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Subject: Re: Singers taking multiple roles in operas
From: Jon Goldberg <[log in to unmask]>
Reply-To:Jon Goldberg <[log in to unmask]>
Date:Sat, 1 Jul 2017 15:00:08 -0400
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AGMA??? ;-)

What I'd love to know is what happens for difficult "cameo" roles - I was actually thinking 
outside the operatic box, at the tenor soloist in Carmina Burana, but you could also include 
roles like the Italian Tenor, Fiakermilli, etc - how is pay scale determined for length of role 
vs. singing difficulty? (Since with roles like that, you do need singers with the special skills 
to sing them well - they're not "comprimario" in their vocal demands.)

I bring up Carmina because I was thinking about this recently. I haven't *seen* a 
performance of that piece in a long while, but if, as I'm sure it happens, the tenor is asked 
to sit onstage for the duration of the piece (instead of just popping in and out for the one 
solo), does he get extra compensation for having to sit around onstage that whole time, and 
then just spout off a bunch of high D's when his time comes, lol? (At least the Italian Tenor 
can be offstage the rest of the time, warming up, etc.) Or is it more customary to just bring 
him on for the section of the piece?


On Sat, 1 Jul 2017 13:21:52 -0400, Tom Frey <[log in to unmask]> wrote:

>If opera stars were unionized...

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