The new collective bargaining agreement between AGMA and Cincinnati Opera was approved by AGMA leadership on March 3, 2025, after being ratified by the shop. Congratulations to the Artists of Cincinnati Opera, and thank you to the negotiating committee!
Read the joint release between AGMA and Cincinnati Opera here.
CONTRACT HIGHLIGHTS
Economics and Other Benefits
- Compensation increases are the highest we have negotiated at Cincinnati Opera in recent memory:
- Year 1 (2025): 4%; Year 2 (2026): 75%; Year 3 (2027): 3.75%
- Maintained retirement contributions per performance for Principals and Staging Staff and per production for Choristers
- Increased stipend for parking
- Per diem increases over the course of the contract
- Subsistence Pay increases for Artists with housing provided over the course of the contract
- Reimbursement for up-front housing expenses for Artists who reserve their own lodging
- Added new provisions regarding artificial intelligence, data breaches, and bereavement leave
- Added a provision requiring Artists to be compensated for tentatively scheduled performances that are not ultimately scheduled within 28 days of the start of the run of performances
- Extended performance ticket benefit to all Artists
Staging Staff
- Reduced overtime threshold from 60 to 55 hours
- Removed language that excluded Stage Managers and Assistant Stage Directors from daily overtime rates
- Increased uninterrupted meal break between the morning and afternoon service and one hour between the afternoon and evening service, with a penalty if the break is interrupted
- Specified that Staging Staff shall receive a schedule of Free Days at least two weeks prior to their arrival in Cincinnati
- Added language providing for discussion of rehearsal assignments for Staging Staff and establishing certain baseline conditions
- Strengthened limitations on the use of Stage Management and Assistant Director Interns
Principal Artists
- Required disclosure to Artists in Supporting/Bit Principal roles of hourly rehearsal rate
- Added a definition for Covers; added language about rehearsals, costume fittings, and run-throughs for Covers; specified that Covers shall be compensated for each role covered
Choristers and Corps Dancers
- New Accommodation Allowance for non-local Choristers and Corps Dancers (in addition to Cincinnati Opera paying for transportation)
- Established a definition of “Supernumerary Work” for Choristers and Corps Dancers and created a mechanism to resolve disputes about the moving of heavy objects on stage
- Added language requiring COA to make best efforts to disclose supernumerary and shift work to Corps Dancers in their offers, and a mechanism to determine whether any additional compensation is due after the room run
- Clarified that a Chorister may only be “probationary” for one season
- Clarified the definition of step-out roles for Corps Dancers
- Added safeguards against schedule changes and the use of emergency schedule additions
Anti-Discrimination / Diversity, Equity, and Inclusion
- Added reasonable accommodation language, primarily to address accessibility issues regarding rehearsal space
- Clarified that harassment on the basis of any protected class or classification is prohibited
- Added a requirement that COA make anti-racism and anti-sexual harassment materials accessible to AGMA Artists
- Added language about the process for investigating harassment allegations, protections against retaliation, and clarifying that anti-harassment policies apply to all employees and contractors
Health and Safety
- Added a subsection about safety measures for raked stages
- Added a subsection about safe floors for dancers
Media Rights
- AGMA Artists can now access archival/study tapes for personal use
- Artists and their managers can now provide input when recordings are planned to be released for commercial use
- All individuals working in dressing rooms must consent prior to the taking of photos and videos there
- COA will notify AGMA and Artists about how long recordings shall be made publicly available
- Established the right of Principal Artists to challenge COA’s use of promotional recordings on reputational damage grounds