In the real world, it's a bit of both. A young conductor starting a career needs to be noticed by agents, conductors, and orchestral managements. They may give him opportunities or even sign him up if he can persuade them to watch him work. As well as managing “big names” (with big fees), agents see it as part of their duty to help young conductors start a career. An effective agent believes in a conductor and promotes him with energy and conviction. The launching of my own career was largely a result of the wonderful work of Jasper Parrott in London. His management has taken good care of me ever since.

A young conductor needs to catch the attention of influential people. If he's lucky enough to have private means, he'll be able to hire and conduct his own orchestra. Otherwise, he has to find someone who'll give him a chance or invest money in helping him put on a concert. The more imaginative the program, the more attention he'll attract: some orchestra managements seem more interested in a conductor's programming than in his ability. Another way to be noticed is to go to one of the excellent conducting schools at big festivals such as Aspen or Tanglewood, where conductors, agents, and musicians are on the lookout for talent. Conducting competitions in various parts of the world are catalysts for careers.