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From casting to contract: how agencies track opera castings

31 October 2026 · ArtistHub team

For an agency that represents singers, castings are the pipeline. A casting director asks whether a mezzo is free for a new production two seasons from now; a festival wants a baritone for a cover; a house that heard your tenor at an audition wants to discuss a role. Each conversation may take months and may end with nothing. Agencies that track castings well know exactly where every opportunity stands. This article sets out a workflow.

Why castings get lost

Casting conversations happen by email, phone and in person at performances. Dates are often provisional and change. Several artists from the same agency may be under discussion for the same role. Without a shared record, holds lapse, two agents pitch the same production, and an artist accepts something else unaware that a better offer is coming.

The stages of a casting

Keep the stage names consistent across the agency so reports mean something.

What to record at the inquiry stage

The more you capture early, the less you chase later:

• Production title, composer, director and conductor if known.
• Role, and whether it is a principal role or a cover.
• Rehearsal start, first night and number of performances, even if provisional.
• The person who asked, their organisation and department.
• How the inquiry arrived: direct, after an audition, via a conductor's recommendation.

Put provisional dates on the calendar

The single most useful habit is to show inquiries and holds on the artist's calendar, visually distinct from confirmed work. When someone asks about the same weeks, the conflict is obvious. In ArtistHub, inquiries and proposals appear on the artist calendar without retyping, and confirmed contracts replace them. See building a season calendar and avoiding double-bookings.

Proposals for several artists

When a house asks for suggestions, you might propose two or three artists. Track each one separately against the same production, so you know who was sent, who was heard and who was chosen. Over time this history shows which houses respond to which voices, which is gold for future pitching (how to pitch singers to opera houses).

Holds and review dates

A hold without a review date is a risk. Set a date to check with the house, and a task to remind you. ArtistHub's tasks, daily reminders and automations can surface holds that need a follow-up (automations for artist agencies).

From offer to contract without retyping

When an offer is accepted, the data from the casting (production, role, dates, contact) should become the contract. Fees, rehearsal schedule and logistics are then added. The Opera Europa protocol of best practice for contracts describes the contract as a two-way commitment between an opera company and an artist, with the agent as the middle person who must ensure it is fair and respected. Having every detail of the casting history in one place helps you do that job. See the clauses agents must check.

Learn from lost castings

Record why castings did not convert: dates, fee, the house chose another voice type, the production was cancelled. A simple reason field turns into useful reporting after one season: which houses you pitch most, how many inquiries become contracts, and where your roster is strongest. See KPIs for agencies.

How ArtistHub supports castings

ArtistHub has a castings module linked to artists, contacts, producers and the calendar. An accepted casting becomes a contract, and the contract's performances and rehearsals are the season calendar. Learn more on the From casting to contract page.

A casting record template

Common mistakes

• Logging only castings that look likely, which hides the true pipeline.
• Not recording which artists were proposed, so the same name is sent twice.
• Leaving dates off provisional castings because they may change.
• Not closing lost castings, so the pipeline looks healthier than it is.
• Keeping casting notes in personal email.

Castings across the team

In agencies where several managers pitch to the same houses, a shared castings list prevents two agents approaching the same production separately. A weekly review of open castings, by house, is a simple way to coordinate. It also shows where the agency is strong and where relationships need work.

Talking to artists about castings

Artists want to know what is happening. Decide what you share: many agencies tell artists about serious inquiries and holds, but not every early conversation. Showing holds on the artist's calendar, marked as provisional, keeps them informed without overwhelming them.

FAQ

What is casting management in an opera agency?

It is the process of tracking every inquiry, proposal, audition, hold and offer for each artist and production until it becomes a contract or is closed.

Should holds appear on the artist's calendar?

Yes, marked clearly as provisional. It is the easiest way to spot conflicts before they happen.

How long should an inquiry stay open?

There is no fixed rule; set a review date for every hold and inquiry so nothing stays open by accident.