I recently appeared in a production of a Mozart opera in which I played a princess in hiding, her life in danger. The costume designer decided that I would be hidden in a pile of dung, since the opera had a pastoral theme. The director agreed and thought it would be marvellous if I remained immobile inside the dung until my first aria on page sixty-five. My protests were ignored and I spent a lengthy tour sweating within a heavy casement of wool and plastic, unable either to sit down or go to the loo for the duration of the piece.
My performance was compromised to satisfy the whims of a production team who had never been involved with singers before and simply didn’t understand what was acceptable. I have had many such experiences. I am currently in an opera in which I have been told that I will be wearing a swim-suit. Yes, told. One of my colleagues (who has just given birth) objected but was treated with contempt for not wanting to show her stretch-marks to the paying public. While I understand that the design and ideas behind a piece are important, when did the singing become less important, and the concept take over? Why are singers at the bottom of the pile in opera – or even inside it?
There are many fine singers in the UK and not enough work to go around. Therein lies the path to exploitation. It gives opera companies carte blanche. Aside from one’s artistic choices being compromised there is the equally serious issue of the lack of financial reward for one’s dedicated efforts.
A lot of small companies pay no rehearsal fees and yet expect total commitment for weeks before the first night. It is very possible actually to lose money on a job. Touring with a company like this can be a financial disaster, especially if you are lucky enough to own a car. You will end up as chauffeur to the rest of the cast and not even get your petrol costs in return. One colleague of mine now refuses to give anyone a lift since a particularly hefty baritone ruined the suspension of her car, costing her hundreds of pounds.
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We all take jobs like this for experience and with the hope that someone important will notice us. If we don’t take them, there are plenty of others who will. It is a very disempowering and demoralising situation and in stark contrast with the position of other musicians.
The last opera I appeared in was a double bill. The director decided the night before the first performance that he wanted to swap the order of the pieces. As I was only in the first piece, it meant that if it was changed I would have to stay all evening and not slip away in the interval. I certainly didn’t register any complaint. The bassoonist was also only in the first piece and had booked himself another job afterwards. His sole objection dictated the running order with full support from director and conductor. I cannot imagine a singer in a similar position being given the same degree of respect or understanding.
The Musician’s Union gives instrumentalists so much more bargaining power and status for which there is no singers’ equivalent. Whilst an agent can help by acting on your behalf, perhaps the real answer is for us all to unite by forming our own union and fighting back. After all, what would happen to opera if there were no singers?
Lucy Liebowicz
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