If you’ve been working along with our Do-It-Yourself Summer Program, you’ve already accomplished quite a lot. In fact, you’ve probably surprised yourself with how much you’ve gotten done. By this time, you should have at least some of the following:
Databases of important career contacts and local performance venues
An updated résumé and bio
Several new performances under your belt
New roles learned or almost learned
A list of your top 10 audition arias, many of which you’ve been polishing up for fall
Progress towards a healthier lifestyle (and a better look!)
A good start on your fund-raising effort towards your major project or fall audition season
Now, we’re going to wrap up the summer with some snazzy new cover letters. We’re going to milk your fund-raising effort for all it’s worth, sharpen your image, start setting up fall auditions, and finish with a fabulous performance that will help keep your momentum rolling. Remember, it’s not too late to join us online for extra support and inspiration through the DIY Summer Program. Visit www.classicalsinger.com for details. Now, we have a lot of work to do, so let’s get to it.
Aug. 1-9
Assignment 1: Plan the big performance, and fundraise while you’re at it.
Regardless of whether you have chosen to mount a concert, a solo recital, an opera, or do a recording project, now is the time to finalize the details. You don’t need me to walk you through the basics, but here are a few suggestions for getting the most out of this performance.
Appoint a stage manager. On your big night, the last thing you need to do is worry about physical details such as setup, seating people, ticket taking, receptions, and last-minute problems. Ask a singer friend (promise to reciprocate) or a capable relative, and be sure to outline their duties carefully, in writing, and review the outline with them in advance.
Publicize the concert thoroughly. On the Singers’ Resources page of my website, www.thebusinessofsinging.com, I’ve included a wonderful (free) article by singer and publicity maven Heather Allen on how to write press releases and use them to get the attention of journalists. In addition, I suggest searching online for the websites of every local newspaper (even tiny ones), radio station, and TV station that offers any kind of free listing. These days, you can often submit a listing for both their websites and publication or broadcast online. Also, if you have a classical radio station or public radio station (in my city, we have both), or an early morning TV show that does local interest stories, see if you can’t get an on-air interview and perhaps even perform a few of your pieces. If you do, take along an extra DAT or videotape and ask the recording engineer to make you a copy of the show. You can use clips of your appearance for future publicity.
If you have chosen to fundraise, a performance is a great opportunity. You can capitalize on it in a couple of ways.
First, if you have already done some fundraising via a letter-writing campaign (see last month’s article) or another effort, and if some of your supporters are in the audience, use this as an opportunity to thank them publicly. You can do this between sets in a recital or at intermission. You can also publish a patron list in the program.
Second, you should ask your campaign manager or another eloquent person to stand up at intermission and make a speech on your behalf (after you have left the stage, of course). Let them explain why you are so wonderful and what people are supporting when they support you. It’s always best to have a specific goal and numbers. For example, if you are funding your audition season, have your campaign manager talk about how much it costs to fly to New York, stay in a hotel, pay a coach and an accompanist, etc. He can then ask for any additional (or first time) support, and pass the hat. Another way to fundraise at a recital is to solicit donations of goods and services beforehand, and hold a silent auction during intermission.
At the door before the performance, at intermission, and at the reception afterwards, give people plenty of opportunity to sign up for your e-mail and snail-mail lists for future events. This will provide you with a readymade database of supporters. If you have a website, be sure to list it in the program. Give people every opportunity to be able to find out what you’re up to (professionally speaking, of course).
By the way, if you have chosen to make a recording as your big summer project, you’re not off the hook for a recital (or a fundraiser). Why not hold a CD launch party and concert? Even if you’re just making a demo CD, you can perform your selections (which, presumably, are things you plan to audition with) and include a free copy in the admission price. Or, if you’re savvy and willing do to the legwork, you can turn that demo into a commercial recording and sell it at this and future concerts. The Harry Fox Agency handles licensing for recordings; visit www.harryfox.com for details.
You might also consider having the recital recorded, videoed, or both, and taking orders on site for copies. If nothing else, get some usable sound clips for your clip library.
At the reception, be prepared to talk to people about what you have coming up. Get them excited about you. Now is the time, if you need some particular help (such as a place to stay for your next opera gig, if the company isn’t providing housing, or a contact who can get you the attention of a certain symphony conductor) to let people know. In other words, schmooze. Work your contacts while they are still excited about your performance. You never know who might know someone else who could help you.
After the performance, continue to publicize. Send an e-mail thank you to all who attended and remind them of your upcoming performances and events. You don’t need to do a full-fledged newsletter, but send newsy little reports from time to time (bonus points for taking digital photos and sending one or two along with the e-mail). Keep people interested, and you will go a long way towards developing a strong fan base as well as useful professional contacts.
This is a big assignment that will take lots of your time, in addition to your usual coaching, lessons, and rehearsals, so it’s the only one you get this week.
Aug. 10-16
Assignment 2: Create a sharper image.
Last month, I challenged you to look at your lifestyle, particularly your exercise and diet, and see what improvements you could make. This month, it’s time to look at your hair, skincare regimen, makeup routine (for the ladies), and wardrobe. Image is very important for all performers. It’s one of your biggest selling points, and no one can afford to ignore it.
Great hair, and a great haircut, go a long way towards making you look professional. If you’ve had the same style since high school (assuming you didn’t graduate last month) it’s time to rethink your look. Healthy hair always looks best, so if yours is an overprocessed mess, get some advice from a pro on how to bring it back to life. Speaking of pros, now is a great time to invest in a good haircut—men and women alike. If you can afford it, go to a high-end salon at least once. An expensive haircut from a master technician really shows. It looks better and lasts longer.
When I lived in L.A., I had a friend who took her tresses to a chi-chi salon once a year and dropped several hundred dollars on a cut. She immediately took photos of it, and the rest of the year, had her regular salon do touch-ups. You could always tell when she’d made her annual pilgrimage to the fancy place—her simple style looked simply amazing.
Guys, the same goes for facial hair. Facial hair almost never makes anyone look younger, so when you’re deciding whether to keep or grow facial hair, consider carefully what roles you are trying for. If you have a few gray hairs in there, you should probably consider coloring it. On the other hand, if you are a venerable type or if the application of a little Grecian Formula isn’t really going to help fool anyone about your age, go silver and be proud.
Skincare is also essential for both men and women. We’re rough on our skin in the singing biz, what with late nights, bad nutrition, heavy stage makeup, and dehydrating and tiring travel. It’s never too early (or too late) to start taking good care of your skin. This includes using a good sunscreen and a good moisturizer at all times. Nothing will age you faster than bad, sun-damaged, dry skin. Consult skincare specialists for free at your local cosmetics counter. (Get free samples before you drop a load on skincare; drug store products usually work just as well.) See a dermatologist, if you must. Eat well, drink lots of water, and get enough sleep. Your skin will look great and you’ll look younger and fresher.
Ladies, how long has it been since you cleaned out your makeup bag? Old makeup is terrible for your skin, and your look needs regular updates. Like so many other things, less is more when it comes to makeup. Make appointments at your favorite department store makeup counters and ask for a makeover with a day look. You can always note the colors and types of products used and buy them cheaper at the drug store.
Finally, wardrobe. You want an audition outfit that is clean, in good repair, tailored to fit you, comfortable, flattering, and stylish. You also want a look that reflects the kind of role you tend to sing. If you are an ingénue, the last thing you want to do is appear in an audition wearing black. If you’re a lyric mezzo who does lots of pants roles, that doesn’t mean you want to appear masculine, you only need suggest the possibility of masculinity.
Do not should show up for an audition looking like you are on your way to an office temp job. Engage the services of a personal shopper—many better department stores offer such services for free—and find a few things that really flatter. If you can’t find a personal shopper, enlist the aid of a friend who always looks stylish and put-together. Spend the extra money to have your audition outfit properly tailored. You don’t need to spend a lot of money, but you do need to make sure your pants or skirt are hemmed to the correct length, your sleeves aren’t too long, everything is beautifully pressed, and your shoes are shined.
Assignment 3: Create a cover letter.
You should always include a cover letter in the materials you send out. It’s a business document that serves as an introduction, one that gets you past the front door. It should pique interest in your résumé and bio.
A good cover letter is brief, no more than a few paragraphs. And like a good newspaper article, start with your headline, the “hook” that will make the receiver read further. The best hook for a cover letter is the name of an important supporter who is willing to use his or her professional contacts on your behalf; in other words, a recommendation.
If you don’t have any prominent connections who are willing to recommend you, lead with a recent success: a contest win, an opera role or YAP you’ve recently done, or lists of upcoming engagements. Lacking any of those, simply introduce yourself and list the kind of repertoire you do.
In the second paragraph, if you haven’t done so already, you can list a few of your roles and perhaps a little something about your training.
In the third, close with a request for an audition, say that your materials are enclosed and that you look forward to hearing from them. It’s that simple. For a more in-depth discussion of how to write a cover letter, visit www.thebusinessofsinging.com, the Singers’ Resources page, and look under the FAQ for Young Singers.
In addition to drafting your cover letter, your assignment this week is to identify professional contacts who might be willing to offer recommendations, and get in touch with them to request their help.
Aug. 17-23
Assignment 4: Research and plan your audition mailing.
Mid- to late-August is a perfect time to send out an audition mailing. But for mailings to be truly effective, they have to be targeted. You do yourself no favors (and waste a lot of money) by blanketing companies with materials when you don’t have the experience level they’re looking for. So do your research! If you aren’t sure where you stand, check company websites to see who’s working there. If you’re unfamiliar with the singers they hire, do a quick Google search, and also check to see which agents are sending the most singers to those companies. Many companies have favorite management firms and hire the bulk of their singers from them. You can use this information to judge whether the company is likely to hear you or if you have connections that might smooth the way.
A good rule of thumb is to apply no more than a level or two above the bulk of your experience: if you’ve done comprimario roles in small local houses (E or D level), don’t submit for a leading role at a B house. Go for a lead at a D house, or comprimario at a C house. There are always exceptions, of course. If you have an “in” with a company, have just won a major competition, or completed a prestigious YAP, you may find more doors open to you.
Once you’ve done your research and know where you want to apply, prepare your cover letters. This means contacting your champions—professional contacts who have indicated they’re willing to recommend you—and asking if you can use their name with this particular endeavor. Better yet, ask if they will make a phone call on your behalf.
Also, prep your packets of materials. For opera companies, that means résumé, bio, headshot, and reviews. Don’t send a CD unless requested; most of the time, unsolicited recordings will just be thrown out or filed. For symphonies, choruses, and managers, you can include a CD. You can also include a few production shots if you have them. They’re more interesting than headshots, and they show you in action.
Send your mailings, and be prepared to do some follow-up in September to nail down those auditions. If you don’t have a manager to follow up for you, this is an essential part of your job in self-management. Keep an auditions database, recording where you’ve submitted and the results. This is a good reference for future seasons.
Assignment 5: One last masterclass.
Next week is your big performance, so now is a great time to vet your material one last time in a DIY masterclass or something as simple as an Aria Abend with your friends. If you’ve been concentrating on the traditional format—stand up, sing, get critiqued—perhaps it’d be useful to change it around a little this time. Turn it into a mock auditions night, taking turns sitting on the “panel” and writing comments. Or invite local teachers, conductors, and administrators to form a mock panel. Or have a dramatic coaching masterclass, and instead of focusing on vocal technique, work on presentation.
Aug. 24-31
Assignment 6: The Big Show.
We’re here—the big performance week! If you’ve been doing your footwork all along, you should be able to concentrate on your personal performance this week. If you’ve sent your press releases and pursued publicity, you may even have some interviews lined up. You want to increase publicity efforts as you get closer to the big event, so save something splashy for this week.
At the performance, be sure to have posters advertising any upcoming engagements, or simply what you’re doing in the fall, such as attending school, doing an audition tour, or starting another project. Sell or give away CDs. Have fliers or postcards that people can carry away, advertising any upcoming performances. Have a signup sheet for e-mails and snail-mail addresses so you can create a mailing list for your fan base, and be assertive about getting people to sign. Have your ticket taker ask: “Would you like to write down your addresses for an occasional e-mail or postcard update on So-and-So’s performances?”
While you’re thinking about publicity, don’t forget to appoint your friendly neighborhood shutterbug to take some great digital photos of your performance, and even backstage activities. You can use these photos on your website, in newsletters, and other publicity efforts.
The idea is to maximize the potential of this performance, to publicize your career, to build a fan base and professional contacts, to keep people interested and informed about your progress and make them feel a part of that progress, and to establish a base of future support. In a word, you are audience building.
Assignment 7: What I Did with My Summer Vacation.
Your final piece of homework for the summer is to create a colorful postcard or e-card you can send to your new fan base and to potential employers. Actors do this all the time to advertise their events, and it’s high time singers started stealing this idea. Use a colorful production shot on the front, and if you’re handy with Photoshop, superimpose your name or a great quote from a review. On the back, leave room for the address, and list your season’s engagements. (It’s OK to list ones you’ve already done—just write “2008-2009 Season” and put down everything.) If you have no engagements, take a lighter approach: “What I Did with My Summer Vacation,” and list all the projects you’ve been working on or towards. I wouldn’t necessarily send such a postcard to potential employers, unless you have a personal relationship with them and they’ve indicated interest in knowing what you’re working on.
You can produce postcards quite inexpensively, and e-mails are free. Just make sure that whatever you send out looks great, and always include contact information (ideally, your Web address—if you don’t have one, put that down on a list of projects for the fall). It’s a great idea to keep your name coming across people’s desks. You want them thinking about you, especially when opportunities arise.
Wrapping It Up
To be quite honest, you’d have to be superhuman to complete every one of the tasks I’ve suggested for you this summer. I intentionally threw out a bunch of ideas, hoping you’d do a few of them or be inspired to build on them with concepts of your own. I hope that, over the next few months, you’ll let me know how you chose to implement your DIY Program, what you accomplished, and what results you saw down the line.
The accomplishment doesn’t have to end here. You can carry over these summer projects into your fall season. As my friend, director Marc Verzatt, says, “Do one thing for your career every single day.” (This has become my personal business motto.)
If you’ve followed my program, you’ve done a lot more than that, and you should have a great deal to show for the summer you “didn’t” do a program!
