How to start a classical artist management agency
Many classical agencies start small: a former artistic administrator with a handful of singers, a manager who leaves a larger firm, or a musician who starts representing colleagues. Starting well matters, because the habits and systems you set up in year one tend to stay. This guide walks through the main decisions.
1. Decide what kind of agency you are
| Choice | Options |
|---|---|
| Role | General management, booking agent, or both |
| Roster focus | Singers, instrumentalists, conductors, ensembles, or a mix |
| Market | Opera, concerts and orchestras, recitals, festivals |
| Territory | Worldwide or specific countries, possibly with partner agents |
The UK's Incorporated Society of Musicians explains the difference between an agent, who secures bookings and administers events, and a manager, whose responsibilities are broader. Be clear which you offer.
2. Check legal and regulatory requirements
Rules for employment agencies, licensing and trade associations differ by country. In the US, agents who represent members of the American Guild of Musical Artists work under the AGMA code of professional standards, which sets maximum commissions and other rules (code text). Get local legal and accounting advice before you sign your first artist.
3. Write your management agreement
Your agreement is the foundation. Define scope, territory, exclusivity, term, commission, expenses, how money flows, statements and termination. Our management contract template sets out the clauses.
4. Set your commission policy
Decide your rates by engagement type and the base they apply to. See opera agent commission for published references from AGMA and the ISM.
5. Build the roster carefully
A small roster that you can actively represent is better than a large one you cannot. For each artist, ask whether you have presenters who would engage them, and whether you can add value to their career now.
6. Build your contacts
Your contacts with opera houses, orchestras and festivals are the business. Structure them properly from day one (how to build a contacts database).
7. Choose your systems early
Starting with spreadsheets is tempting, but migrating later is painful. From the start, you need:
- A shared calendar for each artist with holds and contracts (season calendar).
- A castings pipeline (castings workflow).
- Contracts and invoices linked to engagements (invoicing).
- A contacts database.
- Simple reports on income and commission.
A purpose-built CRM gives you these together. See our CRM buyer's guide and spreadsheets vs CRM.
8. Set up your finances
Open a business account, decide whether you will collect fees on behalf of artists, and if so, how you hold and pay out that money. Agree statement frequency with artists (artist statements). Ask an accountant about VAT or sales tax on commission and withholding tax on foreign fees (tax guide).
9. Present the agency professionally
A clear website with artist pages, current materials and contacts is your shop window (artist websites, EPKs).
10. Plan your first season
- Map each artist's confirmed work and open periods.
- List target presenters for each artist.
- Plan pitches around planning cycles (pitching guide).
- Set goals you can measure (agency KPIs).
A first-year checklist
| Area | Done when |
|---|---|
| Legal and accounting advice | You know the rules that apply to your agency |
| Business setup | Company registered, bank account open, insurance considered |
| Management agreement | Template reviewed by a lawyer |
| Commission policy | Rates and base written down |
| Roster | Each artist has signed agreement and current materials |
| Contacts | Presenters structured as organisations and people |
| Systems | Calendar, castings, contracts, invoices and contacts in one place |
| Website | Agency and artist pages live with current materials |
| Finance | Statement routine agreed with artists |
| Plan | Pitch list and goals for the first season |
Common first-year mistakes
- Signing too many artists before you have presenters for them.
- Agreeing commission verbally and never writing it down.
- Building the contacts list in a personal inbox.
- Starting on spreadsheets and postponing the switch until the data is a mess.
- Underestimating the time logistics and paperwork take, especially for international work.
- Neglecting your own website while focusing on artists'.
Building relationships with presenters
A new agency's credibility comes from the quality of its suggestions. Go to performances, meet casting and planning staff, and pitch only artists who fit. Record every conversation so you can build on it (pitching guide). Over time, presenters will start asking you first.
Working with partner agents
Many classical artists have a general manager and local agents in specific territories. If you are a new agency, partnerships can extend your reach. Agree in writing who handles which territory, how commission is shared, and who communicates with the artist about what. Keep partner agents' contacts and shared engagements in your CRM so nothing is duplicated.
When to hire
The first hire is often someone to handle logistics and administration, freeing the founder to pitch and build relationships. Before hiring, make sure your systems are ready for a second person: shared calendar, castings and contacts, not one person's memory.
FAQ
Do I need a licence to start an artist management agency?
It depends on the country. Some jurisdictions regulate employment or talent agencies. Get local legal advice.
What software does a new classical agency need?
A shared calendar, castings pipeline, contracts and invoicing, and a contacts database. A classical CRM such as ArtistHub covers these in one place.
Run your roster in ArtistHub
ArtistHub is a CRM built for classical and opera artist management: castings, contracts, the season calendar, logistics, invoices and the opera database in one place.