Sally Soprano

Sally Soprano Part II – Lyric Opera Lyric Opera’s Negotiating Party: Lyric Opera’s Business Manager Lyric Opera’s Position: Sally Soprano is a distinguished older soprano who has not had a lead role in two years. The Lyric Opera has a production of Norma opening in three weeks, and the soprano who had been engaged to sing the title role has developed a condition requiring surgery before the performance. The Lyric is eager to hire Sally as a replacement, however they have a limited budget to offer compensation. The Trustees have authorized the business manager to offer up to $65,000 for the lead. Naturally, they would prefer the salary to be negotiated lower, if possible because they are a not-for-profit entity. They have not considered any other compensation, such as VIP perks and have not yet set a marketing budget or plan. The original soprano hired for the role was to be paid only $50,000, and the more inexperienced second soprano is being paid $25,000. It is common industry practice for the secondary role singers to only earn half as much as their lead role counterparts. Four years ago, at the height of Sally’s career, she received $33,000 for the lead role of another production from one of Lyric’s competing opera houses. But, inflation and an increase in opera’s popularity since then have nearly doubled salaries. Sally Soprano Part II – Sally Soprano Sally Soprano’s Negotiating Party: Sally Soprano’s Agent Sally Soprano’s Position: Sally desperately wants this role, which could give her a chance at a forthcoming television special. However, due to her age, she is not as sought after as she used to be. She would be willing to sing the part for nothing, except for the impact on future salaries for other engagements and her reputation. This represents a big opportunity for her to revive her career. Her salaries for secondary roles over the last two years have ranged from $16,000 to $30,000. More than a year ago, she received $23,000 for singing the secondary role in Norma at the Lyric. Moreover, last year, an inexperienced soprano who sang the lead role is rumored to have been paid more than $35,000. Sally would also like to received VIP perks such as a limo ride to and from each performance for the entire run; a private suite dressing room with hot water and honey for her voice every night before performances and red roses and champagne afterwards; and unlimited room service for organic food orders. Sally also wants to ensure that the marketing and promotion of the production will promote her career and potential as a television star. She wants all marketing materials and signs to show her name prominently and feature only her picture (rather than a full cast photo or photos of other cast members). She wants her Agent’s PR team to have final edit on all materials. She also wants to ensure that the overall promotion plan will ensure each performance is a full house so that she can prove to potential TV scouts that she can command an audience. Even though her work has slowed down, Sally is not above walking away from the opportunity if the salary, perks and promotion package is not right and would set a bad precedent for her future market value.

The case assignment will be based upon the Sally Soprano case in Modules 2 and 3. Writing Guidelines: Use APA style for formatting the paper and reference citation. Your paper should be five (5) to eight (8) pages with two Appendices (see specifics for appendices in the Case Assignment Instructions in the next section). Abstract and Table of Contents not required Include a Cover Page and a References page, which is not included in the 5 – 8 page count Also, be mindful of plagiarism and cite your sources! Case Assignment Instructions: Read the Sally Soprano II Slides in the presentation section (Module 4 area). Your task is to write a dialogue between Sally’s Agent and Lyric Opera’s Business Manager detailing their negotiation. This is in essence a written role play. You should write the dialogue based on one of the two negotiation theories we’ve discussed thus far in the course. Option 1: Appendices Instructions for Competitive Negotiators: If you choose to write the dialogue based upon the parties engaging as competitive negotiators, your two Appendices should include: 1 / 3 Appendix A: A list of the assumptions and disclosures each party should make prior to engaging in the negotiation; and Appendix B: The key elements of the final agreement reached, which Sally’s Agent will submit to his/her legal department to write up the final contract. Option 2: Appendices Instructions for Collaborative Negotiators: If you choose to write the dialogue based upon the parties engaging as collaborative negotiators, your two Appendices should include: Appendix A: A list of the issues that the parties will share with each other prior to engaging in the negotiation and a list of the BATNA for each party. Appendix B: The key elements of the final agreement reached, which Sally’s Agent will submit to his/her legal department to write up the final contract. Guidelines for Appendices It is acceptable to write these Appendices in list or bullet format. But, please write in coherent, grammatically correct, complete sentences so that your thoughts can be clearly understood. 2 / 3 Additionally, it should be clear from the dialogue what values or propositions each party considered important and how they negotiated the points on these issues. You may include a factual introduction of the parties and the conflict prior to your written dialogue. However, please keep this introduction to a single paragraph. Please submit your case assignment by the due date and PLEASE contact me in advance if you need guidance.

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