The Challenges of Finding a Job in the Classical Music Industry

We asked our social media community: what are the challenges you have when looking for jobs in the classical music industry? Here are some of your responses, organised into the most common themes. This covers a range of jobs within the classical music sector, including performing roles and admin positions. To take part in our next poll, sign up for our newsletter or follow us @alterclassical on Instagram. To find a job, visit our opportunities board.

• “You need more experience”

  • The paradox of entry-level jobs requiring 2 or 3 years experience…

  • So many jobs are posted as "entry level" with salaries close to minimum wage, but still expect 3-5 years of experience.

  • I have experience but I always get: we’ve gone with someone who has more experience?!? 

  • Getting enough experience in music, but also in the relevant field (admin, marketing, etc.)

  • Difficult to get your foot in the door if you don't have an agent

• Too many people, too few jobs

  • Too many musicians applying for the same position

  • Feels impossible sometimes!

  • People staying in the same job for years and years, so little to no movement/opportunities

  • More applicants than jobs

  • Positions don’t come about very frequently - usually held down for a long time

  • Working well into your late 70s and 80s is seen as an honour, yet that means there aren't opportunities for younger people to break through

• Jobs not being advertised / It’s all about who you know

  • Jobs not advertised - the expectation that if you’re suitable you’ll find out they’re auditioning

  • Teaching jobs are not obtained through applications but through who you know

  • The backstory you don't know about - someone already in mind, or automatic trials etc.

• Lack of clarity around the job / criteria being too rigid

  • Obscure conditions/pay

  • That apparently you’re either pop/contempo or classical - you can’t be and love both!

  • Criteria being too rigid with little or no allowances for experience in other areas

• Discriminatory factors

  • Sometimes it feels like those who are trying to return at an older age don’t get a chance

  • Having children!!

  • The sexual harassment; the Bros

  • Racism

  • Ageism

  • Opportunities are hard to come by for newcomers or for those who are not conservatoire graduates.

  • The isolation of coming from a working class background

  • Gatekeeping due to political and/or financial favouritism. It is necessary to mention the sexual orientation based corporatism

• Geographical factors

  • Brexit

  • Finding ANYTHING outside of London/Home Counties

  • Getting a visa to live in the country where orchestra is based

  • Harder migration rules

  • Most roles could be done remotely, but most organisations seem to have forgotten how we adapted to the pandemic but now require all employees to be 'office based'

• Burnout / not enough funding

  • With so little funding available for staff in arts organisations the workload can be too much

  • Burnout. We put so much of ourselves into the industry because we care but for poor payout/salary

  • The fatigue of applying to job after job and getting ruled out at the final stage

  • If you don't know the right people, you're screwed!

  • Persuading Universal Credit that searching for music jobs is valid

  • A decline in public and private sponsorship worldwide

  • Lots of published opportunities are ones you have to pay for

  • Trying to produce high quality recordings for applications can be very expensive and not accessible for all musicians

• The lack of humanity

  • The abject cruelty from one’s peers

  • Just the lack of humanity - the way one social error can cost you your livelihood

  • So many automated replies of rejection when I’ve had to pay an application fee…! Zero respect

• Finding balance

  • Balancing the need to make money with the need to have a fulfilled portfolio career

  • Balancing freelance work with something more stable, relying on invoices being paid on time

  • How much personal stuff to share or not to share. Trauma seems to be a currency lately.

Jobs & Opportunities

Visit our opportunities board to find arts admin jobs, performing roles, calls for scores, and more.

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Hannah Fiddy is the Founder of Alternative Classical and a freelance marketing consultant, developing audiences for classical music. Described as a "classical innovator" by Classical Whisper, Hannah has created and promoted numerous concerts outside of traditional spaces, including warehouses, pubs, clubs and museums; interviewed some of the world's most famous composers; and guest lectured on innovation in the classical music industry. Hannah has managed the digital marketing for many music organisations and artists including choral composer John Rutter and The King’s Singers. In a past life she founded London Flashmob, producing quirky events from wedding proposals to cultural pranks for up to 1,000 people.

More honest comments from musicians…

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