10. Februar 2020

This thing with the agents…

Finding and dealing with agencies is a very demanding task for every singer.

 

After 35 years on the stage, circumstances made that I have been helping in the agency Agence Massis Opéra for the last two years. I will always think from the singer’s side first but stepping into the other shoes has been an eye-opener. I still conclude though that dealing with agencies is one of the most delicate tasks of being a singer:

First, you have to find one, then you have to figure out how to deal with her/him/them, and then, maybe, you have to find another one.

Possibilities to find an agent:

Conservatory/Hochschule

Sometimes the conservatories/Hochschulen invite agents and organize auditions. It’s luxury – be grateful and well-prepared. If „only“ five people are coming: it saves you five travels, hotels, and the anxiety to pass auditions in halls unknown to you with pianists you have never seen.

Opera Studio

If you are a member of a well-functioning opera-studio, sometimes the studio will set up auditions for agents. You might not realize how lucky you are when they do this: it’s absolute luxury – be grateful and well-prepared.

Competition

You might have won a competition or made it into the second round or the finals – very possible that an agent hands her/his card to you and expresses interest. Inform yourself about the agency and keep in contact!

The „normal“ way

If you are just an ordinary singer struggling to get a foot into the door of an agency, then:

You organize a Video-recording session and record three arias of different styles, languages, and tempi (!). The result should be:

  • Pleasant to look at (good light, audition-clothes, hair and makeup not too overdone, just elegant)
  • With perfect intonation (singing sharp is not better than singing flat, by the way.)
  • With perfect rhythm and diction
  • Expressive and in style

You add

  • a short biography with a recent photo (done by a professional if possible)
  • a repertoire-list.– Note that „Repertoire performed on stage“ is a relevant section. Please do not list every single song/Lied/Mélodie you have learned or performed, not interesting!

Then you send all this in a personal email to several agents, separately. Always remember that the PERSON who receives the email also likes to be treated well and politely.

You might want to add why you chose to write to this particular agency if there is a reason for it. If not, just send it as an application.

2-3 weeks later, ask if the person has received the mail and if you should send more information, then again after a month. If then there is still no answer, they probably

  • are not interested,
  • have no capacities in your „Fach“ or
  • yet haven’t found time to sit down and listen….

You might want to write again and ask them to confirm their non-interest so that you can move on.

I need a „big agency“, don’t I?

A „big“ agency: A big agency has high costs and needs artists with high fees to make the business function. If you are not in this category yet, they might not be very interested, but you can always try…

A “small” agency:

In a smaller agency or with a freshly started agent, you might meet somebody interested in „collecting“ good new singers and invest some time (and money) to rise with her/his singers.

From the agent’s point of view:

It is not easy to get yet another singer into the business. As a beginner, your fees will not be very high, and your agent has to do a lot of conviction-work to make people invite you for an audition. When she/he comes to hear a performance, the money which goes into travel and hotel expenses will probably be higher than the percentage of your fee. BUT if you are an exciting „product,“ time and money and energy are well-invested.

The perfect agent – From the singer’s point of view:

The right agent for you is:

  • Someone who respects you and likes discussing things with you
  • Someone who has excellent „soft skills“ and is recognized in the business
  • Somebody who believes in you and is crazy enough about you to go through all the hassle it takes to build up an artistic identity and a career.
  • Somebody who, like yourself, will always keep in mind that it is a professional business relationship and not a marriage, even if you like each other a lot.

The perfect singer – From the agent’s point of view:

A good singer for an agent is:

  • Someone who answers her/his telephone and mails or gets back to the agent immediately
  • Someone who communicates honestly
  • Someone who respects the agent’s work and likes discussing things with her/him
  • Someone who has excellent „soft skills.“
  • Somebody who trusts the agent’s capacities to help construct a career, build up your identity, and find work for you.

Establishing a healthy relationship with your agent

The relationship between a singer and her/his agent/s is a very special one. Depending on the country in which your agency is based, there might be no written contract. But in any case, the most important “contract” is mutual trust and investment.

When you establish the relationship with your agent:

Sit down and talk and get to know each other – when it does not „click“ personally, it will be difficult from the start on and probably stay that way.

Why talking is essential:

Your agent has to know what you envision for yourself. Only then can she/he help to establish a schedule with roles that will show your best and allow development without over-extending your limits. She/he should take into consideration your lifestyle and personal situation like children in school, flight-panic etc.. It is a partnership were both business-partners have to invest. If you hear about a role-possibility, call your agent, so she/he can deal with it. Maybe she/he had already heard about it, but nobody can know about all the jobs available at the moment.

Having found an agent, unfortunately, does not mean to sit back and relax and wait for the warm rain of engagements falling from heaven. Having an agent is should of course make your life as a singer easier, but it is a give-and-take-relationship and should be beneficial for both of you.

Cooperation between agencies

Try to find out if your future agent/general manager will cooperate with other agencies and under which conditions. Some do, some don’t – you have to know.

Engagements without the agency

Establish the“ gigs“ that you might be negotiating without the agency, like small concerts, chamber music, individual recitals, concerts which you do more for friendship than for money. But do inform your agency about it.

Let’s move through the different agent-artist-situations:

Audition

Your agent found a possibility to set up an audition for you. Know that finding opportunities to audition is difficult nowadays, so consider the chance to audition as a gift (sounds strange out of a singer’s mouth, I know).

Show your „soft skills“:

  • Be excited about the possibility to present yourself
  • Get there in time
  • Be prepared and have decent and clean sheet-music ready for the accompanist
  • Call your agent after you have finished and tell her/him how the audition went from your point of view.

“Direct” offer

Maybe after your audition, the theatre offers you a contract and tells you that they would prefer to treat it directly, i.e., without the agency?

That looks like it could save you some money, but:

Would you like to continue working with the agent? Then let her/him negotiate and pay the percentage! The agent usually manages to negotiate a higher fee than you would, so in the end, you will rather win than lose. If the theatre refuses to deal with an agent – talk to your agent and find a way to handle the situation.

General Management

An agency offers to work for you as your general manager. Don’t panic, it’s not the end of all other relationships! What does this mean?

The GM is your primary contact for work and manages your calendar. When you have a new production in one house coming up and performances running in another opera-house, the GM will try to negotiate free time in one production so you can already start the next one. The same situation applies if there is an interesting concert coming up during the rehearsal-period of another piece: The GM will try to free you, unless, of course, the concert is right before a premiere…

Very important: give your agency ALL the information. If you let her/him negotiate free time to guest without telling her/him that you have already handed in demand of 3 free days for a friend’s wedding, it will make her/him look stupid, not good.

Two agencies, aaaaahhhhh

What if I have a GM and another agency offers you a job?

If your GM cooperates with their colleagues, this should not be a problem. The everyday use is that the agency who finds the job will get the percentage you agreed on and the GM will get a fee for the complicated negotiations around your schedule. These negotiations can be very difficult, especially in Germany, when the performances lie far apart, and there is a lot of traveling involved. In the end, it will cost you more, but it will be well-invested money to save your nerves!

Exclusive Management

The management will not cooperate with other agencies and requires exclusiveness from the artist. Only sign this contract when you are sure that the agency is good, reputable, and represents other interesting artists. If a first-class agency, big or small, offers you an exclusive agreement, SIGN IT!

Various

If you prefer not to have a general manager, you can have various agencies for different countries, like one for Germany, one for France, one for the US, etc.. Just don’t forget that you have to sort out clashes in the calendar by yourself then…

No agency

Of course, it is possible to work without an agency and look for jobs on yaptracker or auditionoracle; it is just very tiresome.

Changing the agency

If you or the agency are not satisfied with how things are progressing, she/he or you might want to end the relationship. Happens, may be tricky, but not catastrophic. As I wrote in the beginning: it’s a business relationship, not a marriage.

Everybody in the business knows that this can happen, so calm down and start searching for somebody who could help you in your particular situation – may be an agency who specializes in the repertoire you are singing. Sort out with your still-agent how to go about engagements which might still have been established or initiated with her/his management.

When you reach out for a new agency, avoid talking bad about your old agent – agents are also colleagues – gossiping will go against you.

Don’t trust agencies who promise you a big career on the spot – they are like voice teachers who promise you a high C during your first lesson with them. Prefer somebody who is a bit cautious and with a good reputation. Ask around!

When you have found an agent you trust and have the impression she/he does serious work for you, give it some time. Miracles don’t happen on the spot. A big or small career depends at least as much on the singer as on the agent. It is the „the working well together,“ which achieves something.

There are many ways to establish an agent-artist-relationship, this blogpost certainly does not cover all of them.

No agent can be better than the artist she or he represents.

Good luck with your agent and see you soon!

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