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Building an Ensemble Step by Step

Thursday, April 5th, 2012

By: Jessica Meyer

Note from Edna: At a recent conference for career development officers (NETMCDO), I met a dynamic young woman who was invited to participate on a panel of “guest musician entrepreneurs”. Her approach to career building and  her intriguing website “Chops Beyond the Practice Room” inspired me to invite her for coffee. I discovered that violist, teaching artist, ensemble coach and workshop leader, Jessica Meyer, was a veritable superwoman and the quintessential networker. Not long after we met, I read a glowing review of her composer/performer collective, counter)induction, now in its 13th year and excited to be releasing its first cd, “Group Theory”,  on April 29. I thought that Jessica’s general career insights and specific experience in building an ensemble would be of value to our readers. It is my pleasure to welcome her as my first guest blogger.

I am very grateful to Edna for giving me the opportunity to tell the story of counter)induction and how it has attracted a growing audience and critical acclaim for its new music concerts since its inception in 1999. The successful evolution of the ensemble has depended in equal measure on hard work, persistence during difficult times, a clear sense of identity and artistic focus, tireless networking efforts, and of course, a dash of serendipity. Let’s go back to the beginning and explore the seemingly random ways in which some of our five performers and three composers came together.

I got to know composer Douglas Boyce during the few summers I spent in Aspen in the 90’s. During our last year at Juilliard, clarinetist Benjamin Fingland (now my husband) and I took day trips to Philadelphia to perform Doug’s pieces at the University of Pennsylvania. We subsequently booked a few concerts in Philadelphia, including the Fringe Festival, and additional concerts at the University where we first worked with c)i composer-member Kyle Bartlett. Also while at Juilliard, Ben and I were invited to perform undergraduate compositions at Columbia University. It was then that we met Deborah Bradley, who was interested in building up the music department as part of her new job. I contacted her several times without much luck but when she took the time to look at our website and explore what we were doing, it resulted in our first residency.

One of our first concerts in New York came about after I met composer Rika Iino at a random event. She was looking to present a multi-media opera that involved a string quartet and we signed on to the project. At that time, we were very intent on performing at Miller Theatre in New York, and inadvertently, getting to know her was a step towards making that happen. She introduced us to Bill Rhodes who was Director of Promotion at Carl Fischer publishing at the time. They were the publisher of composer Lee Hyla and Bill got us hooked on his music. Bill made the introduction to the theatre, and we wrote a proposal for their Composer Portrait series that revolved around Lee’s music. They wanted a more varied program that included some of his chamber orchestra pieces, so we took the responsibility of putting that together, even though we had to raise a fair amount of the money for the concert ourselves. This fundraising experience led us to the conclusion that we needed to get 501(c)(3) status if we were going to continue to fund and present our own concerts.

A chance cancellation at Merkin Concert Hall presented another New York concert opportunity and marked the start of a long series of (thankfully) favorable reviews from the New York Times. Our group continued to grow when our cellist, Sumire Kudo, happened to meet composer Ryan Streber at a recording session. She asked him to write a piece for her upcoming recital and later proposed that he write for counter)induction. After Douglas met composer Erich Stem of New Dynamic Records in an online social network for composers, we finally decided the time was right to apply for a Copland Recording Grant to fund our upcoming first release.

I know that reading this saga can be a bit overwhelming, but it is important to realize that significant things can happen in unpredictable ways and each can impact the other. There have certainly been some bumps along our winding road. A major funder backed out weeks before our big Miller concert, sending us into a fundraising frenzy. Major cutbacks in grant funding due to the 2008 financial meltdown kept some seasons pretty lean for a few years. Some concerts should have had bigger audiences. There were many times when we looked at each other and said, “What now? How can we get to the next level?”

Fortunately, our clear vision kept us focused. We wanted to always perform new music at the highest level and consistently create thought-provoking programs. We wanted to celebrate composers who were already in the public eye and also shed light on those who were emerging from the shadows of their early careers. We never presented concerts we couldn’t financially support and we worked hard to build our relationships with funders. We relied on each other to get the work done and to connect to like-minded colleagues and presenters to collaborate with along the way.

My advice to those who are starting out, or who are entering the next phase of their career, is to consider the following: What musically inspires you? Who shares the same passions as you do and might inspire you to play (and write) your best? Each time you meet someone new, what steps can you take to build that relationship in a meaningful way? And as you seek to expand the number of performances for your ensemble, what steps can you take to connect audiences to the music you so deeply care about?

 All of this takes a huge amount of patience, more than anything else, but it will be a great day for counter)induction when we finally tear through the shrink-wrap of our first CD, knowing that we have reached an important new milestone as a result of our collective efforts.

Note from Edna: After a week of holiday, I look forward to resuming the “Ask Edna” column on Thursday, April 19. However, please continue to send in your questions during this time!

To ask a question, please write Ask Edna.

Posted in Ask Edna, For Chamber Music Ensembles | Comments Closed

Is It Dangerous to Cross Over Too Soon?

Thursday, March 29th, 2012

By: Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

I am a parent of a very serious pre-college classical instrumentalist who has professional aspirations. Recently, she was offered a possible opportunity to perform and record with a singer-songwriter friend who has just signed a contract with a major agency and whose eclectic work is garnering increasing attention. While my daughter is flattered and quite eager to engage with musicians working in a wide range of genres, she is concerned about accepting this opportunity when she is aware that she is not yet well known in the classical world. We know a number of artists who have “crossed over” into other genres but it was always after they had achieved substantial recognition. Do you think our concern is unfounded? We both agree that your perspective will be extremely valuable in making a decision. –DLP

Dear DLP:

Thank you for sending in such an interesting and thought-provoking question.  In thinking about it, I realized that my answer now is probably very different than it would have been ten years ago. We are living in a time when we are increasingly seeking ways to attract younger audiences to classical music. I believe that the younger audience is drawn in not only by the music but by the personality of the performer. Young people listen to many types of music and they may shy away from classical music if they feel they don’t understand it. If they happen to discover your daughter via a collaboration with a singer-songwriter and they like what they hear, it may be much more comfortable for them to explore what she sounds like playing a concerto with orchestra. The bottom line, as I see it, is the quality of any venture that an artist undertakes.  If your daughter’s friend is extremely talented and both writes and performs at a high level, I see no reason why she shouldn’t consider a collaboration with them.  My guess is that we are probably talking about one track on an album and a few performances, which are not likely to cause any confusion with regard to your daughter’s major musical focus.  I would also add that in my experience, there is an enormous amount that instrumentalists can gain from working with singers, and even dancers. Instrumentalists concentrate a lot on the notes that appear on a page. Singers do too, but by necessity, they also have to concentrate on breathing and phrasing.  Dancers are, of course, always in motion. I feel that if instrumentalists would take the time to sing or dance some of the passages they regularly play, the music would come alive in an even more meaningful way. There are also genres of music that involve substantial improvisation, which is a skill and an art that I find sorely missing from the curriculum of many conservatories.  I encourage your daughter to interact with musicians from other genres whenever possible, having fun along the way and learning from one another. I am sure that her primary area of concentration will continue to be the classical repertoire and developing her artistry to the highest level possible, but she will become a much more interesting artist and she might play a valuable role in attracting new audiences to the music she loves so much.

To ask a question, please write Ask Edna.

© Edna Landau 2012

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Exceeding the Limit on the Freeway

Thursday, March 22nd, 2012

By: Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

I have been working for the past five years as an assistant in the admissions office of an American conservatory. I would like to embark on a new direction – perhaps artist management or artistic administration at an orchestra. I know some people to whom I feel I can turn for advice but I’m not sure whether I should be offering to pay them or whether this is the sort of thing that people do for free. Can you please let me know how I should approach this and what one can expect from them? —R.S.

Dear R.S.:

Thank you for writing in with this excellent question. Happily, the world of the performing arts is a very nurturing one. Individuals who are in established positions are happy to share their expertise and insight with young people who are still building their careers. They probably benefited themselves from such input when they started out and this is one way for them to give back. They do not expect to be paid for their time, which typically will not exceed an hour. Nevertheless, one should not take this largesse for granted and there are certain guidelines that you might want to keep in mind:

1)    When you approach someone for this purpose, it is advisable to indicate as concisely as possible why you have approached them and to express your gratitude in advance for their consideration of your request, in light of their very busy schedule.

2)    It is best to avoid making an open-ended request. Be specific about the information you are seeking. For example, it is ok to ask someone if they think you are suited for a particular position but it may not be ok if you ask them to review your resume and tell you the kinds of jobs for which they think you might be qualified. It might be more suitable to address that to a paid consultant.

3)    Avoid putting time pressure on the person you are approaching. Try to make your request sufficiently in advance of the date by which you need the information. This is even more critical if you are asking for a letter of recommendation. If your need is sudden and unexpected, express your understanding that it may not be possible for them to respond in such short order.

4)    In general, if you are asking someone to share their expertise and they are not a family friend, colleague, former teacher, director of the alumni office of a school you attended, or someone with whom you have regular give and take with regard to sharing information, it is advisable to offer to pay that person for their time. Let them decide whether to offer their counsel for free.

5)    If someone has given you free advice in the past, perhaps as part of a mentoring program at a trade conference, do not assume that they will continue to advise you going forward. If they promised to follow up on some things, they will undoubtedly be true to their word, but do not expect or request any further action on their part without offering to pay them. For example, if they have agreed to let you use their name in expressing support for a project you are undertaking, that should not send a signal to you that they are happy to assist with your pitch letter or marketing materials unless they specifically indicated that in advance. Here, too, there are consultants who can provide such services.

6)    If someone agrees to give you free advice over a cup of coffee, try to grab the bill before they do. If they insist on paying, it’s OK to let them pay. A handwritten thank you note following the meeting is always welcome. If they happen to mention something that is important to them during the course of the meeting, with which you are in a position to assist, surprise them by following up on it. They may not have time to look for the perfect yoga teacher but if you know someone really good who is located near their home or office, send them the contact information. They will surely be impressed with your thoughtfulness.

To ask a question, please write Ask Edna.

© Edna Landau 2012

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Getting Airplay for your CD

Thursday, March 15th, 2012

By: Edna Landau

To ask a question, please write Ask Edna.

I would like to express my thanks to my good friend and colleague, Gail Wein, a former NPR producer and currently a communications consultant and publicist in New York City, who provided the information that is the basis for my column below.

Dear Edna:

What is the best way for an unknown artist to get airplay for a CD (say, NPR in particular)? —Patricia Goodson

Dear Patricia:

Thank you very much for your question, which I am sure will be of interest to many of our readers. Like so many aspects of career building today, success in getting airplay for a cd is largely dependent on its special appeal and the excellence of the performer(s) involved. It is unlikely that NPR would feature a recording of standard repertoire by an unknown artist unless there were an unusual story surrounding that artist or they were brought to their attention by several individuals whose opinion they highly respected. If the repertoire is unusual, the chances are greater. For example, I recently met a gifted saxophonist, Christopher Brellochs, who had access to the unpublished manuscript of Aaron Copland’s original version of music for  Quiet City, which was written for chamber ensemble. He adapted it for concert purposes, making a few small orchestration changes, and with the blessing of the Aaron Copland Estate and Copland’s publisher, Boosey and Hawkes, made the world premiere recording.  This recording, rounded out with music by other American composers, was featured by both American Public Media and National Public Radio (Performance Today and Weekend Edition), alongside interviews with Mr. Brellochs. It is not hard to see why it captured their attention.

In attempting to get airplay for a cd, you can work at both the local and national level but the objectives will be somewhat different. A local station (which may be a member station of NPR) might play your cd as a stand-alone item, perhaps with a little introductory explanation that could include information about a related performance in the area. An approach to NPR in Washington, D.C., would be made in hopes that the recording would interest them enough to produce a feature story about it or invite you to be interviewed. There is also the possibility that you could be asked to do a live, in studio performance.  In approaching a local classical station, you would begin by going on the radio station’s website and looking for the name of the Music Director. If that is not apparent, the next choice would be the Program Director. The third choice would be the individual host of a specific show. The next step would be to send the cd by mail to the particular individual with a short bio of the artist(s), a press release about the cd, if you have one, and a cover note that explains why you think that it is of particular interest. If you are based in the area or have performed there, it would be wise to point that out. It is advisable to simultaneously send an e-mail to this person with the same basic content and also alerting them that you are sending a cd to them and would be most grateful for their consideration.  It may be a bit challenging to get the e-mail address but you should call the station and if you are not successful in getting through to anyone, ask for the membership department, which almost always answers. Be aware that these stations probably get dozens of cd’s a week and, therefore, they are not likely to respond to you. However, it is fine for you to follow up with another e-mail or phone call, saying that you hope they received your cd and will consider it for airplay. You can leave your phone number in case they have any questions. It is not advisable to approach everyone whose name you come up with because they are likely to be in close communication and feel as if they have been bombarded by you. If you already know someone at the station, albeit not in one of the above three categories, feel free to send them your cd and ask if they can shepherd it along. Ms. Wein advises me that even though press kits and performances are often shared digitally, some media outlets prefer to receive cd’s. Therefore, it is probably safest to go that route, unless the station’s website advises otherwise.

If you are seeking national exposure on shows such as NPR’s All Things Considered, Morning Edition or Weekend Edition, it will be all the more crucial that your cd has a story associated with it that would justify national exposure (premiere recording of certain repertoire, unjustly neglected composer, newly formed ensemble of great interest, etc.) You can indicate your availability for a live interview or studio performance, should they be interested. You will want to go on the NPR website and follow their instructions in the section called “How do I submit materials (cd’s, books…) to NPR for possible review”. Please note that they ask you not to contact them for follow-up as they will contact you if they have any questions.

I wish you the best of luck in gaining wider exposure for your recorded performances.

To ask a question, please write Ask Edna.

© Edna Landau 2012

Posted in Ask Edna, When It Comes to Recording | Comments Closed

Is Specialization Limiting or Helpful?

Thursday, March 8th, 2012

By: Edna Landau

To ask a question, please write Ask Edna.

I recently made my third visit to the Bard College Conservatory of Music and spent two hours with some wonderful young singers who have been picked by Dawn Upshaw, Kayo Iwama and their vocal faculty colleagues to participate in the prestigious Graduate Vocal Arts Program. I was asked the following question which, at the time, had me a bit stumped.

Does having a specialization in a musical area or genre limit you, or does it make you more marketable as a performer?

I don’t think that 20 years ago, artists would have devoted their attention to what might make them marketable, yet I applaud the questioner for thinking this way. In this very competitive time for emerging young artists, achieving recognition in a certain area or genre of music would seem to be a plus. It increases the chances that someone will think of them when programming particular pieces. If an artist demonstrates that they have a great affinity for a specific area of repertoire and they perform it with considerable expertise, they may well enjoy a distinguished career. One example which comes to mind is soprano Emma Kirkby, who has mostly performed Renaissance and Baroque works and has achieved great recognition both for her live performances and extensive discography. The problem sets in when artists are repeatedly asked to sing in Bach masses and Haydn oratorios but they would equally love to perform Barber’s “Knoxville” or Britten’s “Les Illuminations”. If they have a manager representing them, they must arrive at a total meeting of the minds early on as to how to achieve and maintain this delicate balance. The manager must bear the responsibility of regularly reminding presenters and conductors about the breadth of the artist’s repertoire. One need look no further than the Artistic Director of the Bard program, Dawn Upshaw, to find a sterling example of someone who successfully met this challenge. She made her early mark in opera in Mozart roles, but her intellectual and musical curiosity led her to explore a huge variety of repertoire and to partner with leading composers of our time, such as John Harbison, Osvaldo Golijov, John Adams and Kaija Saariaho. Her major career breakthrough was the recording of Henryk Gorecki’s Symphony No. 3, which sold over a million copies. The commitment she has given to every corner of the repertoire along her artistic journey has been so complete that her fans have adoringly followed her, and presenters have waited with great anticipation to learn of her latest project. The answer to the above question, therefore, lies totally in the aspirations and abilities of the performer.  Fortunately, many artists are privileged to enjoy long careers which afford them the opportunity to change direction and embark on new musical adventures, once they have established a name for themselves. Demonstrating a special affinity for a particular area of repertoire can be a real advantage, but it does not in any way need to limit the options for any singer to excel in and be thought of for other works in the extensive vocal literature.

To ask a question, please write Ask Edna.

© Edna Landau 2012

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Ten Do’s and Dont’s of Career Building

Thursday, March 1st, 2012

By: Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

In this fast paced changeable world we live in, we artists feel like a little boat in a vast ocean, many times lost and orphans of good guidance. A wonderful legacy, and a practical one from an accomplished pro like you, would be for us new artists to have a list of ten things to focus on and a list of 10 don’ts. Would you be so generous to share that with us? —Susana Galli

Dear Ms. Galli:

It is a weighty task to come up with ten do’s and don’ts and hope that they comprise some sort of legacy! However, I have done so below, and perhaps I will follow up at a future time with a second installment.

DO’S

Spend considerable time identifying your particular strengths, soliciting input from teachers and others who know you well, in order to plan your career and performance repertoire in a way that emphasizes them.

Make sure that you have good quality, attractive photographs and that your promotional materials are well-written and always up to date. In addition, take care that any video samples you post on YouTube show you off to best advantage. Having a fine quality performance dvd, or at least a demo cd, is definitely an advantage.

Go to a healthy number of concerts, especially if you will hear music with which you are unfamiliar or performances by artists you admire who are likely to inspire you. Go backstage to meet them after the concert. It is an added plus if some of these concerts take place in untraditional venues.

Look for opportunities to perform for audiences who may not go to concert halls, and identify performance spaces that might allow you to engage with new audiences in a more informal setting. If you are aware of series, for example at a library, which present artists at your level of career development, write to them directly, proposing an attractive program that you are prepared to perform. It might be helpful to go to one of their concerts and to try to meet the director of the series in person. You can also write to institutions with whom you have been associated in the past, who might be interested in presenting you in concert (e.g., a school, competition or youth symphony).

Consider forming a chamber ensemble, especially as performance opportunities may be more numerous and competitions and residency opportunities might afford avenues for exposure.

Begin to build a list of people who might be interested in supporting special projects you plan to undertake and also identify individuals whom you would like to meet through others. Whenever you succeed in getting such meetings, be sure to read up on the person in advance so that you can ask intelligent questions and evidence your awareness of their considerable accomplishments. Be sure to let these people know of your ongoing career successes.

Look for opportunities to attend training workshops that will expand your horizons, such as those offered by Carnegie Hall. Even if you are unable to attend in person, bear in mind that some, such as Chamber Music America’s “First Tuesdays”, are archived online.

Plan to spend your summers in places where you might be noticed by established artists and industry leaders who regularly visit.

Try to meet composers, especially those of your own generation, who might welcome the opportunity to write something for you that they know will be performed.

Go the extra mile and be nice to everyone. Write a handwritten thank you note to anyone who does something nice for you. So many of the significant things that happen for artists evolve from the good relationships they have established over the years.

Dont’s

Don’t use superlatives about yourself in your bio, on your website, or in written communications with presenters.

Don’t perform a concerto or other substantial work in an important place for the first time.

Don’t enter a competition seeking greater exposure unless you feel comfortable with the process and motivated by the potential for artistic growth, and for gaining valuable performing experience, regardless of the outcome.

Don’t push too hard too soon. For example, you should only seek out management when your artistry comes across as distinctive and personal.

Don’t think of being on a management’s roster as prestigious unless the management is recognized as being effective on behalf of its artists and has earned respect and recognition in the industry.

If you have management, don’t arrange concerts on your own, thinking that the management won’t find out and you won’t have to pay commission.

Don’t record music that is not in the public domain without first exploring rights payments.

Don’t grant any rights to another party unless you understand everything about how those rights will be used and are comfortable with the terms.

Don’t let your concert attire divert the audience’s attention from the impact of your performance and affect the memory of it that they carry away with them.

Don’t address someone you don’t know by their first name, unless it’s me in my Ask Edna column!

To ask a question, please write Ask Edna.

© Edna Landau 2012

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Finding Your Unique Path to Success

Thursday, February 23rd, 2012

By: Edna Landau

To ask a question, please write Ask Edna.

It has been pointed out to me that in my column last week, I inadvertently misspelled the name of the author of an article entitled “Being a Professional Chorister” which appeared on Laura Claycomb’s website. His correct name is Martin L. Poock. My apologies to Mr. Poock for this oversight on my part.

Congratulations to violinist, Mina Um, winner of the First Prize in the First Anniversary Ask Edna contest. Mina has won a free career consult with me and I look forward to meeting her soon.

Dear Edna:

How does a classical musician get to the international status of someone like Yo-Yo Ma or Itzhak Perlman? In the 21st century when classical music is no longer the “popular music”, do classical musicians need to make themselves look “hip” or “fun” to attract audiences? How did these people rise to fame and success, and would their methods work for students who are beginning their career now, in the 21st century? —Mina Um

Dear Mina:

It is interesting that you say that classical music is no longer the “popular music”, as if it was when Mr. Perlman and Mr. Ma were young. Regretfully, I don’t think that was ever the case, especially  in the United States. What is true is that the world of entertainment was very different then than it is now. With the absence of e-mails, Facebook, Twitter, YouTube, Netflix and text messaging, there were much fewer distractions competing for people’s leisure time. Music tended to be a more regular part of the school curriculum, thereby exposing people to the beauties of classical music and helping to build future audiences. When Itzhak Perlman appeared on the Ed Sullivan Show at the age of 13, he was an instant success. A huge mainstream audience who may not have ever before heard the music he played was captivated by him, eagerly awaiting more.  Yo-Yo Ma also appeared on American television at an even younger age in a concert conducted by Leonard Bernstein. Despite this early exposure, the careers of these artists were handled with great care and sensitivity, with Mr. Perlman cementing the early impression he had made by winning the prestigious Leventritt Competition six years later. Both artists were taken on by the legendary impresario, Sol Hurok, who had the contacts to book them in high profile tours throughout the world.

So you see, there were no real “methods” that worked for these artists which could be applied to aspiring artists today. Perhaps there was a smaller number of gifted and promising artists populating the music scene in those days but the key to success then was the same as it is now – extraordinary talent and accomplishment, and the ability to communicate with audiences in a very personal, heartfelt and memorable way. You didn’t need to listen to too many measures of music performed by Mr. Perlman or Mr. Ma to know that you were hearing something very special. These artists clearly loved to perform and were not afraid to take risks on stage. Their talent was totally natural, and there was no need to think about superimposing anything additional in order to please an audience.

It is rare today for a classical artist to become an “overnight sensation”. Mainstream television shows are rarely interested in presenting them. As always, careers with longevity are largely built by word of mouth. And what gets people talking? Artists with extraordinary ability who have something special to say and to offer their audience. The challenge for young artists, therefore, is to determine what makes them special. If they can identify what that is and let it guide them in choosing the music they want to share with their audience, they will stand the highest chance of building a devoted following. They can help to introduce themselves exactly as they would like to be known by creating an informative, appealing website and by uploading samples of their performances on YouTube. If part of their nature is a wonderful sense of humor, they shouldn’t hesitate to show that in their performances, especially if they choose to give spoken introductions to any of the works. If fashion is a passion for them and they want to reflect that passion in their performances, they can certainly do that and, in all likelihood, it will come across as genuine. It is only when artists try to be “hip” for the sake of being different that it is likely to backfire.  If you look at the genres of music that are reflected in both Mr. Perlman’s and Mr. Ma’s extensive discographies, you can conclude that they were very inventive in coming up with projects and collaborations that would engage their public. However, it is important to realize that Mr. Ma’s ventures into Appalachian music and the rich heritage of the Silk Road came out of a tremendous intellectual curiosity and awareness of a diversity of cultures. He was fascinated by this music and wanted to make it part of his concert life. Similarly, Mr. Perlman’s irresistible recordings and concerts of klezmer music were inspired by music he heard in his childhood and learned from his father. He was thrilled at the thought of sharing this music with his classical music audience. I feel confident that if young artists today bring this same kind of genuine excitement and imagination to the decisions they make regarding programming, they will stand the greatest chance of attracting a sizable and diverse audience, as well as gaining the attention of people with the stature and influence to help them advance in their careers.

To ask a question, please write Ask Edna.

© Edna Landau 2012

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Which Matters More: What You Sing or Where You Sing It?

Thursday, February 16th, 2012

By: Edna Landau

To ask a question, please write Ask Edna.

Congratulations to soprano, Amy Oraftik, whose question below won Second Prize in The Ask Edna First Anniversary contest. Amy wins a free review of her press kit or website.

Dear Edna:

I am an opera singer who recently graduated from school. In my first year out, I had a variety of opportunities. I sang at a well-respected young artist program, sang in the chorus of a B level opera house and have been singing lead roles at very small/low budget opera companies. At every turn, I’ve had to decline one opportunity in order to pursue another. For example, to sing chorus I had to turn down outreach work with the young artist program and to do a lead role at a small house, I had to turn down a chorus opportunity that would have paid more. I know that what matters most is talent, but I’m just not sure what the best choices are to build a resume and a career. It’s exciting and fulfilling to have roles but the venues are anything but impressive; whereas the young artist programs and chorus positions I get are with opera companies that are impressive and pay more, even though I don’t get to be a featured singer. My question is this: When casting directors and agents consider engaging an artist, do they care more about what the artist has performed or where they performed it? —Amy Oraftik

Dear Amy:

It is actually a bit hard to answer your question in a vacuum without knowing more about your overall career aspirations and financial realities. If your dream is to be a “featured singer” and you have reason to think that you will achieve that some day, based on feedback from your teachers and other professionals who know your work, it probably makes sense for you to go on singing lead roles, even in smaller houses, in order to build your repertoire and gain experience in those roles. Working in a young artist program can also prove beneficial, as many such programs are watched by agents and casting directors, provided that they are at a certain level. If your financial situation is such that you need to do chorus work from time to time to make ends meet, perhaps you can fit that in whenever possible.

To answer the question in your last sentence, agents and casting directors are definitely influenced by where you have sung. If your experience has only been in small companies and there is no evidence that you are advancing to new levels or attracting the attention of their colleagues, they are unlikely to make offers to you. This could well prove frustrating to you after a while and have a significant impact on your income. If you truly enjoy chorus work and feel that you could be very satisfied with the potential income, as well as the opportunity to sing in high quality productions that you find inspiring, this might be an equally good option for you. You might even find yourself singing alongside individuals who, at some point, enjoyed active careers as soloists. These are difficult economic times and everyone needs to find stability in their lives, especially if they have a family to support.

Soprano Laura Claycomb has a very interesting and informative blog on which she offers career advice in the “Young Artist Corner”. A recent column, written by bass, Martin L. Poock, shared the rewards of being a professional chorister. It sounds to me like Mr. Poock found himself in a situation exactly like yours at one point. He writes very honestly about his past quandaries and how he resolved them. While his decisions will not necessarily dictate your own, I think you will find it beneficial to read what he has written. All the very best of luck to you!

To ask a question, please write Ask Edna.

© Edna Landau 2012

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Telling the Truth about Injuries

Thursday, February 9th, 2012

By: Edna Landau

To ask a question, please write Ask Edna.

Congratulations to Patricia Goodson who is Third Prize winner of the Ask Edna First Anniversary contest, affording her a free review of her resume. I am grateful to all of you who submitted questions and will be answering many of them in the coming months. Please keep them coming!

Dear Edna:

How should one handle having an injury? I recall a friend being advised to keep a hand problem quiet as presenters might avoid him, thinking he might cancel. He found himself unable to commit to concert dates because he did not know when, or even if, he would be up to playing again, and he felt nervous about revealing why. As it is not uncommon for musicians to suffer from some sort of career-slowing injury at some point, should we have contingency plans ready? — Patricia Goodson

Dear Patricia:

As with so many situations in life, I think that honesty is the best policy. I have heard of artists who were unable to perform due to a hand injury but who publicly canceled their concert due to the flu.  This can become problematical if the injury doesn’t heal as quickly as anticipated. The flu no longer seems like a credible reason. And who wants to stay home for weeks on end to cover up for a hand injury? Based on my experience, most presenters are very understanding about artists suffering injuries. They take it in stride and may agree to canceling or rescheduling the concert without giving a specific reason. However, they may be pushed by the press for more information, in which case a sprained wrist, infected finger or even tendinitis or a bone spur will not be a cause for alarm. Matters get a little more complicated if an artist has a chronic hand problem and the prognosis for complete recovery is uncertain. Even then, it is best for the artist or manager to be up front with the presenter, saying that they want to help them avert any last minute problems and therefore they are putting them on notice that the concert date could be in jeopardy. In such cases, the presenter might look for a substitute artist who is available, if needed. The presenter wouldn’t be booking the artist if they didn’t admire them and value having them on their series. Consequently, they will wholeheartedly hope for their recovery. If an artist or manager is dishonest with a presenter, only revealing the truth at the last minute, it could cause resentment and erode the trust that had existed between both parties, thereby making the presenter a bit hesitant the next time the artist’s name comes up.

As for contingency plans, I don’t think that most people go through life worrying about what they would do if they could no longer enjoy their current profession. They will hopefully have disability insurance, which will help to mitigate the potential financial loss that could accompany an injury. Artists should also have disability insurance. Beyond that, many artists also teach, or could turn to teaching, if necessary, in relatively short order. They might prefer to go in a totally new direction, such as artistic administration. I think there are enough pressures on any performing artist that they don’t need to live with the constant fear of possible impending injury.  They should trust that if faced with an unexpected disability that brings an end to their performing on stage, they will have many colleagues and friends who will offer their support and help them transition to the next phase of their career.

To ask a question, please write Ask Edna.

© Edna Landau 2012

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Getting a Feel for Fees

Thursday, February 2nd, 2012

By: Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

I am a pianist, seeking to obtain performance opportunities without a manager. Can you please give me some guidance with regard to negotiating a fee? How can I tell what is reasonable and within the budget of the organization in question? How much of a range should there be, depending on venue? I want to find the right balance between coming across as expensive and underselling myself. Is there a way to do any research on this? —K.G.

Dear K. G.,

Addressing your last question first, I know of no way to research fees paid by a majority of presenters. The easiest situations to research are the more informal venues, such as libraries and clubs. In the case of clubs, the artist will often receive a percentage of the amount taken in at the door. Further details can be obtained by simply calling the venue and asking for their standard arrangement. In the case of more formal concert series, you might want to see if the presenter has engaged anyone you know in recent years and, if so, you might contact that person to see if they will reveal what they were paid and what they know about the range of fees in general. Even if you succeed in getting this information, the fee that a presenter will pay an artist may vary from performer to performer, depending on the level of their career, how much exposure they have had, and how confident the presenter feels about selling tickets to their concert. If you find yourself talking to a presenter without the benefit of any advance information, here are some tips to keep in mind:

  1. Before you enter into a conversation about fees, figure out what your expenses relating to the performance will be and  how much you would ideally like to make on top of that. It is also good to check the capacity of the theatre they use and their typical ticket price for a concert such as yours. This information should be accessible on the internet. Keep in mind that in addition to your fee, the presenter will have a range of costs, including the hall and expenses related to advertising and marketing the event. During the negotiation, you might have occasion to refer to this information, if you consent to a lower fee and want to give a reason, such as sensitivity to the size of their venue.
  2. If at all possible, ask the presenter to tell you how much they have in mind, based on their budget. There is always the possibility that they will offer an amount higher than what you would have suggested.
  3. Most presenters know that any number you quote them can potentially be negotiated downward.  (They learned that from managers who always try to get the best fee for their artists!) Therefore, leave “wiggle room” in your negotiation by starting a little higher than the amount  that would have satisfied you. You can say: “Typically, my fee has been x, and I hope that will be possible for you.”
  4. If you end up with a fee that is quite a bit lower than what you had hoped for but you feel you have to accept it to save the date, you might want to ask if the presenter is in a position to provide housing or ground transportation (including  travel from and to the airport). Many organizations have volunteers who are happy to help with this. You might also ask if they have any suggestions of other presenters in the area (far enough away not to compete with them for ticket sales) who might potentially be interested in having you as well. If the conversation has gone really well and you feel that the presenter finds you very accommodating and reasonable, you might want to say that if they are happy with your performance and intend to engage you again in the future, you hope that the fee you have accepted will not set a precedent for the next negotiation.

Typically, community venues such as libraries and churches, will have a much smaller budget than established recital series. It might be somewhere between $300 and $1000. Established series might offer a young artist somewhere between $1000 and $3000. If you have little performing experience to point to, be prepared for the fee to be at the low end of that range. Orchestras might offer slightly higher fees and may present you in multiple concerts (typically two or three). Some orchestras will offer a per performance fee and others will offer a discounted fee for the repeat concerts. So if your single concert fee is $3000, they might offer $4500 for two and $5500 for three. The latter arrangement is most usual.

It is not easy for individuals to negotiate on their own behalf but if you bear in mind that you are delivering value to the presenter and their audience, and you feel confident in what you have to offer, the experience will become much more comfortable within a relatively short period of time. Your display of understanding, flexibility and sensitivity to the presenter’s needs will put you on a strong footing for reengagements in the future, as they will undoubtedly walk away from the discussion feeling that you are pleasant to work with before you have even entered their concert hall.

To ask a question, please write Ask Edna.

© Edna Landau 2012

 

 

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