Skip to comments.Fat lady all set to sing (Union thugs close to killing NYC Opera company...)
Posted on 01/09/2012 4:55:07 AM PST by jimbo123
It may be curtains for the New York City Opera.
The broke opera company, which is entangled in a bitter contract dispute with two unions, says it plans to lock out its musicians today, throwing the future of the company into doubt.
(Excerpt) Read more at nypost.com ...
musicians should claim for themselves the moniker of “professionals”. I remember being so disgusted with my mom, a writer, when she was thinking of jointing a union at work and speaking about “quittin’ time.” I said, no, a professional “quits” when the job is finished, not when the clock says it’s time.
What next? Surgeon’s unions? And will they quit the heart valve operation at “quittin’ time”? Revoltingly disgusting.
Viola! Perhaps the laid off union workers can get a job singing the praises of the Chevy Volt.
BRAVO! Electrifying Performance!
It’s all over when the Fat Lady doesn’t sing.
So the Obama voting NYC Opera marxists get a taste of their own redistributionist medicine. Nothing left for them to do now but join OWS.
That's too bad, well other than that both unions and opera...SUCK!
Post Of The Day.
The Unions won’t be happy until all their members are out of jobs.
Maybe the Union Percussionists can join the drumming circles at their local OWS protest. But then they’d only play for 15 minutes then go on break.
I remember when Eastern Airlines employees were marching around celebrating their victory after they and their union destroyed the company with a well timed strike.
Most of them never got a job in the airline industry again because other airlines were smart enough not to hire anyone who had already proved where their loyalty was.
But in their minds they won. They proved to the world that if a union wanted to it could destroy an airline. You would think they would learn.
That said, the New York State Theatre, in which NYCO resides, truly sucks and always has. It was not built to be an opera house, but a ballet theatre. The acoustics are awful in spite of the many attempts to improve them.
Beverly Sills made a huge success of NYCO as general manager in the 1980s when she stepped away from the avant garde and concentrated on the standard operatic repertoire plus adding splashy, large-scale American musicals to the seasons. Houses were filled at well over 90% during her tenure. When she retired, the usual esoteric homosexuals stepped in and staged productions that nobody wanted to see with singers that nobody wanted to hear.
It seems like NYCO has had an ongoing problem with the unions, especially the orchestra, for as long as I can remember. The NYCO orchestra used to complain that they were not paid as well as, say, the San Francisco Opera orchestra. The response was generally that they didn't play as well as San Francisco.
NYCO has not had a high profile general manager or music director since Sills retired. They have gone through a series of no-names and audiences have stayed home. This is no surprise.
This post wins the most pathetic attempt at humor award for today. Maybe it wouldn't be so funny to you if whaterver form of music you listen to was threatened by unions.
thought you might want this for the ping list
Let the NYC liberals support it.
I'm sure Ray Charles, Aretha Franklin, Etta James etc have had their run-ins with union thugs.
And cello too!
OOOps I thought this thread was about Moochelle My Belle
That’s the Metropolitan Opera. The City Opera used to have younger sopranos, who were slimmer.
No Renee Fleming comments here, either.
If you're a fan of the Big Band era, you can thank the musician's union for playing a major role in killing the big bands. In 1942, the instrumentalists went on strike and refused to make recordings. A Visit From St. Nicholas, the perennially popular Christmas classic by Waring's Pennsylvanians was very nearly a casualty--the recording was finished about a day or so before the walkout began.
The strike lasted more than a year. Meanwhile, the music industry continued to churn out hits, using recordings of live performances or unique choral arrangements which didn't require instrumentalists. Frank Sinatra's Oh, What a Beautiful Morning" and People Will Say We're In Love by Bing Crosby and Trudy Irwin, both from 1943, are examples of songs that scored despite the strike.
When the strike was finally settled, many instrumentalists found themselves out of a career because the record-buying public's tastes had changed. Vocalists and small combos were now in vogue, and the big bands were now passé.
I have a friend who is a member of the troupe. He’s on the union side and, I fear, soon to be unemployed. He doesn’t like the way the City Opera is planning its season and, of course, blames the Koch Brothers.
I prefer the Met to the City Opera but would hate to lose it!!
I wonder what David Koch is saying and thinking about this. I’m sure he’s on the Board.
Union leftists play the zero sum game of class warfare. Any enterprise they control is bound for failure. It’s nice to see them run their fellow leftists into the unemployment line and their customers out of their theater seats. In the past, enough people got tired of it and rejected the “high moral ground” of radical union leaders and their greed.
We should not fund the Left’s arts at the Federal level. The charity of wealthy leftists should fund their own propaganda. If they are busy funding the arts; they have less time and money to build and fund the Marxist wing of the DNC.
David Koch, hardly a leftist radical, donated $100,000,000 to the State Theatre (the home of the City Opera and City Ballet.) He was responsible for its renovation. The building is now called The David A. Koch Theatre. He and his brother are major patrons of the arts. It’s good to see wealthy conservatives helping to preserve the arts rather than running from it as if it was a gift from the devil.
Until the arts community cleans up it’s act, I’m not for federal funding either. I support it through charitable donations and the “bums in seats” method.
“New York City Opera Locks Out Singers as Director Turns to Rock and Roll”
That is good. All the billionaires should invest their money in your theaters instead of buying corporate pork and fascist power from political parties and politicans.
They should donate to shelters for the homeless the banksters and politicans schemed to displace, too.
They can all get jobs over at the new york times.
I went to CityOpera during the 80’s and into the 90’s, and you are right about Sills. I didn’t mind the acoustics, though, and in some cases I thought the productions were better than the MET.
You are also right about the sodomites. They destroy organizations through their narcissism and favoritism (usually using their positions to get sexual favors or to settle scores).
So, the “patrons of the arts” haven’t stepped in to bail ‘em out? They’ll be whining for federal dollars (yours and mine, folks) soon enough.
In addition to opera, I am also a big Sinatra fan. I've read about how his early recordings with Columbia were a capella because of the recording ban. People used to try to blame the end of the big band era on the popularity of the vocalists-particularly Sinatra. Sure, the vocalists were becoming popular. But, it is as you have said: the musicians did it to themselves.
So singing is the one form of human endeavor that doesn’t benefit from training eh?
Where’d you get that idea?
I love that Big Band sound, more proof that unions suck.
You said the highly trained human voice is a terrible sound. Presumably less training would be better.
Chacun á son goût.
I find a well trained operatic voice to be one of the most thrilling sounds produced by a living creature.
Have you ever heard Kirsten Flagstad as “Isolde” or Fritz Wunderlich performing Schumann’s “Dicherliebe”.
Performances such as those make me feel as if I have died and gone to heaven.
No, but I've heard a Ferrari Formula One engine turning 19,000 RPM.
There is no sweeter sound .
See: Famous Gospel Singers/Top Soul Singers
They wouldn’t be able to hit the notes that opera singers routinely hit and certainly not do it as expressively.
HA! Are you kidding?
Those over-trained prima-donnas are about as expressive as a player piano. They couldn't improv their way out of a wet paper bag.
You wouldn’t want a singer of Art music to improvise any more than you would want an actor in a production of Shakespeare or a pianist playing a Beethoven piano sonata to do so. The idea that someone like Kristen Flagstad wasn’t expressive is absurd on its face.
They get paid an awful lot to play/sing it “just like the record”
There is no room for “expression” They’re just like those “artists” that will do specific custom paintings in colors that match your interior decor.
IE: they’re professional copycats...or similar to various brands of player pianos. (Oooh, that Yamaha is sooo expressive)
A buff could tell a one operatic performer’s interpretation from another’s instantly. Not to mention a good performer from a bad one.
In a field of restored black 1937 Packards, a connoisseur could rate the quality of the paint jobs. But at the end of the day, they're all still black 1937 Packards.
But back to the topic at hand, and all seriousness aside, Shirley they must have open-mic Opera jams at your local pub on Sundays.
Except that black 1937 Packards were all made the same way. Opera has an immense amount of variety. The invention of Opera some four centuries ago is the single most important event in the history of Western music. Most everything else stemmed from it.
I saw a football game once, no need to ever see another one. Same for any other ball sport.
The invention of Opera some four centuries ago is the single most important event in the history of Western music.
European maybe. Although I have European roots, I'm an American, partial to American culture. American music formats spring from Irish, French and African roots.
American music: Blues, Rock and Roll, Rock, Country, Bluegrass, Jazz...are America's largest export commodity. Opera, well...not so much.
That’s like saying I saw a play once and have no need to see another one. Or read one novel and...
I meant in Western music. Serious music. And even in popular idioms...the idea of a single voice with harmonic accompaniment - something that is the basis of popular music, - can be traced back to opera.
Nope, plays, novels, paintings, movies, sculpture, classical music, modern music...tons of variables.
Opera...just annoying warbling and tiresome repetition of redundant vocal exercises do re mi fa sol fa mi re do...Ha ha ha ha ha ah ah ah aaaaaaaa! (glass breaking)
The only opera I ever liked was "Tommy".
Spoken like someone who just hasn’t heard many and is going by the pop culture stereotypes. Opera IS Classical music. One of its foundations actually.
Exactly, proud of it, and intend to keep it that way. I also hate all cities, and I've seen plenty of them.
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