I was thrilled to hear yesterday that the Met will be presenting live video simulcasts of six of the Saturday matinee performances this season. I think this is just the kind of thing opera needs to infuse it with some new blood! Use the technology, by all means, I say.
I first heard this general news from my sister-in-law, so I went to find more information. Did I go to the source, the Met, or to the secondary source, the New York Times? No, I went to parterre.com! And it was there that I learned that Il Trittico, the opera (or evening of operas, rather) in which I have two small roles (don't blink!), will be one of the operas simulcast!
Oh. My. God.
To think that my family and friends around the country could go to a movie theater and watch me onstage at the Met... well, now, those are two things I never thought would happen! Opera live in movie theaters, and me at the Met.
What a world.
10 comments:
They plan also to show them in cinemas further afield, although I can't see much enthusiasm for cinemas in Europe to schedule them on a Saturday night.
Here's hoping
Gert, you're right. From what I understand, though, it will be live in the larger markets and recorded in smaller markets. So maybe the European venues will be of the recorded broadcasts, and therefore shown at a better time?
Yes...and you will soon get a four page letter/addendum combo regarding "back end profit sharing" (sounds kinky) as opposed to advance broadcast compensation.
you better post when you know the details, lady. :)
ps, that was kimvox. :)
Well congrats dear!
That's fantastic! And I had no idea that they might be showing it in Europe too. I must find out if it'll be shown in Berlin!
You mean your family, friends and *fans* around the country will get to hear you, right!?
So, at the risk of posting another "OMG, ACB, that is *sooooo cool*. I'm so happy for you!!!" type of post:
OMG, ACB, that is *SOOOOOO COOOL* I'm so happy for you!!!
ps Can anonymous tell us more about back end profit sharing vs. advance broadcast compensation? I for one need a little business lesson here...
Anonymous can tell you a bit more about "back end profit sharing" because well...I'm tipsy and not completely bitchy tonight.
Basically, the way MOST untion contracts are for recording...or have been until now...to agree to a recording, all of the musicians have been paid their flat fee either up front or directly after the work (just as they would their per performance fee). And some unions (especially the instrumentalist one) have caused recording to be rather prohibitive (hence the recent agreements between many major US symphonies and their union regarding a "catch all" union-approved contract to allow for recording so classical music won't die).
Anyways... The Met negotiations with AGMA allow for the recording (in multiple fashions) of live performances prior to payment. Then, following the accruement of a profit, a (slightly to be determined) percentage will be dumped into an AGMA pot, to be split between the members who are heard on the recording(s). The split will occur at certain percentage intervals commensurate with the size of the role recorded.
It's still VERY much in the works. Singers at the Met received a letter from Peter Gelb this week as well as a two page memo from the (new) Director of New Business Initiatives, as well as a rough draft page of the AGMA collective bargaining agreement.
Make sense, kiddos?
That is *very* interesting and informative, anonymous. Thank you!
I have one question though, if you don't mind, relating to the phrase "following the accrument of a profit"... ie, what happens if there are minimal, if any profits, or [heaven forbid] a loss?
Not that this will happen with ACB in the cast, I'm sure ... (our songbird will carry the day!) ... just wondering about the dollars & sense part of it?
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