Management style: how to put yourself out there.

I have belonged for more than twenty-five years to that little-understood species known as opera managers. I realized just how murky our work is to the outside world when a close friend once said to me, "But, aside from going to a lot of performances and taking people to lunch, what exactly do you do?"

This might be a good place to clarify the difference between a manager and an agent, two terms often used interchangeably, sometimes even by myself. The latter, more common in Europe than in the U.S., has a more defined, focused job--that of securing engagements and "negotiating" contracts for clients. Of course, this is the primary goal of a manager as well, but we may also wear other hats, including those of publicist, travel agent or therapist, and can help a singer develop a long-term career plan.

When is it appropriate for a young singer to pursue management? There is definitely a point where it is too early. Many performers don't realize how much of a foundation they can lay before joining forces with an agent. With the emergence over the past couple of decades of various types of young-artist programs or apprenticeships, a singer has many opportunities to explore. The majority of these programs schedule open auditions through applications, so they are very accessible without an intermediary. And since the financial terms are fixed for each program, no negotiation is required. However, once in one of these programs, an artist is in an excellent position to be noticed by managers keeping an eye on emerging talent. As we travel around the country to hear our own clients, opera companies are diligent in asking us to hear their young artists audition, and we are happy to comply. Many of these programs offer a wide range of performing opportunities, as well as the chance to work with quality coaches, directors, conductors, administrators and visiting big-name singers in master classes. If the singer has been given such opportunities, worked hard and taken advantage of them, he will be that much more interesting and valuable to the potential manager. But the singer should be careful not to go from one program to another, becoming a "professional young artist."

Eventually, it will be time to enter the real world. When considering which manager to approach, do your research, look at the lists of artists, the number, the different career levels he or she handles. And here's one very important tip--no manager will be able to hear an audition by all the singers who approach him. So help your press kit (photo, biography, reviews, repertoire list) stand out by finding as many links to that manager as possible. Have you worked with colleagues on her list? Do you have a conductor or director friend in common? Did you once date his cousin? Be tastefully shameless, and break through as many degrees of separation as possible. I still recommend sending your material by mail. There is nothing wrong with e-mail, ...