As dear Rosalind Russell once said, “Politics makes strange bedclothes,” and none surely are stranger than the juxtaposition of the Metropolitan Opera and political blog Wonkette, which today offers a stinging takedown of the wingnuttery behind the movement to remove The Death of Klinghoffer from the Met’s fall schedule.
Yes, it appears the Met’s labor crisis has been averted by successful completion of contract negotiations between the Met and AGMA (pictured, left to right.) Now that we are all breathing again, La Cieca thought the cher public might be interested in seeing the exact terms of at least one of the pacts. Your doyenne has come into possession a copy of the Memorandum of Agreement about which she is sure the keen legal minds of the parterriani will form their own opinions.
AGMA and Local 802 “have agreed to cut a little more than 7% of their members’ compensation during the first year of the four-year contract, growing to 7% in the second and third years.”
UPDATE: The Met has reached tentative agreements with AGMA and Local 802. The contract deadline has been extended through midnight on Tuesday, August 19, to allow Local One and the other remaining unions with unsettled contracts more time to secure new deals with the institution.
Our Own Jungfer Marianne Leitmetzerin demonstrates the enduring quality of art with two performances of La Bohème four decades apart.
This past week of contract negotiations at the Metropolitan Opera has been notable for the absence of any new PowerPoint presentations or fustian proclamations.
“Labor! Oh, the problem of labor at the Met is gargantuan,” Our Own JJ (not pictured) would have said, had he thought of it.
Soprano Amanda Majeski will make her Met debut on the opening night of the 2014-2015 season as the Countess in Le nozze di Figaro, replacing Marina Poplavksaya “who has withdrawn for health reasons.”
I guess we can assume the season is going to happen, because the cast changes are already starting, and the Met’s press office is on it, you guys.