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The Leading Tone
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Page 2 THE LEADING TONE
Facing National Agendas The Leading Tone Carla Lehmeier‐Tatum, ROPA President Volume 26, Issue 3 Over the past two years regional orchestra mu‐ Earlier in 2008 Flanagan published another sicians have been blindsided by orchestra paper, “Symphony Musicians and Symphony Editor boards declaring a “restructuring” of their or‐ Orchestras.” This paper investigates the rela‐ Amy Morris ganization to their community. The particulars tionship between the economic difficulties involved are tantamount to a national agenda. faced by symphony orchestras collectively [email protected] This year there have been a number bargained wage increases and work rules. 6620 Newton Avenue S of steamrolling restructuring attempts Flanagan explores nonperformance income Richfield, MN 55423 that indicate how essential it is for ROPA to and states the following, “If contributed sup‐ address future national agendas that provide a port is viewed as continually responsive to Letters to the editor can be sent to the perspective from our 83 ROPA orchestras. I fundraising activities, labor may adopt wage e‐mail or US Postal address above,. invite you to read my observations about the objectives that exceed what they would seek
current restructuring trends and the proposed if facing less ambiguous budget constraint...” R O P A ROPA survey that will assist in establishing a “….wage demands drive the level of fund‐ The Leading Tone is the offi‐ voice to respond to future agendas. raising activity as orchestras seek sufficient cial newsletter of the Re‐ nonperformance income to cover wage de‐ gional Orchestra Players I have been puzzled by the business trends that mands and other cost increases… In this sce‐ some of our orchestras involved in restructur‐ nario, wage increases absorb increases in non‐ Association, a conference ing have adopted. These include significant performance income, undermining its poten‐ of the American Federa‐ cuts in educational outreach and business plans tial contribution to financial stability. These tion of Musicians of the that leave key positions vacant, a staff that is scenarios each stress the crucial role of non‐ United States and Canada, void of a Development Director and/or an Ex‐ performance income in determining wage and is published quarterly. ecutive Director and board members stepping settlements...” Unauthorized Reproduc‐ forward to “lead” the organization. These tion of any part of The managerial decisions conflict with the funda‐ Reading this paper could give insight into Leading Tone is strictly pro‐ mental functioning requirements of the institu‐ why a “restructuring” orchestra might con‐ hibited. tion and are decided by the same orchestra sent to allowing crucial fund‐raising positions boards that have gained a reputation for under‐ to remain vacant, and why donations might Copyright © 2010 performing in both their fund‐raising capacity be declined. According to Flanagan, we All rights Reserved. and institutional oversight. There is no doubt should not allow our wage increases to reflect that the choice to leave a Development Director the increases in the nonperformance income, Subscriptions and/or Executive Director position vacant in particular, private donations. This view‐ $8.00 per year payable to would inevitably threaten both the private and point suggests that if the public supports the ROPA corporate donation revenue sources. Cuts in relevance of what orchestral musician ser‐ c/o Dennis Danders educational outreach will impact the organiza‐ vices provide to the community through do‐ Treasurer, ROPA tion’s ability to acquire grants and solicit future nations, never‐the‐less the musicians should 237 N Rutan donations. not share in the success of increased nonper‐ formance income. This perspective is out of Wichita, KS 67208‐3315 When pondering these circumstances, I asked line when it has been evident to me that [email protected] myself how a board of directors would be led when individual community members make down this diminishing path. This question their donations, they expect that the donation INFORMATION directed me to a series of papers published will support the orchestra and the programs about symphonic musicians and the symphony they provide to the community. Since the CENTER orchestra by Stanford University Professor New Mexico Symphony Orchestra returned Robert J. Flanagan. His most debated paper, to work after their four month • This newsletter is online at: published in 2008 and commissioned by the “postponement” of the season, there has been http://www.ropaweb.org/. Mellon Foundation, “The Economic Environ‐ a constant question brought forth from the • To subscribe to the ROPA Internet ment of American Symphony Orchestras,” was community, “How can I be sure that my do‐ Mailing List, visit used to justify proposed drastic cuts for some of nation will be allocated towards the musi‐ http://www.ropaweb.org/forms/ our most controversial negotiations. Professor cians?” elist.php. The list is open to musicians in ROPA Flanagan utilized flawed data, then compared member orchestras, and AFM Local the increases in musicians’ wages with revenue. Looking at Flanagan’s theories could also officers for those orchestras. He concluded that there was a structural deficit explain why some of our orchestra boards within our industry and placed fault on the have adopted brutal take it or leave it nego‐
increases in musicians’ wages for the deficit. continued on page 7 VOLUME 26, ISSUE 3 Page 3 A Quarter of a Century of Progress: The 1985 ROPA Conference What Has Changed…and What Has Not Changed in the Music Industry Rachel Cox, ROPA Historian
Nineteen eighty‐five was situated in the middle of a decade Nathan Kahn delivered the opening remarks. He first provided marked by such salient events as the release of 52 American hos‐ a brief explanation of ROPA’s formation, a vital element in un‐ tages held in Iran for 444 days; economic prosperity throughout derstanding what the organization represented. Since the 1985 most of the decade; political turmoil in Central America; famine conference was the first convention for many delegates, Kahn in Ethiopia; the tragic explosion of the space shuttle Challenger; gave a detailed explanation of the organization’s mission and the partial meltdown of the Soviet nuclear power plant in Cher‐ the responsibilities of the musicians in their respective orches‐ nobyl; the Iran‐Contra affair; the Exxon Valdez oil spill off the tras. coast of Alaska; the collapse of Communism in Eastern Europe; the student protests for democracy in Beijing’s Tiananmen “ROPA is communication, education and research in the form Square; and concluded with the dramatic fall of the Berlin Wall. of wage scale charts, bulletins and newsletters, conferences and Ronald Reagan, who served two terms as U.S. President, initi‐ surveys. There have been too many of us who have been oper‐ ated “Reaganomics,” labeled the Soviet Union an “evil empire,” ating in a total vacuum in our orchestras. And it’s really amaz‐ deployed U.S. nuclear missiles in Europe, and ordered the inva‐ ing to learn of some of the really terrible things that continue to sion of Granada and retaliatory bombing strikes in Libya. Soviet occur in ROPA orchestras because of this. ROPA is not going to Premier Mikhail Gorbachev and the policies of perestroika and wave a magic baton and make things wonderful in your orches‐ glasnost transformed the Soviet Union and opened the door to tra for you. We are a self‐help organization and it’s crucial that warmer relations with the U.S. that eventually closed the curtain you and your orchestra understand this. Even if we could do on the Cold War. Popular fashions verged on the eccentric as that, we really shouldn’t. Only you and your colleagues in your personal computers, cable television, and VCRs filled American orchestra really understand your orchestra, your management, homes. Popular music generated hard rock, heavy metal, and and your board of directors and community, and all of these MTV, as well as such notable personalities as Michael Jackson things must be carefully considered in determining where your and Madonna. Popular films such as ET the Extra Terrestrial, orchestra is going. As leaders in your own orchestra you need Chariots of Fire, Gandhi, Raiders of the Lost Ark, Terms of Endear‐ good communication, not only with your colleagues in your ment, Amadeus, Star Wars: The Empire Strikes Back and The Return orchestra, but with your Local, other orchestras and the AFM of the Jedi, Ghostbusters, Back to the Future, Top Gun, Driving Miss Symphony Department in order to positively affect your or‐ Daisy, and Fatal Attraction defined a highly dynamic decade. chestra’s future.”
ROPA was in its infancy, having been formed a year earlier Kahn also noted that musicians in regional orchestras face the when representatives of thirteen regional orchestras and seven same issues that occur in all orchestras, in addition to those local unions gathered in Columbus, Ohio. They were joined by concerns germane to regional orchestras. He also stated that individuals from related organizations, most notably Lew Wal‐ there are different categories of musicians all trying to earn a deck, the first full‐time administrator of the AFM Symphony living at the same time: full‐time musicians, part‐time musi‐ Department; AFM President Victor Fuentealba; and ICSOM cians, musicians somewhere in‐between full‐time and part‐time President (now Chairman Emeritus) Fred Zenone. This group status, and those musicians who are working full‐time for part‐ discussed their mutual concerns and the commonalities among time compensation. Due to the discrepancies in these catego‐ orchestras in the U.S. From this nucleus ROPA was born. ries, orchestra unity on any issue tends to be a difficult subject. Yet, until all of these musicians support each other and support The second annual ROPA conference was held from September their similar needs in some sort of “orchestra unity,” no one 6‐8, 1985 at the Hyatt Regency Hotel in Fort Worth, Texas. The will truly gain anything. convention had been organized by Jane Owen, delegate from the Fort Worth Symphony, and hosted by the musicians of the Fort Kahn also spoke of the increasing quality of performances by Worth Symphony, the Fort Worth Symphony Association, and ROPA orchestras and their subsequent amount of touring and Local 72. syndicated media work, activities which few—if any—regional orchestras had conducted during the previous decade. Such A small group of dedicated people carried out the executive du‐ demands on the musicians must be balanced by a higher level ties of the nascent organization. The ROPA Executive Board of professionalism on the part of the orchestra managements to consisted of President Nathan Kahn of the Nashville Symphony, accommodate the musicians. Vice‐President Bruce Schultz of the Tulsa Philharmonic, Secre‐ tary Libby Pistolesi from the Charlotte Symphony Orchestra, and One of the most contentious issues facing ROPA at the time was Treasurer Leonard Byrne from the Spokane Symphony. Dana orchestra growth and conversion to full‐time status. “We really Karr had volunteered to serve as editor of the newsletter, which must temper dreams of having another Cleveland Orchestra in had been distributed in May of that year. continued on page 9 Page 4 THE LEADING TONE
An Orchestra’s Extended Family Leslie Lashinsky, Long Beach Symphony and Local 353 member since 1981
Wanting to belong is a basic human instinct. Whether it’s to a vided, led by AFM Symphonic Services Division staff, legal coun‐ family or a club or a profession, we seek acceptance. We are sel and guest speakers. ROPA, with over 80 member orchestras, social creatures in search of sustenance – emotional and eco‐ has its own Executive Board that organizes each three or four day nomic. We want to be validated, nourished, supported. We are conference, hosted in a different city each year by the host Local linked to and dependent on others. Even loners, by living and orchestra. I’ve attended conferences in Charleston, West Vir‐ apart from, are connected to their fellow human beings. ginia; Chattanooga, Tennessee; San Francisco; Houston, Texas; and Dayton, Ohio and look forward to Omaha, Nebraska this We orchestral musicians are particularly dependent. As ac‐ coming August 2010. complished as we may be individually, we need orchestras in which to play. We study and take lessons and practice alone While I could go on for days talking about all I’ve learned from for years so that we may play well with others and become ROPA, I’ll just say that the most valuable and pertinent piece of (and remain) expert team players. Our lives on and off the job labor/contract law relevant to our current LBSO condition was (a require a host of personal and group skills; our successes and tablet) handed down to us devotees last August by (I now wor‐ failures come from how well we’re in tune with ourselves and ship her) AFM Counsel Patricia “Trish” Polach in her power point our colleagues, audiences and employers. Our livelihood de‐ presentation on Contract Re‐openers (Re‐Opener Bargaining). She pends on at least a few of the following: DNA, talent, hard commanded (in her soccer‐mom‐mouse‐that‐roared way) that work, support and encouragement, creativity, energy, joy, orchestras and their Unions not bow down to management plead‐ love, luck, guilt, compulsion, conniving, schmoozing, who you ings or protestations to open an existing agreement, decreeing know, divine or other intervention, good looks, personality, that while an Orchestra’s contract is in effect (during the term of crisp clothing, good karma, mother’s milk and money, and the CBA), orchestra management cannot force the Local Union riding each wave knowing you’ll wipe out now and then. (and musicians) to agree to concessions (changes requested by management). A signed contract is a signed contract (etched in All kidding aside, we need each other – right here – right now stone?!), and while employees may want to accommodate an ail‐ – in Long Beach, California. For me and many of my fellow ing employer, they (labor) may enter into diagnostic discussions LBSO musicians, the Long Beach Symphony is a very impor‐ to treat (and hopefully solve) the problems without relinquishing tant part of life, more important than its employment hours the provisions in their current agreement. I was so happy to hear and income would warrant. Long Beach Symphony is known how the law encourages the meaningful pursuit of solutions by to be warm‐and‐fuzzy as orchestras go, with a spirit of family protecting the contract’s provisions during the process; in other and fun that has fostered friendly relationships among players words, if you work something out with management that in‐ (and their Union), staff, conductors, management, board mem‐ volves changing (conceding) current contract wages and/or condi‐ bers, volunteers, and audience (including thousands and thou‐ tions, GREAT, but if you DON’T reach agreement, the current sands of school children) for decades. All of these folks want wages and conditions will continue to apply, as long as you made to belong and make up our “Symphony Family.” Well, as you clear at the outset that you were not agreeing to reopen the con‐ know, things get tough in families sometimes. As dysfunc‐ tract, and that these were the ‘rules of the road’ governing any tional as our family may seem right now, I truly believe THE mid‐term discussions you engaged in. In our case, Management LBSO WILL SURVIVE. The positive attitude long associated violated contract provisions, basically imposing the concessionary with our orchestra has suffered during this challenging period, terms they demanded and still could achieve if they worked with but that too will heal with time IF RESPECT PREVAILS. All us rather than against us. Nobody wants the Long Beach Sym‐ factions in our fractured family must work together, acknowl‐ phony to go out of business. Long Beach Symphony musicians edge and appreciate each other’s contributions to the LBSO, and their Union want to arrive at a settlement that gets the orches‐ and keep playing. tra through its current financial crisis, but restores some sem‐ blance of current terms and conditions three years from now. This For the past several years I have served as the Delegate from is REASONABLE, RESPECTFUL and REALISTIC. the Long Beach Symphony to the Regional Orchestra Players’ Association. ROPA is a Player Conference within the AFM, Attending ROPA builds one’s familiarity with employee/ established in 1984 to promote and defend the interests of mu‐ employer scenarios, tactics and solutions, contract provisions, sicians playing in regional orchestras across the US. Like the industry standards and practices and results in increased power, other AFM player conferences (ICSOM, OCSOM, TMA, and confidence and know‐how to handle and guide musicians back RMA), ROPA holds an annual Conference (in August) where home. Local officers often attend to better serve their members. representatives from regional orchestras share ideas and We’re particularly lucky to have an extremely responsive, knowl‐ strategies, and gain knowledge and skills to help their orches‐ edgeable, and committed Local. Local 353 President Tracy Wells tra committees, fellow players, and home Locals better com‐ has offered every possible resource to LBSO musicians and their municate, negotiate and enforce their orchestra contracts committee. The Local brought in a Federal Mediator to offer com‐ (collective bargaining agreements or CBAs). Seminars are pro‐ continued on page 7 VOLUME 26, ISSUE 3 Page 5
The Arizona Opera Orchestra Climbs ‘Out of the Pit’ for Community Outreach Katherine Shields, Arizona Opera Orchestra
In 2009 the Arizona Opera Orchestra Musicians Association This event is held the Tuesday evening before every Phoenix (AZOOMA), motivated by a desire to support the Arizona Opera opening‐night, at the downtown Phoenix Border’s Books & and reach out to the community, began producing small ensem‐ Music store. ble concerts featuring orchestra members. As a pit orchestra which plays for the Opera’s five fully‐staged productions each Another opportunity that presented itself was participation in season, the Arizona Opera Orchestra is rarely seen by audience “Backstage at the Opera,” the annual fundraiser for the Arizona members unless they walk to the pit and look in. AZOOMA’s Opera produced by the Arizona Opera Chorus. The Chorus was hope was that seeing the musicians perform on stage in a more delighted to have instrumentalists collaborate on their program intimate venue would deepen the connection with its audience of music offerings. This gala evening of opera favorites and members. refreshments raised $4650 in 2009, nearly double the amount raised in 2008. The first “Out of the Pit: Musicians of the Arizona Opera Orches‐ tra” concert, in January 2009, took place at the Hamilton Library Besides providing players for their event, AZOOMA assisted in Chandler. This library offers a weekly evening series for the Chorus with their marketing— in particular, internet mar‐ adults and was overjoyed to have a musical presentation offered keting, which hadn’t previously been utilized. at no cost. AZOOMA was delighted to have a suitable venue, a built‐in audience, and publicity on the library’s excellent web‐ AZOOMA had already joined Alliance for Audience, which site. runs a comprehensive event‐listing website called Showup.com, and encouraged the Chorus to also join as an “Organization.” At this first event, a string quartet played a program of music by One of Showup.com’s member benefits is free on‐line event opera composers for an audience of fifty adults and school‐aged ticketing, which the Chorus needed for their production. children. The Arizona Opera graciously provided their Educa‐ tion Director, Laura Baldasano Surguine, who ran a drawing for Where this all led a pair of tickets, gave out season brochures, and fielded ques‐ AZOOMA is committed to participating in the “Backstage” tions. The Arizona Opera also provided liability insurance for concert each year and making the “Out of the Pit” concert an the musicians performing; this wasn’t required by the library but annual event. We are working on a “How to Produce an Out of was in other venues investigated. At this informal event, the the Pit” handbook for orchestra members. musicians introduced themselves and their instruments and an‐ swered audience questions. AZOOMA realized a need for additional marketing venues besides our wonderful website, created by orchestra member The next “Out of the Pit” concert took place in April 2009 at Bruce Hembd. We now have a Facebook page, with photo al‐ Orangewood Presbyterian Church, Phoenix on their “Outreach bum from each of our events, that has about 300 members. As Arts” series. Given in the sanctuary, known for its fine acoustics, members of Alliance for Audience, AZOOMA is on the list of “Outreach Arts” events are marketed by the church and well‐ major cultural organizations in Arizona. Our “Organization” attended. One hundred audience members attended the concert listing at Showup.com allows us to post contact information which included a performance of Stravinsky’s “L’Histoire du and photos. The listing also allows patrons to post event re‐ Soldat” featuring radio personality Michael Dixon as narrator. views, which remain on‐line indefinitely. The Arizona Opera again donated a pair of tickets to be given away and provided brochures. The cooperation of the Arizona Opera was vital to our outreach efforts. Not only did they donate tickets and provide personnel, The April concert resulted in an article in a local magazine and but they advertised our events on their “email blasts” which raised $680 for the American Cancer Society. The church was so reach several thousand people. We also shared the names and impressed with the quality of the musicianship they offered to email addresses put into the basket for ticket drawings. Work‐ put an “Out of the Pit” concert on their next season’s series. ing with the Arizona Opera on these projects has led to greater public visibility for the musicians, which can only benefit both Results of outreach efforts organizations. Embarking on outreach efforts seemed to create a ripple effect of other opportunities. Tips for success • Begin planning 6‐12 months before the concert date. Get Working on a project jointly with the Arizona Opera led to invi‐ confirmation from the venue and all the musicians partici‐ tations to join in their post‐show “Opera Talkback” with the au‐ pating. dience. Instrumentalists also began participating in the opera preview series, which was formerly singers and keyboard only. continued on page 8 Page 6 THE LEADING TONE The Dallas Opera Receives Challenge Grant and New General Director Norm Stone, Member‐at‐Large and Dallas Opera Orchestra
On February 9, 2010 The Dallas Opera was offered a $10 million position. Mr. Cerny is currently CEO of Sheet Music Plus, an challenge grant from an anonymous donor. The company will online sheet music company. Previously he spent three years as have to raise $10 million on its own before October 31, 2011 to Executive Director and CFO of San Francisco Opera. Before that receive this gift. It is to be used to create what the company calls he held executive positions in communications and technology a Cultural Renaissance Endowment Fund. The current endow‐ operations with Accenture and Mckinsey & Company. He has ment has lagged behind most of its peers. Endowment assets done consulting work for English National Opera, Opera Amer‐ held by Houston Grand Opera, Santa Fe, Chicago and San Fran‐ ica, Los Angeles Opera and Houston Grand Opera. He holds cisco are eight to thirty‐two times as large as The Dallas Opera’s degrees in both physics and music from the University of Cali‐ endowment of just over $4 million. There will be attractive nam‐ fornia, an MBA from Harvard Business School, and a doctorate ing opportunities for major donors to the fund such as the right in economic development studies from The Open University in to name the Music Director’s position and naming concertmaster Milton Keynes, England. In other words he’s very smart. With and other chairs within the orchestra. If the matching funds are a difficult economy still looming, Cerny will face the challenge raised The Cultural Renaissance Endowment Fund will generate of raising funds to cover higher costs of performing in the new interest and dividends and create financial support for program Winspear Opera House. “The fundraising challenge is always enhancements and expansions to rank among the very top opera out there with any opera company,” Cerny said. “But this com‐ companies in America. pany I think is very well positioned to put together the re‐ sources it needs. In particular, having access to a purpose‐built On another front The Dallas Opera has just named Keith Cerny opera house enables the company to attract top‐tier artists, and as the new General Director effective May 24, 2010. The com‐ audience and donor excitement.” The challenge grant was pany has seen three other directors come and go over the last ten surely a help in attracting him to this position. years and certainly is in need of some stability and vision in this Strife for New Hampshire Musicians Ends, Long Road to Recovery Remains New Hampshire Music Festival Orchestra Committee: Ella Marie Gray, Bernard Di Gregorio, Joseph Higgins, Nina Allen Miller, Kristin Van Cleve
Nestled between the Lakes Region and the White Mountains of know that the audience, who were outraged at the prospect of New Hampshire, Plymouth is a bucolic college town, home to losing their musicians, would also choose to wear purple rib‐ Plymouth State University, the long‐time host of the New Hamp‐ bons! Concerned citizens gathered to establish a group, shire Music Festival. S.O.O.N. (Save Our Orchestra Now), whose goal was to save the New Hampshire Music Festival and its musicians. As reported earlier this year, this community had come together in support of its beloved summer orchestra amidst the strife The battle to save the festival continued throughout the fall and caused by the Festivalʹs decision makers to move into a drasti‐ winter, and after countless hours of discussion and lobbying by cally new direction for the future which many feared did not the Orchestra Committee and executives of SOON, the Board of include their resident Festival Orchestra. Trustees voted to abandon the ʺnew model.ʺ Along with this decision came the resignations of the President Graham, Festi‐ Immediately following the first rehearsal of the season on July 7, val Director Fogel, the newly appointed Artistic Director, Jona‐ 2009, President/CEO David Graham and Festival Director Henry than Gandelsman, and several board members. Fogel delivered shocking news: Musicians wishing to return for the 2010 season would have to undergo a rigorous reapplication NHMF musicians are pleased with the news they will return in process. Veteran performers were being asked to submit an audi‐ 2010, but are disheartened and slightly wary that the board is tion portfolio consisting of a CD or DVD of a solo performance of not yet willing to recognize the orchestra, represented by its music from three periods of music history as well as optional five‐person Orchestra Committee as a collective bargaining performances of jazz, improvisation, or alternative styles, and unit. Most musicians have opted to return, but at this time three written essays regarding their approach to music making many questions remain unanswered and further discussions and mentoring. The rationale behind it was to assure manage‐ have been put on hold until the summer season takes place. ment that musicians would be competent to assume duties re‐ lated to a “new orchestra model.ʺ The Orchestra Committee continues to work to restore peace and harmony to an organization that has seen much strife over Orchestra solidarity was paramount at this critical juncture. At the past year. The goal for NHMF musicians is to provide an orchestra meeting, it was decided that musicians would wear world‐class performances of classical orchestra and chamber purple ribbons during rehearsals and concerts to express their music and to achieve recognition so that they are never again solidarity against Managementʹs actions. Little did the orchestra put in such a precarious position. VOLUME 26, ISSUE 3 Page 7 Facing National Agendas, continued
tiation tactics. In the paper “Symphony Musicians and Sym‐ has shown huge inequities between musicians’ salaries and pro‐ phony Orchestras” Flanagan states, “Nonprofit organizations duction, administration, marketing and development expenses. do not have owners or shareholders whose interests the board Why has the industry not focused on the productivity of orches‐ is required to represent and to whom the Board is account‐ tra administration, development and marketing? Our boards’ able…Boards are rarely subject to election, and takeovers are balanced budget demands originate from the private sector yet not a disciplining factor. These features of symphony orchestra our institution fails to look to the private sector for the basic governance are unlikely to provoke the strength of bargaining practice of “dollars in/dollars out” productivity analysis. resistance normally found in the private sector.” So what is next? Both the League of American Orchestras and Flanagan provides this callous perspective in more than one the Mellon Foundation’s Orchestra Forum have devoted a con‐ paper. I ask myself, does bargaining strength justify canceling siderable amount of energy focusing on the future of the sym‐ health insurance and continually disregarding labor law? This phony and the changing role of the symphonic musician. This year alone the “restructuring” negotiations have left two ROPA past January the University of Michigan, Ann Arbor School of orchestras with shortened seasons that in the end resulted in a Music hosted a summit that explored these questions. ROPA significant reduction in earned income through lost ticket sales, Vice‐President Paul Austin was a panelist at the event. The roles contracted work from presenters and concert sponsorships. It explored during the summit included musicians performing in is my hope that our individual orchestra boards and manage‐ managerial duties as part of their job requirements. It is impera‐ ments recognize that the costs of the bankruptcy threats and tive that we determine for ourselves if this controversial concept ruthless negotiation tactics that shadowed this year’s conten‐ is in the best interest for our future and be prepared to discuss tious negotiations have only led to further financial downfalls this issue at a national level. and irreparable damage within the organization and the com‐ munity. Over the next few weeks you should receive a survey that will focus on some of the issues that are being addressed at the na‐ One of Flanagan’s papers was included in a 2009 Cambridge tional level. This survey will assist the ROPA Board to truly University publication called “Labor in the Era of Globaliza‐ speak on behalf of regional orchestra musicians across the coun‐ tion.” It brings the perspective that “Since the late 1960s, col‐ try. While our managements might have benefited through the lective bargaining has transformed the artistic expenses of or‐ commissioning of a labor economist, it is time for musicians chestras from variable to fixed costs by providing wage and making the music to create their own vision for the future. employment guarantees, in turn limiting the ability of orches‐ Since the recent decision trends of our orchestra boards indicate tras to adjust labor costs in the face of financial challenges.” that they have strayed from the vision and the missions that have built our institutions, it is imperative that we work to pre‐ The irony of Flanagan’s theories is that most musicians in re‐ serve our educational outreach and artistic accomplishments first gional orchestras earn a poverty salary while executive man‐ and foremost. agement salaries have surpassed six digits. Over the past two decades the organizational growth within our ROPA orchestras
An Orchestra’s Extended Family, continued
mittee training. And Local 353 shares the expense (with the and bushy‐tailed rookies, eagerly learning on the job; ALL dedi‐ AFM) of bringing AFM negotiator Nathan Kahn to Long Beach cated to the survival of the Long Beach Symphony AND respect to deal with LBSO management when necessary. Nathan was and fair treatment of LBSO musicians. Please believe me when I instrumental in founding ROPA in 1984. We had a special say that no one person or part of our team: The Union (Local ROPA 25 year anniversary celebration and award for him in officers and AFM Negotiator) and The Orchestra (Orchestra Dayton, Ohio last summer. He’s always available in person, Committee of five, ROPA Delegate and you LBSO members) is phone, or email. Secretary/Treasurer Paul Castillo (a former pushing the others inappropriately. Each and every member of LBSO OC Chair) has attended many ROPA conferences as a the Long Beach Symphony, as well as all Local 353 members, has delegate or parliamentarian. And orchestra committee member a vested interest in the LBSO. Support LBSO musicians and Lo‐ Gary Lasley is on the current ROPA Executive Board and serves cal 353 by communicating with and responding to your elected as ROPA’s delegate to the AFM Convention (next convention representatives. We need to be positive and to personify labor as June 2010). well as artistic solidarity – that ensemble virtuosity we have worked our lives to achieve. It’s all about representation. You have an informed and com‐ mitted Local. You have a strong Orchestra Committee – some 1/20/10 P.S. Hallelujah! We’ve reached a tentative agreement veterans, experienced and savvy in dealing with contracts, with Management and are ready to PLAY! management and fellow musicians, and some new bright‐eyed Page 8 THE LEADING TONE Triumphs and Trials of a New Hall Norm Stone, Member‐at‐Large and Dallas Opera Orchestra
The Dallas Opera finally has a new home that is a true Opera sion downtown, the city chose opening week to begin construc‐ Hall. The City of Dallas has been trying to complete the Arts tion on a park which will be built over Woodall Rogers Express‐ District for 30 years and now the AT & T Center for the Per‐ way (our nearest neighbor) closing many streets and most of the forming Arts is in place. The Winspear Opera House, Wyly nearby ramps. Theatre and renovated Booker T. Washington High School for the Performing Arts completes a district which already has in After much griping by the Players’ Committee, the musicians place the Meyerson Symphony Hall, Nasher Sculpture Garden and chorus park several blocks away—which is great unless you and the Dallas Museum of Art. The Opera Hall itself is a singu‐ play bass, harp or cello. (It is free, however.) There is some lar landmark, bright red exterior with a louvered canopy that prime patron parking under the theater but the first floor of that extends around the structure to block the Texas heat. Inside is a is limited to only those who drive a Lexus. (Yep, you read cor‐ classic horseshoe shaped opera hall with tiered seating that rectly...this is Dallas!). Many patrons park in the neighboring accommodates an audience of 2200. The acoustics have been Meyerson underground ($15.00) and some park above ground at reviewed as excellent. Solo voices, chorus and orchestra carry $10.00. By comparison, if one attends a performance at Bass Hall very well into every part of the hall. It has been called a warm in neighboring downtown Ft. Worth, there is a parking garage sound with an agreeable ring. across the street that is free to everyone after 6:00 PM. (Clearly a good model to follow if you want people to come to your Down‐ There are, however, a few inconveniences. We opened the sea‐ town Arts District.) In addition, there are few affordable restau‐ son last October with two Galas before the building was really rants, coffee shops, sports bars and other places to attract the completed...wires, tools and machinery everywhere, parking general public. That will change as development follows in the three blocks away across a busy street during torrential rain‐ wake of the completion of the Arts District. All in all it is a great storms, mudslides, acousticians testing with a machine that change for the City of Dallas that has been a long time coming. looked like R2D2, management and conductors losing their minds...a fun time was had by all! To add to all of the confu‐
The Arizona Opera Orchestra Climbs ‘Out of the Pit,’ continued
• A venue with an established concert or lecture series has a from the venue and photo releases if necessary. ready‐made audience and marketing. Public libraries, • Request audience members to post reviews and comments churches/temples are likely to already have a series. Busi‐ on‐line. nesses such as stores or shopping centers, usually have layers of management that have to approve special events. Katherine Shields, violist, been a member of AZOOMA since • Decide whether or not musicians participating will be paid 1999. Her humorous piece “How to be an Opera Orchestra String for their services or reimbursed for mileage. Player” and her column “Musings of a Musician Mom” are at • Divide up concert production tasks; have at least two peo‐ Scribd.com. ple on each task; and sign up volunteers. • Keep the entire orchestra informed of event progress by Members of the AZOOMA Outreach Committee are: Jill Marder‐ email. A month prior, send the orchestra an “email invita‐ ness, Katherine Shields, co‐chairs; Cynthia Baker, Orchestra tion” they can put on their Facebook page or email out. Committee liason and site liason; Tamara Frieda, Margaret Gil‐ • Market to your “target audience.” AZOOMA events were more, and Matt Ryan‐Kelzenburg. designed to attract current or potential opera‐goers, so were designed for adults and older children. Email [email protected] to receive a copy electronically. • Have an email address that can be included in the event listings. We created azoomaevents@gmail to avoid using anyone’s home email address. ROPA ANNUAL CONERENCE • Send out Press Releases, PSAs, and post on‐line event list‐ AUGUST 3‐5 ings at least four months ahead to get “Butts in the Seats.” The longest lead time needed will be for printed media‐ The Doubletree Hotel in Omaha, Nebraska will host this year’s magazines and the state tourism calendar. On‐line tutorials ROPA Conference. The Negotiating Workshop begins at 2 PM on for writing press releases and PSAs are available. Keep in August 2. This summer’s ROPA Conference will host a number of mind that magazines and newspapers run event listings for informative sessions including: “Reading Financials,” “Using the free on a “space available” basis, so plan to get bumped new AFM Wage Scale Charts,” and “Building Your Players’ Asso‐ from a few. ciation Website,” presented by Arizona Opera webmaster Bruce Hembd. • Arrange for photography of the concert, getting permission
VOLUME 26, ISSUE 3 Page 9 A Quarter of a Century of Progress, continued
town X with the reality of job security and what is the market in sider the benefits of unionization.) town X for a Cleveland Orchestra,” Kahn admonished. “Truly great orchestras cannot happen overnight. A community cannot According to Hair, some of the initial musicians’ unions did buy a major orchestra on sale at Niemann‐Marcus. Conversion to not necessarily form to mitigate the poor working conditions full‐time status should not include mass firings of qualified local under which musicians labored. A large number of the band musicians. You really don’t build an orchestra by first de‐ and orchestra leaders tended to be saloon keepers, and many stroying it.” of the band members were recruited from the beer‐consuming clientele in the establishments. Consequently, such policies Kahn ended his opening remarks with a reminder of what would were not met without resistance. In Cincinnati, the local musi‐ guarantee ROPA’s continuation and success in achieving its mis‐ cians’ union was organized by a group of younger players in sion. “The key to ROPA’s success, as in your individual orchestras, order to free themselves of the control wielded by these lead‐ is involvement by the membership. If we sit around and complain ers and thus force the bandmaster to seek their services when and expect someone else to do the work, it’s probably not going to he needed musicians. These same musicians also organized a get done. But if we get involved, we can make a difference. Where short‐lived cooperative salon so that other musicians would ROPA goes from this point will be decided at this conference, and I not enter rival establishments. hope everyone will give some serious thought as to what direction ROPA should take in the future….In short, ROPA is our organiza‐ During the first half of the twentieth century, the AFM forti‐ tion and we will get out of it what we put into it.” fied the position of the professional musician by unionizing every major symphony in the U.S. This was accomplished by Local 72 President Ray Hair then welcomed the delegates with an fighting the influx of foreign musicians and by obtaining con‐ opening “Welcome to Cow Town” remark. Hair commented on tracts with every major recording company in the motion pic‐ the importance of labor organizations to musicians in the U.S., ture studios. By 1950, anyone who attempted any business which gives performers some degree of control over the rules gov‐ dealings with a professional musician had to contact the AFM. erning their wages, hours, and working conditions. He also ex‐ Three decades later, this was no longer the case, largely due to tolled the virtues of collective bargaining, which were, in his anti‐union legislation and court decisions handed down by the words: U.S. courts.
“good business, because participatory workplace rules are Hair ended his speech with the hope that musicians of all better than those imposed unilaterally by employers;” fields support each other in all of their endeavors. “The posi‐ “good economics, because it helps prevent recessions by tion and negotiating strength of all musicians is directly re‐ making it possible for musicians to maintain their income;” lated to the strengths and weaknesses of our entire family, and and I urge all of you to exercise care and understanding not only in “good policy, because it gives musicians organized repre‐ what we are here for today—to examine the relationships in sentation in our society.” effect in regional orchestras—but to become more aware of the problems facing other members of our union and our fam‐ Hair then presented a brief history of musicians’ unions in the U.S. ily….let’s remember that we are but one part of a family that and the circumstances leading to their formation. During the nine‐ exists worldwide and let’s remember that our family name is teenth century, musicians had to struggle to make a living, per‐ music.” forming in orchestras for minstrel shows and in theater pits, as well as for picnics, churches, grange halls, dance halls, and at parades. This article is part of a series that will focus on the importance of the Working conditions were abominable by today’s standards and 1985 ROPA conference. employment was unreliable. Sources Musicians’ unions started to form in the major U.S. cities by the David‐Guillou, Angele. (2009, December). Early Musicians’ mid‐nineteenth century. Although Baltimore and Chicago boasted Unions in Britain, France, and the United States: On the Possi‐ musicians’ unions as early as 1857, the first organization of re‐ bilities and Impossibilities of Transnational Militant Transfers cruited musicians whose purposes and objectives were those of a in an International Industry. Labour History Review, 74(3): 288‐ trade union formed in New York City in 1863. Many other cities in 304. the East and Midwest organized musicians’ unions during the fol‐ lowing decade. (According to Angele David‐Guillou’s study of the Minutes of the 1985 ROPA conference. music industry and its influence on performing musicians in Brit‐ ain, France, and the U.S. from the 1870s to the 1920s, the working conditions under which musicians had to perform actually deterio‐ rated from the 1870s onward, prompting many musicians to con‐ www.ropaweb.org Page 10 THE LEADING TONE ROPA Officers President: Carla Lehmeier‐Tatum Members‐at‐Large Karen Sandene, Omaha Symphony Orchestra Historian: Rachel Cox New Mexico Symphony Orchestra Karen Barker [email protected] Southwest Florida Symphony Orchestra [email protected] Erie Philharmonic Orchestra and [email protected] West Virginia Symphony Norman Stone, Dallas Opera Orchestra Vice‐President: Paul Austin [email protected] [email protected] Strike Fund Trustee: Gaylon Patterson Grand Rapids Symphony Memphis Symphony Orchestra [email protected] Laurien Jones Greg Youmans, Spokane Symphony Orchestra [email protected] California Symphony Orchestra [email protected] Secretary: Larry Gardner [email protected] Legal Counsel: Patricia Polach Fresno Philharmonic Orchestra Delegate‐at‐Large to the AFM Convention [email protected] [email protected] Tim Judd, Richmond Symphony Gary Lasley, Hollywood Bowl Orchestra [email protected] [email protected] Webmaster: Tom Fetherston Treasurer: Dennis Danders Dayton Philharmonic Wichita Symphony Orchestra Nancy Nelson, Houston Grand Opera Adjunct Officers [email protected] [email protected] and Houston Ballet Orchestras Editor: Amy Morris, Minnesota Opera Orchestra [email protected] [email protected]
ROPA Member Orchestras
Full Members Erie Philharmonic Orchestra Monterey Symphony Shreveport Symphony Orchestra Akron Symphony Orchestra Fort Wayne Philharmonic Napa Valley Symphony South Bend Symphony Albany Symphony Fresno Philharmonic Orchestra New Haven Symphony Orchestra Southwest Florida Symphony Orchestra Allentown Symphony Grand Rapids Symphony New Mexico Symphony Orchestra Spokane Symphony Orchestra Ann Arbor Symphony Harrisburg Symphony Orchestra New West Symphony Orchestra Symphony Silicon Valley Arizona Opera Orchestra Hartford Symphony Orchestra Oakland East Bay Symphony Toledo Symphony Orchestra Atlanta Ballet Orchestra Hollywood Bowl Orchestra Omaha Symphony Orchestra Tucson Symphony Orchestra Atlanta Opera Orchestra Houston Ballet Orchestra Opera Cleveland West Virginia Symphony Austin Symphony Orchestra Houston Grand Opera Orchestra Orchestra Iowa Wichita Symphony Orchestra Boulder Philharmonic Huntsville Symphony Orchestra Pacific Symphony Wisconsin Chamber Orchestra California Philharmonic Kalamazoo Symphony Orchestra Palm Beach Opera Orchestra California Symphony Orchestra Knoxville Symphony Orchestra Pasadena Symphony Orchestra Associate Members Canton Symphony Orchestra Las Vegas Philharmonic Pittsburgh Opera Orchestra Eastern Connecticut Symphony Orchestra Charleston Symphony Orchestra Lexington Philharmonic Portland Opera Orchestra Flint Symphony Orchestra Chattanooga Symphony & Opera Orchestra Long Beach Symphony Orchestra Portland Symphony Orchestra Green Bay Symphony Orchestra Colorado Springs Philharmonic Orchestra Long Island Philharmonic Reading Symphony Orchestra Hudson Valley Philharmonic Dallas Opera Orchestra Los Angeles Chamber Orchestra Rhode Island Philharmonic Lincoln Symphony Orchestra Dayton Philharmonic Los Angeles Opera Orchestra Richardson Symphony Orchestra Milwaukee Ballet Orchestra Delaware Symphony Orchestra Memphis Symphony Orchestra Richmond Symphony Pittsburgh Ballet Orchestra Duluth Superior Symphony Orchestra Michigan Opera Theatre Orchestra Santa Barbara Symphony Tulsa Opera Orchestra El Paso Symphony Minnesota Opera Orchestra Santa Rosa Symphony Elgin Symphony Orchestra Mississippi Symphony Orchestra Sarasota Orchestra
Regional Orchestra ROPA Players’ Association
A conference of the American Federation of Musicians, AFL-CIO
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