One of the most oft-heard complaints of singers about the industry is its predatory nature. Singers, especially young ones, can feel as if they’re constantly bombarded with requests for application fees and myriad ways to spend their money on developing a career. And often there is very little cash flowing back their way.
Education costs a small fortune, and upon graduation, no one is assured of being marketable as a singer. In fact, a singer unlucky enough to have a poor teacher who trained them in the wrong Fach or imparted bad vocal technique might actually have years and thousands of dollars’ worth of remedial work ahead of them in order to reach basic marketability. Fees to audition for competitions, programs, and Young Artist Programs can be exorbitant and/or simply add up. Some businesses ask artists to work for “exposure” instead of money. And some companies and managements that purport to be professional actually charge for auditions, asking singers, who already shoulder their own business expenses, to subsidize their cost of doing business.
This business is expensive for everyone, producers and singers alike. Not all requests for money from singers are predatory. Some of those who perpetrate questionable practices actually have honorable intentions and believe they are helping singers. Others are caught up in systems or organizations over which they exert little control. Others don’t care and are doing it because they can get away with it and will always find fodder.
Sadly, there are always going to be singers who will fall prey to predatory practices because their passion for performing outweighs their ability and they are desperate for any opportunity, or because they do not possess a clear understanding of how the business works, or both. But if you’re serious about navigating what can seem like shark-infested waters, part of your job is to learn how to avoid being a snack. Here are some ideas about how to accomplish that.
1. Personal Assessment
When you’re embarking on any new enterprise, you need to have a clear understanding of where you’re coming from. Start by assessing your goals and resources—personal (relationships, lifestyle, etc.), professional (make sure they are realistic and measurable), and financial (reality check: the money to pursue your goals has to come from somewhere). And making sure these goals align with each other and that the resources are there and compatible with your goals.
When considering spending money on a project or service, ask yourself first what exactly you need and desire. By defining precisely what you hope to gain, you will be in a better position to ask the right questions and determine which opportunities best fit your needs.
I’ve recently discovered a terrific, free online course on entrepreneurship for musicians, sponsored by University of Miami’s Frost School of Music. Even if all you do is listen to the lectures, it’s well worth your time. Find it at
frostonline.miami.edu/mooc_index.aspx.
2. Do Your Homework
Armed with a list of your resources, goals, and needs, you’re ready to find out whether the opportunity being offered is a good fit. But whether you’re investigating a training program, a new teacher, or an agent, you need to acquire some basic knowledge first. It is part of your job as the CEO of your very own singing business to develop perspective about the business so you can make good decisions and understand which of your expectations are realistic.
Too many singers are, understandably, overwhelmed by the magnitude of the information one has to digest, and they either don’t know how to do the research or they panic and cling to the first opportunity that looks more or less OK. Yes, it is hard and can be scary but, fortunately, you do not have to go it alone. Be smart about it and start by using the resources nearest to you.
Talk to your voice teachers, choir directors, business people, other singers (especially those further along in their careers than you), conductors, stage directors, and administrators. Anyone can be a contact and a source of information, but make sure you talk to at least some people who are out there doing the career right now. Take a workshop or get a consultation when the time is right. You’ll get some conflicting information, so look for consensus and check out claims. Remember that anything that sounds too good to be true very likely is.
It won’t happen overnight. You will not find all the answers in one place, you can’t get it all off the Internet, and you certainly can’t get it all for free. Some of it just comes from the School of Hard Knocks. But if you work at it, you will begin to learn what the questions are that you should be asking and to develop the perspective about the business and your own place in it.
Here are some resources to help gain perspective on various aspects of performance education and the business.
Education
–Classical Singer Magazine and the Classical Singer Convention
While it may seem self-serving to say so, please know that I regularly recommend Classical Singer to young singers because there is no other resource like it. This magazine is specifically geared toward singers’ interests and is especially valuable for high school- and college-aged singers, with its annual convention, well attended college expo, competitions, and special classes for this group of singers.
–The Student Singer’s Starter Kit
My self-published book (it’s currently out of print, but will soon be reissued as a download) covers what you need to know to get the most out of your education and is useful to post-graduate students beginning their careers as well.
-My Own Blog
From my blog, www.MezzoWithCharacter.com (free):
“Are Voice Students Lazy?” Why don’t students take more advantage of the opportunities presented to them?
“Ten Things”—10 things you should do before you graduate.
“Why You’re Not Going to Be a Professional Opera Singer” Parts 1–3.
-Selected articles published in Classical Singer (available in the online archives, free with subscription):
“Progress vs. Preparedness” (May 2012)
“Careers for Performers” (July 2013)
“The Entrepreneurial Artist” (March 2012)
–The Business
Cindy Sadler’s Resources for Singers
My site offers a free listing of resources and services of interest to singers. www.TheBusinessOfSinging.com/singersresources
-Laura Claycomb’s Young Artists Corner
Soprano Laura Claycomb offers all kinds of resources and advice based on her international career. lauraclaycomb.com/young-artist-corner/
-Wolf Trap Opera Blog
Kim Witman’s unique blog offers a candid view of what goes into creating a summer YAP and the audition process.
opera.wolftrap.org/blog/
-Coach Mikhail Hallak’s ‘Notes from the Bench’ Vlog
These videos have pithy and to-the-point analyses of current topics such as proper social media use. studio113productions.com/category/blog/
-A-List Character Tenor David Cangelosi’s Blog
While not specifically formatted as advice, it is a gem mine of goodies from his career experiences. www.davidcangelosi.com/category/blog/
-Jennifer Rivera and Susanne Mentzer
Rivera (www.huffingtonpost.com/jennifer-rivera/) and Mentzer (www.huffingtonpost.com/susanne-mentzer/) write on the singing life and the industry at the Huffington Post and both are must-reads. What is it with mezzos and blogging?
-OPERA America
Offers courses, lectures, publications, and an archive of articles of great use to singers at all levels of development. www.operaamerica.org/
-“How Not to Be a Networking Leech” (New York Times, September 26, 2015)
www.nytimes.com/2015/09/27/jobs/how-not-to-be-a-networking-leech-tips-for-seeking-professional-advice.html?_r=1
-Articles from My Blog (www.MezzoWithCharacter.com)
“The Secret Lives of Singers” Singers and day jobs.
“Us vs. Them” (parts 1–3) The controversy over application and auditions fees (be sure to read all three parts).
“How Much Did Your Last Job Interview Set You Back?”
Expenses of an opera career.
“Why You Shouldn’t Sing for Your Supper”
On singing for free.
-Articles in Classical Singer (available in the online archives, free with subscription)
“Protection for Independent Singers” (September 2015)
“How to Reboot Your Singing Career” (November 2014)
“A Roadmap for Your Career—Part I” (April 2014)
“A Roadmap for Your Career—Part II” (May 2014)
3. Ask Questions
Sometimes singers are afraid that if they ask too many questions (or any at all), they will somehow offend The Powers That Be. If a person in authority is annoyed with you for simply asking questions—especially a teacher, an agent, or anyone at all who is asking you to pay for their services—that is a red flag and you should be cautious about entering into a professional relationship with a potentially volatile, abusive, or controlling person. As long as your questions are reasonable, well timed, and not excessive or inappropriate, you should never have fear of asking them.
Your questions should be:
Researched. Don’t ask someone for an answer that can easily be found by Googling or doing a little reading. And make sure you’re clear on what you want to ask before you approach someone.
Specific. Ask for clarification on a point, not for someone to educate you about a broad topic.
Well Timed. Don’t grab someone on their way out the door or when they’re clearly in the middle of something. Don’t trap someone on the elevator. Ask if you can e-mail them or take them for coffee later.
Reasonable. If you’re asking a lot of questions, especially follow-ups, you need to make sure it’s OK or offer to compensate someone for their time.
Here are some questions to get you started investigating—they are by no means comprehensive.
Some things to ask about schools you’re thinking of attending (especially as a performance major):
What kind of solo performance opportunities do you offer? Do you do full opera productions with orchestra? Do you do scenes programs? Do you offer training in acting? Do you offer business training and entrepreneurship for musicians? Do you offer Italian, German, and French (both language study and diction)? Who are some of your alumni and where are they performing? What Young Artists Programs did they do? Where is your faculty performing and how often?
Some things to research about teachers you’re interested in studying with:
Are they still performing? If not, how recently did they perform? Where do/did they perform—locally, regionally, nationally, internationally? How much of each? Who are their distinguished students and where are they performing? Is there a distinctive “studio sound” or do the students of this teacher sound individual? Do they tend to have the same technical issues across the board?
Some things to ask teachers you’re interested in studying with:
What is your teaching philosophy? Is teaching breathing and support important to you? Do you tend to use imagery, vocal science, or a combination of both? Where did you learn to teach and what drew you to teaching? What are your specialties?
Some things to ask of training programs you’re considering:
What exactly I am getting for my money, in terms of voice lessons, coachings, and classes per week? How do you determine who gets to sing on masterclasses? What classes do you offer? How many performance opportunities are there and of what nature (full operas with orchestra or piano, scenes programs, concerts, etc.)? What is the housing like? What is included and what additional expenses might I be expected to pay for? What is the average age and developmental level of your students?
Some things to ask of Young Artist Programs:
What are my obligations? Will I sing run-out concerts, chorus, covers, mainstage comprimarios, leading roles in YAP productions, patron parties, board meetings, publicity events? How often will I be performing? How long is a typical day? Is this an AGMA apprenticeship or an AGMA house? How much will I be paid? Will I be paid for mainstage roles in addition to my YAP stipend? What kind of training opportunities or classes will be offered? Is it possible to be released to go study with my teacher, do auditions, or take other jobs that don’t interfere with your season? Is housing, transportation, or a food stipend provided?
Some things to research about managers you’re considering signing with:
How many singers are on the roster? How many sing the same repertoire you do? What is the manager-to-singer ratio? Where do these singers work and how often? Are they getting work they couldn’t get for themselves right now without a manager? Is the website professional looking? Are the singer bios and résumés well written and correct in spelling, grammar, and pronunciation? Who is the website marketing to—potential singers for the roster or producers who might hire those singers? How long have these managers been in business and what is their background? What is their reputation among other singers and opera companies?
Some things to ask of managers you’re considering signing with:
Where do you see me fitting in on your roster and in the business at large? What kinds of roles will you send me out for and to which companies? What do you look for in singers you sign? What would you change about me? What companies do you have relationships with? Do you charge a fee for auditioning for you and, if so, what does it pay for (e.g., are you paying for a pianist or are you simply subsidizing the management’s business expenses by helping pay for the room, etc.)? If they offer feedback as part of the audition and you’re paying to audition, how long/thorough is the feedback? Do you charge a retainer and, if so, how much and what does it cover? How long is the duration of your contract?
Some things to ask yourself about any of the above:
Does this opportunity help fulfill my goals, needs, and desires—or does it take me in a different direction? Is there anything about it I really don’t like or that doesn’t fit and, if so, do the negatives outweigh the positives? Does this school/program/teacher/manager resonate with me personally? Do they seem to like me? Are they invested in me? Are they enthusiastic about me and my talent? Can I see myself being in a relationship with this person or entity for the next x number of years?
If all these questions and all this research seems like a lot of work to you, well . . . it is. But it will also help you make better decisions and use your resources wisely. Plus, you can always get help! Friends, parents, and mentors can all help you make sense of the maze. If it still seems overwhelming and impossible, consider getting some professional help, such as a life or career coach. I offer career consultations and project coaching through the Business of Singing, and there are other services out there too. Just remember—research a career coach’s services just as you would any other to make sure it’s a good fit and use of your resources!
“Knowledge is power,” said Francis Bacon back in the 1600s, and it’s still true today. Singers must take ownership of their education and their careers—and that means treating yourself like a business starting now! So before you dive in, shark-proof yourself by insisting on knowing—and getting—what you’re paying for and proceeding with a realistic and well considered plan.
