From a correspondent:
I am a retired full time chorister who worked at the Lyric Opera of Chicago from the mid-1970s until recently.
When I started, I made $125/week for 13 weeks and about $4/hr prior to that for music (room) rehearsals held about 3 times/week. No benefits (health/pension).
After decades of negotiations the salary and benefits improved sharply and when I retired a 30 week contract netted about an annual salary of $70,000 plus individual health (NOT family) and pension benefits. A standard work week was 24 hours.
One of the ongoing issues in the performing arts is one you mention: is the employer paying for time worked or TALENT. Generally, unions’ position are both. Time, to be sure, but certainly talent is the primary qualifier. A regular chorus position opening at Lyric, the Met, or SFO regular attracts hundreds of superb singer musicians. Recent chorus hires at the Met included artists who sang PRINCIPAL roles at other companies (Met chorus annual salaries can exceed $200K). Choristers may have a “short” work week but contractually must be available Monday to Saturday 10am to midnight and Sundays about noon to 7. They also, contractually, must be available on short notice.
I appreciate your postings very much. Here in Chicago we’re looking forward to the Fidelio dress on Monday. Dress rehearsal passes are the one Retirement benefit.
Dr Harry Brunjes, who has presided over ten years of destruction at English National Opera, is stepping down. He has resisted that move valiantly for a very long time.
The good doctor may now enjoy a happy retirement attending whatever is left of ENO’s performances.
Here’s his bye-bye letter:
As the company prepares for the opening night of La bohème, I would like to take this opportunity to let you all know that the imminent 2024/25 programme will be my final season as Chair of English National Opera & the London Coliseum. By the festive period I will have completed a decade in this role and I simply cannot believe where these 10 years have gone.
So many reflections during my time as Chair, and where to start? First and foremost, it has been my immense privilege to have seen the company produce and present hundreds of world class operas both at the London Coliseum and internationally over the past 10 years. Alongside this, the positive impact ENO makes well beyond our walls continues to inspire, through our engagement programmes in schools and hospitals across the country. I am particularly proud of ENO’s groundbreaking social-prescribing programme, ENO Breathe, which was launched as a response to the global pandemic and continues to support the NHS today.
Of course, a lasting memory will be the enormous response English National Opera received from you and many others at the time of the ACE funding decision in 2022. The Company was literally inundated with tens of thousands of messages, not just nationally, but from around the world. It was both astonishing and uplifting. Clearly, English National Opera has been important to so many people over the generations and continues to be so. There is an overriding sense of warmth and collegiality which, in truth, is the foundation that underwrites the values, ethos, and reputation of this great Company.
In spite of all the challenging issues the organisation has faced over the past decade, I believe that the resilient nature of ENO has won through and the dedication, commitment, rigour, and professionalism remains undaunted. It has been an honour to be Chair of such an important Opera Company and my own enthusiasm and advocacy will continue in the years ahead. With the leadership of Jenny Mollica, Annilese Miskimmon, the ENO Board and the excellence of both the ENO Orchestra & Chorus and, indeed, the whole Company, the ENO moves into the next chapter with great optimism as it approaches its centenary in 2031.
Whatever will be left of ENO by 2031?
We hear that Elim Chan, the sought-after Hong Kong conductor, is leaving Classic Concert Management GmbH in Germany to join Intermusica in London.
No-one’s giving any reasons yet, but CCM have just three conductors on their books. Intermusica have 48.
There are more likely to be alert to the next vacancies.
The composer John Mackey has reported the death of his friend, Robert Carnochan, Professor of Conducting at the University of Miami and Chair of Instrumental Performance and Director of Bands at the Frost School of Music.
No details are presently forthcoming.
Our sympathies to his wife and family.
Only three weeks ago, Robert received the Phillip Frost Award for Excellence in Teaching and Scholarship, the Frost School of Music’s highest honor.
Mackey writes: I just learned of the sudden passing of Robert Carnochan and I am at a loss for words. Rob was brilliant and warm and funny and kind. My thoughts are with his family and his thousands of friends and current and former students. You’re loved, Rob
Statement by Equity, acting for the endangered chorus of Welsh National Opera:
Equity members in the chorus of the Welsh National Opera will pause their first and second days of strike action, previously planned for Saturday 21 and Sunday 29 September. This follows productive discussions with WNO management over the past week. Action short of strike will still be taken by chorus members on the opening night of Rigoletto and throughout the season as originally planned.
A deal has not yet been reached and despite pausing strike action at this time the chorus continue to be concerned about the implications and any implementation of management’s current proposals. The pause will allow time for further talks to take place with the hope of reaching an agreement …
We’ve had our attention drawn to two paragraphs in the jury instructions, showing how female contestants receive preferential treatment.
The clauses are these:
4.6 If there are two candidates with equal scores competing for one place
and one is a woman candidate, we ask the Juror to consider advancing her first.
4.20 In the instance of a single gender outcome or an outcome that
significantly reduces the ratio of women to men in the Competition,
there will be a revote for all places.
Got that?
Fair, or unfair?
The finals take place this weekend.
The Dover Quartet, which positioned itself ‘to take up the mantle of the Emersons’ has suffered a setback with the withdrawal of violist Julianne Lee. She has decided she prefers her old job in the Boston Symphony, where she was assistant principal second violin and principal second violin with the Boston Pops. She joined the quartet in February 2023.
Here’s how Julianne puts it:
I have some bittersweet news to share. This past year with the Dover Quartet has been a wonderful whirlwind of touring, performing, recording, and building friendships. I’ve bonded with Joel, Bryan, and Camden both musically and personally in deeply meaningful ways, and I am incredibly grateful for our time together. I will continue to tour with the Dover Quartet through June 2025. However, being part of one of the world’s most in-demand quartets requires being on the road much of the time, and I’ve realized that this schedule doesn’t align as well with my lifestyle as a position with a home orchestra does. I’ve missed the routine and musical experiences of the Boston Symphony, and I will be returning to the orchestra in July for the Tanglewood season. Until then, I’m excited for this upcoming year with my fellow Dovers. Joel, Bryan, and Camden look forward to auditioning my replacement and announcing my successor in the spring.
The Dover Quartet is resident at the Curtis Institute in Philadelphia.
First Jurgen Klopp, now Michael Eakin.
The chief executive said today he will retire next year after 16 years as CEO of the Royal Liverpool Philharmonic Orchestra. Michael has been a beacon of stability in orchestral management. Arriving from a desk job at Arts Council England, he was totally involved with musicians and audiences from day one. After a happy decade with Vasily Petrenko as chief conductor, he supervised a smooth transition to Domingo Hindoyan, all the while working on a major hall refurbishment and long term future plans.
Dedication of this order will be hard to replace.
The musicians have begun picketing concertgoers at David Geffen Hall over their stalled wage negotiations.
Earning $50k less than colleagues in Boston, Chicago and Los Angeles, they tell the New York Times today, ‘threatens our ability to attract and retain the world’s finest musicians.’
‘Our members are having trouble just making ends meet,’ said Sara Cutler (pictured), president and executive director of Local 802.
On basic US$153,000 a year for a 20-hour week?
I wonder what the NY Times journalist is making for a 50-hour week.
We hear that the Orban regime has dismissed the entire management of the Hungarian Radio Symphony Orchestra. The purge includes General Director, Artistic Director, PR and Marketing departments.
The conductor Gabor Kali has been appointed General Director, as well as Artistic and Music Director, on Orban’s expressed order.
The ten finalists were made known last night:
Eliza Boom, soprano, New Zealand
Le Bu, bass-baritone, China
Vladislav Chizhov, baritone, Russia
Elmina Hasan, mezzo-soprano, Azerbaijan
Liam James Karai, bass-baritone, UK/India
Jack Lee, baritone, UK
Kathleen O’Mara , soprano, USA
Sun-Ly Pierce, mezzo-soprano, USA
Meridian Prall, mezzo-soprano, USA
Angel Romero, tenor, USA
Polina Shabunina, soprano, Russia
Eliza Boom is the recent winner of the Elizabeth Connell Prize at London’s Wigmore Hall. She has an agent at IMG and a flourishing UK career.
The Greek-American conductor and impresario Peter Tiboris, who was died aged 76, was recognised as ‘the most prolific presenter of choral concerts in the history of Carnegie Hall.’
He presented 1,500 events worldwide, including opera, symphonic concerts, Greek folk music and ballet.
The composer John Rutter has said of his biography: ‘Could anyone have accomplished what Peter has accomplished? Peter’s combination of musical insight, vision, energy, commitment, and determination to make the most of whatever opportunities life offers is, to say the least, uncommon. He is modest enough to claim “it’s all about the music,” and of course it is, but I believe you will come away … thinking “Yes, but there’s a lot more to it than that.”’
