Vol. I, No.5 PUBLISHED BI-MONTHLY BY AMERICAN GUILD OF MUSICAL ARTISTS, Inc., A. F. of L. November, 1947

OFFICERS OFFICES

LAWRENCE TIBBETT New York 19 President 276 West 43rd Street NORMAN CORDON Telephone: LOngacre 5-7508, 9, 10 1st Vice-President • JULIUS HUEHN Los Angeles 2nd Vice-President 1. R. KORNBLUM EDWARD HARRIS 6331 Hollywood Boulevard 3rd Vice-President Telephone: Hillside 5121 CONRAD THIBAUT • 4th Vice-President San Franscisco J ASCHA HEIFETZ THEODORE HALE 5th Vice-President 216 Pine Street Telephone: Sutter 0855 ELIZABETH HOEPPEL Recording Secretary • FREDERICK JAGEL Philadelphia Treasurer G. GILBERT MASON 207 Walnut Place HYMAN R. F AINE Telephone: Lombard 1187 Executive Secretary • BELMONT KINDLER Assistant to Executive Secretary Chicago 1 BEN MEYERS BERNARD W. ZUEBERT 188 W. Randolph Street Financial Secretary Telephone: State 0855 • • JAFFE & JAFFE BELMONT KINDLER Counsel Editor AGMA - A UNITED UNION Unity, like democracy, is a beautiful but highly abusec! with producers. The numerous provisions in our Basic Agree­ word. Most people would welcome it, but too few of us exert ment with opera, ballet and concert revue companies relat­ sufficient enthusiasm in its behalf. Like democracy, unity ing to transportation, rehearsals, signing of contracts, and does not represent a static organism, but on the contrary, security deposit all benefit solo artists. in order to attain its fullest realization, must be constantly We realize the time that artists consume preparing for developed and nurtured. and giving auditions, visiting impressarii and managers, Governments call for its application. Our political parties studying to perfect their art, and in many cases rehearsing realize its desirability. Each of us, I suspect, would like to for performances. We are also painfully aware of the inten:;., see unity exist within our own homes. Why, then, with all desire on the part of our members to succeed in a field where this, should AGMA remain an exception? supply far out-balances demand, and where opportunity is Not A "Singer's Union" rationed. We recognize that after years of study and sacrifice, First of all, contrary to popular opinion, and there are single-mindedness of purpose becomes a necessity to artists who realize their capacities. some people who should know better, AGMA is not a "singer's union," but rather a union composed of solo in­ This is precisely where AGMA can be of assistance, be­ strumentalists, solo singers, choristers, solo dancers, corps cause with increased membership participation producing a de ballet dancers, and stage managers and stage directors. stronger union, AGMA can then expend some energy in aid· Frankness compels us to state, unfortunately, that of these six ing musical organizations in many small communities, which categories, choristers have been, in proportion to their num­ in turn will result in additional opportunities for all AGMA members. ber, far more active in AGMA's affairs than any other group. At the September 18th general membership meeting Identity of Interests fully 75% of those present were chorus members, and we Although each category of membership has its individual congratulate them upon their responsiveness and loyalty to problems, there exists, we believe, an identity of interests, a their union. But we wonder why principals and dancers, for common purpose sufficiently strong among us to place each example, are not more active within AGMA. Artists have such problem in its proper perspective. We feel that if in· readily conceded to us that the higher minimum rates which strumentalists understood chorus problems, and if dancers AGMA has secured also increased their fees in bargaining (Continued on page 7) CONVENTION PLANS FORGE AHEAD AGMA's first Constitutional Conven­ United States was divided into seven Delegates were to be nominated by tion, the purpose of which is to revise specific geographic areas, as follows: petition, on which the signatures of the present constitution, will be held in No. of any fifteen AGMA members in good New York City on January 8th, 9th ana Area Delegates standing could be secured. The signer 10th, 1948. New York City, New York State, of the petition had to reside within the Constitutional Committee New Jersey (vicinity of N. Y. same geographic area as the nominated This past May, in response to a resolu­ and Connecticut...... 46 candidate, and could sign as many nominating petitiol15 as he wished. tion passed at a membership meeting, New Jersey (vicinity of Phil.) and President Lawrence Tibbett appointed a Pennsylvania-...... _. 4 The Committee in recent weeks has Constitutional Committee which was re­ Massachusetts and Rhode Island.__ 1 reviewed and discussed the major por­ presentative of all categories and locali­ Delaware, Maryland, Washington, tion of our present Constitution, so that ties of AGMA's membership, and whose D. c., W. Virginia, Alabama, a draft would be available to the dele­ function it became to prepare the me­ N. Carolina, Kentucky, Florida, gates at the Convention. Although a let­ chanical details of the Convention such Tennessee, Texas, and Louisi- ter was sent to all AGMA members re­ ana...... _... _.. _...... _...... _...... _...... 1 questing suggested changes in AGMA's as the nomination and election of dele­ Constitution, the response was inadequate, gates, the basis for representation, and Ohio, Illinois, Indiana, Wisconsin, and the Committee consequently is pro­ a draft of Constitutional changes to be Michigan, Missouri and ceeding with suggestions formulated at suggested to the Convention. Those ac­ Kansas...... 6 its weekly meetings. cepting appointment were: California (vicinity of San Franc- cisco) and Washington...... -. .. -.... 5 Counting of Ballots 1. Ruthanna Boris California (vicinity of Los An- After nominating petitions were re­ 2. Lucy Brown geles) ...... 6 3. Frank Chapman ceived at the AGMA office from each 4. Norman Cordon TotaL...... 69 geographic area, ballots were mailed 5. Donald Dame Each of the seven was divided into to every AGMA member, who was re­ 6. Edward Harris six separate craft categories-solo vo­ quested to return his ballot in a sealed 7. Winifred Heidt calists, instrumentalists, solo dancers, envelope in preparation for a secret 8. J ascha Heifetz choristers, and stage managers and stage vote. Ballots are still being returned to 9. Peale Hober directors. the AGMA office. After November 22nd, 10. Elizabeth Hoeppel The elected delegate from an area the deadline for the receipt of ballots, 11. Edith House could be chosen from any craft category. they will be tabulated, and AGMA mem­ 12. Julius Huehn However, in order to insure democratic bers will be informed of the results. 13. Frederick J agel representation, it was decided that Those members of the Constitutional 14. Edward Kane among the delegates at the Convention, Committee who, in spite of other duties, 15. Maurice Kostroff there should be a minimum of two from have graciously offered their time and 16. Ray Lev each craft category. If the minimum energy to assure the success of AGMA's 17. Anthony Marlowe of two from each craft was not elected, First Constitutional Convention, are to 18. May M~Dermott then the person in that craft holding be congratulated upon their interest and 19. James Melton the next highest number of votes, re­ enthusiasm. We hope that in the con­ 20. Elissa Minet gardless of area, would be accepted as cluding few weeks, we may enlist the 21. Lillian Nichols an additional delegate to the Conven­ support of those members who have 22. James Pease tion. been unable to attend meetings thus far. 23. Leopold Sachse 24. May Savage 25. Margaret Speaks 26. Frederick White ··Seel~ and Ye Shall Find" Out of town repre~entatives were: Every now and then, an impressario such singers as Miss Spence and Miss 27. Galliano Daneluz-SanFrancisco approaches us and confides in a rather Morris should prove the pertinence of 28. Joaquin Felsch-San Francisco sheepish manner that, "I hold auditions that old adjuration, 'Seek and ye shall 29. Desire Ligeti-San Francisco every year for three or four hundred find.' " 30. Foster Grundy-Los Angeles singers, but you know, it is next to im­ And from the "Herald Tribune" of the 31. Hilda Romain-Los Angeles possible to find any worth while talent same date: "There is surely no cause 32. John Shafer-Los Angeles among American singers." Well, we are for despair about the future of opera 33. Gilbert Mason-Philadelphia essentially good-natured, and smile right in the United States with such gifted 34. Gerald Finerman-Illinois back, but our searching eye found the fresh talents entering the field as the 35. Angela Kitches-Illinois proper retort in a "New York Times" Misses Morris and Spence." 36. George Tozzi-Illinois music review of "Ariadne auf Naxos," AGMA is certain there are additional 37. Arthur Winteler-New Orleans which was presented at the New York American artists, who, if offered the This Committee has met weekly since City Center last month. June, and after considerable discussion, I quote from the "Times" of October opportunity, would also display a high approved an organizational procedure 10: "If there has been any doubt that degree of talent. We wonder what our leading to the Convention. this country has an abundance of talent, impressario friends will say when they AGMA's membership throughout the the introduction in one opera of two next approach us? let stranded and on strike in Cuba and the fiasco that was. Since that time AGMA AND DANCERS dancers leaving the country are pro­ Feel that lucky Union Card, Dancer-It's tough to be without one tected by requiring managements to de­ posit two weeks salary. Arrangements In the October issue of the magazine own way. Rehearsal hours were un­ are made that dancers be paid in U.s. "Dance," there appeared an article by limited and often were scheduled after money so that exchange rates will not Ann Barzel entitled "State of the Un­ the last ballet at night. Sick or injured make a big difference in real salary ions_" In a sub-head, she goes on to dancers were off the payroll and travel scales. However, AGMA has nothing to say, "feel that lucky union card, dancer! was by day coach or bus. say about conditions in companies not It was tough to be without one." The organized in America. Artists going sentiments expressed so accurately mir­ Companies Sign Up out of the country .. with: such troupes ror our own thoughts on the subject, In 1939 Lincoln Kirstein had his Bal­ do so at their own tisk .,~V(;n if they are that we are reprinting, with the per· let Caravan sign up with AGMA and members of the union. ., mission of the magazine's editor, those gave the dancers contracts that called excepts which contain sper:ial referen:;(' for $45 per week minimum pay with $20 Travel in Comfort to AGMA: per week for rehearsals. The next com­ AGMA worked out the Ballet Theatre "You study dancing for years and pany to come in on this was the Little­ contracts which made the London trip years, and work and sweat and dream­ field Ballet with similar provisions. The so pleasant for the dancers .. last year, not to mention payout lots of hard­ foreign companies remained aloofly im­ Not only was the fare to England paid, earned money, yours and your dad's. mersed in Art and exploitation, and but expense money on board ship war; Then you go to audition after audition there were murmurings of picketing their provided, and a representative from Bal­ and die a thousand deaths, and one day stage doors in tights and tutus. let Theatre proceeded to England be­ you land a job. Not long after that However, AGMA gained strength and fore the company and made sure of you get your first pay check, and a nice respect and soon all the touring com­ board and lodgings at stipulated prices chunk is automatically taken out of it, panies, large and small, had to accept for the entire troupe. or a very demanding person turns up the union as sole bargaining agent for Dancers in opera companies and con­ and collects a tidy sum. You are now the dancers. The late Ted Carr, an edi­ cert groups, as well as ballet companies, a member of a union affiliated with the tor of Dance Magazine, was among the American Federation of Labor. come under the jurisdiction of AGMA pioneers who worked for this. Now the and have benefited thereby. One ill cor­ You don't resent it at all that after basic contract a dancer in a ballet com­ rected is the one-performance out-of­ you got yourself a job without its help pany gets is an impressive 16 page docu­ doors opera deal. It used to be that you the union steps in and gets a cut. The ment that gives him benefits no dancer rehearsed forever and got $5 for your fact is, from now on the union is your dreamed of ten years ago. In fact if the trouble. Or, not infrequently, in the guardian angel, the rock on which you dancer's reading comprehension were a shuffle of make-shift affairs you got can lean, your sole barganing agent. bit higher he would know often there nothing. Today rehearsing is limited and are some provisions that he has never the pay is $17.50 for every single per­ Joining is Simple been smart enough to take advantage formance in New York, a bit less in of. To join the union is simple. Just other cities, and posted in advance. get the job, they'll come around and Guaranteed Employment The hardest groups to corral into the sign you up on the first pay-day. The Besides the minimum wage, which is unions have been the very socially con­ Broadway theatre is a closed shop. about $72.00 in the city of origin, the scious modern dancers. The difficulty, You're not asked if you want to join. ballet member is given the secure feel­ however, is not ideological. It is simply On the other hand, no one has to vote ing that he is guaranteed 36 weeks a matter of lack of economic arrange­ you in. Once you h:1\'e a job you are of work per year (21 performing weeks ments and the non-existence of respon­ automatically in. The initiation fee is and 15 rehearsal weeks). He knows that sible managements behind these people. $25 and the dues are $15 per year. A if he gets sick or is injured while danc­ The groups usually tour the 'gym cir­ dancer out of work gets an honorable ing he is still on the pay roll for at cuit,' sponsored performances by physi­ withdrawal and pays up a small amount least two weeks. There can be no mid­ cal education departments of colleges or to be reinstated the next time he lands season lay-offs without pay, and if the student organizations. Conforming to a job. index of the cost of living rises he is AGMA regulations would make these The American Guild of Musical to be given a commensurate increase in tours impossible, but is a problem be­ Artists had to dig into the sacrosanct salary. ing worked on. province of Art, where the dollar is Rehearsal hours with overtime pay The surprising thing is how little in­ blushed at and everything is being done for extra rehearsals, free days, trans­ terest many dancers have in all these for the good of The Dance, and sacri­ portation are all supervised by AGMA. provisions for which their leaders and fi:ces are expected-especially of the There is provision for six pairs of tights unions fought. Offer a dancer a contract dancers. or opera lengths to be provided by the and he is most interested to get in a It wasn't so long ago that dancers management and a pair of toe shoes for clause about billing, publicity, and roles rehearsed weeks and months and per­ every 12 acts. Extra pay for stage­ to be danced-especially the latter. That formed for nothing, or companies toured managing chores or choreographic ones is fine and shows how sincere most with dancers paid as little as $26 per are demanded, and the right granted to dancers are about their art, but it is week and with a number of "student" do other work on off weeks or vacations. good there are unions to pave the way or apprentice dancers who paid their Most of us remember the Russian bal- to better living." 3 Heifetz, Thibault What AGMA Has Done For You New Officers By HYMAN R. FAINE, National Executive Secretary J ascha Heifetz, one of the founders The question is occasionally asked in artists were told by a producer that since of Agma, and Conrad Thibaut, emi­ the opera field, and it is an understand­ the audience was not up to expectations, nent baritone, have accepted appoint­ able question, "What has AGMA done they would have to share equally what­ ment by the Board of Governors as two for me?" A pat answer cannot always ever cash there was at the box office. of Agma's five vice-presidents. be given, but we would like to take the Moreover, our Basic Agreement also Mr. Heifetz replaces Martha Lipton, opportunity to enumerate a number of contains a "payor play" clause which who recently submitted her resignation specific improvements which have been entitles an AGMA member to payment if to Agma, and Mr. Thibaut assumes the secured for AGMA members, many of the performance for which he was con­ office vacated by Arthur Kent, who had which appear in our current Basic tracted is cancelled without just cause. been called back to active service with Agreements. AGMA of course, is now the United States Army. recognized and accepted as the exclusive TRANSPORTATION-When an art­ bargaining agency for all solo singers, is is hired for engagements outside the stage directors, choreographers, chorist­ city in which he lives, the employer is ers, solo dancers, and corps de ballet required to furnish railroad transporta· Instrumentalists Meeting dancers. This means that artists will be tion. If the trip entails travelling be­ employed by producers who have signed tween midnight and 8 A.M., first class Called by AGMA Basic Agreements with AGMA, therebv pullman accommodation is necessary or if a coach is used, the artist receives the In the next few weeks, a meeting of offering to the artists thus engaged all the improvements secured in the Agree­ difference between the coach fare and outstanding soloists in the instrumental the individual pullman fare. There are field will be called by Agma. ment plus assurance by their union that those provisions will be fulfilled. Lest in our contracts with opera companies The new Concert Managers Agree­ other advantageous clauses for artists ment which is in the final stages of com­ this seem like a generalization, we will be more specific. with regard to transportation. Suffice pletion will cover many artists perform­ to declare that the chances today are ing in a solo capacity. SECURITY DEPOSIT - Every em­ remote indeed that an AGMA member The meeting will be called to explain ployer must post at theAGMAoffice prior will find himself stranded in South Da­ the contents of the Agreement, and to to an engagement, a security deposit in kota or Arizona wondering by what acquaint those artists present with the cash or certified check which will secure means he will arrive home. advantages to be derived from mem­ the salaries of all AGMA members, bership in Agma. whether they be hired on a single per­ INDIVIDUAL EMPLOYMENT CON­ formance or weekly basis. Thus, if the TRACTS-After an artist has signed an receipts for a performance are insuffi· individual artist's contract in triplicate, The Rochester Grand cient to compensate an artist, the secur­ one copy is sent to the AGMA office by ity deposit insures payment. We recall his employers and it is then checked to instances in the happily distant past see whether it corresonds to AGMA Opera Company when on the night of a performance, mUllmums. A producer who has not The Rochester Grand Opera Compa­ ny, Josephine Di Crasto Director, was placed on AGMA's unfair list in April, 1947 on the basis of contracts having been signed but not fulfilled with Bruno Landi and Hilde Reggiani for a "La Boheme" performance. At a meeting on September 17th, 1947. AGMA's Board ot Governors specified certain conditions under which Mrs. Di Crasto would be removed from the unfair list and she has since com­ plied. AGMA members are hereby advised that they may enter into contractual relations with the Rochester Grand Opera Company. CORRECTION In September's AGMAZINE, there ap­ peared an article in which the rehearsal pay for dancers was listed at $2 per hour. This was an error. Rehearsals are compensated at $1.50 per hour, and we confess to having been a victim of wishful thinking. Courtesy Musical America. 4 signed a Basic Agreement with AGMA, company without payment is limited but who signes an artist to the standard hoth on weekly engagements and single Artists Xmas Party AGMA form of individual artist con­ performances, after which they receive tract may be held to such a contract. overtime payment. Mention should also Further, no employer may require an be made of the fact that provisions have December 28 heen made wherehy artists may rehearse artist to make any payments or contri­ Set aside the evening of Decemher butions in order to secure employment. only at certain hours during the day, with rest periods included. 28th, mUSICIans and music lovers! MINIMUM COMPENSATION - In AGMA has rented the Metropolitan Op­ ENGAGEMENT OF CHORISTERS­ the recent negotiations with popular era House for what promises to he the The chorus for single performances price opera companies, AGMA secured gala musical event of the year. an increase of 7Y2% in principal's com­ which are given hy popular price opera pensation. The year before, an increase companies is provided hy AGMA by In order to raise money for AGMA's means of a rotation system, wherehy of 15% was obtained. Since 1942, for WeHare and Maintenance Fund, the employment is spread as equally as po::;­ example, principals have received in Constitutional Committee was authorized salary increases a total of 57Y2%' sihle among the availahle chorus mem­ While an artist may negotiate for com­ hers. This method of supplying chorist­ hy the Board of Governors to plan a pensation above an established mini­ ers for opera performances eliminates benefit concert. A Concert Committee, mum, it is nevertheless true that as the favoritism and the questionahle prac­ of which Frank Chapman is Artistic Di­ tices which would inevitably result if minimum increases, so proportionately rector, is composed of Erno Balogh, any other means of hiring were used. does the fee for which the artist nego­ Norman Cordon, Agnes De Mille, Her­ tiates. Many AGMA members can re­ ARBITRATION OF CLAIMS­ bert Graf, and May Savage. member when they competed with other Whenever AGMA files a claim for a singers for a performance for which the memher, and the claim is disputed hy Deems Taylor will be Master of Cere­ employer could offer any fee that he felt his employer, it then is brought before monies, and Agnes De Mille will direct desirable. Now, producers are required the American Arhitration Association in the dance numhers. Other artists who to employ artists at no less than the New York City, and settled in a manner have generously agreed to apear are: minimums stipulated in the Basic Agree­ prescribed in the Basic Agreement. In ment. In 1942, chorus members were any such arhitration, AGMA may appear Lucia Albanese paid $6.00 for a local single perform. to support the member concerned, and Josephine Antoine ance. Their fee is now $11.00, an in­ he is assured of a fair and impartial Dorothy Kirsten crease of 83%. In 1942, they received presentation of his case. Luboshutz & Nemenoff $36.50 for a weekly local engagement, If space permitted, we could cite Dorothy Maynor and $52.59 out of town. Their weekly numerous additional gains which have J ames Melton local compensation is now $67.00 and been won for our memhership. The Patricia Munsel $70.00, for seven and eight perform­ important point to remember is that if Jan Peerce ances respectively, and $83.00 and our victories have not heen spectaCUlar, Claudia Pinza $25.00 out of town, also for seven and they have heen regular. When you agam Bidn Sayon eight performances respectively. These ask yourself, "What has AGMA done Rohert Shaw figures speak for themselves. for me?" keep in mind the position in Gladys Swarthout REHEARSALS - Artists formerly which you would find yourself if the Feruccio Tagliavini were obligated to rehearse as long as the eight above mentioned provisions had Pia Tassinari producer wished. The number of hours not been incorporated into AGMA's Lawrence Tibbett which they may now offer to an opera Basic Agreements. Whittemore & Lowe This is only a partial list, and many other artists will he added in the next AGMA Wins Eidus Met Pension Plan few weeks. The ticket sale, which in­ cludes a 20% Federal Tax, is as follows: Making Progress Partiere Box Seats, Orchestra and And Jordan Claims Orchestra Circle, Row A ...... $7.50 Two AGMA members, violinist Arnold The pension plan arrangement that Orchestra Circle, Other Rows...... $6.00 Eidus, and mezzo-soprano Irene Jordan, was included in the current Basic Agree­ Grand Tier, Box Seats...... $7.00 each recently entered a claim against ment between AGMA and the Metro­ Dress Circle...... $4.50 the Consolidated Concerts Corporation, politan Opera Association is making Balcony ...... $3.53, $3.00 of which George Engles is President, steady progress. Family Circle...... $2.25, $1.50 and Charles E. Green, Vice-President. When in operation, it will he jointly The validity of the artists' claims was administered by the Met, and those un­ Mail orders should he addressed to conceded hy Messrs. Engles and Green ',ions whose memhers have been em­ the Steinway Hall Box Office, ll3 West after a numher of meetings with AGMA ployed at the Met. AGMA's representa­ 57th Street, New York, N. Y., and officials. tive is Bernard Zuehert, and hoth the checks made payahle to the Steinway Hall Box Office. AGMA is happy to have heen of as­ Musicians' Union and the IATSE have sistance in this matter, and we hope that chosen their representatives. We hope that each AGMA member other artists will realize the support We will keep you appraised of further will assume a personal responsihility to which AGMA can offer in similar cir­ information as soon as it is made avail­ see that the Metropolitan Opera House cumstances. ahle to us. is packed to capacity on Decemher 28th. Listing of Opera, Ballet and Concert Companies At this writing the· opera companies 12. International Opera Co. Artistic Director: Josephine Di mentioned below have signed Basic 119 West 57th Street Crasto Agreements with AGMA for the 1947-48 New York, New York 26. San Carlo Opera Co. Artistic Director: Stuart Irwin season. Also included are the address 1697 Broadway and artistic director of each company, 13. International Royal Grand Opera New York, New York Co. Artistic Director: Fortune Gallo so that if any AGMA member wishes 2290 Crotona Avenue to communicate with an opera producer 27. San Francisco Opera Assn. Bronx, New York War Memorial House the necessary information is at his dis­ Artistic Director: Father Pavone San Francisco, California posal. 14. Metropolitan Opera Assn. Inc. Artistic Director: Gaetano Merola Broadway & 39th Street 1. American Opera Co., Inc. 28. Trenton Opera Assn. New Yo;k, New York 115 West State Street 1920 Spruce Street Artistic Director: Edward Johnson Philadelphia 3, Pennsylvania Trenton, New Jersey Artistic Director : Vernon Hammond 15. Nazzaro Opera Co. Artistic Director: John E. Curry 44 Hanover Street 2. Associated Artists of Grand Opera 29. Verdi Grand Opera Co. Boston 13, Massachusetts 389 Selye Terrace 57 West 58th Street Artistic Director: Thomas Nazzaro New York, New York Rochester, New York Artistic Director: Maria Gondolfi 16. National Grand Opera Co. Artistic Director: Vincent Faga 1005 Carnegie Hall 3. C. Z. & L. Co. (Medium & Tele- 30. Victor Grand Opera Co. Inc. New York, New York 250 West 57th St.-Rm. 803 phone) Artistic Director: Giorgio D'Andria 5 East 57th Street New York, New York New York, New York 17. New England Opera Co. Artistic Director: Umberto Cervello Artistic Director: Philip Adler 78 Marshall Street Providence, Rhode Island BALLET COMPANIES 4. Central City Opera House Assn. Inc. Artistic Director: Danilo Sciotti City & Country Building 31. Ballet Russe De Monte Carlo Denver 2, Colorado 18. New England Opera Theatre Inc. 130 West 56th Street Artistic Director: Justin W. Brierly 183 Clinton Road New York, New York Brookline, Massachusetts Artistic Director: Serge J. Denham 5. Chautauqua Institution Artistic Director: Boris Goldovsky Chautaqua, New York 32. Ballet Society Artistic Director: Albion Adams 19. New Jersey Grand Opera Co. 130 West 56th Street 6. Cincinnati Summer Opera Assn. Inc. 139 Logan Avenue New York, New York Times-Star Building Jersey City, New Jersey Artistic Director: Frances Hawkins Eighth and Broadway Artistic Director: J. H. Meyer 33. Ballet Theatre Cincinnati, Ohio 20. New Orleans Opera House Ass'n. 25 West 45th Street Artistic Director: Oscar F. Hild Inc. New York, New York Artistic Director: Lucia Chase 7. N. Y. City Center of Music & Drama 310 Carondelet Street 130 West 56th Street New Orleans 12, Louisiana 34. Markova-Dolin Company New York, New York Artistic Director: Walter Herbert 36 West 44th Street Artistic Director: Laslo Halasz New York, New York 21. Philadelphia La Scala Opera Co. Artistic Directors: Alicia Markoya. 8. Comm. for Orphans & Needy Aged Inc. Anton Dolin . 1421 Chestnut Street of Italy 35. San Francisco Civic Ballet Ass'n, New York, New York Philadelphia, Pennsylvania Artistic Director: Benjamin Altieri 544 Market Street 231 East 14th Street San Francisco, California Artistic Director: Eugene Spina 22. Pittsburgh Opera Inc. Artistic Director: Irving Deakin 9. Community Opera Society of Scran- Pittsburgh, Pennsylvania 36. Slavenska Ballet Variante ton Artistic Director: Richard Karp 3475 West 6th Street 207 Conuel Building 23. Popular Price Grand Opera Inc. Los Angeles, California Scranton 3, Pennsylvania 30 Lafayette Avenue Artistic Director: Mia Slavenska Artistic Director: Arsen Tarpoff Brooklyn, New York 10. Connecticut Opera Assn. Artistic Director: Alfredo Salmaggi CONCERT COMPANIES 926 Main Street 24. Rhode Island Conservatory of Music 37. S. S. Calypso Hartford, Connecticut 280 Washington Street Artistic Director: Frank Pandolfi 2 Columbus Circle Providence, Rhode Island New York, New York 11. International Grand Opera Co. Artistic Director: Maurice A. Lewis Artistic Director: Samuel Manning 386 Washington Street 25. Rochester Grand Opera Co. 38. Broadcast Music, Inc. Newark, New Jersey 745 Penfield Road 580 Fifth Avenue Artistic Director: Alfred Cerrigone Rochester, New York New York, New York 6 AGMA GREETS NEW MEMBERS With each subsequent issue of AGMA­ Ruth L. Feist Philip R. Markopoulos ZINE we will publish the names of Art­ Robert Feyti Harriett Marian Marlis ists who have joined AGMA. The fol­ Rose Marie Fox Duncan J. McLeod lowing have recently become members. Fredrick FraEer Ruth Mc V ayne Welcome! Frederick E. Gaudio P atrick McVey Rose Allegretti Joe Giammanco Dorothy D. McWilliams Anthony Alonzo Peter Gladke Max O. Mendenhall Alice Arnold Peter Golliffe Leonard Morganthaler James Attarian Mary Jane Gray Alexander N. Murray Cesare Bardelli Mildred Grey Carol Nelson Margaret Bedwin Frank Guarrera Reginald Nichols Norman Benson Lloyd Gysin Clifford D. Orr Norman F. Betge Joyce Hall Anatole K. Pichignin Dona Bish Herbert Handt Beta Popper Fred T. Bixler George Henricks Josephine Premice Olive Bonelli Katherine Hilgenberg Charlotte L. Price Valerie C. Booth Herbert Hirsch Naomi Pryor Abraham Bregen Alberta Holter Muriel Rahn Willis W. Burroughs Robert L. Hunt John A. Raye Beverly Camphell Kathleen Jean Hunter George F. Reich Beata Carel Miriam J ampol Donald Richards Helen F. Carey Donald W. Johnson Beverly Richter Kenneth R. Carey Oliver Jones Radburn Robinson Rose Mary Ciccone Konstantin J urkevics Louis Rocca John C. Collins Alexis Kamendrowsky Armando Roux John Crain Stephen Kemalyan Thelma Salvesen Donald Danforth Robert Kiber Janet Sasoon Faith E. Darling Frederick Klassen Winifred H. Schamp Nancy Darrall Betty Klavons Stanley Smith Lida Da VaIle Elaine Koyker Andrew Muir Sneddon Robert W. Davis David J. Krupp Christine Sokolowska Antonio De Campo Belle Kupersmith Viola Spongberg Rose Suzanne DerDerian Albert C. Lohmann Mary Jane Spry Janet S. Dodd Max Lorenz Vivian C. Stewart Baldomero N. Domingo John La Monica Peggy Ann Storm Cecilia Entner Mary M. Lenihan Verna Stumpf Pat W. Farwell Patrick A. Leonard (Continued on page 8)

AGMA - A UNITED UNION (Continued from page 1) . were concerned with the difficulties faced by solo singers, our democratic union would benefit a thousandfold. One more thought-possessiveness can sometimes be a virtue. We have no objection to members referring to AGMA as "my union" instead of "the union." AGMA exists for the specific purpose of helping you. Show your enthusiasm by attending membership and committee meetings, where we may receive the benefit of your training and experience. We can promise that what will emerge will be a more united and vigorous AGMA, an organization that will serve as a symbol and example of American trade union democracy.

REMINDER We have encountered instances where Agma members have signed contracts for a performance and the opera com­ pany which employed them had not yet secured a Basic Agreement. All members are urged before signing an individual artist's contract to check with the Agma office and find out whether Courtesy Musical America the company concerned has already signed a Basic Agree- "They say she's resting on her laurels." ment with Agma. . 7 SuspendedAGMA I"'portont Members The following artists were suspended by AGMA's Board of Governors at a recent meeting. We hope that circum­ stances will soon make it possible for Pre -Convention them to be reinstated to membership. Floyd H. Altergott Beatrice Altieri General Membership Meeting Wilma Anderson Harold L. Beaulac Cecile Bergman Sunday, December 7, 1947 Stephen Billings Alexander Bolshakoff 2 p. m. Sharp Audrey Bowman Juanita Carter Glorya Curran Elvira Del Monte Barbara Downie Hotel Lin Eleanor Edson Robert M. Falls 44th STREET and EIGHTH Beatrice Gordon Lansing Hatfield Vernon Kingsley PARLORS A and B Ann Leskava Arthur Lidcoln Marjorie G. Maxia DON"T BELATE Leon A. Parisy Francis Row Rece Saxon Betty Ann Sharpe Naomi M. Smith Umberto Sorrentino AGMA GREETS NEW MEMBERS NIcolaI Szaposznikov Hansel and Gretel Josephine Tuminia (Continued jrom page 7) David Zellmer The first full length recording of Humperdinck's popular "Hansel Jeanette Tannan and Gretel" was released last Joseph Tocci DECEASED month by the Columbia Recording Salvatore P. Tripoli . We recently" learned that Corporation. Margaret Truman Edward Alexander, Orazio Al­ The compensation paid the Met­ Mary Jean Turnbull fieri, and Janet Fairbank, all ropolitan artists and chorus in the Michel Vertzelious AGMA members, had passed performance was based on a con­ George Vincent away, as had Edward Ziegler, tract signed between AGMA and Thomas H. Watson general manager of the Metro­ the Metropolitan Opera Associa­ Doris Weaver politan Opera Association. tion, and provides a pattern in a Bresee Westmoreland AGMA extends its sincere field which we hope will continue Lilly Windsor condolences to their families to expand. Dulce W ohner and relatives. Gladys M. Y ourtee

AMERICAN GUILD OF MUSICAL ARTISTS 276 West 43rd Street Sec. 562 P. L. & R. New York 18, N. Y. U. S. POSTAGE RETURN POSTAGE GUARANTEED PAID Permit No. 6883 New York, N. Y. Mr. Lawrence Tibbett ACV Savoy Plaza Hotel 5th Ave. & 59th St., Na\v York 22. N. Y •

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