Arranging Contracts for Singers in Puccini’s Era: Clauses, Conditions, Benefits (?)

The performances of opera singers have always been governed by contracts drawn up by impresarios, agencies or theatre managers. Over time, these documents have become more and more extensive and articulated, but their clauses have not always worked in the artist's favour. This paper will shed light on what the working conditions were once the singer had arrived at the theatre where he/she was to perform. It will discuss the clauses that in the early 20th century concerned the number of performances to be guaranteed in a season, how the wage was to be assigned, the extent of sick leave provided for - if any - or cases of force majeure. Not only the obligations and prohibitions (such as the prohibition to perform in neighbouring theatres or to cut the scores) or the fines provided for in the event of non-compliance will be analysed, but also the forms of protest that the singer could take in case of dissent. Was the cachet the only source of income? Were there other unwritten rules in the contract that allowed the singer to acquire wealth by performing on opera stages?