I have since made additions to this article to reflect changes in my experience with agents... 2006
To get an agent, a singer has to be tenacious, prepared, and incredibly lucky. I've been all three.
It was hard to find management at the beginning. I had what seems a zillion rejection letters from agencies who weren't even willing to hear me ("We're sorry, but we're not adding to our roster at this time..."). I got a New York agent from an audition in San Francisco while I was in the young artist program there. The agent lasted a few months. Agents or managers - whatever you want to call them, I use either term interchangeably, although most agents prefer to be called managers. A rose is a rose...
My first agent charged a retainer fee and acted like he'd gotten me my first big European contract, which I had actually gotten because of people I knew from the program in San Francisco. (Last I had heard, retainer fees are actually illegal for agents to charge - thus all the run-around to call it "a promotion fee" or "publicity fee." I call a spade a spade.) Anyhow, he didn't return phone calls or faxes the entire time I was rehearsing this gig, didn't come to my big European debut, and he was deeply offended when I sent him an ultimatum fax telling him to respond to me within a day (after ignoring me for three weeks) or he could consider our business relationship null and void. He sent me a snitty fax (first direct contact with him in three weeks, hallelujah) saying that he'd NEVER heard such uppity talk from such a YOUNG (greenhorn) singer in all his distinguished, long career and that *I* could consider our business relationship terminated. La-ti-da! So we parted ways.
In his defense, he had a personal reason for being incommunicado, but this is a business and the only person I could reach during this pivotal period was the chief envelope-stuffer at this agency. Here I was telling Mr. envelope-stuffer that I was actually going to go on as Giulietta in I CAPULETI E I MONTECCHI at the Grand Theatre de Geneve! This was my big break! I wanted ANYONE from the office to call every impresario they knew and invite them. Someone from the agency at least should have come to see this wonderful event, since no one in the agency had ever seen me do anything but audition. All anyone could tell me was that my agent was out-of-town, and that they'd try to get him to call when he could. He never called.
I now have two managers who work together (U.S. and Europe) as well as a few in Germany and Italy who sub-contract things there. (I went through two other agents just for Italy, but didn't get the kind of attention I needed simply because of the way the agencies were set up to run, so I parted ways with them, too.) My current arrangement began when Tom Graham (IMG) saw my European debut and came backstage, knowing I'd fired my former American agent the day before. My current American agent, Alison Pybus (IMG) was in my European manager's office for a year, then moved to their subsidiary in New York. It all stems back to Tom Graham. He had his fingers in many pies, and that's one of the major reasons he was a good agent. I moved around within IMG London to about 4 different people because of different circumstances (stagnation, personality clash, retirement, etc...) and now have found a lovely agent still within the same agency, Barbara Segal. This would probably not have happened if I had not insisted on getting the sort of attention I deserved. They had a good investment in me, and I in them, so it was in our best interests to find someone at the agency that was a good match.
My agent gets me work and promotes me for projects. People listen to her, because she has a reputation as a no-bull kind of person with an excellent roster. She knows what I can do and what I can't do (or if she doesn't, she will ask me), and how I'm most marketable.
The only "plan" my agent used in the beginning was putting my name out there as much as possible, for whatever repertoire I could sing, and working in as many places as possible so people could get to know me. He didn't have a big "PLAN" for me, because he can't control what operas are being done where, and who likes me!! Later, you can start to hone down offers and chart your map. But you have to know the business, too. Then it's up to you to say "I want to work with So-and-So," "I want to do THIS role," "I don't want to accept an uninteresting gig unless there's a LOT of money or there's a good contact for future artistically interesting gigs." Some of the most interesting artists I know haven't known diddly-squat about the business, but have followed their artistic nose and worked with people who interested them.... but one must first have the introduction and the opportunity to work with these people to know if they interest you or not.
It's really up to you to plan your course and give guidelines to your agent. It is NOT up to him to develop a master plan. He just has to have a clear idea of what you want, and hopefully that fits with what he can do for you. You have to do your research and know what is out there. Don't wait for it to fall in your lap. Go to concerts and operas. Check out who the directors and conductors are - see whose work you really like. Talk to the singers you know in the cast and find out what their experiences are. ("He's the greatest director I've ever worked with!" "He gets a great result, but it's 6 weeks of absolute hell - not worth it!" "He's a great conductor, but a voice-wrecker!" "He's a really wonderful guy, but can't conduct his way out of a paper bag!" etc etc...) Find out who's doing interesting work by reading up in the opera magazines (yes, NOTE the director and conductor of pieces - don't just read about the singers in the reviews...) and make an effort to see the work of different directors and conductors in other shows and concerts. It will help you know who YOU like and give you ideas of people you'd like to work with - because of their work, not just because of their reputations! Then, when you have done your research, you will know where you fit in better. You have to be able to talk with your agent, to talk business. You need to know the art part of your business and not expect your agent to tell you "he's a very interesting conductor/director." You need to know.
Managers are not artistic advisors, they are business partners. Artists should have someone else they trust (coach, conductor, teacher) who can help them with artistic decisions such as what roles to do now and what in the future. An agent can know these things, but is basically a broker, so you must realize that the agent has a different point of view than another musician. The artist is the one who should ask the manager to promote him for certain roles. Managers are NOT there to hold the singer's hand, although sometimes they do that, too. Agents should handle all the paperwork, details of contracts, and follow up on leads. They should also get in touch with important contacts you make while singing or socializing. But in the words of Tom Graham, my former, now-retired European agent, "I'm not your fan club!" He's a business partner. That's why I pay him a percentage of my earnings.
So remember this when you are asking them to stick their necks out for you to a venue. Do not do it lightly, and do not insist they take a risk on you with a venue if you are not sure 100% that you can pull through for them. Do not insist that they bug an opera house to hear you (that you know is not really fired up to hear you) if you are not going to go in and NAIL that audition. It ruins your agents' credibility more than your own. Remember that it reflects on THEM as well when you suck in a show, so never be nonchalant about that with your agent. They may care how you feel about it, but in business terms, you're basically telling them you've just made a fool out of them. Give them the tools to do damage control for you and for them if something goes wrong. Find a way to incentivize and immunize big risk-taking for them. Sometimes they are just going to have to do it. It is not something that you should ever blatantly confront your agent about, as they will protest that they're working for YOU. However, understand that their business is keeping themselves in business first and foremost. There will always be this elephant in the room. If it is not, then they are NOT good business-people and you don't want them as your agent! I mean this as no slight against any of my agents - it's just common sense and the straight facts. As I always urge to singers, keep in mind what your goals are, and make sure that everyone on your 'team' has those in mind, as well. Realizing the number one goal on your agents' list is not necessarily what everyone says it is (i.e. you and only developing your career!) is a first step. You are going to have to balance this inherent conflict of interests in your favor your entire career, and make sure your needs are being satisfied. Sounds like an intimate relationship, doesn't it?
Like an intimate partner, they need to know that they are appreciated and when they have done a good job, as well! They are people, too! Positive reinforcement is a great way of building up confidence in your business relationship. Find out what your agent does best, and get them to do that. (If everyone's impressed with them on the phone, tell them that and get them to CALL people on your behalf as a result. Ditto if they're great in person...) Most agents are competitive in some way, so giving them incentives to do more for you is always great. I make sure and pass on all positive feedback I get from venues and casting people about my agents back to my agents themselves. They need to know that certain people like them. It's not just good for their egos; it's great for them to know who really likes them enough to comment on it. It helps them build relationships.
My agents do a hundred other things. They arrange travel, tickets and accommodations, tell me dates of shows, first rehearsals, settle date conflicts or back-and-forth stuff between one gig and another, and other "business" matters. I can just come in and sing, and not worry about the "mundane".
I don't have a contract with my world manager; we have a handshake. It makes sense to me -- if one of us doesn't want to work for the other, why should we be held to a contract? As long as we get along, and we do, then great. If either of us wants out, we take for granted that we will finish work and commissions on contracts already underway. I've heard horror stories about people stuck in contracts, and unable to get a new agent to work for them, and having their old agent sit on contracts until their agent's contract is up. My US agent has a contract, because it's required by law, but they are fair. I pay them a percentage and "Basta!" There's no nickel-and-diming for every Xerox they make in my favor.
But even a great manager needs to be well-managed by the artist. I try to stay on top of what materials are being sent out and who they're following up on, etc. This can be a full-time job. My ideal would entail being kept up to date on everything my agent is doing on my behalf - get cc's of faxes and emails, and hear at least what phone calls have been made on my behalf. Your agent needs to spend time daily on you. If not, he/she is not earning his keep. There is always one more person who can be called on your behalf. Send them a list of things you would like to get done, people you want them to talk to on your behalf, and then hold them accountable to the list - see which they have accomplished. Try to see if your agent is sending out semi-blind emails or faxes (unspecific requests with no deadline to get back to them) without following up, such as "Laura Claycomb would love to audition for your house sometime...." You need specifics - get your agent to find out the exact scheduling of an opera house for the next few years, tell you what they're doing and when, and tell your agent for which roles you would like to be put forward. Give them ideas, and do your own research. Keep your ears open. Give it to them in writing, so they can look back over it and make sure they get it done - email or fax. Some agents are going to do only as much as is required from them, so make sure you require your share, and hold them to it. They will do as little as possible for the biggest return. It is in their best interests but not necessarily yours! Make sure your agent comes to see you in important roles, and stays up to date with what you can do currently in this way.
I don't think I would be having the career I'm having if it weren't for my current agent starting me off. I've had many engagements because of cancellations, and people basically take me as a fill-in, sight unseen. Of course, it's up to me to be a quick study, be prepared, and do a good job so I'll get hired back in my own right. Most of the time, those who hire me have heard of my work or seen me in a show, but they hadn't necessarily thought of me first thing for that role, before they'd called my agent.
If you are ready to work seriously, a manager is absolutely necessary. There are those in the opera world who wouldn't recognize talent if it bit them on the nose. It's up to agents to give singers the "credibility" these people can recognize. Without an agent in New York, you could be Maria Callas and there are some who would say at auditions, "Well, she doesn't have a sound technique; I don't know what sort of rep to put her in...." Once someone else has issued his stamp of approval, other people say, "Oh, she's wonderful, isn't she?"
The thing singers forget in all this tumble to "get a manager" is that managers are their emploYEES, not their emploYERS. Some people go into an agency thinking they're going to be best friends with their agent, which is a mistake from the start. It's not chumminess you're paying them for. In fact, an overly-friendly relationship can make it hard to be honest and direct about business matters.
In America, the market is engorged with singers. I'd like to shout to every aspiring singer in New York, "THERE IS MORE TO LIFE THAN WORK IN THE UNITED STATES!"
A career doesn't usually just "happen" because you have talent. This is a career, and a business, regrettably. But that's a fact. Talent will get you only halfway in the door if you lack the drive and preparedness to tackle this career. A good agent can start the ball rolling for you, and can give you the practical endorsement in professional situations that your self-confidence alone can't begin to achieve. But "getting discovered" by an agent does not mean that the road is now paved with gold for you. Neither does getting one big job mean that your "career is made;" your career is always going to be growing and changing, and there will (hopefully) always remain a new goal and a new challenge. Getting an agent is not the be-all and end-all of a career: it's what you accomplish with that agent that makes a career. And it's up to each singer to be shrewd and assertive with his agent to accomplish what he wants with his career and artistry. It's the singer's responsability to know those goals and give the agent enough information and push to get them done. Having all your ducks in a row business-wise makes it easier to accomplish those artistic goals that are the reason you started singing in the first place.
There's always the question of "should I go with a big agency or a small one, a new or old one?..." Nobody knows the answer but you. You want someone who has good contacts in the places you want to work. Good contacts means that they take this person seriously, not that they just like him.... Hard to find out, but usually it's best to talk to people on said agents' roster to see if they're happy with them. Some people want the moon on a plate from their agent, so take complaints with a grain of salt.
See how many singers of your fach, level, age, they have - it could be good to have a few people "a few steps ahead" of you, or even some big names - you might get jobs they can't do, and lots of requests will come through the office. But a ton of people in your same situation and voice type is only going to become an internal competition. Big agencies (such as Columbia Artists - CAMI; ICM; IMG; Breslin; Trawick; etc...) have a certain clout that comes with having big rosters with some very big names on them, but a young artist can get lost in the shuffle. Big agencies always have a lot of people calling them, and not everyone is free for the time period involved - they could put YOU forward, instead! But since they're big and well-established, it's very difficult to enter on their rosters. They really do not want to add to their rosters, most of the time.
I've always thought it'd be nice for a young artist to start up with someone who's been assisting one of the agents in a large agency who is finally starting a roster of his/her own (thus he/she know the ropes and the personel at opera companies). It's hard to know about this except by word of mouth. Ask your friends who have agents. It's usually the assistants that do all the legwork, and who eventually "graduate" up to being an agent in their own right.
When looking for an agent, be prepared to spend some money on it. Be prepared to buy an agent two tickets to an opera or concert you're in; it's an investment. He/she does NOT want to come alone, and is more likely to show up if you invite him/her AND a friend. That way, if they find your show tedious, at least they'll have each other's company! Include this two-ticket invitation with your "marketing packet" - headshot(s), resume, reviews, repertoire, cover letter and maybe even a sample cd. A cd is more expensive than making tapes, but a hundred times more professional-looking. Don't forget to talk to the publicity department when you work in an opera somewhere, and see if you can get copies of the pictures of productions you're in. There's almost always someone who takes pictures for publicity during the dress rehearsal, and sometimes you can buy copies. It's nice to include in your marketing packet, pictures of you in costume, in action - - it reminds people that you ARE a professional and CAN work!
Small or new agencies can love you and believe in you all they want, but if they have no contacts and nobody takes them seriously, what's the point? Some small rosters are that way because they want it that way (Colbert, for example.) In order to keep quality of work high, they don't want any more people. But remember you just need to get your foot in the door to audition for people. Some people get a young/small agent to begin with, and then eventually outgrow the contacts this person has, and move on. I'm a bit ambivalent about this, since on one hand, it seems cruel to leave someone who started you out and believed in you when no one else did; but if they can't grow in step with what you need, it probably is time to move on. Misplaced loyalty to a bad business deal is plain stupid. Getting too emotionally involved or too intimately involved with your agent is not a good idea; it is the business that you want them to look after, not your emotional health. And you should not have to worry about how your business actions affect your agent emotionally. I have heard time and time again "oh, he's not doing anything for me, but he's such a good friend, it'd break his heart if I leave..." Well, he's not a very good friend if he's holding you back because of his inefficiency or stupidity. Someone can have all the will to do good things, but not the ability. It doesn't keep them from being a good person, but does not necessarily make a good agent.
When looking for an agent, first ask around if friends of yours have an agent. Ask them what they like/dislike about them, what kind of auditions and jobs they're up for, etc. If you are lucky enough to get jobs without an agent, and others in your cast have agents, for pete's sake, ask them about them, and if their agents are coming to the shows!! If you are interested, send the agent your materials long before opening night, mentioning that you're in the show with their artist, and you'd love for them to hear you, you'd like to meet them, etc.... Sometimes your colleagues will mention you themselves to their agent or introduce you after the show. I've always heard and noticed that for some reason it's easier to get a new agent once you have one - I guess it's the power of "oh - somebody else wants him, he must be good..." thinking.
In the meantime, know what roles you'd like to do (in 2 years, in 5 years, in 10 years); find out with WHOM you'd like to work, director and conductor-wise (by word of mouth, listening to recordings, going to concerts!, reading articles, etc...) and what theaters do the kind of work you'd like to do. For example, lots of houses do a lot of "stir-fry opera" as I call it - less than two weeks rehearsals, everyone comes in and does their regular schtick, you glue it all together and voilą: chop suey and a fat paycheck for a short period of time. It's financially satisfying, but you learn nothing except maybe some patience, and it's not going to be the world's greatest artistic endeavor. Check how long rehearsal periods are, if the theatre does a lot of NEW productions, and if it uses a lot of different and interesting conductors and directors. It's best to avoid some theaters that you KNOW do things that don't interest you. Sounds simple, but some agents just want to get you ANY job to get your name out there. It may be helpful to do just any job, if you need experience; it matters what you think you need!
Be aware of your needs and always keep them in the forefront. You don't necessarily need to unload all this information and lists, etc... that you've compiled on your agent - it's just to let YOU have an idea of what you want, and have it written down for yourself.
In any case, do your homework - don't just get excited that "somebody wants you." Get with an agent that has contacts in the theatres where you want to work. Ask them who they know and where they have good contacts. These are not impertinent questions! Find the agent that fits your needs right now, and who looks toward the future.
In your search for an agent, here are some questions you might want to ask of the agent, to see what he/she says in his/her own words. You may know the answers to some of the questions from your research (I hope you do!) but it is always enlightening to hear what THEY tell you or don't tell you. Tell them to explain to you as if you're really stupid, so that if you don't know something or have preconceived ideas, they can give you the real scoop!
More soon ....
I recommend looking up some of your favorite singers on the following agents' lists, (first association on the list has links to MANY agents...) See who your favorite singers' agent is. See who is the agent of a singer who's "one step up" from your career level. Look at the list of agents on the website. They will never list their artists in a blatant way on their website. However, you can find out how many singers they deal with by doing a search on the agent's name on the website. (Most have a search function.) Remember that sometimes there are two people that work with an artist - one primary and one secondary, so one junior associate may end up with what looks like a HUGE list, but actually is just "assisting" on most of them and has only a small roster of his/her own artists. See who's singing in places you want to sing. Find out who their agents are!
First, find out whom you want to contact at which agency. Do not blindly send a packet in desperation to every agency known to man. I repeat, do N O T send your materials to the general address of an agency and expect to get picked up by them. It's a waste of your money and everyone's time. Find out the SPECIFIC agents at SPECIFIC agencies you want to target. Write each a specific cover letter as to why you are interested in them as an agent. One sentence is fine, like "I have seen the great work you have done for Mr. Whosywhatsit and Ms. Howdydoody's careers, and you were recommended highly by my closest mentor, Mr. Musickmaker." Explain (briefly) why you would be a great match for their roster. "I see that you don't have a lyric coloratura bass on your roster, or that your lyric coloratura bass has now moved into the tenor repertoire. Having just won the prestigious Elmer Flubbergastly Prize and first prize in the Barry Manilow Competition, I am hoping you would be willing to hear me either in performance next week at the Jersey Bath House or in audition..." See if you have any links with that agent's roster. Do you know someone on the roster, or is there a company or a young artist program director who can recommend you? If so, pull in any and all favors and get your friends/mentors, etc... to write them a letter on your behalf. Call the agency and ask if they accept submissions. If you have a recommendation, plug that in the first sentence... "So and so told me to call you..." Many will tell you they are not adding to their roster at this time. That is, unless they find someone very interesting... Since you should already have some work before you find a manager (otherwise, what the heck are they managing?), I think it's a good idea to have a reason to send an agent a promo packet or contact them - and it should be to invite them to a performance, the award ceremony of your big Tucker prize, to your Met finals, etc... Send a cd/dvd, picture, bio, repertoire, reviews, with contact info. and/or website. All of these should be neat, well-done, professional and good-looking. Like YOU!
Only put your BEST pieces on a cd. Really. ONLY high quality recording. If you wouldn't feel good hearing this on the radio, it should not be sent to an agent, "just to give them an idea..." Not something taped when you had a cold to "just give them an idea" or a note along with it saying "well, I know the orchestra sucked and I got a little bit off on bar 10, but we only had 15 minutes of rehearsal..." NO NO NO! If it sounds like it was recorded in the bathtub - NO. If it sounds like your friend smuggled the recorder in and had the mike in his pocket (rustle rustle rustle "Way to go" whispered, etc...) - NO! If you have to turn it WAY up to hear you - NO! No tapes, either. That's so 1992. High quality, or it will go in the garbage can two seconds into playing. It may go there even if it IS high quality, for goodness' sake! Put your best foot forward. Do not send any pictures that are overtly sexual or sexy. Nor too cutesy or cheesey. Agents like personality, but don't need to know right away that you're a total weirdo, thank you very much. If in doubt, tone it down. Check out the following big agencies or surf around on the International Artist Manager site to look at MANY more international agents.