Back in 1990, Golpes Bajos, a band from Vigo, gained fame with their song "Malos tiempos para la lírica," coinciding with Spain hosting the FIFA World Cup. Fast forward 35 years, and the music industry in Spain faces a precarious situation. According to a study by AIE (Artistas, Intérpretes y Ejecutantes) presented in June 2024, a staggering 57% of musicians earn less than the minimum wage, while 75% make below 30,000 euros annually. Temporary work has surged by 69.6% since 2019, with 47% of workers on short-term contracts, predominantly for performances.

The scenario is even more challenging in classical music, which struggles to connect with contemporary tastes. The report "Los sectores culturales y creativos en España," released by Fundación Cotec last week, reveals that 69% of cultural and creative entities lack salaried employees, relying heavily on freelancers. This is significantly higher than the national average, where freelancers account for nearly 16% of the workforce, while musicians exceed 31%. Moreover, the average lifespan of a cultural enterprise is less than three years.

In response, the Reina Sofía School of Music established a music entrepreneurship incubator to address these challenges and enhance job security within the sector. Julia Sánchez, the school's director, highlights the necessity for musicians to have alternative income sources, noting the limited social protections available in Spain compared to countries like France and Germany.

The school views this situation as an opportunity to cultivate cultural entrepreneurship, equipping musicians with skills in management, digital marketing, and business model development. This empowerment allows musicians to take control of their careers and create sustainable projects.

Julia Sánchez emphasizes the transformative power of music, which extends beyond entertainment. UNESCO considers music an essential asset deserving constitutional protection. Music can serve social purposes, such as music therapy in hospitals and as a tool for social integration, exemplified by initiatives like "El Sistema" in Venezuela and "Acción por la Música" in Spain.

The Reina Sofía School's incubator, an extension of its Entrepreneurship and Social Innovation Program launched in 2016, supports specific projects with funding, mentorship, and networking opportunities. The aim is to foster scalable cultural projects and encourage musicians to become job creators rather than seekers.

Among the first incubated projects starting in September 2024 are "Ópera Urbana" by Colombian soprano Vanesa Cera, "Academia de Cuerdas Caracas" by Adriana Vírguez, and "Shakata Ensemble" by Israeli violinist Mai Choma. These initiatives received personalized mentoring to develop key competencies for their successful execution.

Julia Sánchez underscores the importance of defining a project's value proposition, addressing a need, and targeting an audience for business viability. She notes the challenge in finding hybrid profiles capable of blending artistic sensibilities with entrepreneurial skills.

Vanesa Cera's "Ópera Urbana" emerged during the pandemic as a means to bring opera to new audiences, countering its reputation as elitist and inaccessible. The initiative seeks to modernize opera by integrating contemporary aesthetics and social themes, making it relevant and engaging for today's youth.