Getting Back to Basics
From the CS Forum: I find it rather interesting in a magazine that is devoted to classical singers, there is very little actual discussion of music, repertoire, or its interpretation. Almost the entire magazine is dedicated to getting a job, or making oneself more appealing to the hiring powers-that-be. While I am grateful that there is a lifeline out there for singers, I wished that CS would focus from time to time on the substance of our profession, instead of (or as well as) its marketing. Would this not bring up the level of our thought and performances (and maybe get us hired to boot)?
I love to “talk shop” as much as the next person, but I do miss the opportunity to read about a coach’s or performer’s take on a particular role or aria or song cycle. While politics and chasing down a job are all very amusing, the music is the reason I do what I do in the first place. Otherwise, this is just dross. —Name withheld
We talked about your suggestions, and agreed with you wholeheartedly. In the next few months, you will see more discussions on technique and repertoire. Thanks for the ideas. —Editor
AGMA and Strikes
From the CS Forum: Once again CS has managed to make me angry with their incessant AGMA-bashing. This month there is a letter about orchestra strikes, and AGMA’s lack of a strike fund. It is unfortunate that AGMA does not have a strike fund, and discussions are underway to raise money for such a fund. You must realize that even major unions, such as the Teamsters, run out of money in the strike fund quite rapidly (as happened when the UPS workers went on strike). If you would like to volunteer your time and energy toward establishing a fund, please contact AGMA.
Singers need to wake up! If a company is not going to honor the agreements they have made to the musicians, stagehands, etc.—what makes you think they will honor the agreement they made with you? Mediation is a useful tool to help bring the two parties together, but if one side or the other is unwilling to move from their position, then it’s useless. Arbitration can be disastrous for both parties. Considering the torturous process that NYCO just went through with binding arbitration, I doubt that any AGMA local will subject themselves to a lengthy arbitration that also guarantees both parties will be dissatisfied. —Name withheld
Mediators who come up with a win/lose or a lose/lose deal are not doing their job. The goal of mediation is to have both parties go into negotiation understanding that the goal is either a win/win agreement or no deal—a calm agreement to not work together until both parties come out feeling good about the arrangement. Yes, that is technically a strike, but not a “dig in our heels till you give us what we want” action. It is, instead, saying, “Let’s work together to come up with a solution we can both feel good about.” One company found that once they got the lawyers out of the process, and sat down face-to-face with the singers, they were able to get rid of the acrimony. Creative people can come up with creative solutions when they realize that no one wins if anyone feels taken advantage of. The problem is the mindset that assumes companies are the enemy, and that a singer’s only recourse is force. This mentality does not help singers, doesn’t help the companies, and certainly doesn’t build audiences. We are, after all, working toward the same goal of building the business of classical singing. —Editor
Feedback on the Depression Issue
From the CS Forum: The Classical Singer issue on depression brought up some important questions. Frederica von Stade alluded to how unrealistic our societal expectations are, and how they feed our illusions as singers. We have this idea that we can and should be happy all the time, that we can and should constantly build success upon success. Those successes are so fleeting—as everyone knows who has awakened the morning after a show has closed. Our culture fosters the illusion that youth, beauty, accomplishment, wealth, comfort, and happiness can be endlessly maintained. The result is the terrible depression upon reaching certain turning points, like middle age, or not getting beyond a certain recognition level, even if steadily working.
Few are prepared for the eventuality of things not working out. How many of us have a back-up plan? I am reminded of a post on the Forum a few months ago, in response to Ed White’s suicide. It said that anyone unhappy in this business should get out. That is lacking in compassion, impractical and unrealistic. The odds are heavily stacked against us, regardless of how great we are. I would like to know how my colleagues really feel about singing. Do the vicissitudes of the business outweigh the joy of singing?
—Name withheld
Fur Advertising?
Dear CS: I was very saddened to see an ad proclaiming “The Ultimate Fur Image” in your January edition. Wearing fur sends the specific message that the lives of animals are of little value, and the larger message that a life, any life, is something disposable. Your publication promotes generosity within our profession. You have helped us find ways to strengthen and enhance our gifts in order to reach the hearts of our listeners. Must you now try to convince your readers to purchase garments made of the pelts of animals bred for that purpose? In my opinion such an ad has no place in your otherwise outstanding publication. —Elizabeth M. Hastings
