Comments on: Additional Fallout From The IMG Artists Scandal

By: Drew McManus

Drew McManus — Tue, 12 May 2009 14:49:27 +0000

Thanks for the perspective Tom, I do believe the passport issue Lebrecht mentioned is valid and only time will tell.

As for the issue of cooperation between artistic management firms, I don’t think anyone is surprised that for profit business will leverage any pressure they can to increase their stake in their given business. But what I believe is being discussed here is more related to practices of unfairly excluding organizations and artists from projects/partnerships/employment opportunities.

By: Tom Hartley

Tom Hartley — Tue, 12 May 2009 06:05:58 +0000

From what I already know from the company, Mr. Wissman has been travelling extensively and is very actively involved in all aspects of the company, so the speculation about his passport is incorrect.

On the other subjects, these questions are all part of the day to day of artist management and are complicated questions to deal with. It is true that it is sometimes in the artist manager’s interest to promote one artist or orchestra vs. another, but one also needs to know that other agencies don’t always
cooperate with an artist manager on projects, making it much easier to keep things \in house\. This is the reality of the situation frankly.

By: Drew McManus

Drew McManus — Sat, 09 May 2009 15:57:45 +0000

Those are all superlative questions Brian and to go one more step, how is all of this regulated? Just like the recent financial practices that led to the economic were all legal and/or legitimate did that mean they were in everyone’s best interests?

By: Brian

Brian — Sat, 09 May 2009 11:30:35 +0000

It seems like the question becomes, what are the interests of the artist manager in advancing some orchestras over others? If a manager wants to place his conductor client on certain podiums, is it because he/she simply wants to get him the best, most high-profile gigs – or because the manager has some sort of business stake in that orchestra (which would mean a conflict of interest)?

Your other point is even more crucial. If a conductor wants to work with a given violinist or pianist but his manager’s firm doesn’t represent that artist, how is that resolved? It seems like there’s a gray area between a manager who wants to foster “relationships” between his clients and one who insists on certain exclusivity pacts…

By: Drew McManus

Drew McManus — Tue, 05 May 2009 21:02:02 +0000

It’s good that Lebrecht mentioned that in his article and I agree that losing a passport will make it all but impossible to executive the duties normally reserved for a position such as chairman of a large artist management firm.

By: Moses Toth

Moses Toth — Tue, 05 May 2009 18:33:56 +0000

It must be added that in addition to ethical issues being considered here, Mr. Wissman is in danger of losing his passport. He is at the crux of planning and orchestrating many international festivals and concerts associated with IMG artists. I think logistically it would be difficult for him to continue his duties in light of this.

By: George Brown

George Brown — Tue, 05 May 2009 14:36:39 +0000

I’d just assumed that orchestra segregation was part of this industry’s M.O.