Die deutsche Fassung ist hier
The question of money will accompany you throughout your career, whether you like it or not.
Money is a sign of respect for your artistic achievements. It secures your standard of living and allows you to sleep more or less peacefully.
Your fee is based on:
1. Your market value, which is made up of:
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- the quality and size of your voice
- your experience
- the size of the roles you sing
- your popularity/fame
2. The size of the theatre where you perform
3 . Your negotiating skills/the negotiating skills of your agency
4. The financial resources of the theatres (!)
I would first like to address the last point and go into a little more detail to discuss the reality of theatres in Germany, i.e. state, regional and municipal theatres.
Thanks to the tough negotiations of the GDBA (THANK YOU!!!), the salaries of ensemble members in Germany now look better: the starting salary is €3,010 (€3,095 from 1 May 2026), and at least €3,075 per month in the TV-L tariff area. From the third year onwards, the monthly salary is €3,220/€3,285, plus a 13th month’s salary and 45 days of holiday entitlement.
This can be found in the NV Bühne, which is accessible to everyone: https://www.gdba.de/wp-content/uploads/2025/12/Normalvertrag_NV_Buehne_Stand-Januar-2026.pdf
You also enjoy many benefits, such as a fairly good pension (if you remain in the system), and if your contract is not renewed, you have a year to look for something new. This means that, financially speaking, you can live comfortably as an ensemble member.
Fees as a guest singer
As you have probably noticed, cuts are being made to culture everywhere, and politicians are not necessarily willing to increase theatre budgets. Conversely, this means that although they have to pay higher fees and bear wage increases, these payments are not offset by federal/state/city funding. But if there is less money left over after the salaries of permanent employees have been paid, then logically there is less money in the budget for „things“ like sets and guest singers. Agencies today are often confronted with the ‘recommendation’ from sponsors to their theatres that they should cast their operas with ensemble members in order to reduce ‘unnecessary’ expenses; As a result, even theatres that used to generously employ guest performers are now offering fewer and fewer opportunities for guest singers.
I am referring here to ‘normal’ opera houses, not the few top houses where superstars can still demand very high fees, although even these are no longer unlimited.
Some cities have been particularly hard hit by the cuts: if one of Berlin’s opera houses currently writes to your agency saying that they are happy to maintain the fee for the upcoming guest performance but cannot increase it, then this is probably true.
This means that even when negotiating fees – if you have managed to secure a guest contract – there is less and less room for manoeuvre, and the balancing act of negotiation is becoming even more difficult for artists and agencies.
Ultimately, we are all (theatres, artists and agencies) in the same opera boat, and if it capsizes, no one will be helped.
Your market value
Your market value is a decisive factor in determining the price of your engagements. As mentioned above, it depends on several factors, which I would like to discuss briefly:
The quality and range of your voice:
If your voice is particularly high, particularly low, particularly loud, or if most decision-makers find it particularly beautiful, then it will be easier for you or your agency to demand a slightly higher fee than if you are a ‘normal’ singer. Larger venues need larger voices for larger roles; we may not like it, but that’s the way it is.
If you are one of the ‘normal’ singers, i.e. those who simply sing beautifully but do not have any of the qualities mentioned above, it is even more important to arrive at the first rehearsal perfectly prepared, to fill your role with an idea, with character, before rehearsals begin (and then be flexible enough to possibly throw everything overboard again). Those who come in as a ‘blank slate’ and have only dutifully learned their notes will not be taken particularly seriously.
Your good reputation
Have you built up a good, solid reputation in the business? This includes consistently high technical, vocal and acting quality in performances, as well as the fact that people enjoy working with you: you have personal integrity, do not gossip about colleagues or other theatres, and are ‘friendly’ towards colleagues and everyone who works in the theatre, from the gatekeeper to the cloakroom, make-up, KBB, lighting, technical staff and cleaning staff.
If something doesn’t go the way you want it to, always remember that as soon as we enter the theatre, we no longer act (only) as private individuals. That doesn’t mean we should say yes and amen to everything, but it is advisable to separate our personal selves from our role as singers in the theatre. A little professional distance and a small ‘protective layer’ keeps hurt feelings away from our core and makes us stronger in crisis situations – and in negotiations.
Size of the theatre
Larger theatres usually have higher budgets.
Negotiation skills
It’s a bit like at a flea market: you have to know the context, be able to assess the goods and enjoy negotiating. But you also have to know when the limit has been reached, otherwise the door could close in the long term. Sometimes it’s better to try to negotiate the rehearsal fees or the possible accommodation allowance than the fee itself.
If you have a permanent contract, you don’t need to read any further, but if you are a freelancer or don’t yet have a permanent contract, I have a few more suggestions:
Freelancer – the good years
Let’s assume that you are a freelancer and are currently enjoying your ‘good’ years and earning really well – which is entirely possible in our job:
DON’T SPEND IT ALL! Put some money aside, or invest in a flat/house, buy gold (maybe not right now at the peak price), get advice on financial investments from reputable people; do what suits you, but DON’T SPEND IT ALL!
Between two productions, it may be a good idea to register as unemployed. Seek advice on this. If you live in France and enjoy the protection of ‘Intermittence du Spectacle’, you are in the best system in Europe! After proving that you have worked 507 hours in the last 12 months, you are entitled to support.
As a freelancer, you need a financial cushion for bad times, for a production that may be cancelled because you are pregnant or ill (yes, these are two different things!), to tide you over if a production is postponed or because there is simply no work coming in.
Pension
You need money for your old age! Most colleagues have a mixture of statutory pension, the ‚Bayerische Versicherungskammer’ or sth. alike in another country, possibly pensions from other countries and private pension provision. Seek advice if you are not yet 40 – the earlier you start paying in, the lower the contributions to a private pension scheme will be.
If you enjoy teaching and can get a professorship at some point, you’ll be set for life, but until then, you MUST make your own provisions.
I don’t want to scare you, but we should go through life with our eyes open and not think ‘it’ll work out somehow’. It will work out for a while, but when you stop working or can no longer work, the money has to come from somewhere.
And one more small remark:
Colleagues who voluntarily talk about how much they earn somewhere are often fibbing, or, to put it more politely, they are rounding up their figures to make themselves look better. Don’t be impressed! And if you yourself are earning a lot at the moment, keep it to yourself.
Freelance work at theatres belonging to the Bühnenverein – TV Gast
For guests at theatres, the TV Gast regulates the cornerstones of negotiations for guests at theatres that are members of the German Bühnenverein; fees that exceed these recommendations are still a matter for negotiation, see above.
The TV Gast is a minor sensation; it is the first collective agreement for guest artists at theatres with employee status. It first came into force on 1 June 2025. The TV Gast now sets out collective agreement regulations for freelance artists who are employed on a production-related basis at member theatres of the German Stage Association.
The regulations relate to:
- Continued payment of remuneration in the event of illness
- Granting of holiday days for guests
- Payment of cancellation fees in the event of performances being cancelled by the theatres.
This means that soloists, choristers and dancers who are not permanently employed are now also entitled to holiday leave if they have contractually agreed to at least 26 days of employment. In the event of illness, they receive remuneration based on the scale specified in the collective agreement. And if a theatre cancels a performance, a cancellation fee is paid, the amount of which is graded according to the time of cancellation.
Die Freie Szene – The independent scene
The NVs refer to contracts at theatres that are members of the German Stage Association and (unfortunately) not to contracts within the independent scene, where (excellent) stage artists often perform for 300€ or (significantly) less in performance fees.
In opera, fees are MUCH higher than in drama or dance. That doesn’t mean we should stop fighting, but our fight must keep the big picture in mind and also be/become political: if politicians cut funding, there will be nothing left for anyone! The least we can do is join the GDBA and pay the small monthly fee (1% of our gross salary) to enable our colleagues who do the political work for us to do their job.
We have the best job in the world! Flying away with the music when the orchestra is beneath our feet remains incomparably precious and inspiring.
And we should do everything we can to ensure that it remains with us and that we remain with it.
Still have a bit of time? Maybe you want to read this article.
With this in mind,
see you soon,
Hedwig
