Dear Erda,
Since 9/11, times are hard and it seems to be trickling down to the arts. Ticket sales are down. What’s going happen to opera singers? What can we do? —Worrying
Dear Worrying,
Times are uncertain and it’s hard to predict the future. The bad news is that attacks on the NEA and emphasis on private funding has weakened arts support over the past few years. Now that the economy is taking a nosedive, it’s a pretty safe prediction that contributions will slow down further as everybody tightens their belts. Sadly, some companies may not survive and some singers who were working before may find it harder to get jobs. However, there is a silver lining. In times of trouble, people look to art and music for meaning, consolation and respite. Smart opera companies will probably cut back their seasons, mount less expensive productions, and hire more local singers for roles that once would have been filled by bigger names—names who had to be flown in and paid higher salaries. Now’s your chance to get a foot in the door. Also, don’t discount smaller opportunities that come your way—consider companies you might not have considered working for before, concert gigs, recitals, etc. If all else fails, create your own opportunities. Form a caroling group and market yourself for corporate Christmas parties. Establish yourself as a wedding/funeral/special occasion singer—these are good-paying opportunities that will not dry up in hard times. Investigate local concert series. They don’t pay much, but they keep you singing, and you can use material already in your repertoire. Erda’s personal philosophy is that, in general, she’d rather take a paying singing job than a paying non-singing job. We may all have to tighten our belts for a while, but look at it this way: everybody wants skinny singers these days, anyway.
Wache, Wala, wache!
I’m an unmanaged singer. I know how to request auditions, but what do I do next? I hate sitting around waiting, never hearing anything. —Clueless
Dear Clueless,
Follow-up is psychologically very hard to do, and not particularly enjoyable, but it is necessary. Consider it part of your education in self-management (it will stand you in good stead when you do get a manager).
Develop your networking and negotiating skills. Start with attitude. When you are following up on a packet of materials and an audition request, you are not chasing the presenters—you are offering them a service that will benefit them: your marvelous singing.
Cold calls are hard to make, but with practice you will get better. Sometimes, it helps to write out a little script so you know exactly what you want to say. Remember that the person you are speaking to is extremely busy. Keep your call brief, professional, and to the point.
Contact the presenter or an agent a week or two after your mailing. Ask if they’ve received your materials, when they expect to have auditions, and will they please schedule you for a time? If they don’t have a conclusive answer, ask if you can call again in a few weeks. They may prefer to contact you instead. If so, thank them nicely and get off the phone. If you don’t hear from them after a month, send a VERY brief note thanking them for taking the time to speak with you and reminding them that you look forward to auditioning for them. Include any good news you have regarding your career.
If they won’t hear you this time, thank them for reviewing your materials and ask what you need to remedy in order to be considered. Ask if you can keep in touch for future consideration. Wait until you have three or four new credits on your résumé and maybe some new reviews before sending another full packet. Postcards are a great way to send updates without having to resend materials and to keep your name popping up on the presenter’s desk.
