News & Views


Audition OracleThu 23 Nov 2023 @ 16:23

You have approximately 10 seconds to make the cut!

Opera companies receive vast numbers of CVs for a very limited amount of audition slots. Make sure your most relevant credits are easily visible. In the UK & many other countries, a one-page CV is often all you need. Spreading your CV over 2, 3 or 4 pages risks employers missing out on your best work.


Name, voice type, contact details and visas (if required)
Image showing what to include at the top of CV


Show us where to see and hear your best work.
  • Upload to Vimeo, YouTube, Soundcloud or similar
  • Videos - the eyes are so important to communication, so make sure they are visible, and open
  • Take down old videos/recordings that no longer serve you
  • Avoid over-processed demos
  • Listen back. Make friends with your voice


Your photo is an important memory aid for the panel. 
  • Make sure it’s an honest representation of you
  • Again, it’s all in the eyes
  • Keep it simple – elegant clothing, no props and scenery
  • Avoid the overly glamorous, stylised and processed
  • Cropped to head and shoulders


  • Display role, work, company, director, conductor, and year.
  • Use tables to display your credits in tidy columns
  • Include the composer if the work is less well-known or is new
  • Does your experience make sense?
  • Are noticeable gaps briefly explained?
  • Is the experience included relevant?
 Future experience


Research the company as you may have other relevant experience to include. 
Include any relevant experience


Award, organisation, year


Award, Course, Organisation and Year




Include relevant skills


  • Spell-check
  • Format check
  • Information check
  • Does it all fit comfortably on one page? Allow yourself two sides only if necessary
  • Give the file a helpful name; name, voice type, date
  • And finally, save your CV as a PDF file

Portfolio career is a term we hear all the time now. Tailor CVs to your different work strands, only combining them when appropriate to the opportunity. Now you're all prepped with your elegant, clear and concise CV, visit the Audition Oracle auditions page and search all the latest opera auditions, masterclasses, training opportunities, young and emerging artist programmes and so much more.


Nina Brazier discusses working in Germany – Audition Oracle at OperaWorks.

Audition OracleThu 9 Nov 2023 @ 14:57

Nina Brazier
Photo credit: Frances Marshall
We were delighted to attend Nina Brazier’s enlightening talk about Working in Germany at Opera Prelude’s annual conference and professional development day, OperaWorks. Nina is a Staff Director at Oper Frankfurt where she will direct Mozart’s Ascanio in Alba in the 23/24 season, with other venue credits including Kings Place London, 92nd St Y New York, Royal Festival Hall, Berlin Konzerthaus, MuTh Vienna, Ryedale Festival Opera, Tête à Tête: The Opera Festival, and so the list goes on. Nina is also the Curator and Host of OperaVision’s Next Generation podcast

1/3 of the world’s opera is produced in Germany

It was the lack of opportunities in the UK that prompted Nina’s (pre-Brexit) move to Germany, and reading in an article in The New York Times article noting that 1/3 of the world’s opera is produced in Germany. The first and perhaps most obvious challenge of such a move is the language, however, before leaving Nina completed two beginner courses at the Goethe Institute in London (A1.1 and A1.2), and advises that German courses are often cheaper here in England, than once you arrive in Germany. She advises that the more you can do beforehand, the better. A good starting point is to learn to introduce yourself and your audition arias in German. B1 is a great starting point for anyone pursuing a backstage job, however, singers can start with a lower level of German and improve on the job. 

Differences between working in opera in the United Kingdom and Germany

Nina advises there are many differences between working in England and Germany. Perhaps the largest difference is that opera is more heavily state-funded in Germany and an enormous part of their cultural landscape. Nina recalls finding the German attitude to opera so refreshing and appreciative! But before you have got the work itself, it is all about auditioning. Nina advises to try and organise an audition tour if your budget allows, calling agents and letting them know that you are available either to sing for them, or to have a meeting. In German auditions, the panel will of course be interested in your voice, language and performance, but unexpectedly they will also be interested in the practicalities of you undertaking the position. “How do you intend to make it work?” “Will you be taking an apartment in the city?” and/or “Will you be commuting?” are all questions you can expect to be asked. She also advises to consider looking at smaller houses; it is certainly possible for singers to start off in smaller houses and to work their way up to a B or an A house. 

An observership or internship as a route into directing opera

Nina’s first job in Germany was as a ‘Hospitantin’, which is an unpaid observership or internship. These are quite common in Germany as there are many German houses and plenty of work to do. She advises you will be busy even in an unpaid position, and it was undertaking this role that directly led to her job at Oper Frankfurt. When you have secured a role in Germany, there are a few elements of the production which you can expect to be different. Whilst a revival in the UK might be assigned three weeks, in Germany they will take as little as eight days and two weeks at most. Following from this, costumes and props will come later in the process than in the UK, so a singer will need to adapt to a wig or an original prop much quicker as there will be less time to rehearse with it in situ, and technical elements of the set are often ready later than one might expect. Also, when rehearsing, there is a period of at least four hours of silent time (‘Ruhezeit’) between the rehearsals, so you may find yourself living on a very different time frame to if you were doing the same role in England. It is perhaps this unique time frame that makes the opera house become your working life as well as your social life, but (with a positive spin) the opera house and your colleagues will become like a second family. 


Speaking of family, another practical and big difference between the UK and Germany is when it comes to childcare, (‘Kinderbetreuung’), which is for the most part state-funded in Germany, therefore much cheaper and more financially feasible than in the UK, particularly in comparison to London.

Young Artists Programmes

Nina imparted some specific advice tailored to those considering Young Artist Programmes in Germany, and notes that large international competitions can be a good way to be heard, as well as the formal application process. Young Artists and Ensemble members are often asked to ‘Einspringen’ which we would refer to as a jump-in, especially if you have sung a role before. Nina advises you to think carefully before accepting the challenge, and to communicate your abilities and any needs concisely and clearly. 


Of course, one of the largest talking points was Brexit, however, Nina would argue that Oper Frankfurt is no less willing to employ Brits than it was pre-Brexit, and therefore Brits should not feel discouraged. Brits are now required to do what American citizens have faced this entire time, and there are many US citizens working in Germany, so there is proof it is possible. However, if you do have access to an EU passport, then Nina urges you to get it, as it will make the process much simpler. For those who unfortunately aren’t entitled to an EU passport, learn the 90/180-day rule and make sure to count your days. There are also options for a Visa which allows you to look for work for 6 months once your contract is at an end, or as a new jobseeker with specific vocational qualifications.
Audition Oracle is a great place to find out about singing jobs in Germany, simply register your free basic account and click ‘Auditions’ at the top of the page, filter by country and start searching. Looking for off-stage opportunities? Another great resource more on the theatre and musicals side is


“Your biggest audition is the last job that you did” – Audition Oracle at OperaWorks

Audition OracleFri 3 Nov 2023 @ 15:46

Your biggest audition

“Your biggest audition is the last job that you did” – Audition Oracle at OperaWorks

Working with seasonal, smaller opera companies - Bill Bankes-Jones and Guy Verrall-Withers

On Tuesday 24th October, Audition Oracle attended OperaWorks at Chelsea Theatre in London, a conference and professional development day created by Opera Prelude for emerging young artists. Guy Verrall-Withers, Artistic Director & CEO of Waterperry Opera Festival co-hosted a seminar with Bill Bankes-Jones, Artistic Director of Tête à Tête discussing smaller seasonal opera companies and how they provide early career singers with opportunities to grow and learn, as well as some do’s and don’ts to help emerging artists embark on a successful and fulfilling career.


Waterperry Opera Festival

Waterperry Opera Festival is located in Oxfordshire and, deliberately, is active in August, traditionally the dead time in the opera industry where most performances pause. The panel explained that it is no secret that a career as a singer is difficult and most cannot expect a career where they are working all the time, however, they both advised to consider and plan for a portfolio career, for which seasonal opportunities (especially those which don't clash with other festivals) work perfectly!

However, having a varied portfolio career needs research! “Every company you work with will offer you a different type of opportunity” explains Guy, and each company will be looking for a different specification, for instance, smaller companies might be more attracted to a more diverse CV with more unusual skills, for instance, circus skills, dance abilities, clowning, stage combat. Guy continues to explain that in his audition process, “I am looking for the best person for each project, rather than just the best singer out there!” Do your research and make sure you know what the company is aiming to achieve when you audition, it is not just about having a superb voice, “Just Google the company!” says Guy. And likewise, Guy urges the audience to make sure their online presence reflects who they are, as companies do Google singers too. If you don’t have a website, it is likely that the searcher will resort to social media, so make sure both reflect who you are and be careful about what you say

Best person for the job!


Tête à Tête

Tête à Tête is an opera company based in Cornwall but operating in North Tyneside, London and online as well as Cornwall. Committed to new operas and creating work, Tête à Tête has premiered over 100 operas and helped others in the creation of their works (almost 600 of them) in the annual Tête à Tête: The Opera Festival. Not only that but Tête à Tête also hosts the largest archive of new operas in the world, which are available to watch online, free of charge! Bill Bankes-Jones, Artistic Director of Tête à Tête, talks about the importance of knowing your market, not only knowing what you like and what suits you, but then presenting the right image to the right person. Don’t sing a Verdi aria in an audition for a new opera, whilst it might be fantastic and wonderfully sung, it doesn’t show any interest or commitment to new works, or the ability to handle the musical challenges that often come with new works. However, only by experimenting and trying new ways and methods of creating opera will you find out what suits you, and Bill advises in your formative years to simply “try everything you can.”

Know your market


It takes a lot to be a successful singer

The panel empathise with emerging singers, finding work isn’t easy, and we all know that determination and resilience are key components to be a successful singer, alongside the actual singing. However, the best advice for finding work was getting re-employed and sustaining those connections you have already forged. Bill states, “Your biggest audition is the last job that you did. Did you turn up on time? Were you well prepared?” Being a good colleague, organised, kind etc. has been a constant theme of all of today’s discussion and Guy reiterates the importance of a good reputation, I will speak to those people who run companies that are present on your CV and ask what you were like, and if that answer is negative, it is likely that will be enough information to give the opportunity to another person. 

It takes a lot to be a successful singer, and there is a huge amount of empathy for just how demanding it is. It can feel an enormous amount to take in and be constantly focussing on, however, Bill summarised and condensed it beautifully, by stating “pay attention! And be hungry to be a better artist.”


Audition Oracle Celebrates 10 Years

Audition OracleSat 1 Jul 2023 @ 15:46

Audition Oracle Celebrates 10 Years 

This July marks the ten-year anniversary of the founding of Audition Oracle, a digital platform which helps pair singers and artists with auditions, opportunities and industry professionals. In celebration of this milestone, we are reflecting on Audition Oracle’s journey and how it has helped shape the performing arts community.


Celebrating 10 years of Audition Oracle

Where it all began:

Ten years ago, singer Melanie Lodge identified a crucial gap in the classical music and opera industries, that there was no one place to find out about auditions and opportunities. The journey to becoming a musician is notoriously difficult and Melanie felt compelled to bring her vision to life and revolutionise the industry, and it was here that Audition Oracle was born, inspired by her own career and observing the struggle of her fellow singing colleagues. On 3rd July 2013, the original website was released, social media accounts followed on the 4th July and the first bulletin was triggered on 8th July. Quickly Audition Oracle established itself as the market leader in its field and a precious resource to both singers and opera companies. 

Audition Oracle, since its inception, has constantly evolved and morphed to maintain its position at the forefront of the industry, leveraging technology to transform access to audition information for performers across the globe. 

By Voice Alone:

2019 also saw the creation of the vocal competition, By Voice Alone. This revolutionary competition was created with the aim of removing unconscious bias from castings and the audition process in the industry. Participants encountered a completely blind first-round audition, with no CVs, experience criteria or names. Over 400 participants auditioned with 28 going through to the semifinal and 7 through to the final at King’s Place. Since By Voice Alone, we have seen some of the leading opera companies in the UK influenced by its ethos and introducing blind first-round auditions, including the Royal Opera House.  

A word from the founder of Audition Oracle and By Voice Alone:

Looking back at the last ten years Melanie commented: ‘It has been such a pleasure to watch so many artists grow their careers with the help of the information and opportunities provided on Audition Oracle. At Audition Oracle we like a personal touch and keep in contact with many singers and opera companies, and we are constantly listening to ensure that Audition Oracle remains as helpful as possible in creating a successful industry. There is so much talent out there and we love supporting it.’

The longevity of Audition Oracle can be attributed to its commitment to innovation and adaptability. Over the past decade, the platform has consistently evolved to meet the changing needs of the performing arts industry. It has incorporated user feedback, introduced new features, and embraced advancements in technology, ensuring that it remains a cutting-edge platform for auditions.

Looking Ahead:

As Audition Oracle enters its second decade, its influence on the performing arts industry is set to grow even further. With advancements in artificial intelligence, and machine learning, the platform has endless potential. Additionally, Audition Oracle's commitment to inclusivity ensures that it remains a vital tool in promoting equal opportunities for all artists.


Interview with Artist Manager Steve Phillips – ‘Give yourself time…’

Audition OracleTue 14 Feb 2023 @ 8:18

‘Give yourself time…if you’re happy in yourself, you will be a better artist!’

Steve Phillips - Artist Manager

Hello Steve! Thank you for agreeing to this interview, we are delighted to be chatting with you. Would you kick off by telling us a little bit about your background as it isn’t the usual pathway to artist management?

No, not at all usual! I haven’t been to agent school! 

I worked in television and radio for most of my twenties but had always sung and wanted to explore the idea of taking it up professionally. So, I trained at the RSAMD (Royal Conservatoire of Scotland as it is now) and sang for various companies afterwards. I think it was a Raymond Gubbay contract when we first met.


Yes, I think we met on Aida. 

It was indeed Aida, in 2012. I was in my early thirties and doing extra chorus contracts for Scottish Opera and Garsington too. My husband is a tenor and we did lots of contracts together, but it became clear there might be another way to make a career in opera…without being a singer. Ironically, it was in the dressing room at the Royal Albert Hall, doing that Aida, when I saw the job advertised for Chorus Manager at Opera North. I was offered that job and stayed in post for five years, spending two and a half years on the Senior Management Team and meeting colleagues at the other national companies. I then went on a management training course with Opera Europa in Peralada, Spain, which was a real highlight. I stayed at Opera North for three years afterwards looking after small-scale projects, a foreign tour to Ravenna and, latterly, in the casting department. These roles gave a breadth of experience in how an opera company functions, and I combined this with running Oxenfoord International Summer school and relaunching the Leeds Lieder Young Artists programme. It’s fair to say I came across a lot of singers and started thinking I’d quite like to be an agent. But… I hadn’t been to agent school! 

I decided to leave Opera North and went into company management at The Grange Festival, delivering their 2019 season and preparing for 2020. Then, of course, IT happened… and very suddenly the entire industry shut down. During the 15 months of lockdowns, I was fortunate to be asked to look after the Welsh National Opera Chorus and fixing choristers for Opera Rara’s recordings and concerts. Around this time, I revisited the idea of becoming an agent so I could help freelance singers more directly. Covid was awful when it happened, however, had it not happened I might not have decided to go for it. Or perhaps I would. Who knows?!


Fantastic, and I think there are a lot of singers who will be pleased that you have made the jump. Especially as you have the understanding of having gone through the career yourself. With that in mind, you know what it is like to be a singer hungry for opportunities. How best can singers approach agents, without being hassling? 

That’s an interesting question and I’d suggest the same principles apply to how singers approach professional contacts more generally.

The first thing to acknowledge is that it’s easy to feel ignored if you haven’t had a reply to an email, though It’s worth remembering that agencies and casting departments are enormously busy, and it could simply be that your email has slipped down the pile. Just think how many singers are contacting companies for N/A’s, auditions, asking for feedback, sending updated materials etc. This is alongside administration to run the department, planning future repertoire, holding auditions, creating rehearsal/performance schedules, facilitating touring periods and seeing singers in performance elsewhere. So, my advice would be not to take things personally. I’m not saying it’s right not to receive a reply, but it’s the sort of unintentional thing that can slip between the cracks unfortunately.

You can help yourself a little, however, and I’d suggest that brevity is key when writing to an agent or company. You might spend time crafting an email with long paragraphs, really taking the reader on a journey; but with up to 130 emails received each day, it’s possible they might think: ‘I can’t read that right away, I’ll leave it until later’. And then your email doesn’t get read at all. Brevity is important and gives the best chance of your email being scanned in the moment. All you need to say is this is me; this is where I’m at, these are my updated materials, and I would love an opportunity to sing for you. That’s it!

Make sure you’ve spent time formatting your CV so that it can be scanned at a glance. For instance, think about using columns, ordering by most recent date, formatting roles in bold etc. There are many choices you can make regarding headings, what you put at the top of the page, how different elements are aligned etc. Just be consistent and give most prominence to what you want the reader to know most about you. Check for spelling and accuracy too, particularly with roles and repertoire in foreign languages.


As agents you handle biographies, therefore do you like to see a biography on a CV?

I like a CV that I can scan, but which also has the necessary breadth of detail if I need to know more. I therefore don’t mind two pages, although some competitions and young artist programmes do ask for a one-page version. I find two-page CVs allow you to make choices about what to give most prominence to on page one (i.e. roles/performing experience) and then what goes on page two for context (i.e. education/masterclasses/languages). You can also space sections out and show a broader range of experience more clearly. Don’t forget to include your photo, contact details, voice type etc at the top of the first page too.

To answer your question, I do like a small biography paragraph just below the photo because it is a rare opportunity for the singer set the narrative. Perhaps you’ve changed voice types or had a career break, or have had children, whatever it is, you can set it up in those couple of sentences. It’s not a biography and should be kept short, maybe three sentences: what you’re most proud of, what you’re doing now, and what’s coming up.

Save your CV as a PDF to ensure that careful formatting remains consistent on any device. You could also embed a direct link to your website or media page where you have videos. If there’s a video that you’re particularly proud of, send a direct link to it in the body of your covering email too. As a casting assistant, I might be listening to twenty or thirty singers before my next casting meeting, so make it as easy for as possible to get to that content. And, if you can, delete any old footage you’re not happy with online; managing your digital exhaust is so important. 

What do you look for in videos or sounds files? And do you have any tips? 

I would advise having recent video recordings, showing the best of where you’re at vocally now. Single takes replicate the audition experience as closely as possible, but this may not be possible when singing longer arias with extended recitative/cabaletta sections. You should probably refresh your materials every two years, and this might give a reason to reach out to an agent or company (i.e., ‘please find attached some recent recordings’). However, I wouldn’t ask for feedback. It’s a huge time commitment to actively listen and provide meaningful first thoughts. That is something I would do with my artists, but I couldn’t commit to it more generally. Videos are being used more and more to initially scope out singers to hear in audition – so take the time to get this right. It is tax deductible and is worth the investment.


It’s also become so much cheaper to make these recordings now. 

Yes, Jan Capiński is good ( He provides great end results and good value for money with his drop-in service where the equipment, piano, venue, pianist etc are included.


Ah yes. Lovely Jan Capiński. The National Opera Studio also recently offered recording sessions for £125 which is great value. 

Yes exactly, and Jan is £130. So, you could essentially record two or three arias for £130, which is brilliant, or you could also do it yourself with a zoom recorder. If you do, just make sure you understand the settings to make the balance as good as it can be for your voice in that acoustic. Make sure your face, eyes and gestures are clear too.

Hearing someone live is still important, as you can’t judge scale of voice from a recording. When making first contact with an agent or company, as well as attaching your up-to-date CV and videos, you might also invite them to an upcoming performance. If you’re singing Fox in The Cunning Little Vixen at Jackson’s Lane Theatre, then invite them. If free, they might come and watch. You might look at the agent’s roster too. If you happen to be in the same production as one of their artists, then that’s a nice connection and an easy introduction. 

In this instance, would you expect to be offered a ticket or to buy your own? 

I would never expect a free ticket. If I knew the company I would likely phone ahead to see if I could get in, but if I really wanted to see the performance then I would pay (probably looking at the cast list first to see who’s singing). However, if it’s a completely cold email and you’re trying to build a relationship with an agent then you should offer to organise a ticket, as that makes it as easy as possible for them to say yes. They would still need to travel each way, which is both time and expenditure, so the offer of a comp goes a long way. 


Yes, if all goes well, you will have a long close relationship. 

Exactly! You need to be able to pick up the phone to your agent when you’re at your lowest and to have mutual trust to talk things through. For me that personal contact is crucial, and I would advise singers not to accept the first agent's offer received, certainly not straight away. It’s worth meeting up to make sure that that relationship is right for you. If not, perhaps it’s better to not have an agent and to wait until you find someone you do connect with well.


So, what happens after you have met and you decide to work together?

The first thing you need is a contract. That will save all sorts of ambiguity later and it’s important for expectations to be clear on both sides.


I have noticed that some agents will test out a relationship before formalising a contract. They may engineer a couple of auditions for a singer and see how they go before issuing a contract. Is that something you do?

It’s not something I do. Organising auditions is hugely time-consuming in terms of fixing dates and times (often requiring N/A’s around other contracts), sending CV’s and biogs, liaising about audition repertoire/extracts/dialogue and chasing final decisions/feedback. That’s all done in lieu of a prospective fee (as the singer hasn’t got the job yet!). In other sectors, an agent would be paid a retainer for ongoing administration and contact with companies on their client’s behalf. I therefore prefer to spend time seeing a singer perform and then to meet them, building rapport and seeing where our common connections are. That way I feel more informed about our potential working relationship, with mutual respect as the starting point.

A contract is important to establish parameters, for instance, is your relationship going to be exclusive or non-exclusive? Will your agent only look after certain territories (i.e., UK only)? Will they look after concert work or opera, or both? You could also include clauses such as no commission on gigs where the fee is under £400. Also, how is the commission settled? Do you get the fee and then send the commission or vice versa? If this all detailed in a contract you both agree to, then the terms of your agreement will be clear.

Yes, and whilst it may seem some work comes direct without agent involvement, it’s important to consider offers of work can be due to the exposure and reputation given to you by the agent. 

There is a school of thought that once you’re on a roster you’ve already been shortlisted, and more opportunities will inevitably come your way. This doesn’t mean you can’t get work if you don’t have an agent, but it can open more doors. That being said, my contracts detail that we both have responsibility for generating work and finding opportunities. It’s a joint effort. 

Absolutely. And, when you are out there working you sometimes get little snippets of information, and can work with your agent to use it constructively together. 

That can be useful, but the singer’s grapevine can also be inaccurate…sometimes based on rumour and hearsay. So, ensure it is reliable information! Also, a singer may hear that a company is auditioning, but their agent may already know they’ve not been invited to sing. So, it’s worth remembering there may be other context and factors at play.


Yes, certain singers are wonderful in certain niches - eg. character roles. How do you manage situations where the artist desires and auditions for the romantic lead, but still gets offered the character role? 

Before auditions, I often ask what the singer is going to perform, and we have a constructive dialogue. The longer you work with someone, the more you get to know their voice and what’s appropriate to offer in different circumstances.

It can be difficult for singers to know what they want from their career. It reminds me of this phrase someone once said to me: would you rather have a definite or a maybe? For instance, knowing everyone is desperate to cast you as a character, but you prefer playing the romantic lead. That could mean a choice. Singing those romantic roles with local companies on smaller stages over travelling all over the world performing character roles on international stages. Both choices are completely valid, and they may or may not end up on the same stages with time, but it’s not just about career level. Work/life balance and personal fulfilment are also important. 

That’s what I find interesting about artist management, and not just being an agent. I don’t actually like the term agent; artist management implies a relationship and someone who will help you with your longer-term career trajectory.

So, when a singer is working with you, do you like them to stick to office hours when contacting? 

I haven’t been doing this for that long, and my previous work for companies had different expectations about out-of-hours working, so I’m still finding my way with that. It varies according to the artist too, as they all have different ways of communicating; some prefer email, some WhatsApp, some text, and some voice note! I completely appreciate that a singer might be in rehearsals at 21.30 and understand if I receive an email then. That’s probably something I’ll need to manage, but if they’re having problems, I want them to know they can contact me.


I always like to ask this question! What is your top piece of advice for young singers who are starting out?

This might be contrary to what other people say, as many will advise singers to get on with it and get out there. However, I would say give yourself time. Don’t sing the wrong repertoire because you’ve had a job offer and risk ruining your voice. Don’t work with people who make you terribly unhappy. Yes, we all need to work, but you always have a choice. You need to prioritise all sorts of things in your life, and if you’re happy in yourself, you will be a better artist. What can be good about having an agent is that you have someone else to bounce ideas off. 

Agreed. People are often encouraged to just say ‘yes’ to everything, but risk running themselves ragged. 

This is something that crops up a lot. Any freelancer has gaps in the diary, which is the nature of being freelance, but there seem to be more gaps post-Covid. I would suggest trying to re-frame those gaps as opportunities. Using periods of downtime to work on language, or vocal technique, or repertoire passages you’re having problems with, or a new role, or do something different entirely. There are so many constructive things you could do which will inspire your creativity and reframe those periods more positively. 

With singers, do you mind if they have side hustles? 

No, not at all, it’s actually quite sensible and realistic in the current climate. Things are definitely gaining momentum but there are still fewer opportunities to audition than there were pre-Covid and companies are still not planning as far ahead as they were (not just because of Covid cancellations/honouring postponed contracts but also uncertainty around funding/audience numbers etc). I just ask that my artists tell me to avoid confusion when diary planning, fixing auditions or organising jump-ins. 

A singer shouldn’t say yes to a job offer without discussing it with their agent either. There might be another contract already in the early stages of discussion. Before being drawn into fee discussion, your agent might also be able to negotiate a learning fee if you haven’t sung the role before, or get accommodation/travel added which can make a real difference financially. Communication is key, and there are always ways your agent can help, so keep that dialogue open before agreeing to anything otherwise.

Thank you so much Steve for all your wonderful insight and advice, it has been such a joy to chat and I know our singers will appreciate your words enormously.

Take a look at the Steve Phillips Management roster here -