In conversation with Robin Tyson: from performer to artist manager

Can you tell us about your musical beginnings? What first drew you to singing and choral music? My parents noticed I was always singing around the house from a young age. They put me forward for a chorister trial at Canterbury Cathedral. I don’t remember ever deciding to sing – it just felt natural. What was your educational path into music, and how did it shape your professional journey? I was a chorister at Canterbury Cathedral, singing daily services for five years – a total immersion in church music. It made me a fluent sight-reader. I was also a music scholar at my high school, singing and playing violin and trumpet. At 17, I became brave enough to try singing as a countertenor and auditioned for a choral scholarship at King’s College, Cambridge, under Stephen Cleobury. Singing gave me an opportunity to attend Cambridge – something I’ll always be grateful for. You were a member of The King’s Singers for many years. How did that opportunity come about, and what were the key experiences or lessons that still influence you today? I was singing in opera and as a concert soloist, performing with groups like the Gabrieli Consort and Monteverdi Choir. In 2000, I took part in John Eliot Gardiner’s Bach Cantata Pilgrimage. Around that time, I got a call from David Hurley of The King’s Singers, inviting me to audition. From the moment I sang my first chord in that audition, I knew I wanted to join. It was a wonderful few years! What inspired you to found Podium Music, and what gap were you hoping to fill in the choral world? It started informally – a few people asked me to help them find concerts. From there, I founded Podium Music and then Edition Peters Artist Management shortly after. I specialised in what I knew best: the choral world. I manage the careers of performing ensembles like VOCES8 and the Jason Max Ferdinand Singers, as well as composers including Ola Gjeilo, Ēriks Ešenvalds, Jonathan Dove, Roxanna Panufnik and others. Every day is different, but it’s all about supporting artists across their performing, composing, and touring activity. What are the biggest challenges and rewards in your work? The biggest challenge is the time it takes to maintain strong relationships with the artists I work with – many of whom are also friends. The biggest reward is filling their calendars with meaningful work. I feel incredibly privileged to look after these people, many of whom are big names in the choral world. There’s something magical about opening a new score in my inbox and being the first person to see it. How do you choose the composers and performers you represent at Podium Music? They need to be kind, talented, realistic, and in need of a manager – usually because they’re too busy to manage it all themselves and are looking for a collaborative partner. Being a good human is essential. What advice would you give to someone moving into music management, publishing, or artist representation from a performing background? The same qualities I look for in artists apply here too: be nice, kind, realistic and talented – like the people you want to represent. Looking back, were there key turning points or people who helped shape your career? Absolutely. My choir directors at Canterbury and King’s College were hugely important. So were people like conductor Paul McCreesh and artist manager Claire Long. What’s been your proudest moment professionally? And is there a moment that taught you the most? I was bursting with pride when the Jason Max Ferdinand Singers made their BBC Proms debut last year. I’ve also loved seeing VOCES8 and The King’s Singers perform together at the Proms and the Concertgebouw in Amsterdam – and they’ll be touring together again next year. How do you balance artistic integrity with commercial realities? That’s one of the most important parts of the job. I work with artists who I believe can truly connect with modern audiences – and that brings commercial success. But that success has to be rooted in artistic integrity. How has modern technology – from digital distribution to social media and changing audience behaviours – impacted your work? Video is everything! What trends or changes are you seeing in the choral world today that excite or concern you? I’m concerned that music education in schools is declining. It’s seen as a ‘soft subject’ with no workplace value – which is a huge mistake. But I’m excited by what’s happening in the USA. There’s an incredible amount of singing – it’s become a creative hub for choral music. Do you still perform? No – I don’t sing anymore as it doesn’t sound the way I’d like it to. But I stay close to the music by researching new repertoire for artists at Podium and writing programme notes. I also give the occasional workshop for choirs and vocal ensembles. What do you enjoy outside of music? Music is my hobby! Finally, what piece of music never fails to inspire you? When I need it, I turn to Bach’s B Minor Mass or Byrd’s Great Service. They always do the trick.