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.
US/Canada Arts Administration Degree Programs
Music Schools & Departments
Summer Music Camps & Special Programs
Services & Professional Music Orgs (non-profit)
Performing Arts Industry Events and Conferences
AskEdna: Career Advice blog
Scholarships and Grants
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: Ashley Magnus
General Director
Chicago Opera Theater
Now in its 45th season, Chicago Opera Theater (COT) appointed Ashley Magnus as its general director in January 2019. She works alongside Music Director Lidiya Yankovskaya, making COT one of the few major American opera companies led by women at both the artistic and executive levels. In her previous position as the company’s general manager of strategy and development, Magnus is credited with a successful multimillion-dollar capital campaign, tripling planned gifts, and growing core annual fundraising by 28 percent.
Born in Oakland, CA, Magnus grew up in southern Indiana where she started piano lessons from an early age. While she sang at school and church, she didn’t really come to opera until her undergrad days at the University of Evansville. Taking up an internship with Utah Symphony | Utah Opera, she went on to earn an MBA from the University of Utah, where she focused on business strategy, project management, and building constructive community, individual, and institutional partnerships.
It was the lure of the new that led her to COT. “I had always wanted to be at a company with a focus on unusual and contemporary repertoire,” she says. “This organization is unique and exciting in its vision and in the freedom to take risks, particularly within this community and in this Golden Age of American opera.”
With its emphasis on new operas for 21st-century audiences, COT operates with a core staff of 15, plus six resident young artists and several production, education, and artistic contractors. The company presents three mainstage operas each season with additional workshops of new pieces. Launched in the spring of 2018, its Vanguard Initiative mentors two emerging composers, which ensures there’s an additional commissioned one-act opera each year.
In her time at COT, Magnus has overseen implementation of a new strategic plan as well as staff and policy restructuring. She cites the recent staging of Jake Heggie’s Moby-Dick, the largest production in the organization’s history, as a highlight. “My larger objectives are for COT to be a destination organization for rarely produced and contemporary works,” Magnus says, “for Chicago to be on the forefront of new opera, and for COT to be a sustainable model for the future of opera.”