2007-08-22
The personal manager as the ultimate all-rounder
Nowdays there are courses, diplomas, masters degrees that certify you as an artist manager or agent. In my college days, over 30 years ago, there was nothing of the kind, it was not an official profession. There always were, of course, the grand impressarios: Sol Hurok, Nelly Walter, Thea Dispeker, Anne Colbert, Herbert Breslin. These were personalities who kept a watchful eye on their artists and managed their careers. They all were classical agents and always had several artists in their stable.
A personal manager (PM) however, looks after only one artist, is paid by that artist on a flat-fee basis and theoretically only has one job to look after the emotional, physical, psychological, artistic, business and financial well-being of that artist (not always in that order). Theoretical in the sense that in the theater, everything influences everything else. Change one detail and it will set off a domino-chain reaction the most simple example of this is a rehearsal time change. The job requirements for a PM could read: Diplomat, slave, Kung-Fu expert, data base genius, juggler, able to speak a minimum of four languages fluently, swear in four more, be accessible 24/7, have fun working 12-18 hours a day. And more than a smattering of knowledge of music and opera would be helpful.
Amazingly, there are a few people who not only qualify but who enjoy this profession. The benefit side of the coin is that you will get paid to see the world (mostly from a hotel window), attend many important concert and opera performances (and maybe even enjoy a moment or two). But all these aspects quickly lose their appeal and the PM becomes the ultimate pragmatist and an expert luggage packer, organiser and improviser.
One can also see it as a very simple job: since the artist is willing to give his/her best, he/she also expects the rest of the world to give its best, especially his/ her own PM.
All these off-the-cuff-named qualities are essential:
Diplomat: In any production there will be at least one instance when there are (major)
differences of opinion between the artist/conductor/stage director/general director/ producer/ technical director, often with high emotional content. The PM is often called upon to help negotiate an acceptable solution for all parties - the show must go on. The classical music and opera worlds are small, most everyone knows everyone else and it behoves a good PM to not burn bridges, to keep doors open. A solution can always be found even though I have often thought that negotiations in the Middle East must be easier than opera spats.
Slave: It goes without saying that a PM does not really have a life of his/her own in the above context. Unless one is willing to take into account scenes of jealousy and can live with a strong feeling of guilt at neglecting ones partner. On the other hand, it can become unpleasant if the partner of the artist becomes so jealous and drops comments such as Im only here to do your laundry, do I have to make an appointment to see you. An experienced PM knows that is the time to take a well-earned vacation. In five days time at the latest, there will be a call asking why/whatfor/ wherefor the next production and anyway....
Kung-Fu expert or boxing middleweight champion: An analogy, of course, of the PMs role in fending-off overly eager and pushy groupies, journalists, agents and other dramatic moments of threats of suicide by love-sick fans. Such situations require sensitive handling, crisis management even...
Database genius: In todays world of DSL, UMTS, GPS and other high speed technologies it is, nonetheless, the good old human brain that wins out (in the tradition of Katherine Hepburn and Spencer Tracy and Desk Set). Especially when emergency situations requires lateral thinking, such as overthrowing and remixing travel schedules and what was the name of that intendants wife? What flowers is the prima donna allergic to? What topic is to be avoided at all costs when speaking to the big sponsor?
Juggler: Self-evident, really, if all the above qualities are fulfilled. I mean mainly having a good eye for organisation, a good memory, keep cool and an eye on the whole picture, recognize the weak parts and foresee a conflict in advance, offer a solution before it turns into a blaze and above all, be detail oriented. If a juggler does not concentrate on every detail of his act in order to carry it through perfectly, it will fall apart as with raw eggs. Or, if we think of opera productions, a mistake can cause thousands of pounds/dollars/euros and many lost production days: time and money that cannot be made good because of set-in-stone show dates, with a resulting loss of quality that hurts everyone, most of all the paying public who may well say why bother and there will be no next time.
And last but not least: a love of the art form, of the opera, classical music or whatever sector it is you chose to give your life to after all, you should also have some fun!
Amazingly, there are a few people who not only qualify but who enjoy this profession. The benefit side of the coin is that you will get paid to see the world (mostly from a hotel window), attend many important concert and opera performances (and maybe even enjoy a moment or two). But all these aspects quickly lose their appeal and the PM becomes the ultimate pragmatist and an expert luggage packer, organiser and improviser.
One can also see it as a very simple job: since the artist is willing to give his/her best, he/she also expects the rest of the world to give its best, especially his/ her own PM.
All these off-the-cuff-named qualities are essential:
Diplomat: In any production there will be at least one instance when there are (major)
differences of opinion between the artist/conductor/stage director/general director/ producer/ technical director, often with high emotional content. The PM is often called upon to help negotiate an acceptable solution for all parties - the show must go on. The classical music and opera worlds are small, most everyone knows everyone else and it behoves a good PM to not burn bridges, to keep doors open. A solution can always be found even though I have often thought that negotiations in the Middle East must be easier than opera spats.
Slave: It goes without saying that a PM does not really have a life of his/her own in the above context. Unless one is willing to take into account scenes of jealousy and can live with a strong feeling of guilt at neglecting ones partner. On the other hand, it can become unpleasant if the partner of the artist becomes so jealous and drops comments such as Im only here to do your laundry, do I have to make an appointment to see you. An experienced PM knows that is the time to take a well-earned vacation. In five days time at the latest, there will be a call asking why/whatfor/ wherefor the next production and anyway....
Kung-Fu expert or boxing middleweight champion: An analogy, of course, of the PMs role in fending-off overly eager and pushy groupies, journalists, agents and other dramatic moments of threats of suicide by love-sick fans. Such situations require sensitive handling, crisis management even...
Database genius: In todays world of DSL, UMTS, GPS and other high speed technologies it is, nonetheless, the good old human brain that wins out (in the tradition of Katherine Hepburn and Spencer Tracy and Desk Set). Especially when emergency situations requires lateral thinking, such as overthrowing and remixing travel schedules and what was the name of that intendants wife? What flowers is the prima donna allergic to? What topic is to be avoided at all costs when speaking to the big sponsor?
Juggler: Self-evident, really, if all the above qualities are fulfilled. I mean mainly having a good eye for organisation, a good memory, keep cool and an eye on the whole picture, recognize the weak parts and foresee a conflict in advance, offer a solution before it turns into a blaze and above all, be detail oriented. If a juggler does not concentrate on every detail of his act in order to carry it through perfectly, it will fall apart as with raw eggs. Or, if we think of opera productions, a mistake can cause thousands of pounds/dollars/euros and many lost production days: time and money that cannot be made good because of set-in-stone show dates, with a resulting loss of quality that hurts everyone, most of all the paying public who may well say why bother and there will be no next time.
And last but not least: a love of the art form, of the opera, classical music or whatever sector it is you chose to give your life to after all, you should also have some fun!
An article by Zenaida des Aubris, correspondent, Munich
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