More performers are becoming part of the administrative apparatus and taking on leadership roles in our industry. There are unique benefits and challenges found by those working on “both sides of the table.” This article hopes to shed some light on these unique situations by talking with a few of the amazing individuals engaged in such dual roles.
In a recent Facebook post, the artistic director of Boston Lyric Opera (BLO) mentioned not only her company’s upcoming season, but also talked about her own as a mezzo. Nina Yoshida Nelsen writes, “I want to be out there, experiencing different companies and different communities. In my opinion, this only adds to my ability to be an artistic director.”
There are more singers in leadership or administrative roles than we can possibly highlight. In addition to Yoshida Nelsen, I was lucky enough to get the input of the following current or former singers in such roles: Katrina Thurman, former director of marketing and community engagement at ADA (now UIA), now Director of Artistic Administration at Opera Omaha; Anthony Roth Costanzo, general director and president of Opera Philadelphia; Caroline Worra, artistic director at Charlottesville Opera; and Christine Goerke, former associate artistic director at Detroit Opera.
Caroline Worra
How did you decide to make this addition to your career?
Worra: In order to afford being an opera singer, we have to be good at lots of different things—my entire life is on the road between different jobs. I’ve never liked being bored! I always use “Many Minutes.” One can get a lot done in one minute, so just think about how many minutes there are to get things done!
Thurman: I never got to be only a singer—I’ve always had side jobs, which so many of us have to do. I always kind of thought long term. What do I want this career to be? So I always knew I wanted to go into artistic administration when I was ready to watch my career partially sunset in terms of performance. It’s not fair to expect people to pretend like all they do is sing anymore. It’s unrealistic for 90% of the singing population. People have to do other work.
Goerke: As singers, we start thinking about the “and what else?” question probably from the very beginning. I adore working with emerging artists and hope to continue to do this in some capacity for the rest of my life. When I began to contemplate the eventual moment when I would “leave the operatic stage” (P.S.—not there yet!) my heart broke a little bit.
I love all aspects of what we do, and I always have. I realized then that I wanted my future to be on the administrative side of the art form. I wanted to continue to give to what I have always loved and to enable the next generation of artists to flourish and the next generation of audiences to experience and cherish opera.
Advertisement
Nina Yoshida Nelsen
What are some unique talents that being a singer means you bring to the table?
Yoshida Nelsen: As working singers, we are the people who are experiencing both the successes and the failures of the art in real time in different places and different communities. I am a singer, a mother, and a person of color. My identity brings unique experiences that are worthy of understanding and learning from.
I can go to places like Seattle Opera, notice things as an artist, and see what they’re doing that’s really great and bring some of those ideas back to Boston. That works the other way as well. I’m able to go to other companies and share what is working as well as where we’re struggling in Boston. It helps us all feel a little less alone and a little more in this together.
Thurman: The understanding of the repertoire, understanding of voices, understanding of this singer experience: I have three different views as an artist, artist manager, and then also from the company view, knowing what we want to do to support artists.
Goerke: As singers, we learn from day one that personal relationships are of the utmost importance. We are self-employed, so we understand that sometimes the number we want in our personal budgets isn’t feasible, but we know how to make a change of plan and get it done on a dime, if necessary. We know how to market ourselves; we understand the importance of social media as an engagement tool. We have a vast network of colleagues, and when we have played nice and haven’t made too many enemies, most people will be happy to take our call. Singers have an extensive administrative skill set that is just waiting to be developed.
Katrina Thurman
Would you ever hire yourself? How do you feel about hiring your friends?
Worra: Well, my first year I had been hired to sing and then became the artistic director, so I did a season when I was both. I did find it quite difficult to wear both hats. It’s a full-time job when you are rehearsing to keep yourself healthy and rested. It’s also a full-time job to be handling things artistically. I just tried to keep my blinders on and think like a singer when I needed to and then switch hats between rehearsals.
Yoshida Nelsen: I don’t think I really can cast myself. One of the great things that I love about BLO is that it’s not one person making those decisions. We are constantly working as a group.
We were talking about an opera at our weekly meeting, and I said, “OK, I want to throw this person’s name out there, but I also need you to know that this person is a dear friend of mine. So I’m going to throw their name out as someone who I think would be a really great fit for this production and then I’m going to withdraw myself from the rest of the conversation because I am too close to this to actually judge fairly.”
It is such a small industry that I will definitely hire some of my friends. I already have hired them. It’s usually because I’ve been in a rehearsal room and on stage with them and know that what they deliver is special.
Thurman: The opera world is a small town, especially in the U.S. So who doesn’t know someone? I don’t necessarily recuse myself. I have dear, beloved friends but I am probably not going to hire them because I don’t see a fit in this show even if they might sing that role. There’s a respect and an understanding that people aren’t pushing themselves.
Advertisement
What advice would you give singers interested in an administrative position?
Worra: Trust that the knowledge and experiences you’ve had are truly golden. There are so many things in this business that cannot be taught, and simply remembering what is good and bad goes a long way to creating a bright future. It’s also important to know what things you are good at and what things might be more challenging so that you surround yourself with a team that can share their expertise. I am very lucky to be working with Leanne Clement and the Charlottesville Opera team!
Christine Goerke
Costanzo: Imagine the future! Instead of lamenting the present, look around within your current context, reach across disciplines to other unknown contexts, and find the art that excites you, the organizational structures that enlighten you, and the ways of engaging that fulfill you. What can you come up with and how can you creatively fashion your work to produce the artistic futures you want to be part of?
Yoshida Nelsen: I think there’s a lot of folks who don’t make it as singers and then just leave the industry, but what would it mean if the people who love opera stayed in the industry and knew there were new ways they could help?
As singers, we learn a small part of what it means to create art in this industry—acting, technique, languages. How would our industry change if we also learned about set design, budgets, fundraising, marketing, and board development? If you’re interested in admin, get in there and learn about everything you can. We have such incredibly unique and varied experiences. What we bring to admin is truly a special point of view.
Goerke: Trust your talents. Know that all of the gifts that we bring to the table are incredibly valuable. Know that you will face critics who will try to tell you that they see no evidence of administrative skills and who see coming to administration from being a singer as a potential detriment. We have faced critics our entire lives. Only listen to the voices that matter. Ask for mentorship. Look for online courses that will give you more information.
Most importantly? Pay attention any time you are on a gig. Be very mindful (very demure) of everything going on around you. Throughout the rehearsal period, you will likely encounter someone from every department within the organization. Take notes. Ask to meet with administrators who might be able to give you some perspective in real time. We have the opportunity to help to lead this art form in a time of great change. What greater adventure could there possibly be?
