I don't know how relevant this little allegory is to your situation, but I enjoy telling it and I believe it illustrates the fact that sometimes the "experts" don't know what the heck they are talking about.  OK here's my story:

One year my family hosted an exchange student from Germany whose command of the English language and perfect pronunciation often disguised the fact that she was not a native English speaker.  She was also a very talented musician -- vocally and on the piano.  While in our home she had the opportunity to go to a college campus and participate in a vocal music event whereby she would prepare and present a vocal piece for a professor of music who would critique her work.  The piece she used was from Mozart opera and sung in German.  When she had finished presenting her piece, the only negative comment the professional had was that she needed work on her German accent!  (Take that Henry Higgins!)

I think the experts don't always recognise the talent that they are seeing.

Plus, you can't assume that someone is an "expert" just because they happen to be directing a play. And speaking from my experiences as a director, it can be overwhelming to look at so many people in such a short time. You don't have long to make decisions and unfortunately they can wind up being very arbitrary. You say you were off pitch in just one spot. That alone might have been enough for the director to make a snap decision, especially if she was looking at a lot of people.  In another audition a director might realize it was a case of nerves in an otherwise talented performer and overlook it; in another audition you might not make a mistake at all. So don't worry about it. But do make sure you communicate that you have a degree in voice, that could help directors overlook a mistake. If you haven't already, make up some sort of one page resume that includes that information to bring with you to the audition. (Maybe that's standard practice in larger cities, I also only have small town experience.)

I had an experience recently where I knew my voice was not a problem, but my cold reading went less than perfect.

The audtion process (for Bye Bye Birdie) started on a Sunday afternoon.  I went for the part of Mr. Macafee, but after I sang "Kids", the director asked me how old I was, and asked if I knew "Put on a Happy Face". 

I sang it, then we went to the mirror to do some "light dancing".  He noted I moved "naturally" as he put it.  I was told they were considering me for the lead role of Albert Pederson, and invited me for the call-backs the following Wednesday.

I had to sing second, and in front of perhaps 60 people.  Again, the singing went well.  Then came the cold-readings.  That's when I started to lose my confidence.  It just didn't come out right.  I was asked to read the "Albert" part with three different prospective "Rosies". 

Many of the other men read Albert, but were then asked to read a few other roles.  I wasn't invited back up.  I thought "man, I guess that went really badly -- they're not even considering me for another role".

To my surprise and delight, I got a call the next evening inviting me to take the lead role of Albert.  I was stunned.  I told the director that I didn't think my reading went well, and about how much I didn't like doing the cold readings. 

He told me that my voice was outstanding, and my rythm was great.  He recognized that my reading needed a bit of work, but he pointed out that each time I read, I read first in the group.  The others had the opportunity to hear me read the part before they went up and so they had an advantage that I had.

He also pointed out that the acting they could work on, but the other males auditioning didn't have the voice for the part and that simply could not be learned at this point.

And so my point here is to say that I was lucky to go in front of a group who were able to distinguish learnable skills from non-learnable ones (in their opinion), and they were fair enough to realize that having to go first each time in the readings was a disadvantage.

As a director, auditions can be nerve-wracking and long, long, long.  Often you see many people who can act but can't sing and those who can sing but can't act.  You usually end up casting those who you see have promise developing in their weak areas.

Living in a large city, however, community theatre is not like where you were back home.  You are competing against people who are trying to get their Equity cards and SAG cards.  The director who gave you limited feedback probably made the decision before you left the audition room, because there is so much talent available in the large cities. 

But don't give up.  If you've got what it takes, just go after the next role and make sure you warm up your voice.  Also, directors of theatre are looking to see if you can act while you sing.  If you're totally into the character you won't be worrying about how well you're singing--you'll just do it.

I know a story about a Tony nominated Musical Theater Actor (AEA) who retired from professional performance and performed in a Community Theater production.  He stole the show.  The audience gave him major kudos and praise, yet when he was nominated for the local theater award, he lost to a local nobody.

If you are new to the theater, it may be that politics are in play, and the director really had no inkling of what kind of feedback to give because she had already cast the part in her mind when you auditioned.  This happens.

I have an MFA in Theater Performance and a BFA in Musical Theater.  I also have a Masters in Public Administration, but none of these degrees got me a staring role in a production.  It was my perseverance and drive.  I always tell students that all the training in the world isn't going to make a bit of difference if you don't have the look, and don't have presence.

No one wants to cast a 400 pound bald Sky Masterson no matter how well he can sing or act, and a twenty year old physically commanding male should not be cast in Frankie and Johnny.  The same is true for all productions.  Know the roles, and know your limitations.  I averaged 5 auditions for every performance, and by the age of thirty, I had finally acquired the physical appearance that enabled me to be considered for the roles I wanted upon my entrance to the theater.  This was before I opened my mouth.  Then I felt no fear.  I approach every audition with a "if I get cast, I get cast, it makes no difference" attitude.  As a result, I rarely make a mistake, and if I do, no one ever knows.  It is the rule in performing.  Never let the audience know you made a mistake.

I once sang a song lyrics in the wrong order.  After the show the music director ask me what was different about the song, she knew there was something, but didn't know what even with the lyrics in front of her.  Nor did the actor I was sharing the stage with.

On a final note.  If you have had all this training, stop soliciting feedback from directors you audition and do not cast.  They are not your teachers, you are your own teacher.  You will grow through the craft, not the audition.  If you want training in the art of the audition, seeking professional training and attend workshops on auditioning.  While some director's may give you this feedback you desire, other's see it as a burden and will tell you things that they have no knowlege about.  This director probally wrote "pitch" on your audition form because of one mistake. If there was a large group that auditioned, that is how she remembered you when she called to not give you the part.  When you asked her for feedback, she read pitch and suggested vocal training.  Does this compute?

Keep trying and don't let one failure set you back.  Charles Grodin wrote a wonderful book about his experiences as an actor.  READ IT!  It will give you invaluable advice about dealing with rejection.