Q&A: Artist Managers Share Insights, Brand Ethos and Unique How-To
Editor’s Note: We’re excited to share this piece with you, which originally came together in early 2022. Given the unique importance of these professionals’ insights, coupled with rescheduled plans to reconfigure and relaunch OI, we knew this piece needed the higher level forum of our new website. We’re ever-grateful to:
Ana De Archuleta, Entrepreneur and Founder of ADA Artist Management
Miguel A. Rodríguez, President and Founder of Athlone Artists, and Co-Founder of Insignia Athlone Artists Management
Rebecca Davis, RDPR Founder
Katrina Thurman Hawkey, ADA Artist Management’s Director of Marketing and Community Engagement.
We appreciate your one-of-kind assistance, patience and professionalism, all of which made this piece possible. JBM
(New York, NY) - Most people with a working knowledge of the business of opera understand how artists are represented by managers, helping them navigate their careers. Or, how getting a manager is a primary goal for most young singers. The concept of a Hollywood-style or rock-and-roll music agent is already culturally imprinted, but when those concepts are extrapolated to opera, it can mean different things. For example, not all managers are alike. Some direct their clients towards opportunities and essentially fill slots if it works out, not too dissimilar from what an employment agency might do, with minimal hands-on involvement or the strategic, high-level guidance provided by a corporate headhunter.
In early 2022, we pitched several, high-caliber opera artist managers who we felt were providing the hands-on professionalism, leadership and strategy necessary to grow artists’ careers in real, tangible terms, as well as powerfully network them, especially during the pandemic. Industry word of mouth, artist and PR friends helped us shape our shortlist. We’ll be honest, we were surprised by how many managers knocked us back, but we’re beyond pleased with the two successful industry leaders who enthusiastically shared their thoughts and expertise, based upon their respective years of experience and innovation. Also, their early 2022 responses not only serve as crisis management case studies, but remain equally impactful and relevant to opera’s present operating environment.
Ana de Archuleta
Ana De Archuleta is a strategic and dynamic arts entrepreneur, quickly establishing herself as one of the most sought-after leaders in the operatic field. Founder of A.D.A. Artist Management, her focus has been to identify exciting new talent, nurturing the careers of the finest performers who excel in a variety of genres and repertoire, from emerging to internationally renowned artists.
Ana’s vast background in the arts has played a major role in her success as an arts and culture leader. Throughout her life she has been involved in many facets of the performing arts as an instrumentalist, dancer, operatic stage manager, assistant director, opera chorister, and an operatic soloist. She is an active business member of Opera America, lending her expertise to many committees and panels. A board member of the new Olga Iglesias Project, helping and promoting the native lyric artists of Puerto Rico, also she is on the Advisory Board of Seagle Festival, and she co-chaired Women’s Opera Network Steering Committee, and was a panelist for the National Endowment of the Arts 2017 Arts Works Opera Grants.
Miguel A. Rodríguez
Miguel A. Rodríguez is the President and Founder of Athlone Artists, and Co-Founder of Insignia Athlone Artists Management. Miguel spent over 20 years leading some of New England’s most acclaimed cultural organizations. Most recently he served as Executive Director of Boston Baroque, America’s oldest period-instrument orchestra. During his six-year tenure he raised the company’s profile by elevating the artistic level of its guest soloists, developed new community outreach initiatives, launched Boston Baroque Radio, and refreshed the image of the organization through innovation, improved branding and social media engagement.
Trained as an opera singer, Miguel studied voice at the University of Michigan with soprano Martha Sheil and tenor George Shirley. His prior experience also includes senior executive positions with Opera Boston, Boston Landmarks Orchestra, Boston Musica Viva and Scullers Jazz Club. In 2007 he was one of a small number of leaders selected by the Massachusetts Cultural Council to participate in the first Executive Leadership Program for Non-Profit Cultural Organizations at Harvard University’s John F. Kennedy School of Government. In 2011 he was one of 20 to be selected nationally to join The 21st Century Fellows Program, a multi-year leadership development program for LGBT people of color.
Please describe your unique positioning or niche in the business of opera marketplace.
ADA: Historically, ADA has represented working singers who are frequently asked back to companies because of their professionalism, collegiality, and high level of artistry. We pride ourselves on being a supportive, innovative community of artists that consistently deliver excellence. Our artists range from young up-and-coming to established international professionals, and we support them in facilitating their professional artistic endeavors while keeping in mind their personal goals.
MAR: When we started in 2019, we knew there were a number of things that would be key to being competitive as a new company. First, we wanted a roster representative of a diverse group of artists. Racially diverse yes – we are proud that our roster looks more and more like the society in which we live – but also diverse in terms of the level of the profession – from emerging artists to mid-level to the later part of careers – and of styles of singing from early music specialists, to contemporary musical muses – to those who excel in the operatic canon from all eras. Finally, because it is opera – which wouldn’t happen without conductors and stage directors – I wanted the roster to include artists at the highest levels in those fields as well.
The next key had to do with digital content, making sure it was robust and relevant for each artist we represent. The point of entry for learning about artists is through a website, so we knew ours had to represent the brand and the artists on an elevated platform with images, video and written materials of consistent quality and accessibility.
As a manager, I bring experience from three sides of the table. As a professional singer of many years, I am able to relate to singers and know what is unique about them, and I know the repertoire. As a student of Phyllis Curtin – whose wisdom evidenced in countless masterclasses is baked into me – I can help coach singers on the technical side of voice production as well as interpretation. As an artistic administrator, I booked artists and produced countless operas, oratorios and recordings, so I know both the musical and non-musical skill sets a performer needs to be successful in their engagements.
Given how the arts have been impacted since the pandemic arrived, how do you remain a competitive and sustainable business?
ADA: A Shuttered Venue Operating Grant allowed ADA to expand our staff, adding new team members who will concentrate their efforts on broadening our reach in Europe and the concert realm. We have also used this opportunity to rebrand, building a new website which highlights not only the artistry of our roster members, but also their individuality and passions. Our compassion for our artists, who have had their lives upended due to the pandemic and maintaining the core values and business practices we have worked so hard to cultivate, built on loyalty and trust, continue to be at the heart of what we do.
MAR: Survival during the pandemic was all about the pivot to the non-traditional and digital performance experience. Our singers have taken part in works that were produced specifically for the screen by companies around the world. This was a whole new way of performing, but we helped our artists adapt from performing for a live audience to the camera with regular masterclasses from the stage directors on our roster who helped the musicians use the first months of the shutdown to grow artistically. The level of artistic achievement despite the pandemic cancelations has been remarkable to witness.
We kept artists working through a period when the stages were closed to make sure they were performing and staying engaged. We also shifted focus to the European market when the US was not yet presenting opera in theaters, remaining aware of global trends and changes in the industry and focusing on where the market was inching back to performing live again. Where were theaters opening, where were they not? We had to remain nimble that way to be sure our artists were positioned for any opportunities that came available. For example, three of our artists joined Shakespeare Concert Projects in Bulgaria for the world premiere and studio recording of Joseph Summer’s new opera Hamlet. Although the US was mostly closed during the pandemic, this new work was able to premiere in Europe while they were still operational.
How does your unique business philosophy/ethos/approach benefit both your artists and your clients?
ADA: We consider ourselves advocates/connectors/catalysts rather than just agents, so the work we do is for the betterment of the whole form not just our bottom line. Our emphasis on trust, loyalty, communication and transparency is extended to our artists and to our producing clients – producers know they can trust us to make the best decision for their show, leading them to want to approach us with more needs, and leading them to trust our recommendations more. Artists understand that their worth as humans comes first and that we will not put them up for something they aren’t ready for or for something they can’t handle personally.
MAR: I like to work with artists who are uncomplicated. I only want to work with nice people. This sounds so simple, but this core value benefits us, our artists and clients because we all share values about professional work ethic, amiability, and responsiveness that clients appreciate. Artistic administrators know that we have nice people to work with, simple as that, and we hope that means they will always trust that hiring one of our artists means they will have not only a fantastic musician or director, but also someone who will be a joy to work with.
We also value having artists specializing in multiple genres of music represented on the roster. From my time at early music institutions, I know what they are looking for when programming Handel, Bach or Monteverdi. Our roster has several artists who specialize in early music and are leaders in the field. We also have artists fluent in contemporary music, who are quick studies on new scores by living composers. Finally, versatile artists who can perform anything from the chestnuts of the operatic canon to baroque or contemporary music are always in demand.
I am an unapologetic extrovert and in the three short years of Athlone’s existence (two of them in a pandemic), I have learned the value of being a proactive networker; building and sustaining relationships is part of what I like to do. This has helped me forge relationships with artistic administrators and allowed me determine how our artists might fit well into season plans.
Based on your experience, please share your SWOT analysis for artist management firms in 2022 and beyond
ADA:
Strengths: ADA Artist Management has established itself as a leader in the music industry by being an artist-led and artist-focused firm. We are proud to represent a versatile and well-respected roster of opera artists, both emerging and seasoned professionals. Respect for artists and clients, transparency, and inclusivity are just a few of the core values that guide us as we work to bring opera into the next generation. In addition, we have recently launched a new website, expanded the size of our team, and continue to have a very strong social media following.
Weaknesses: Difficulty forecasting our revenue because of the shifting nature of the post-COVID arts landscape, and the physical distance between team members working primarily from home is also an added challenge.
Opportunities: Growth in Europe, growth in concert repertoire, the potential addition of new artists who are carefully selected for fit and potential as we move forward out of the pandemic, and expansion of our digital presence both in terms of programming and our new website.
Threats: The unpredictable landscape of the performing arts post-COVID. It is highly unpredictable for our artists, our clients, and our firm. Many artists are traumatized, and some are leaving the business.
MAR:
Regarding small to medium management firms:
Strengths: a close and supportive network of colleagues, not competitors. The industry is tight-knit and works well together. We also have a deep bench of managers with solid knowledge of the field and repertoire.
Weaknesses: Decreasing artists fees due to post pandemic economic downturn. There are still concerns that audiences may take another year before returning to the theatres at pre-pandemic levels.
Opportunities: collaborations, consolidations. Creating pipelines for managers of color and for more diverse artists.
Threats: Attrition of performance opportunities. Concern about audiences coming back to pre-pandemic levels. The threat of a reduction in performance fees and number of productions presented each season is a concern for ourselves and our artists.
Regardging Athlone:
Strengths: High artistic level, a small enough shop that we are flexible and nimble. Deep experience in the field, diversity of roster (styles of music and racial and gender diversity). A strong brand and a focus on Public Relations.
Weaknesses: Having launched the agency just a year before the pandemic, we are still young and developing our reputation. We are still building our presence in the European market.
Opportunities: In addition to growing our reach in the European and Asian markets, Athlone is also developing a series chamber music offerings created in collaboration with our brilliant artists. Of course, as we are still young, we see boundless opportunities ahead for institutional and artistic growth as well as mergers and acquisitions.
Threats: The pandemic and its effect on the performing arts remains a principle threat as does the possibility of future pandemics and general uncertainty about the market.
Our sincere thanks to all parties. And if you’re seeking new management, perhaps consider a chat with ADA or Athlone/Insignia Athlone in the New Year!