest notes while belting. It starts off slow before its tempo increases, with a couple of speaking lines to establish its tone. That emphasizes the refusal of Lily Garland, a renowned actress, to return to Oscar Jaffee, a theater producer, and her old flame.

“Two Men in My Life” by Kate Baldwin

Song Year: 2014

Featured in the musical Big Fish, “Two Men in My Life” is sung by Sandra Bloom, a role originated by Kate Baldwin. In this song, she tells her son, Will, how much she cares about him and his father, Edward.

Although the two men have conflicting views, she won’t let that affect her relationship with them. It has an uplifting and hopeful tone and can be sung at a comfortable range.

“Screw Loose” by Alli Mauzey

Song Year: 2008

“Screw Loose” from Cry-Baby is sung by Lenora, a teenager with unreciprocated feelings for bad boy Wade “Cry-Baby” Walker. She confesses her love for him while admitting she’s a bit crazy.

This comedic tune’s unhinged tone makes it stand out from traditional soprano roles. Its octave gradually increases, encouraging singers to take a leap outside their comfort zone.

“How Will I Know?” by Jill Paice

Song Year: 2011

A common theme incorporated in many musicals’ songs revolves around characters contemplating their purpose in the world. Featured in Death Takes a Holiday, Grazia Lambert sings “How Will I Know?” after surviving an accident, expressing how her life appears to be changing, unaware of the events that will take place afterward.

Its uncertain yet hopeful tone resonates with many musical theatre fans, despite coming from a show that isn’t as recognizable as other popular musicals.

Top Musical Theatre Audition Songs For Sopranos, Final Thoughts

As you can see, there are plenty of excellent audition songs for sopranos that can showcase a performer’s singing and acting skills. Consider picking uncommon songs to stand out from people who sing overused ones. We hope this list can help you narrow down your top song options for your next audition.