Thank you for this tremendous interview. I will be adding this to my required viewing for my music business students. It is exceptionally insightful and eloquent.
Pardon our only noticing your wonderful comment just now-we are deeply grateful to you for this-stories like yours are exactly what we aim for and can only dream to expect! We hope you keep in touch with us! ✨🙏
This was incredibly interesting, thank you so much Zsolt and Marcus! I would absolutely love to see more interviews with those working behind the scenes of classical music, as well as with the artists we know and love. It is a world which is totally invisible to young musicians, not something you learn about in music lessons, and it’s important to understand how this world works when seriously considering a career in music. Thank you so much for your wonderful work on this channel!
Thank you so much for this incredibly meaningful feedback-so delighted to hear from you! We’re trying hard to tell more types of stories, not just the expected ones, and hopefully with new angles too. We particularly hope that we can reach some young musicians making their way-thanks so much for being a big part of why we continue! -zsolt
Herr Felsner and Zsolt: what seems so difficult to me for young musicians is: how do you find a 100% reliable manager, who is always personally there for the artist and who can therefore also influence the artist. Specially beautiful human species, those artists! 💙💗🌷🌷🌷
This is a great question and difficult answer-perhaps the best way is to get the feedback of current rosters of a specific manager-or to look at the concert schedules. But you are right, there are so many variables to look at for sure ✨
The unfortunate situation is when businesses run Opera Companies have no understanding how it works and saw only how to make money without understanding the quality of artists bringing into the production including the production itself. Hence New York City Opera crashed under the influence and direction of a business man. As a manager its a different matter perhaps since if you have the knowledge and specially since it’s available now days, Marcus knowing the value of money seems to work well on securing financial support for the artists he represents including his financial interest.
Ideally a larger organization such as an opera company will be directed by a board with a broad range of artistic and financial experience. A manager will ideally have insight into both as well; in any case we do hope they make decisions that pay their own bills as well :-)
Thank you for this tremendous interview. I will be adding this to my required viewing for my music business students. It is exceptionally insightful and eloquent.
Pardon our only noticing your wonderful comment just now-we are deeply grateful to you for this-stories like yours are exactly what we aim for and can only dream to expect! We hope you keep in touch with us! ✨🙏
As always I enjoyed this new episode, dear Zsolt and team. Thank you!
Thank you Andrea! Wonderful to see how your talents are flourishing these days. ✨🥂
This was fascinating! His artists are blessed.
So glad you enjoyed this--there's a lot he says that I found surprising and fascinating--thanks for watching! -zsolt
This was incredibly interesting, thank you so much Zsolt and Marcus! I would absolutely love to see more interviews with those working behind the scenes of classical music, as well as with the artists we know and love. It is a world which is totally invisible to young musicians, not something you learn about in music lessons, and it’s important to understand how this world works when seriously considering a career in music. Thank you so much for your wonderful work on this channel!
Thank you so much for this incredibly meaningful feedback-so delighted to hear from you! We’re trying hard to tell more types of stories, not just the expected ones, and hopefully with new angles too. We particularly hope that we can reach some young musicians making their way-thanks so much for being a big part of why we continue! -zsolt
Herr Felsner and Zsolt: what seems so difficult to me for young musicians is: how do you find a 100% reliable manager, who is always personally there for the artist and who can therefore also influence the artist. Specially beautiful human species, those artists! 💙💗🌷🌷🌷
This is a great question and difficult answer-perhaps the best way is to get the feedback of current rosters of a specific manager-or to look at the concert schedules. But you are right, there are so many variables to look at for sure ✨
Terrific interview and insight.
We are so glad you enjoyed it, and that you let us know-we are grateful to you for watching! -zsolt
Though not in the classical realm, David Foster managed to bring several young talents to the front
The unfortunate situation is when businesses run Opera Companies have no understanding how it works and saw only how to make money without understanding the quality of artists bringing into the production including the production itself. Hence New York City Opera crashed under the influence and direction of a business man. As a manager its a different matter perhaps since if you have the knowledge and specially since it’s available now days, Marcus knowing the value of money seems to work well on securing financial support for the artists he represents including his financial interest.
Ideally a larger organization such as an opera company will be directed by a board with a broad range of artistic and financial experience. A manager will ideally have insight into both as well; in any case we do hope they make decisions that pay their own bills as well :-)