The American Guild of Musical Artists (AGMA) represents not only soloists, but choristers, ballet dancers, directors, stage managers, and artist managers. The New York City Opera choruses have long been AGMA signatories, with a strong history of mediation and successful contract negotiation. Boyd Schlaefer, New York City Opera chorus men’s representative, is one of the many volunteers who put in hundreds of hours to make the union work.
Classical Singer : What are the duties of an AGMA representative? Do you do any actual mediation or bargaining?
Boyd Schlaefer : There is a women’s rep and a men’s rep, because sometimes the men’s chorus and women’s chorus may have different schedules and demands. There is also a representative to go between all the reps and the rehearsal department. This is my second year as male chorus rep; I was also associate chorus rep for two years before joining the regular chorus. As the delegate, I step in when the group has a concern. My job is to represent the chorus concerns to management, through the artistic administration. I don’t do anything else, except relay our concerns. If there’s a big problem, it goes to the union officials, who have the legal staff to do what needs to be done.
To give you an example, during rehearsal, the assistant director may ask for clarification of the chorus situation with regard to AGMA rules including rehearsal length, breaks, etc.
We have a complicated contract and sometimes working rules aren’t particularly clear, known or simply remembered by other sections of the shop. There is a delegate for each shop section–chorus, dancers, soloists, stage directors, stage managers who are all under AGMA jurisdiction. We basically just remind each other of the rules.
CS : How would you characterize your dealings with AGMA and NYCO management?
BS : Right now, I feel AGMA totally supports me in my job as a rep. If we have a problem, I can call the AGMA offices and they will get right back to me. I have been closely involved in the most recent negotiations–mostly because I know the contract well since I work with it every day. Labor management meetings are scheduled to make sure small problems don’t turn into big ones. Diplomacy is key–keeping a good relationship with the management.
NYCO has a detailed contract, which is always evolving and requires maintenance by all parties. If the contract says something, we have to abide by it, and so does management. It does keep us all organized so we all know where we fit into the equation of an opera company.
We know that there are always going to be problems popping up throughout the term of a contract. In the best scenario, everyone sits down together and works it out. If it can’t be worked out, it goes to a higher authority. I don’t believe these relationships should be adversarial. For me, it’s a business, and everyone’s just trying to find the best possible arrangement.
CS : Should singers join AGMA?
BS : If I was going to counsel a young singer, I’d say to first go out there and get the job with an AGMA house. [See list of signatories on page 12] Then you will be given the opportunity to join. Take that opportunity because there are many benefits.
CS : What union benefits do chorus members receive?
BS : We have a union contract–without the union we wouldn’t have health insurance, relative job security, pension, sick days, or religious holidays plus everyday work rules. In a non-union company, you wouldn’t have an assurance of these benefits. That’s a big reason why some of these chorus jobs–especially in the bigger houses–are so coveted.
