Dear Erda,
I’ve recently discovered, to my surprise, that rather than being nothing more than a time-wasting source of income, my church job actually brings me a lot of joy. I love the music, the director is wonderful, and he gives me lots of opportunities to stretch my vocal muscles. Is it possible to make a career out of singing liturgical music? I’m not saying that I’m ready to give up opera completely, but since I found a style of singing that obviously works for me, I’d like to explore it.
—Making a Joyful Noise
Dear Joyful,
How wonderful that you’ve found such fulfillment singing at your church job. Whether you can turn it into a career depends on a lot of factors, such as what you mean by “career” Do you mean fully supporting yourself? Do you mean having a day job and centering your singing career on being a church musician? Do you only want to sing, or do you have other skills you could bring to a church music staff?
I would be very surprised if there were any sizeable number of American singers making a living singing in church, with no other sources of support. (I’ve heard that it’s possible to be strictly a church singer in Germany, but I have no further information on that topic). However, I do know a number of singers whose primary professional activities center around liturgical music. Here are a few (true) scenarios; see if any of these fit what you are thinking about:
1. Daniel spent a number of years as a house tenor in Germany. He returned home, got a job as music director of a large church, and started (at various times) several major choral organizations. He conducts and continues to sing as a soloist in church, in many church-related concerts, and in various festivals and concert venues around the country. He is starting a concert series that will employ his fellow singers.
2. Stephanie has a day job, but she is a regular soloist at the Catholic cathedral in her town. She is in great demand locally for early music, weddings, funerals, recitals, chamber concerts, and any church-related functions.
3. While pursuing her growing regional-level opera career, Meg mainly supports herself by cantoring at her church and singing all the weddings and funerals.
4. Paula attended Westminster Choir College and has extensive vocal training. She and her assistant, Karen, comprise the music staff for their large Catholic church. In addition to directing the choirs and small ensembles, they sing all the solos for services, weddings, and funerals. Their repertoire covers a wide range of classical and contemporary popular music.
All the people I’ve mentioned have found niches. It strikes me that what you are looking for is a niche job, and with the right connections and skill set you might very well be able to make it work for you. I suggest starting at the source: Speak to your church choir director and tell him what you’ve told me. Ask if there are any positions you could fill on the music staff. Could a position be developed for you? What suggestions does he have for you in pursuit of this niche career?
Also, take a look at the other large churches in your area. See what they have in terms of music staff. Investigate their needs. Perhaps you will identify a need and figure out how to fill it in a way that creates your own niche!
Finally, don’t forget that a relatively small percentage of singers make their entire living from singing one type of music, whether it be opera or anything else. Perhaps you can make liturgical music the main focus of your singing career, while still pursuing other genres.
Dear Erda,
Can you give me some information about the AGMA and a contact number for them? Is there a benefit in becoming a member?
—Thanks, Herows
Dear Herows,
AGMA, or the American Guild of Musical Artists, was formed in the 1930s. It is the union for classical singers (soloists and choristers), dancers, choreographers, stage managers, and stage directors. As such, AGMA bargains collectively with opera companies for better, safer working conditions and pay. It attempts to resolve disputes, such as how many hours you can be made to rehearse before the company must pay you overtime, what type of fog juice can be used in a production and sexual harassment issues. Sometimes it brings lawsuits against companies that it feels have wronged its members. It is the sister union of Actors Equity, and as such, shares some of their benefits.
The best reason to join a union is that there is power in numbers. When you add your voice to those of your colleagues, when it comes time to negotiate you stand together and you stand with greater strength. It’s not just you against the world. Because you and your fellow union members pay your dues, you can afford professional negotiators and attorneys to speak for and protect your interests. This works especially well for choristers, who work as part of a group.
How much it benefits soloists with individual disputes is more of a gray area. Soloists are leery of appearing to be the squeaky wheel, and with good reason. If they complain, they may not be rehired and they may acquire a bad reputation that will impact their work with other companies. If they aren’t willing to complain, and put their name on the complaint, AGMA may not be able to help much.
Another reason to join: If you don’t, you will not be able to work at an AGMA signatory company, without a special release, which could make it more difficult for that house to hire you. This needn’t be a concern, however, unless you are planning on working with an AGMA house, and if you are at the beginning of your career, chances are you won’t be. The AGMA website includes a list of AGMA signatories—and a downloadable copy of the “New and Prospective Members Handbook,” which includes the aforementioned list as well as AGMA’s own ideas about the benefits of union membership, and a downloadable membership application.
Some of those benefits include a retirement fund, health fund, insurance (currently available only to performers in the New York area), a credit union, work transition programs, an emergency relief fund, and more.
You can contact AGMA through their website at www.musicalartists.org, or by calling (212) 265-3687.
