PROFESSIONAL GROWTH
Click on the tabs below to advance your career by searching Contests & Awards, Schools, Festivals, Camps, Service Organizations, and our list of Services and Products, Scholarships and Grants and Events and Conferences.
And be sure to browse the excellent career advice offered by legendary Artist Manager Edna Landau in her Ask Edna blog and the entertainment law experts in their Law and Disorder blog.
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AskEdna: Career Advice blog
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Edna Landau—doyenne of the music business, long-time managing director of IMG Artists and director of career development at the Colburn Conservatory of Music in Los Angeles—writes Ask Edna exclusively for MusicalAmerica.com to provide invaluable advice to music students and young professional artists. Read more about Edna’s impact on the performing arts.Send your questions to Edna Landau at AskEdna@MusicalAmerica.com and she’ll answer through Ask Edna. Click the links below to read Edna’s recent columns on the critical aspects of launching and managing and professional music career.
Communicating with Your Audience
During Edna’s 23 years as managing director of IMG Artists, she personally looked after the career of violinist, Itzhak Perlman and launched the careers of musicians such as pianists Evgeny Kissin and Lang Lang, violinist Hilary Hahn, and conductors Franz Welser-Mõst and Alan Gilbert.
Edna believes young musicians can grow their own careers, with “hard work, blind faith, passion for the cause, incessant networking and a vision that refuse[s] to be tarnished by naysayers.”
Special Reports
MA Top 30 Professional of the Year: Patricia Barretto
President & CEO
Harris Theater for Music & Dance
Patricia Barretto became chief executive officer of Harris Theater, Chicago’s primary venue for music and dance since September 2017, two years after arriving as executive VP of external affairs. Under her leadership, Harris Theater has surpassed its sales goals for two consecutive seasons.
Born in Mumbai, India, with a BA in English Literature and Sociology, she started her career in the box office at the Toronto Symphony Orchestra in 1995. Her expert eye for programming, fundraising, and marketing brought her to Chicago from Toronto’s Opera Atelier, whose profile she expanded internationally to such stages as the Salzburg Festival and La Scala. “My proudest moment was presenting Opera Atelier at the Royal Opera House at the Palace of Versailles,” she says. “We presented Lully’s Armide.”
Harris Theater has an operating budget of around $10M. “Over the past two years, our presenting work has really focused on representing a multitude of voices and cultures,” says Barretto. “By taking big risks and expanding our programming we can engage new audiences and expand the palates of the audiences who have been with us since the beginning. The fact we can sell out the Monteverdi 450 project, English National Ballet’s reimagined Giselle by Akram Khan, and a rooftop concert by an emerging jazz artist proves that there’s an appetite for diversity among our audiences.”
Barretto is as passionate about nurturing young professionals as she is fostering lifelong patrons of the arts. “Continuing to embody our identity as a home for music and dance in Chicago means being a destination venue for artists and audiences from around the world,” she says. “We want to be a place where everyone, regardless of income, age, race, ability, or any other identity feels welcome and can see themselves reflected on our stage.”
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