Judging 1920s Fashion, Alice Sydow

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A little bit of fun knowledge on the fashion & style in the 1920′s

The key to 1920s women’s fashion was femininity and grace, but without the curves we often see today. A slender and flat chested silhouette was the key objective for women in this era, and large busts could actually be flattened with the help of early bras that were created. Most people actually tend to think of the 1920′s style as the Flapper Look.

 

The 1920s man will be best characterized by Prohibition and the 3-piece suits that were favored by both the FBI and gangsters like Al Capone himself. Trends started during this time for men with the fedoras,  two tone brogue shoes, and bow-ties.

 

 

To read the full post from Alice Sydow of i’vegotyourstyle.com visit her website.

If you really want to impress Alice on Saturday, give her a call and she can help you pick the right dress or suit for The Rogue Song!

Alice Sydow
Image Consultant & Wardrobe Stylist
I’ve Got Your Style
612.759.3733
www.ivegotyourstyle.com
alice@ivegotyourstyle.com

For details on retail discounts, tickets and all the Rogue Song dish visit www.mnopera.org/roguesong.
*Tickets are limited for VIP and advanced sales end Friday,  March 22, 2013, 6pm.  General Admission at the door will be $40/person.

Puttin’ on the Ritz – Denny Kemp Salon and Spa

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Denny Kemp Salon and Spa, retail partner for The Rogue Song, has you covered. In addition to offering a 15% discount on services and products for event-goers – just mention “The Rogue Song” – DK’s talented staff will help you complete your look with hair, make-up and nails. Call 612-676-0300 to book today. Also, a shipment of Art Deco-styled jewelry from SequinNYC just arrived, to add the finishing touch.  Several colors are available in each style of bracelet, necklace and earrings. You can’t get these baubles anywhere else in town, so move fast!

Alright dolls, this section’s for you.  To capture the look of a 20’s screen siren or fabulous flapper, photos are a helpful starting point. Famous stars of the time included Greta Garbo, Louise Brooks, Marion Davies and Clara Bow (Marion and Clara pictured below).  These ladies usually went for several trends at the same time, both in their films and out on the town. Pencil-thin brows, lush lashes, smokey eyes and statement lips with the cupid’s bow emphasized rounded out the make-up look, while hair was usually set in finger waves or cut in a sleek bob. Waves or faux bobs for long-haired dames as well as these dramatic make-up looks (including false lashes!) can sometimes be difficult to achieve at home, so take advantage of the discount and treat yourself to an afternoon at the salon for the event. DK carries hair products from Bumble and bumble, Kerastase and Shu Uemura and make-up from Becca Cosmetics (pictured below) so you’re certain to have the best of EVERYTHING to get glam.


As for the fellas, although there may not be as much variety to the hair looks of the time, you’ll be able to pull off a statement style with more ease. Head in to DK for a trim or cut the day of and they can easily mold your hair into a sleek 20’s style like Rudolph Valentino  – jungle cat accessory is optional. For more on Valentino, tune in next season at Minnesota Opera in for an opera based on his life!

If you’re game to try his look at home, Bumble and bumble’s Gellac or Bb Gel will be helpful. Apply generously to damp hair and comb back or off to the side. The more product the better, since it will keep the style from being mussed up by your fedora.

Visit www.mnopera.org/roguesong and get your tickets to The Rogue Song on March 23, 2013 at The Pourhouse in Downtown Minneapolis.

L’avenir Luxury at The Rogue Song

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luxury n. : 1. the state of great comfort and extravagant living 2. something inessential but conducive to pleasure  adj: luxurious, fancy, deluxe

Inessential, I don’t think so. In preparation for the fabulous Rogue Song event, L’avenir has been busy creating some amazing new and delicate accessories.

Jewelry is only the tip of the marquis for the local designers who take recycling to a higher level. Feather head pieces made from beat up hats from the 1950′s transform your look and authenticate it with modern vintage appeal. What was luxury then can still be luxury now, with a little revamping (after all, they don’t make it like they used to). L’avenir has a firm grasp on how to breath new life into beloved pieces from the past.See more at LAVENIRDESIGN.COM

 

AVAILABLE NOW! Lining the cases at Via’s Vintage you will find these luxury items and more! And thru March 23rd if you mention the “Rogue Song” receive 20% off your entire purchase. Subject to availability. Other restrictions may apply.

 

 

You’ll see L’avenir pieces on many ladies at The Rogue Song on March 23 at The Pourhouse.  Bergen Baker, Minnesota Opera Teaching Artist as well as featured Rouge Song performer placed a custom order with L’avenir for the event.  ”I loved working with L’avenir. I was in need of a headpiece that not only would “wow” at the Rogue Song event, but also be versatile enough to wear to other formal functions. They made the process fun while still remaining attentive to my requests and personal style. The quality and artistry in their pieces is unprecedented…tres chique!”

L’avenir is also gifting a fascinator to the “Best Dressed Dame” of the evening!  Alice Sydow, Image Consultant & Wardrobe Stylist, owner of www.ivegotyourstyle.com will be our “Style Expert & Best Dressed Judge”.

The Devil is in the Details

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When invited to a 1920’s party, many people are at a loss as to what to wear. At Via’s Vintage, we frequently put together 1920’s looks from the casual to very formal. 1920s clothing is a vintage category all its own. When you see the light as air chiffons studded with glistening glass beads, you know it was an amazing and decadent time to be alive.

While assembling your 1920s outfit, start by thinking about what you want to look like. Do you wish to be the classic fringed and feathered vamp? Or perhaps the cool and elegant lady? For inspiration, you can always check out an original 1920s film. They provide the best and most accurate representation of what people wore, and how they wore it. One thing you need to keep in mind is that the 20s was all about the complete head to toe look. Although there is something to be said for wafting about in the incredibly simple, yet insanely intricate gowns of the 1920s, it is really all about the jewelry, shoes, gloves, hair and makeup. Details, details, details!

If you do not have the disposition for wearing an authentic dress simply start with a loose fitting dress or slip. Many times, 30s, 40s or 60s dresses will do. They are still vintage and can look 20s if accessorized appropriately. For an evening event, opt for hair adornments rather than a cloche hat. You can use a scarf headband knotted on the side, and add a brooch at the center of the knot. Or take a sequined headband and add a comb or clip feathered hairpiece. You can accessorize with authentic jewelry, like a fabulous deco bracelet and earrings. They are easily worn again and are beautiful to own. For shoes, wear something with low heels and oval toes, Mary Janes work well. Don’t forget a handbag, something small with a handle. Finish off with gloves, fishnets or sheer hosiery and a cigarette holder, and your look will be complete.

Via’s Vintage is offering an exclusive discount on all of their inventory for attendees of The Rogue Song as well as a gift certificate for the best dressed dame at the event.

We also have Pintrest boards created to provide additional inspiration for our Dames and Fellas.  For details on the Via’s Vintage discount and The Rogue Song visit www.mnopera.org/roguesong.

Hats are HOT at The Rogue Song

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Hello from Goorin Bros., your local hat shop(Uptown), here to chat briefly about the basics of Prohibition style headwear.  We’re delighted to be partnering with Tempo for The Rogue Song this year and figured we’d share our knowledge to help all of you dress your 1920s best!

In 1895, Cassel Goorin sold his first hat off a horse-drawn cart in Pittsburgh, Pennsylvania. Cassel’s sons – the Goorin Brothers – continued the tradition when they moved the family business to San Francisco in 1949. Today, Goorin Bros. is led by Cassel’s great grandson who remains dedicated to the hat business.  In other words, we know our classic hats- and luckily hats are hot again!

Fedoras, cloches, bowlers, feathered headbands are all in the mix!

There’s no way of knowing if the thanks goes to period television dramas such as Mad Men, Downtown Abbey and Boardwalk Empire, or musicians like Bruno Mars wearing throwback styles, but whatever the reason, hats are back.

Ladies, the 1920s was entirely about rebelling! During the wild ride of Prohibition, dress hemlines were shortened, along with new bobbed hairstyles to match the hat of the day: the cloche.  This famous style has a rounded top and frames the face in the classic flapper style.

Gentlemen, the end of World War I brought about a switch to less formal suits in the 1920s.  Tailcoats and top hats were abandoned in favor of pinstripes suits and bowlers or fedoras in fashionable circles.  The bowler, a rounded top hat with a shorter brim, was worn in more formal situations.  The fedora was saved for more casual circumstances and the classic 20s gangster look…

Give our website a glance for ideas, come in and visit us!

Goorin Bros is offering an exclusive discount on all of their inventory for attendees of The Rogue Song as well as a handmade hat for the best dressed fella at the event.

 

Get your tickets to The Rogue Song on March 23, 2013 at The Pourhouse in Downtown Minneapolis.  For details on the Goorin Bros discount and The Rogue Song visit www.mnopera.org/roguesong

Entering the next half century

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Minnesota Opera announces its 2013–2014 season, boasting three company premieres and five productions new to Minnesota audiences. Highlights include the return of James Valenti, who will star in the premiere of a revised The Dream of Valentino by Dominick Argento; an intriguing production of Mozart’s The Magic Flute; the return of two favorite sopranos in title roles – Kelly Kaduce in Puccini’s soulful Manon Lescaut and Jacquelyn Wagner in a stunning production of Strauss’ romantic comedy, Arabella; and Verdi’s chilling take on the Shakespearean thriller, Macbeth, starring Brenda Harris and Greer Grimsley.

The season opens on September 21, 2013, with Manon Lescaut, which presents the first tragic heroine in a long list of Puccini favorites. Kelly Kaduce stars in the title role with tenor Dinyar Vania, who makes his Minnesota Opera debut as her star-crossed lover, Chevalier des Grieux. Maestro Michael Christie continues in his second season as Music Director conducting the Minnesota Opera Orchestra. In November, the Opera presents Richard Strauss’ Arabella, with the return of soprano Jacquelyn Wagner in a stylish co-production with Santa Fe Opera and Canadian Opera Company by scenic and costume designer Tobias Hoheisel. In January, the season continues with Giuseppe Verdi’s adaptation of a Shakespearean thriller, Macbeth. Bass-baritone Greer Grimsley makes his long-awaited return to the Minnesota Opera stage as the ambitious and sinister King of Scotland with soprano Brenda Harris as Lady Macbeth. In March, the sixth production of Minnesota Opera’s New Works Initiative – a major revival of Dominick Argento’s The Dream of Valentino – stars internationally acclaimed tenor James Valenti as the 1920s film icon and sex symbol, Rudolph Valentino, with Brenda Harris as June Mathis, the catalyst of his meteoric rise to fame. Directed by Eric Simonson, Maestro Christoph Campestrini returns to conduct. The season concludes in April with a exciting production of Wolfgang Amadeus Mozart’s beloved The Magic Flute.

“It seems a fitting tribute to the company’s 50-year rich history of new work that we are staging three company premieres and a whole season of productions new to our audiences,” said President and General Director Kevin Ramach. “Beyond our mainstage season at the Ordway, Minnesota Opera also provides educational programs that engage communities statewide with a unique depth of interaction. Through our New Works Initiative, we will be reaching a wider audience with a PBS broadcast of Silent Night. As we move into our next 50 years, those activities will grow as we find new ways to reach out to our community. None of this would be possible without the support of our patrons and donors, and our stewardship of their trust and resources is a primary value of this company. That is why last June Minnesota Opera reframed its mission statement to the following: ‘Minnesota Opera combines a culture of creativity and fiscal responsibility to produce opera and opera education programs that expand the art form, nurture artists, enrich audiences and contribute to the vitality of the community.’“

“The 2013–2014 season is a wonderful mix of the old and the new,” said Artistic Director Dale Johnson. “Manon Lescaut is the opera that put Puccini on the map and made him a rising star in the Italian opera world. This emotionally charged and gorgeous opera will be sung by Kelly Kaduce in her role debut, and we welcome an exciting new tenor, Dinyar Vania, as Des Grieux. Arabella is a warmhearted comedy by the composer of Der Rosenkavalier, Richard Strauss. This splendid co-production with Santa Fe Opera and Canadian Opera Company is elegant, sophisticated and will be directed by Tim Albery. Macbeth returns to Minnesota Opera with a dynamic cast in which Greer Grimsley and Brenda Harris are the ambitious and tragic couple. The Dream of Valentino, the sixth installment of Minnesota Opera’s New Works Initiative, is an exciting debut for Minnesota Opera of legendary composer Dominick Argento’s last major opera. We’re excited to have James Valenti return as screen icon Rudolph Valentino and Brenda Harris as the Hollywood screen writer who discovers him. The season closes with a very special production of Mozart’s beloved The Magic Flute. Prepare to be blown away by this exciting look at this delightful comedy. I look forward to sharing details with you in the coming months.”

 

Manon Lescaut by Giacomo Puccini
September 21, 24, 26, 28 and 29, 2013
Sung in Italian with English translations projected above the stage.
A Washington National Opera production.

You can’t take it with you.
The irresistible lure of money seduces the beautiful Manon, triggering her downfall. But true love is her redemption in this soulful opera by the composer of La bohème, Madame Butterfly and Turandot. Manon Lescaut was Puccini’s third opera and arguably his first major success. Defending his work against another opera based on the 1731 novel by the Abbé Prévost, Puccini said, “Manon is a heroine I believe in, and therefore she cannot fail to win the hearts of the public. Why shouldn’t there be two operas about Manon? A woman like Manon can have more than one lover.” He added, “Massenet feels it as a Frenchman, with powder and minuets. I shall feel it as an Italian, with a desperate passion.”

Soprano Kelly Kaduce (Madame Butterfly, Turandot) stars in the title role with tenor Dinyar Vania, who makes his Minnesota Opera debut as her star-crossed lover, Chevalier des Grieux. Returning members of Minnesota Opera’s Resident Artist Program, baritone Matthew Opitz (Doubt, Turandot) is Manon’s brother and protector, Lescaut, and tenor John Robert Lindsey (Nabucco) is the student Edmondo. This Washington National Opera production, called “impassioned, sensual” by The Baltimore Sun, was designed by John Pascoe (debut), and is conducted by Minnesota Opera Music Director Michael Christie (Anna Bolena, Turandot).

 

Arabella by Richard Strauss
November 9, 12, 14, 16 and 17, 2013
Sung in German with English translations projected above the stage.
A Minnesota Opera, Santa Fe Opera and Canadian Opera Company co-production.

For love or money?
Arabella wants to marry for love, but her parents need her to marry for money. When the man of her dreams appears, will their manipulations ruin her chance to find true happiness? Richard Strauss’ sumptuous romantic comedy is set in Vienna’s golden age. The composer’s sixth and final operatic collaboration with librettist Hugo von Hofmannsthal is as relevant today as at its 1933 premiere in Dresden during the American Great Depression and an impending second World War.

Soprano Jacquelyn Wagner, heralded as “one of the great Fiordiligis of our time” by MinnPost at her Minnesota Opera debut in Così fan tutte, stars in the title role with bass-baritone Craig Irvin (Silent Night) as the mysterious Croatian landowner Mandryka, who ultimately sweeps Arabella off her feet. Bass-baritone Dale Travis (The Barber of Seville) alongside returning Minnesota Opera Resident Artist mezzo-soprano Victoria Vargas (Doubt) as Arabella’s parents, Count Waldner and Adelaide. The creative team that debuted this co-production in Santa Fe last summer brings it to Minnesota: stage director Tim Albery (The Fortunes of King Croesus), scenic and costume designer Tobias Hoheisel (debut) and lighting designer David Finn (debut). Michael Christie conducts the Minnesota Opera Orchestra.

 

Macbeth by Giuseppe Verdi
January 25, 28, 30, February 1 and 2, 2014
Sung in Italian with English translations projected above the stage.
A Minnesota Opera production.

Power corrupts.
Verdi’s dark-hued Macbeth examines the corrosive consequences of tyranny. At the urging of his scheming wife, Macbeth murders the king to claim the crown. His desperate and deadly reign of terror devastates his country and hastens his doom in this masterwork based upon Shakespeare’s classic thriller. Though the composer did not encounter the original work (in English) until after the first performance of the opera, it was the first of several Shakespeare plays he adapted for the operatic stage. Verdi noted in a 1865 letter: “He is one of my favorite poets. I have had him in my hands from my earliest youth.”

Bass-baritone Greer Grimsley (The Flying Dutchman) makes his long-awaited return as the ambitious and sinister King of Scotland with soprano Brenda Harris (Nabucco) as his scheming wife, Lady Macbeth. Fast-rising American bass-baritone Alfred Walker (The Magic Flute) returns to Minnesota Opera as Banquo, the one-time ally Macbeth betrays in his lust for power. Michael Christie conducts the Minnesota Opera Orchestra.

 

The Dream of Valentino by Dominick Argento
March 1, 4, 6, 8 and 9, 2014
Sung in English with English captions projected above the stage.
A Minnesota Opera New Works Initiative production.

Fame is a dangerous dance.
A sultry young dancer is transformed from an unknown immigrant into a silent film sensation. Rudolph Valentino’s stardom blazes across the silver screen but is quickly consumed by the same forces that ignited it. Seduction and scandal swirl in Dominick Argento’s tango-tinged opera about an artist discovered and destroyed by Hollywood. Composed by Argento with a libretto by Charles Nolte as a joint commission between Washington and Dallas operas, the work received its world premiere in 1994 at The Kennedy Center, where it was described by the Chicago Tribune as “visually and theatrically … a thumping success.”

“I have known Dominick since my first season when Minnesota Opera premiered Casanova’s Homecoming in 1985 and have always admired the freshness and vibrancy of his works,” said Artistic Director Dale Johnson. “The Dream of Valentino is the only major Argento opera that we have not staged, and I thought it imperative, as we began the New Works Initiative, that we invest in producing his entire canon. After I approached Dominick to discuss this revival, he spent the summer making major changes to literally give Valentino a new beginning. By reworking the dramaturgy and focusing more on Valentino the artist, Dominick feels that the work will better embody how Hollywood uses its stars and tosses them away when they are no longer convenient.”

Internationally acclaimed tenor James Valenti (Werther) reimagines the role of the 1920s film icon and sex symbol, Rudolph Valentino. As the catalyst of his meteoric rise to fame, soprano Brenda Harris sings the role of June Mathis, a screenwriter. Mezzo-soprano Eve Gigliotti (debut) sings the role of Alla Nazimova, a celebrated movie star, and Minnesota Opera Resident Artists, mezzo-soprano Victoria Vargas and tenor John Robert Lindsey, sing the roles of Natacha Rambova, a Hollywood director and designer, and Marvin Heeno, the studio mogul’s nephew and assistant. Eric Simonson (The Grapes of Wrath, Silent Night) directs and Maestro Christoph Campestrini (Werther) conducts this Minnesota Opera New Works Initiative production.

The Dream of Valentino is part of Minnesota Opera’s New Works Initiative, a landmark program designed to invigorate the operatic repertoire with an infusion of contemporary works. Produced as part of the Initiative: an American premiere, The Adventures of Pinocchio (Dove); two revivals, Casanova’s Homecoming (Argento) and Wuthering Heights (Herrmann); and two world premieres, the Pulitzer Prize Award-winning Silent Night (Puts) and Doubt, composed by Douglas J. Cuomo with libretto by John Patrick Shanley. Following The Dream of Valentino, the world premiere of The Manchurian Candidate, with music by Kevin Puts and libretto by Mark Campbell, will complete the seventh and final year of the Initiative in the 2014–2015 season. Since fundraising began in March 2008, Minnesota Opera has raised more than $6.68 million to support the New Works Initiative.

 

The Magic Flute by Wolfgang Amadeus Mozart
April 12, 13, 15, 17 and 19, 2014
Sung in German with English translations projected above the stage.
Production information forthcoming.

Light defeats darkness.
Experience Mozart’s masterful comedy about love, truth and the pursuit of enlightenment like never before. Connecting the tale’s enduring meaning with modern metaphor, this extraordinary production draws you into the opera’s surreal magic, odd characters and crazy love.

A Tempo Toast

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We’ve all had the experience: You’re at the Ordway, pre-ordering your intermission cocktail or flipping through the program and suddenly, from high above the rest of the crowd, you see him. Tall, handsome, expertly dressed, and sporting the best mustache in the Twin Cities.

Tempo board member Thomas Bakken recently won City Pages’ 2012 “Show Us Yer ‘Stache” contest – with a (Laurel and) Hardy 46.2% of the vote. Feel free to congratulate him at the World Premier of Doubt on January 26th, or the next time you see him out and about in St Paul. You can’t miss him!

What’s the history of this particular mustache?

This ‘stache started over five years ago as part of a mustache contest between the guys working on our floor. I am still winning that contest.  Most participants caved to pressure from girlfriends or wives.  One sympathizes.

Any advice to men who want to grow a mustache like yours?

It takes time to really grow it out, but the result is worth it. I’ve found it has improved my confidence — if you walk around with a mustache like this, you have to own it. I occasionally get stares and funny looks, but I am confident that this mustache looks good and fits my face well. Choosing a good mustache wax is also key: I recommend Skippy’s Mustachewax from Trondheim.

What’s your all-time favorite celebrity ‘stache?

It may be a bit cliche, but golly do I like Dali!

Do you ever get any weird or discouraging comments about your mustache?

Not really. At least not ones that I hear. Certain family members initially threatened to cut it off while I slept, but they now embrace it. I enjoy hearing the honesty of small children who declare to their parents, “Dad, that tall man has a funny moustache!”

Did you have a campaign strategy during the contest?

On the first day of voting, I sent out a mass email and a Facebook post, and it took off from there! I received votes from around town, around the state, around the country, and around the world. I know of votes that came in from Norway, Denmark, Sweden, Nigeria, China, and Japan. I am extremely grateful to friends and family who were willing to vote and re-post the link on Facebook and Twitter!  

What do you think gave you an edge?

I tried to make my mustache the focal point of my photo by avoiding distractions (like hair on my head or anything in the background). In other words: This is a moustache contest: here is my mustache.  Again, I think having a fantastic network of family and friends who know me and my mustache was key to victory.

–Interview by Jessica Armbruster of City Pages

Huldah Niles

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The Proust Questionnaire is a questionnaire about one’s personality. Its name and modern popularity as a form of interview is owed to the responses given by the French writer Marcel Proust. At that time, it was popular among English families to answer a list of questions that revealed the tastes and aspirations of the taker.

A similar questionnaire is regularly seen on the back page of Vanity Fair magazine, answered by various celebrities.

This week’s Proust Questionnaire profiles Huldah Niles, a substitute violinist in the Opera Orchestra. “Thanks for thinking of including the orchestra in this!” said Huldah. “We may not be on the stage but we provide the lush colors that support the singers and set the moods.”

What do you regard as the lowest depth of misery?

I believe the “lowest depth of misery” to be the belief that one is all alone in the world.

What is your idea of earthly happiness?

Complete forgiveness of yourself and others.

Who are your favorite heroes of fiction?

Spongebob Squarepants is my hero. I think he truly understands the beauty of simple joy and happiness.

Your favorite painter?

Vincent Van Gogh is my favorite painter. I recently read an article that suggests he was color blind and that is why his color palette is so unusual. Whatever the case may be, I always want to be a part of the world he depicts.

Your favorite musician?

Erik Satie is my favorite musician. I love how simple and elegant his music is. It was meant to be background music; to simply be a part of the world, not the focus.

The quality you most admire in a man? The quality you most admire in a woman?

I love people that are truly a part of the present moment. They give you their full attention and you can really connect. Sometimes I feel like we are all so weighed down by our past and planning for the future that we forget stay awake to what is going on around us.

What is your motto?

Love is all there is!

Do you have a website, Facebook fan page, or a Twitter for everyone to follow?

http://www.millcityquartet.com

How long have you been involved with opera and what drew you to the art form?

This is my 6th season with the Minnesota Opera Orchestra. I’ve always loved the human voice. I think it’s what drew me to the violin as well. I don’t have any vocal skills but my violin helps me come close to having that same warmth and emotion. I’m also drawn to the timelessness of opera. These operas have been watched for centuries and there is always truth to be found in them.

Favorite behind-the-scenes memory…

One of our guest conductors had a false front tooth. During a PERFORMANCE said tooth went flying out of his mouth and landed on a violist’s foot! The best part of the story is that the violist and the rest of the orchestra never missed a beat while trying to stifle our mirth. You would think the conductor would have been so embarrassed he would have found a solution to his problem but no….the tooth popped out a 2nd time at the very next performance!

Visit Minnesota Opera’s blog every week for Feature Friday.

Q&A on Orchestra Negotiations

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I’m sure that by now, most of you have heard that both Minnesota Orchestra and the Saint Paul Chamber Orchestra musicians are locked out. I’ve had several people approach me lately and ask how the Minnesota Opera might be affected.

I thought I might use the blog this week to get people more informed.

Here’s what I’ve learned:

Q: Will the orchestra lockouts have an impact on Minnesota Opera’s season?

A: No. Minnesota Opera engages its own ensemble, the Minnesota Opera Orchestra, for its performances, and will not be affected by work stoppages at Minnesota Orchestra or Saint Paul Chamber Orchestra.

Q: What is Minnesota Opera’s relationship with its orchestra/unions?

A: Minnesota Opera has labor contracts in place with both its orchestra musicians (through the local chapter of the AFM) and with its stagehands (through IATSE), and has good relations with both. The orchestra is in the fourth year of a four-year agreement, and the stagehands are in the fourth year of a five-year agreement.

Minnesota Opera has a core orchestra that is employed on a pay-per-service basis each season, and its musicians are offered an average of 55-60 services per year.

Q: Are there Minnesota Orchestra or SPCO players in the Minnesota Opera Orchestra?

A: Although there are many musicians in the Minnesota Opera Orchestra who freelance as subs for Minnesota Orchestra and/or the SPCO, none are regular members of those ensembles. Some have spouses who are Minnesota Orchestra or SPCO musicians.

Q: Will labor strife at the SPCO make it more difficult to raise the remaining money for the Arts Partnership campaign?

A: The Arts Partnership has continued to raise funds throughout the recent public discussion of the labor issues surrounding the SPCO and its musicians, and those efforts will continue. Funders understand that the concert hall and access endowment are long-term solutions for the health and vitality of all four organizations, as well as the Saint Paul and the community at large, and that the Arts Partnership work must continue no matter what any individual organization is going through in the short term.

Q: Should the SPCO be raising money for a new hall when its own budget is not in balance?

A: The Arts Partnership is raising money to fund the solutions that address the long-term challenges of access and affordability affecting all four organizations. As a member of the Arts Partnership, the SPCO won’t ignore either challenge.

Q: If the Arts Partnership is negatively impacted by labor strife, what would that mean for Minnesota Opera?

A: Minnesota Opera and each of the other Arts Partnership organizations receive a rent subsidy, which, in case of the Opera, represents a significant amount of operational funding. If that source of revenue were not available to Minnesota Opera, the organization would need to find other revenue sources to cover the costs of its programming. Minnesota Opera expects that the SPCO’s players and management will reach a resolution to their current differences.

Q: Has Minnesota Opera ever experienced work stoppages due to labor negotiations?

A: Yes. Minnesota Opera’s orchestra was on strike from the spring of 1993 and extending into its following season, which started later due to the labor situation. The issues were resolved and Minnesota Opera enjoys a very positive relationship with its orchestra players and their union.

- Colin Dickau, Tempo Board of Directors

Visit Minnesota Opera’s blog every week for Tempo Tuesday