Fiona wrote:
>Just HOW does one GET the paying gigs? How does one make new contacts?
>Obviously, word-of-mouth is the biggest way of getting a job in my
>experience - someone saying they heard me here, or heard of me, or what not.
>There are also auditions. However, many gigs DON'T set up an actual
>audition. In this case, how does one make contact with said
>conductor/director/concert organiser???
When you go to a concert you enjoy, greet the conductor afterward and, if
you have a nice rapport, ask if you might get the chance to sing for
him/her. In my experience, people will say yes, although the actual payoff
of a real job may be long in coming. Series are often booked well in
advance, they have to find something that's right for you, they have other
soloists (and boards) to consider, etc. I think the main thing is to
establish a rapport and begin to develop a relationship. These are the
things that eventually result in gigs.
Also, get your finger on the pulse of the choral scene in your area, not
because you necessarily want to sing in choirs (usually unpaid) but because
when choirs do oratorio, they often hire soloists. When you notice that
Choir X is planning the Mozart C Minor Mass and you know you do a killer
"Laudamus te," phone the conductor and ask for an audition. That solo
might already be cast, but it's another way to have a foot in the door --
and if an emergency occurs and they need to book someone at the last
minute, your killer "Laudamus te" will be fresh in the conductor's mind.
I hope to read and learn from others' responses to this question!
Naomi
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