Working intensively with members of a show’s artistic team, music managers oversee all musical facets of a musical theater or opera production, adding casting artists, renting the orchestra, rehearsing singers and orchestra members, and they lead the orchestra in its performance.
Basically, the musical director’s task is to perceive how songs and music serve the story, setting, drama, and emotional context of a show, and to highlight those must-have elements in consistent, high-quality performances. As a member of the show’s core artistic team, along with the director, composer, librettist and choreographer, the musical director works intensely from the beginning of the production process: generating an overall vision of the production’s music, directing the musical facets of the audition process, helping to recruit actors and singers, as well as selecting and hiring musicians for pit bands, probably with the help of a music contractor.
The most productive music managers are leaders and team players, understanding when to take matters into their own hands and when to welcome the artistic vision of others.
As the rehearsal process begins, the music director personally schedules and oversees separate music rehearsals for the cast and orchestra. During cast rehearsals—which could consist of the full cast or various smaller groups and configurations of singers—the music director or repetiteur accompanies on piano, while during orchestra rehearsals the director conducts. Whether working with instrumentalists or singers, the music director strives to shape and blend their sound, create a shared sense of ensemble, and develop a unique musical interpretation. The music director is also likely to consult with the show’s sound designer on technical aspects of the performance. Once the production opens, the music director’s duties include leading warm-ups before each show, conducting the orchestra in performance, and holding occasional rehearsals to maintain consistency and incorporate notes from the stage manager.
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The music director is the highest musical position on a musical theater or opera production. Qualified individuals have many years of industry experience as a conductor, pit orchestra musician, or repetiteur, and generally start out directing community and college productions before moving on to regional and, ultimately, professional ones. Some go on to become arrangers, composers, or musical theater adapters, while others advance in their careers by directing productions for increasingly prestigious musical theater or opera companies.
Broadly speaking, theater music managers are freelancers who may be hired through theater companies, opera companies, or universities. However, opera music administrators sometimes have a close relationship with a specific opera space or company, and possibly even are full-time employees. Similarly, a Broadway musical director might paint in the space for a specific venture. Aspiring musical directors deserve to network with producers, directors, and artistic directors, and keep in mind that musical theater is more than just Broadway; There are a host of other opportunities, from musical theater productions made through netpaintings and regional theaters to experimental works, hybrid functional art and immersive theater experiences.
In addition to possessing specialized skills such as piano, conducting, arranging, and transposition, music administrators will need to be able to collaborate with an organization of artistic artists with competing interests, speak well with singers and actors, and make quick changes to the score. or performance. When something doesn’t work. The most productive music managers are leaders and team players, knowing when to pick up the pace and when to adapt to the artistic vision of others.
As for many who work in the theater, short periods of intensity—like in the frenzied weeks leading up to opening night—alternate with opportunities for relaxation, regrouping, networking, and acquiring new skills. This could present a challenge for some, but those with a passion for theater tend to relish the highs and lows of putting on a large, collaborative production.
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