ACMMA is an association of managers of concert, opera and theatre-music artists, who also represent directors, designers and lighting designers. Although based in Australia and New Zealand, its members represent artists performing not only in these countries, but throughout the world.
ACMMA members are active and professional managers, experienced in the many areas of modern artist management. They work closely with their artists across all issues involved with engagements, bringing confidence and stability both to artistic careers and to relationships with presenters.
ACMMA strenuously pursues the ongoing development of best practice with presenters, broadcasters and the media - seeking to advance conditions for artistic endeavour in a complex and changing industry. Its objective is to achieve the highest ethical standards of artist management.
This directory provides immediate access to the artists represented by ACMMA members. We hope you find it useful.

ACMMA chair

David Brennan’s career as an opera principal began in 1974; he has performed as a leading artist for all major Australian opera companies since then. He was a resident principal at Opera Australia from 1988 to 2001.

His repertoire includes the title role in Don Giovanni, Count Almaviva (Le nozze di Figaro), Don Alfonso (Così fan tutte), Don Pizarro (Fidelio), Ford (Falstaff), Conte di Luna (Il trovatore), the Four Villains (Les contes d’Hoffmann), Nick Shadow (The Rake’s Progress), Escamillo (Carmen), Sharpless (Madama Butterfly), Enrico (Lucia di Lammermoor) and more than 50 other roles. He appears in Opera Australia’s DVDs of La traviata, Turandot and Die Fledermaus.

In 2006, David Brennan obtained a PhD from the University of Newcastle, having completed a study of acting in opera.

His work as a director includes Donizetti’s L’elisir d’amore, Verdi’s Un ballo in maschera and Mozart’s Don Giovanni.

As a concert performer, he has appeared for Sydney Philharmonia in Mozart’s Requiem and CPE Bach’s Magnificat, and for the Australian Chamber Orchestra in Haydn’s Nelson Mass. He toured Denmark as baritone soloist in Alan John’s The Eighth Wonder and, most recently, has sung Mozart’s Missa Brevis in C, Martinu’s Field Mass and Schubert’s Mass in G.

Dr Brennan is a qualified book editor having worked for Redfern Legal Centre Publishing and University of NSW Press. Currently, he is Editing and Publications Officer for the Australian Catholic Social Justice Council.

© ACMMA 2017

ACMMA Code of Practice

Adopted at a meeting of ACMMA members 16 July 2009
The members of the Association recognise that the Articles laid down in this Code of Practice are an expression of their wish to maintain a high ethical and professional standard in all their dealings with other members and with third parties.
Throughout this document, the use of the masculine shall be deemed to cover also the feminine. The term "agent" shall be deemed to cover all companies who are full members of the Association, whether acting as agents or managers.


This Code of Practice forms an integral part of the conditions for membership of the Association. All members of the Association agree to abide by this Code.


When entering into representation of an artist, the agent is under a duty to confirm their agreement in writing, either in a formal contract or in letter form. The agreement shall be fair and reasonable and shall specify the amount of any commission to be paid to the agent, the agent's right to commission upon termination, the commissionable activities, any expenses to be reclaimed by the agent from the artist, the applicable territory, any exclusivity, the term and the procedure for termination.


An agent shall not state that he acts on behalf of an artist without the artist's prior approval, or if there is a general manager, without the general manager's written approval.


When an agent is in receipt of money on behalf of an artist, such money should always be properly accounted for and held and distributed in accordance with the governing laws of the country in which the agent is based, unless mutually agreed otherwise in writing.


An agent who is acting as a general manager shall not replace a local manager without the prior approval of the artist.


When promoting their services, agents will at all times maintain the highest ethical standards and will not harass or pressure artists. An agent will not make disparaging remarks about another agent to an artist with a view to acquiring the artist's representation.


Where an agent is engaged by an artist to replace another agent, the incoming agent shall use his best endeavours to ensure that the artist honours all reasonable contractual obligations entered into with the outgoing agent. The incoming agent shall not knowingly encourage the artist to break existing agreements, which should only be altered by negotiation and if there is agreement between the parties.


An agent should avoid potential conflicts of interest if he undertakes work (for example as promoter, programming consultant or for competitions) that would influence his activities as an agent or his loyalty towards his artists.


Any split of commission between agents should be agreed upon in writing in advance.


When an agent has been asked for information about an artist whom he does not represent, he will give the name and details of the agent representing such artist or advice on where to find the relevant information.


It is the responsibility of the agent to ensure that he maintains a high level of professional competence and has a full understanding of all relevant legislation.


If a complaint is received against a member of ACCMA in relation to a breach of this Code, or a disagreement arises amongst members that cannot be solved internally by the members of ACMMA, the dispute shall be dealt with by the appointment of one independent mediator agreed by all parties.  If agreement cannot be reached the chairman of ACCMA will appoint the independent mediator.
IAMA Board July 2009