ROLE CLASSIFICATION

ROLE CLASSIFICATION

The following definitions provided for the Classification Categories of "L" LEADING, "F" FEATURE, "S" SUPPORTING, "B" SOLO BIT, "CB" CHORUS BIT AND "MB" MUTE BIT, have been used as guidelines throughout the classification process along with attention given to actual measures sung, time required by libretto for the characters to be on stage. Subjective questions asked as to the relative importance of the role to the plot and intangible considerations weighed as to the interpretive, vocal and artistic demands of the role.

Performed by Soloist	“Leading,” “Feature,” “Supporting” and “Solo Bit.”
Performed by Chorister	“Chorus Bit” and “Mute Bit” (which is usually performed by a Chorister and/or a Supernumerary).

Non-Singing “Mute” Roles in the categories of “Leading,” “Feature,” “Supporting” and “Solo Bit,” have also been classified in accordance to the procedure described above using the guidelines outlined in the definitions given below. These roles are performed by an actor or a dancer. They do not require the character to sing, and with rare exception, do not require the character to speak more than one word.

Leading Role: A Major, Principal Role. A primary character (or characters) in the Opera from whom all action spreads and around whom all action comes together. A protagonist or antagonist. The heroine, the hero, the villain or the victim whose pivotal position at the center of the plot is eminently vital to the development of the story. A leading role, in addition to its focal position in the plot, bears the greatest vocal and dramatic responsibility in the opera.

Feature Role: A Distinct Outstanding Role Given Special Prominence. Not as dominant as a leading role, and not focal in its position relative to the plot. A distinguished character nevertheless, usually requiring a quality voice and/or exceptional acting ability. Dramatic presence, unique vocal range and/or pyrotechnical excellence. The role may have an important aria, duets, a complete scene or a complete act. “Feature” status may also apply to a prominent character involved in the intricate ensemble of an opera whose relationship has a complementary significance to the development of the plot, and who maintains vocal and dramatic presence throughout the opera.

Supporting Role: A Secondary, Intermediate, Auxiliary Role, which sustains and strengthens the plot, while maintaining vocal and acting support throughout the action of the opera. A supporting role may have an aria or a duet, considerable amount of ensemble singing or particular acting requirements. Somewhat shorter roles which none the less fit the profile outlined above in their importance and connection to the plot are also classified as supporting.

Solo Bit Role:	A Small Role. A minor role of limited size and scope in vocal and artistic demands, and of a lesser importance and intensity relative to the plot. A solo role has at least twenty-four (24) measures or more, and is usually performed by a Soloist. In some cases, the role may have less than twenty-four (24) measures and still qualify as a Solo Bit Role, because the opera has no chorus, therefore, a chorister cannot perform it, or has no chorister who sings in that voice range. A Solo Bit Role, may also be assigned to a chorister. It is the components of the role as profiled above which determine its category.
Chorus Bit Role:	A Small Role of Short Duration performed by a Chorister. In most cases a “Step-Out” role of no more than twenty-three (23) measures of music differing from that music and text sung by the rest of the chorus. A role, possibly requiring a costume change, in a scene not involving the chorus, of no more than ten (10) measures of music.
Mute Bit Part:	A Small, Non-Singing, Silent Part of short duration, usually performed by a chorister and/or supernumerary. A role requiring mime or acting, specified in the score by assigning the character a “name,” and/or requiring stage action which differs from that performed by another character, or the rest of the chorus. Mute Bit Parts are not listed in the Schedule “C” document unless they meet the above requirements.

COMBINING OF ROLES

The Schedule “C” Classification Process takes into account those operas in which the composer intends or “Tradition of Performance” assumes, that an Artist is to perform more than one role in a single performance. In each such case roles are classified separately according to their categories, and also as the combination of the roles as intended in the score. On those occasions when an Artist is cast to perform more than one role in the same performance, and that combination is not listed in the document, then the combination of those two (2) roles should be considered to be equal to a role of the next higher category. As an example; two (2) “Solo Bit Roles” in an opera performed by the same Artist, would equal the category of “Supporting.” This precept applies to all Solo Categories. In the case of “Chorus Bits,” the same formula applies regardless of the number of measures total created by combining of two (2) or more, step-outs. Any variance to this procedure and/or the classification derived from such a combining of roles, cannot be used for contractual agreement between an Artist and Management without the written consent of AGMA.

MINIMUM NUMBER OF CHORISTERS

The New Grove Dictionary of Music and Musicians (volume 4, page 341) defines a CHORUS as “a group of singers who perform together, either in unison of much more usually, in parts.” The New Harvard Dictionary of Music (page 162) adds that this is a group of “more than one on a part.” Therefore, a chorus is a group of singers who perform together, with more than one on a part, in this case, in an opera. The Schedule “C” Classification Process has re-evaluated each previously classified opera to determine whether the above definition can be met, and has found that in many cases, that would not be possible. Even if choristers were to sing parts individually, rather than with more than one on a part, it would not be possible to account for all of the notes written by the composer. If a chorister were to perform individually more than twenty-four (24) measures in a performance, that chorister would then be classified as a “Solo Bit” performer. Most operas contain considerably more than twenty-four (24) measures of music designated for chorus. A practical matter of balance with the orchestra must also be considered. Usually, at least three (3) choristers on the same part are needed to balance the average volume level of a string or woodwind player, and more per part for a brass or percussion instrument. When a chorus is on stage, it is not likely that electronic enhancement could be used effectively without employing it for the soloists as well. Off-stage, such “enhancement” might be used discreetly. Such artificial amplification is not what opera is about. Therefore, the numbers shown as “Minimum Chorus Required” are indeed the absolute minimum, and are not intended for standard size houses or in any performance where the full orchestration is used. The numbers listed are guidelines that do ensure that at least three (3) singers are singing the same vocal part (even when there is division) at all times unless specific instructions from the composer, printed in the score, call for something different.