agma “likely” to strike nyco
The American Guild of Musical Artists said in a memo to members that “given the changes that George Steel wants to make in our contract, members are advised that the possibility of a strike against New York City Opera is likely.” At issue is what AGMA characterizes as Steel’s intention to eliminate guarantees of work for chorus and production staff. [via Bloomberg News]
Any AGMA members out there willing to forward a copy of the memo to lacieca@parterre.com?
Since I work with undergraduate students I tend to feel that I am up on current slang terms. A “star” gala that was to have Renee Fleming on it? I’m not sure I understand, I guess I’m as middle aged I thought.
La C..and Mr Gordon..
I’ve never bought into the “right-wing” argument that Union demands lead to the ruin of “innocent” businesses ,,and it is of course Mr. Gordon’s responsibility to see that the rank and file get the best possible working/wage/medical/ benefits-and I really hope he succeeds…
Reading his most recent post..and yours, though, I can’t shake the uncomfortable feeling that , in this particular extraordinarly bad time for NYCO -regardless of whose fault it is(agreed–horrible managment-or lack thereof) that both of you really thinks, or doesn’t care, that the death of NYCO would not be all that much of a bad thing, in the long run…which I gotta respectfully disagree with….(it will be horrible for the workers-REAL HORRIBLE–AND DEVASTATING for the cultural and economic life of the City…)
On a more positive note..I appreciated the link in Mr. Gordon’s post to the Main Union site..where, one can read(I love to, in my wonk-ish/nerdy legal mind-set) successful contracts/agreements with other Opera Companies..it is a tremendous education, for me, to see in black and white, what sort of deals have been hashed out in the past….
I truly shudder at the thought that others might share your feelings, La Cieca. Touting a “maybe something better will come along” attitude in order to preserve what is through-and-through self interest and zero responsibility is appalling.
@ #65:
I’ve actually been wondering: What about disbanding the NYCO orchestra?
Not to use pick-up bands of freelancers instead, though. What about following the Glyndebourne model and hiring in an already-existing orchestra for each production? (Glyndebourne uses the London Philharmonic and the Orchestra of the Age of Enlightenment.)
City Opera could use, say, the Orchestra of St. Luke’s and maybe a period-instrument group for the Handel and Rameau.
That might not have worked for the full repertory schedule City Opera used to have, but it might be a while before they can have that full a schedule again. And Glyndebourne certainly makes it work for a very busy season of three months or so.
How about it?
80 I’m not sure I understand your last sentence. Who here is saying it’s the public’s responsibility to keep NYCO on life support? Unlike Chrysler, we are not talking about use of tax revenues.
Given how difficult it would be to create a multi-million dollar opera company from scratch, and especially in this environment, I would imagine the employees of NYCO would prefer to modify the existing company rather than be in the unemployment line until a new entity can come into activity. It is up to them to decide what compromises they feel they can accept.
The administrations (Kellogg and Mortier) that brought about the current situation are gone. What is wrong with letting the very new administration try to craft a new company with the remains they have inherited instead of penalizing them for what their absent predecessors have wrought? It’s not Steele’s fault what Kellogg and Mortier did to the company. The past is the past – let the company move forward.
I think Local 802 would find that a , shall we say, INTERESTING proposal…..
referring to #84
@ #84 Arianna a Nasso
[slow clap]
Bravo!
All of this may almost be moot at this point. Tkt brochures are not out. At this point, we have to ask whether or not people will subscribe to next season if they’ve been reading in the press that the season is in jeopardy. Why send money when it’s possible that one or more presentations will be cancelled and tkt costs may not be returned? My guess is that even the most loyal subscribers, like me!, will wait to see what happens in the fall. Truly, AGMA, in taking their “negotiations” directly to the public first, is putting the nail into what remained of NYCO’s cash flow potential.
Getting rid of the chorus won’t save the company. The chorus is 1/35th of the budget. Any concessions that the chorus makes in its contract would amount to pennies. There seems to be a long term plan here that Steele would like to implement that means more than just saving money. Given his lack of interest in what most people see as ideals in operatic performance, it’s possible he forsees the type of season that stays away from the grand opera choruses that require more mature singers. (No more Carmens, La Bohemes, Turandots, and other works that are taxing on younger singers.)
Yes, the demise of the company would be a very sad thing, but I don’t feel they are willing to push any group at NYCO to the point of a strike. No one wants that. People just want to keep their jobs. Everything that Steele is proposing to take away from the chorus, associate chorus, and weekly employees is, well, EVERYTHING.