Catching up with the opera strike
Still have questions about last week’s strike against the Fresno Grand Opera? I devoted my Sunday Spotlight column to an expanded discussion of the issue. Here you’ll find the two sides summarized, with comments both from union leadership and the management of Fresno Grand Opera. I include a recap of the concert itself and my take on what to look for in coming weeks. Local 12 of the American Federation of Musicians is still on strike against Fresno Grand Opera. The next scheduled performance is “Showboat” on May 11.
In keeping with the “taking stock” nature of my column, I’m curious what Beehive readers think about the situation after having time to digest it all. Do you support the union’s labor action? Do you side with management? Do you think there will be an acceptable resolution before the next performance?
Bee photo / Craig Kohlruss
Responses to "Catching up with the opera strike"
I’ve been very vocal about this, obviously.
My take?
The musicians struck the most sour of all notes by doing pretty much everything wrong with this strike.
Individuals with excellent musical skills but typical union behaviors!
I commend the artist for performing and making the most of an unfortunate situation for those purchasing Opera tickets. This impromptu by the performer is to be commended for providing a venue that gave ticket holders a “class” performance — how many in this day and age wouldn’t have taken a “bye” when in this situation.
Unfortunate but someone came through with flying colors [the artist]!
True, the strike was handled very badly, but that shouldn’t cover up what seems to be shabby behavior on the part of FGO. Some of the these musicians have to schedule gigs far in advance; they can’t leave the dates open for FGO just in case they get the call. If they don’t take other gigs because of a promise from FGO and then get dropped, they’re screwed as well. If you want to have a professional organization, with professional musicians, you have to treat them properly. I think it would have been much classier of Fleming to cancel and insist that the audience members get their money back–and promise to come back after the musicians have a contract.