Be sure to insure the mailing for $1250, the sale value of the score if it gets lost. Don’t think it won’t happen, it has happened more than once.
Send the score to:
Chadwick Creative Arts
6 Nantucket Court
Medford NJ 08055
Assuming you followed directions, no markings should be in the score, only Post-It Notes. Take out the Post-It Notes (wasn’t that easy?), return the score to shipment-ready state (score removed from the binder rings and bound using binder clips to the folder backing) and simply mail the score back.
If your cue score came in a binder, remove the sheet music from the binder rings and bind it to the folder backing (see image below). Do not ship the score back with the music in the rings, or loosely flopping around, as it will damage the rings and/or music!
If you did not follow directions and you made pencil marks in the score, erase all pencil marks carefully and thoroughly, and without damaging the score in any way. A full sized proper rubber eraser, not just the one on the back of that pencil that has been sitting in your drawer for two years, is highly recommended. Scores returned with pencil marks and/or other material are charged a $100 damage fee for repair, regardless of how many or how few markings there are. Scores returned beyond re-use (such as scores written into with pen or trashed beyond the ability to be rented to others) will be returned to you and you will be responsible for the purchase price of the score (see your contract for details).
Absolutely, yes. It is not legal for me to rent supertitles for a work which is not in the public domain, because that would mean I am profiting from the intellectual property of others. Any person or company who rents supertitles to such works is violating intellectual property copyright law.
That said, part of your agreement when obtaining grand rights to perform these works includes the right to project supertitles for your performance. You can subcontract a vendor to create your supertitles for you. This is no longer a rental situation, but rather hiring someone to do work for your production.
Because of these legal constraints, these titles may not be rented. However, I can create title sets for your particular production. The score is created for you and the slides are created for you, and are not returned to me. It is not a rental or a purchase, but rather the hiring of me to create a title set for your particular presentation. Those titles may not be legally distributed to another company for other performances.
The rental fee structure has variables which affect price for each rental. Generally speaking, full length operas in the public domain are $600, with a reduced $400 rental offered for organizations with annual operating budgets under $250,000 and for educational institutions. One act operas are typically $300 and $200, respectively.
Some operas and oratorios will fall outside of that pricing structure. For example, I have an agreement with Schirmer for a few operas in the list which do not yet fall within the public domain. The fee for those titles is higher because a portion of the rental fee gets paid to Schirmer. Smaller oratorios such as the Beethoven 9th Symphony don’t have a lot of text, so that fee is much less than a normal rental.
If you request a custom title set for a work which is rarely performed, that is going to be higher than normal because it is unlikely I will be able to rent that set of titles again.
If you would like to inquire about rentals for works in the library, or for custom works not yet in the library, please email me at info @ operasupertitles . com
Yes, and conversion to whatever format you need is done at no cost. This includes sets which can be imported into Figaro, TitleDriver, and other software platforms.
The titles can be sent whenever you wish, once the contract is signed and rental fee is paid. If not directed otherwise, the default shipping date is set up so that your titles arrive prior to the week your performance begins. For example, if your opening performance is March 31st, the titles would typically be sent to arrive by March 24th.
Once your production is over, any rented titles cue scores must be returned within 30 days of final performance listed in your contract.
The rental fee does not include processing cuts. It is best for you to process cuts internally, as additional cuts might be made during the rehearsal process and since you have made the other cuts, there will be no question on how to accomplish it. Having the cuts processed for you on our end does require a fee, which varies depending on the complexity of the cuts being requested.
Yes, there is a 20% discount applied to a single contract with multiple titles included in the same production season. The full rental fee must be paid up front in order to receive the 20% discount.
Il Tritico is considered a single full length opera rental and gets all three one-act operas for the typical price of a regular full length opera.
Yes. The slideshow is done electronically in Microsoft PowerPoint. Any slide may be customized to meet your particular staging needs.
Supertitles are formatted for use on a standard screen dimension that is a ratio of 1 to 8, but can be altered for almost any screen size. How large the receptor screen is depends on how far your projector will be and what kind of projection it provides. Most projectors have multiple ways to adjust the image size. It is recommended that if you are building a screen for these titles, get a sample slide in advance and project it in your venue.
Yes, you may request a specific aria or scene in order to get an idea of the style in which I present titles.
There are several reasons why having supertitles for English and English-translated operas is beneficial. First, the style of most operatic singing makes it difficult to deliver the language in an easily understandable way. Second, many words in operettas and translated English operas are archaic or unusual. The Rake’s Progress is an excellent example of an English opera that benefits having supertitles for its audience. Finally, this is an excellent opportunity to include hearing-impaired patrons and can result in a positive community outreach opportunity.
Please be aware that if the work needing titles is not in the public domain, it will be treated somewhat differently. Please see this faq for more information.
You should select someone who can read music well, and preferably, someone familiar with the opera or oratorio. Numbered slides and marked scores make this process easy, but for complex musical numbers, having someone familiar with the score is recommended.
New titles are being made all the time, and I am happy to add new titles to meet your needs. Just let me know when your production is so that I may plan appropriate time to create them. Please be aware that if the work needing titles is not in the public domain, it will be treated somewhat differently. Please see this faq for more information.
Absolutely. The rental fee depends on the complexity and length of the program, and typically is considered a full length opera for the purposes of determining the rental fee.
It depends on your performance space, the distance between your projector and the receiving surface, and how many lights it’s going to have to break through. As long as you’re not in an enormous municipal auditorium, most modern projectors are more than adequate. If you really want to get fancy, you could look into “rear projection” options as well.
Most companies would not want to pay for the travel, lodging, and time required for me to run the slideshow for them. It is best to look internally to fill that need. However, if you are in my general vicinity (mid-Atlantic USA) and wish to have me come and run your titles for you, I charge $200 per appearance plus actual travel expense reimbursement.
The technology has improved enough that having a projector is a very affordable product for most companies. It is an excellent investment for you to make, and could potentially be donated if you ask the right people.
Because different venues have different needs, I do not carry screens for rental. Screens may be made of basic non-reflective fabric (such as muslin) available at most fabric or art supply stores. A basic frame can be made from many light materials which are rigid when mounted, or perhaps flexible. You just want it to be completely taut when expanded. The absolute best possible material is movie screen material, if available in your area or by special order. Doing a search for “Projector Screen Fabric” on Google or Amazon will yield many results.