If you have put some thought into the music you would like to perform for a new endeavor—whether you are planning an independently produced concert or a new musical ensemble—the next step is to consider how other people will become excited about it too. Any artistic enterprise does not happen in a vacuum, but involves the participation of dozens of people, from your fellow musicians to audience members to the press to volunteers. Imagining now how and why others will want to be involved with your plans will help you identify and recruit them later.
What’s in It for Your Audience?
This is the easy one: your audience expects worthy music performed at the highest artistic level. Even if other goals are not met, if you keep this one in mind, it will enrich your musical preparation, your attention to rehearsal needs, and what music you choose. But, even so, quality alone will not be a draw. Look at similar projects going on and decide what will set you apart. Why would a listener choose you over all cultural options on a Saturday night?
Be creative. Even a simple twist such as performing a standard opera in a modern setting can be enough to attract the attention of a potential ticket buyer. (Bohème in a bar, anyone?) A concert that is fully staged, lit, and costumed may appeal to the theater-going crowd, opening up an entire new audience to your music. A performance that calls for audience participation—Halloween costumes, drinks during the show, choose the ending via text—will offer an experience they cannot easily find elsewhere.
What’s in It for Your Collaborators?
As the leader of a self-produced performance or ensemble, you are the star of your own show. Unlike most stars, however, you have a lot of work to do to make this project rewarding to others. If you’re simply hiring a pianist, his reward is the cash. If you cannot pay, or wish to begin your enterprise in equal partnership with others, think about what would make a pianist work without pay. Maybe he would like to do more vocal repertoire and would volunteer to play if your project gave him the experience he is looking for. Maybe the artist is looking for more solo opportunities and would consider playing a duo recital that is equally balanced with vocal and piano solos. Artists with more experience than you may also be interested in a performance that exposes them to new audiences or that just involves good colleagues and good music.
Seek out qualified collaborators who may be looking to gain the type of experience that your project offers—a modern violinist wishing to play more Baroque violin, or a venue or date on a concert series that would bring publicity or exposure to your collaborator. A budding director looking for credits, a corporate marketing professional looking to gain arts experience. The possibilities are endless. And don’t be shy about asking colleagues who are a level or two above you in their careers. If they say no, for whatever reason, ask the next person on your list. But you might be surprised at the quality of performers willing to work with a start-up project; an interesting idea and some good music can attract good people.
What’s in It for the Press?
As you begin to put together your programs, think about what would get a journalist to cover your concert, both as a listing and a review. In general, press will attend performances presented by established venues, seek out new talent that has started to generate a buzz, and/or review an artist or project with a compelling story. Classical Revolution, for example, which organizes chamber music readings in coffee houses, is being hailed as the future of classical music. What about your project can be newsworthy or unusual?
If you have not already been reviewed by the press you are reaching out to, they may not seek out your show to review. But try to find a collaborator who is more in the public eye, or pitch your idea to a concert presenter, and your project can coast on some of that attention. In addition, you will quickly need to learn how to write a compelling press release, but you have some time before you worry about that.
What’s in It for Your Supporters?
Supporters are people who are able to give you money or services that will enable you to produce your shows. It’s never too early to start thinking about how you’re going to pay for all of this, and no one relies only on ticket sales for income. Not the Met, not the smallest ensemble, not even Justin Bieber.
Why would a donor support you instead of a similar start-up or a more established group? It comes back to the decisions you made before. Is your project unusual and appealing? Are you working with the highest-quality artists you possibly can? Success breeds more success, and the more you can make the case that your work is a worthy artistic endeavor, the more you will be able to successfully raise money.
The same thing goes for attracting volunteers. You will soon have a need for help—with marketing, publicity, production, fundraising, scheduling, and the myriad other things demanded by even a one-night concert. Can you offer a worthwhile experience to someone who wishes to work in these areas? Do you have the patience to be friendly with a volunteer who may be of great, but inconsistent, help? The answers to these questions can easily be yes, with some initial planning and setting out of expectations.
What’s in It for You?
Oh, right—you! The one doing all the work! It may seem like self-produced projects give you nothing but headaches. But if you are clear from the beginning about why you are undertaking this endeavor, all the work will feel worth the while. Do a project that you know you will enjoy even when the going gets rough: don’t sing Mimì because everyone says you should—do it because you love the music so much you can’t wait to study it. If your project comes out of genuine love for the art you are making, you will attract the resources you need to make the work successful—and perhaps find your path as a performer as well.
Sound like a lot of work? Does it make you wish you never thought of the idea and could just rely on someone else making opportunities for you? While self-produced projects entail the greatest investments, musical entrepreneurs also reap the greatest rewards. In coming columns we’ll take a look at the elements you need to get your show on the road, from attitude to strategy.
