Regional Orchestra ROPA Players’ Association

A conference of the American Federation of Musicians, AFL-CIO 2017 ROPA Conference Edition Fall Westin Phoenix Downtown / Phoenix, AZ 2017 July 31st—August 3rd, 2017

2017 ROPA Conference Report by Karen Sandene, ROPA Secretary

Delegates representing orchestras from all corners of the nation convened in Phoenix, AZ during the first week of August for the 33rd Annual Regional Orches- tra Players’ Association (ROPA) Conference, hosted by Local 586 and the Arizona Opera Orchestra, with activities centered at the Westin Downtown Phoenix Hotel. ROPA’s annual conference is one of the most important benefits of ROPA membership, and much information is gleaned there to assist with negotiat- ing, organizing and understanding the current state and Wilcox reinforced the common knowledge that of the orchestral world. arts and culture radiate throughout the economy. The final session of this first morning was a well-received A central theme highlighted throughout this year’s presentation on hearing protection, with audiologist conference dealt with the topic of diversity and inclu- Heather Malyuk of Sensaphonics. siveness in the symphonic world, and several excel- lent guest speakers offered their perspectives Delegates spent much of the first day in valuable throughout the week. Lovie Smith-Wright (President, small group discussions with their Members-at-Large, Houston Local 699) gave the AFM Diversity Com- sharing information with orchestras of similar budget mittee report, and Alex Laing (Principal Clarinet, size. Wrapping up official business for the first day, Phoenix Symphony) offered a detailed description of new delegates received training from ROPA officers “Plans for Recognizing the Diversity in Our Locals/ and members of Symphonic Services Division. Diversity in Orchestras.” As part of his report, Alfonso Pollard (AFM Legislative-Political Director/Director of On the second day, ROPA warmly welcomed repre-

Diversity) shared information about musicians from sentatives from our fellow AFM Conferences: OCSM, LAYERS' ASSOCIATION minority groups who hold positions in symphony TMA, RMA and ICSOM, with Robert Fraser, Tony orchestras. On the final day, Weston Sprott D’Amico, Marc Sazer and Meredith Snow, respective- (Trombonist, Metropolitan Opera Orchestra) present- ly, highlighting their years’ activities. AFM President ed “Actionable Strategies to Make Your Orchestra Ray Hair led a panel discussion which offered More Diverse and Inclusive.” important clarity on the status of the AFM Pension Fund. A large number of resolutions were approved, The opening session featured addresses by AFM (continued on page 10) Phoenix Local 586 President Jerry Donato, Joe Spec- ter, General Director of the Arizona Opera and Steve

Wilcox, Communications Direc- In This Issue tor of the Arizona Commission for the Arts. Donato reported Conference Report 1 that union membership in the ROPA President’s Remarks, 2017 ROPAConference 2 Editor’s Message 2 area is up, despite the fact Arizo- The Show Must Go On: Making Music in na is a right-to-work state, and Houston after Harvey 3 he shared recruiting techniques In Memoriam: Maurice Grants 5 2017 Conference Resolutions 6 Local 586 implements. Specter ROPA Guiding Principles 11 highlighted several of the opera ROPA Secretary ROPA Officers and Member Orchestras 12

Karen Sandene company’s successful projects,

The Leading Tone Leading The REGIONAL ORCHESTRA P

Page 2 THE LEADING TONE ROPA President’s Remarks, 2017 ROPA Conference by John Michael Smith, ROPA President The Leading Tone Volume 33, Issue 1 Thanks to everyone who attended the 2017 offer to give a report in person. It extends the ROPA Annual Conference in Phoenix! I greatly conference’s personal face-to-face message and

enjoyed meeting many new delegates and provides opportunity to discuss how the mes- attendees, and visiting with those who I’ve sages from the conference can be utilized in Editor known for many years. I hope everyone who your local. Following this oral report by writing Sharon Jones attended the conference went home feeling that a report on the conference for the local’s news- [email protected] they gained valuable letter gets the message out to your entire local. information, learned Proofreaders new things and were For your orchestra, you should consider a re- John Michael Smith inspired by presenta- port to both the orchestra committee and to the David Shelton tions and conversa- musicians at an orchestra meeting. Again, I tions that occurred would encourage you to make a live presenta- Letters to the editor can be sent to the during the week. tion. The annual ROPA conference is all about e-mail address above. having live face-to-face presentations, discus- So, what do you do sions and conversation. Carrying that aspect with all of this when back to your orchestra is like taking them there. R O P A you return home? And of course, writing a report and distrib- The Leading Tone is the The purpose of these uting it to the orchestra is a good follow-up, official newsletter of the ROPA President conferences is to take and there you can be more detailed with infor- Regional Orchestra Players’ John Michael Smith the information pre- mation. By telling your orchestra members Association, a conference sented and the ener- what you heard and saw, and by being able to of the American Federation gy that you gather there and share it with your answer questions and give your own personal orchestra’s musicians and with your local offic- descriptions in an oral report, you will contin- of Musicians of the United ers, boards and members. Setting up a time at ue to share from the conference in the same States and Canada, and is your local’s Board of Directors meeting to pre- live, personal manner that makes the confer- published quarterly. Un- sent a report is a great way to share with them ence so special and connecting. authorized reproduction what you learned at the conference. It gives the of any part of The Leading local buy-in and a return on their investment for So, I encourage our delegates and conference Tone is strictly prohibited. providing support for your orchestra’s member- attendees to not only be a reporter for ROPA ship in ROPA. A written report might well do by writing, but to also be our face and voice, Copyright © 2017 for the Board, but I would suggest that the dele- and carry our message out to your local and to All Rights Reserved. gate or whoever attended from your orchestra your orchestras!

Subscriptions $8.00 per year payable to ROPA c/o Donna Loomis Editor’s Message Treasurer, ROPA by Sharon Jones, ROPA delegate, Elgin Symphony Orchestra 6117 N. Beulah Avenue Ferndale, WA Hello, delegates! I wanted to introduce myself If you have any articles you would like to sub- 98248 as your new editor of The Leading Tone. I am mit or have topics to recommend for articles, the ROPA delegate for please email me at [email protected] and INFORMATION CENTER the Elgin (IL) Symphony your work will be considered for the next issue  This newsletter will be posted Orchestra and I may have of The Leading Tone. Thank you so much. online at: http://www.ropaweb.org met some of you at the Stronger together!

 To subscribe to the ROPA Internet 2017 ROPA conference in Mailing List, visit Phoenix this past August. http://groups.google.com/group/ I look forward to work- ropa-discussion. ing with you on these

 The list is open to musicians in newsletters and seeing ROPA member orchestras and you at future conferences. AFM local officers for those orchestras.

VOLUMEPage 4 33, ISSUE 1 Page 3 The Show Must Go On: Making Music in Houston after Harvey by Amanda Swain, ROPA Delegate, Houston Ballet Orchestra and Houston Grand Opera Orchestra

The City of Houston is in full recov- ery mode after sustaining damage from the trillions of gallons of water rained down by Hurricane Harvey. No organization better exemplifies the level of support and creativity post-crisis than Houston Grand Opera (HGO) and Houston Ballet.

Both organizations share the Wortham Theater Center in Houston’s arts district where they stage produc- tions in the large Alice and George R. Brown Theater and smaller pro- ductions in the Lillie and Roy Cullen Theater. Every precaution was taken before the storm to minimize dam- age, including erecting floodgates, moving props and costumes to high- er ground and storing instruments in parts of the basement that were expected to stay dry. The building, Basement of the Wortham Theater Center. however, took on over 12 feet of water, flooding the basement entirely and bringing silt and mud has rallied to face the challenge of how to put on the large scale over the stage and into the auditorium. The earliest date of re- productions that Houston has come to expect, while still putting turn to the theater is May 15, 2018. Despite the grim news that the employees and artists first. both companies will be homeless for an entire season, everyone Houston Ballet had the earliest problem to tackle with a season that was supposed to begin on September 8th with Poetry in Motion, a mixed repertory, followed by “Mayerling,” a North American premiere with music by Franz Liszt. With quick think- ing, Houston Ballet opened the season on September 22nd with a four-show run of “Mayerling” at Houston’s Hobby Center — to critical acclaim. The New York Times hailed the production as a “romantic masterpiece.” “Poetry in Motion” was rescheduled for October 26 and 27. Even though the company was unable to make up all of the lost services, all of the Houston Ballet Orches- tra musicians were paid for the missed work, even though the company was under no contractual obligation to do so.

HGO recently announced that the three productions in 2017 will take place in a large exhibit hall at the George R. Brown Conven- tion Center, naming our new home the “HGO Resilience Thea- ter.” It will seat approximately 1,700 people with no seat being further than 100 feet from the stage. The calendar for the first part of the season has been maintained with no loss in rehearsal time or number of shows. HGO will open the season with “La Traviata” on October 20th.

Both companies have indeed shown tremendous resilience in the wake of Harvey, as have the musicians who play in both orches- tras. Musicians volunteered across the Houston community — cleaning out flooded houses, donating supplies to shelters, giv- Brown Theater stage and auditorium.

Page 4 THE LEADING TONE

(The Show Must Go On, continued from page 3)

ing gift cards to friends who lost many of their belongings and homes and bringing the gift of music to displaced people at shelters to lift their spirits.

On September 27, seven of Houston’s Theater District’s resident companies put on a benefit concert to honor and raise money for local heroes. It was a beautiful collaboration with memorable performances by all organizations. There was a full pit orchestra of volunteer mu- sicians from Houston Ballet, HGO and the Houston Symphony. The evening of service was a great way to give back to our city and to show our patrons and audiences that we can and must contin- ue making great art as our community recovers. As the ROPA delegate for both the HGO and Houston Ballet orchestras, I would like to extend a big thank-you to all of the delegates who have reached out and offered to help in any way they Houston Grand Opera Orchestra musicians Hae-a Lee, Melissa Williams, Steve Estes, and regular guest Lizzy Golofeev bringing music to the NRG Center Shelter to lift the spirits of the evacuees and volunteers. can. I would also like to thank the ROPA Board who donated $500 to the AFM Hurricane Relief Fund. The outpouring basement of our beloved Wortham ask that donation checks be made out to of generosity has been touching. We had Theater Center. the Tim Harris Fund (our local's general several members whose homes flooded, relief fund) and mailed to Local 65-699 who lost personal belongings and who If you are still looking for a tax- with a memo that the funds are to be lost instruments, mallets, mouthpieces deductible way to help the HGO and directed to the orchestra musicians of and supplies that were housed in the Houston Ballet musicians directly, we HGO and Houston Ballet.

A disaster recovery team begins the long process of gutting the Wortham Theater Center basement.

VOLUME 33, ISSUE 1 Page 5

In Memoriam: Maurice Grants by Lynn Grants

Born in New York City, Maurice As contractor of Music Angelica, he remained a quintessential New Yorker, was instrumental in drawing up the even after his family relocated to Los ensemble’s first-ever CBA, and, start- Angeles when Maurice was in his early ing as contractor for the Paulist Chor- teens. On discovering that his new isters, he stayed with as it grew into school didn’t have an orchestra, he the National Children’s Choir, which organized one, recruiting like-minded saw him contracting musicians both friends and setting up a rehearsal in Los Angeles and on the East Coast. schedule. This expanded to his form- ing a community orchestra, the Sym- Maurice was a firm believer in every- phony of the Chaparral, in the Sunland one getting a fair deal, and that led -Tujunga foothill communities. He him to serve on the Pasadena Sym- took on conducting duties with the phony’s Orchestra Players’ Com- orchestra, as well as setting program- mittee as chair and to act as the Pasa- ming, securing rehearsal and perfor- dena Symphony’s ROPA representa- mance space and acting as personnel tive. In addition to being the ROPA manager. representative, he was elected to serve as a ROPA Parliamentarian, Although he worked primarily as a fulfilling a term as ROPA Delegate to cellist, Maurice was also a bassoonist. I the AFM. vividly remember him playing the contrabassoon solo in Beauty and the Maurice loved to travel, and com- Beast from Ravel’s Mother Goose bined that love with his love of mu- Suite. We met in college at California sic, touring twice with Yanni, with Institute of the Arts, and started a string groups and organizing family reunions Eric Clapton and with the Los Angeles quartet to play Bartok #4. In the course of all over the country. He had a real gift Mozart Orchestra (Voices of Light). He our 33-year marriage, we played Bartok, for bringing people together, both in always made the most of those tours and a great many other things, with person, and in cyberspace, and thor- squeezing in sightseeing adventures and, school friends who have also become life- oughly enjoyed the detective work in- of course, searching out the best food. His long friends and colleagues. volved in tracing family trees. His inter- life was lived richly and fully, and his est in history eventually led him to par- memory will live on in the many, many Maurice also had a passion for history ticipate in Civil War historical reenact- lives he touched. and genealogy. It led him to extensive ment, and he was as careful in his atten- research on his and my family trees, tion to historical detail as he was to mu- Reprinted by permission of Gary Lasley, and to his forming several cousins sical details. Secretary/Treasurer of Local 47.

Regional Orchestra Players’ Association

Page 6 THE LEADING TONE ROPA 2017 Resolutions Adopted at the Annual Conference

Resolution Nº. 1 Whereas, The cost of paying ROPA dues often falls on (a) Prepare and promulgate at least four issues annual- the orchestra musicians; and ly of ROPA’s official Newsletter, which shall be named Subject: Resolution proposing to amend Article IV, The Leading Tone; Section 1 and Article V, Section 2 of the ROPA Bylaws to Whereas, ROPA supports full and continued participa- increase the number of Members-at-Large serving on the tion by all of its members; therefore, be it (b) Send out reminders to Delegates and Executive Executive Board Board (via email) to submit articles for The Leading Resolved, That Article III, Section 5(a) of the Regional Tone approximately 2-3 weeks before the deadline; Whereas, Pit orchestra membership of The Regional Orchestra Players’ Association Bylaws be amended as Orchestra Players’ Association (“ROPA”) has grown follows: (c) Compile submitted articles into newsletter format significantly in recent years; and (using preferred design software such as Publisher); Section 5. A symphony orchestra may apply for Associ- Whereas, The pit orchestra Member-at-Large (“MAL”) ate Membership in ROPA under the following condi- (d) Edit articles for grammar and spelling; group is too large for effective communication within tions: the MAL group; and (e) Submit completed newsletters to the ROPA Presi- (a) Its total budget is [$800,000] $1,000,000 or less. If the dent for review and approval; total budget of an orchestra with Associate Member- ship should exceed [$800,000] $1,000,000, that orchestra (f) After the ROPA President's approval, submit The must either apply for full ROPA membership or resign Leading Tone to legal counsel and any proofreaders, and may its associate membership. also submit articles to the original authors for addition- al proofreading; Whereas, The membership of ROPA would be better Submitted by:The ROPA Executive Board served if this split could continue; and (g) Send an electronic file (in final draft form) to the Secretary for posting on the ROPA website; Whereas, As ROPA grows, having eight MALS will Resolution Nº. 3 allow for more individual attention to its member (h) Send emails to the Delegates to notify them when orchestras, of any type; therefore, be it Subject: Resolution proposing to amend Article VII the newsletter is available on the ROPA website[;]. of the ROPA Bylaws to separate the positions of The Lead- Resolved, That Article IV, Section 1 and Article V, Section 2 ing Tone Editor and Social Media Coordinator (i) Be responsible for email postings of relevant indus- of the ROPA Bylaws be amended as follows: try articles; Article IV, Section 1 Whereas, The Regional Orchestra Players’ Association (“ROPA”) values the ability to regularly publish its (j) Moderate emails posted to the ROPA general discus- Enumeration: The Officers of ROPA shall consist of a newsletter,The Leading Tone; and sion list; President, a Vice-President, a Secretary, a Treasurer, [seven] eight Members-at-Large, and a non-voting Whereas, ROPA strives to increase its social media (k) Be responsible for monitoring and posting on the Delegate-at-Large to the AFM Convention. presence by giving more focused attention to its social ROPA Facebook page; Article V, Section 2 media sites; and (l) Be responsible for any future social media formats as Whereas, The positions of The Leading Tone Editor approved by the Executive Board.] and the Social Media Coordinator require very differ- ent skill sets; and NEW SECTION.

Whereas, Dividing the position of The Leading Tone Social Media Coordinator: The Social Media Coordi- Editor/Social Media Coordinator into two positions nator shall: will better serve the goals of regularly publishing The Leading Tone and increasing ROPA’s social media pres- (a) Be responsible for email postings of relevant indus- ence; therefore, be it try articles;

Resolved, That Article VII of the Regional Orchestra Play- (b) Moderate emails posted to the ROPA general dis- Submitted by:The ROPA Executive Board ers’ Association Bylaws be amended and the Sections cussion list; renumbered as necessary and appropriate, as follows: (c) Be responsible for monitoring and posting on the Resolution Nº. 2 Section 1: ROPA Facebook page; Enumeration: The Adjunct Positions shall include Subject: Resolution proposing to amend Article III, an Editor of The Leading Tone, a Social Media Coor- (d) Be responsible for any other social media formats as Section 5(a) of the ROPA Bylaws to raise the budget thresh- dinator, a Historian, a Webmaster, a Conductor approved by the Executive Board. old for Associate Membership Evaluation Administrator and a Conference Coordi- nator. Adjunct Positions may be held by persons who Submitted by: The ROPA Executive Board Whereas, Orchestras holding an Associate membership are not members of a ROPA orchestra. The services of with the Regional Orchestra Players’ Association any Adjunct Position may also be filled by 3rd party (“ROPA”) have grown in budget size; and vendors. Adjunct Positions shall be filled by appoint- Resolution Nº. 4 ment by the President with the approval of the Execu- Whereas, Associate Member Orchestra budgets have tive Board, and be under the direction and supervi- Subject: Resolution in support of the UAW’s eff orts increased while musicians’ wages have not necessarily sion of the Executive Board or by a ROPA officer as to organize the Nissan plant in Canton, Mississippi kept pace; and provided for in these bylaws. Whereas, The United Auto Workers (the “UAW”) Whereas, The threshold budget for Associate member- Section 2: have dedicated significant resources to organizing ship has not changed since 2001, despite general eco- The Leading Tone Editor [/Social Media Coordinator]: foreign auto maker plants in the United States; nomic growth; and The Leading Tone Editor [/Social Media Coordinator] shall: and (continued on page 7)

VOLUME 33, ISSUE 1 Page 7

Whereas, Employees at the Nissan plant in Canton, Resolution Nº. 6 Mississippi are voting to join the UAW on August 3 and 4, 2017; and Subject: Resolution from the musicians of the Kalamazoo Symphony Orchestra, thanking ROPA and Whereas, Canton, Mississippi is in the jurisdiction its members for their support during a difficult time of American Federation of Musicians Local 579 (“Local 579”), and Local 579 is the bargaining agent Musicians of the Kalamazoo Symphony Orchestra Whereas, Standards and procedures for engage- for the Mississippi Symphony, a Regional Orchestra Honor ROPA ment of substitute and/or extra musicians may Players’ Association (“ROPA”) orchestra; and vary amongst orchestras, and are often not fully Whereas, During the spring of 2016, the manage- addressed; and Whereas, The members of Local 579 have support- ment of the Kalamazoo Symphony Orchestra ed the UAW in the Canton organizing campaign; attempted to unilaterally change the terms and therefore, be it conditions of the musicians’ employment; and

Resolved, That the Regional Orchestra Players’ Associ- Whereas, The change would have resulted in ex- ation lends its support to the employees of the treme hardship and oppression for many of the Canton, Mississippi Nissan plant in their organiz- musicians of the Kalamazoo Symphony Orchestra; Resolved, That the Regional Orchestra Players’ Associ- ing campaign; and be it and ation promotes fair and equitable hiring and em- ployment practices for any musician, including Resolved, That ROPA commends Local 579 for its active Whereas, The musicians of the Kalamazoo Sym- substitutes and extras; and, be it further support of unionism in its region; and be it further phony Orchestra reached out for assistance from the membership of the Regional Orchestra Players’ Resolved, That ROPA encourages all orchestras to Resolved, That ROPA encourages all AFM locals to Association (“ROPA”); and adopt ethical policies, procedures, and criteria in continue supporting the organizing efforts of other regard to hiring and employment practices for unions in solidarity and in the pursuit of strength- Whereas, ROPA and its members came to the aid of substitute and extra musicians. ening unionism in the United States. the musicians of the Kalamazoo Symphony Orches- tra by spreading the word, offering support, and Submitted by: A. C. Lewis, Santa Rosa Symphony Submitted by:Lisa Davis, Delegate, Mississippi providing education and training; and ROPA Delegate, and Debbie Spangler, Oakland Symphony, and the ROPA Executive Board Symphony and Symphony Silicon Valley ROPA Whereas, The delegates to the 2016 ROPA Confer- Delegate ence adopted a resolution urging the management Resolution Nº. 5. of the Kalamazoo Symphony Orchestra to bargain fairly with the musicians; and Resolution Nº. 8 Subject: Resolution granting the status of ROPA President Emerita to Carla Lehmeier-Tatum Whereas, The publicity, support and education Subject: Resolution congratulating the musicians helped the musicians get through a difficult time; of the Los Angeles Opera Orchestra for their 2016 Gram- In Recognition of Carla Lehmeier-Tatum and my award

Whereas, Carla Lehmeier-Tatum served as Presi- Whereas, The musicians of the Kalamazoo Sym- Los Angeles Opera Resolution dent of The Regional Orchestra Players’ Association phony Orchestra have been able to maintain their (“ROPA”) for nine years, and is the longest serving working conditions, thanks in part to the support of Whereas, Members of the Regional Orchestra Play- President in the history of ROPA; and ROPA and its member musicians; now, therefore, ers’ Association (“ROPA”) produce high quality be it media projects under the Integrated Media Agree- Whereas, Under her leadership, ROPA has expand- ment (the “IMA”) of the American Federation of ed to an organization which serves 86 orchestras Resolved, That the musicians of the Kalamazoo Sympho- Musicians of the United States and Canada, which and over 5,000 musicians nationwide; and ny Orchestra express their deepest gratitude to serve to elevate the reputation of ROPA and classi- their colleagues in Regional Orchestra Players’ cal music nationwide; and Whereas, Carla’s stewardship, grace, poise and Association orchestras across the country, and diplomacy has strengthened ROPA’s significance thank ROPA and its member musicians for their Whereas, The Los Angeles Opera produced a re- and the reputation of its orchestras throughout the solidarity and support in time of need; and further, cording under the IMA of John Corigliano’s The United States; and Ghost of Versailles; and Resolved, That ROPA acknowledges and appreciates the Whereas, Carla is a tireless union advocate who sentiments of the musicians of the Kalamazoo Whereas, In February 2017, the recording received continues to fight for musicians’ livelihoods; and Symphony Orchestra. Grammy Awards for Best Opera Recording and Best Engineered Classical Album for 2016; and Whereas, ROPA wishes to honor Carla for her Submitted by:Nora Frisk, Delegate, Kalamazoo distinguished service; therefore, be it Symphony Orchestra Whereas, The Los Angeles Opera Orchestra is a member of ROPA; and Resolved, That the Regional Orchestra Players’ Associa- tion hopes Carla will continue to be a part of ROPA, Resolution Nº. 7 Whereas, ROPA encourages its members to contin- in any capacity, for many years to come; and be it ue creating projects under the IMA; therefore, be it further Subject: Resolution for consideration b y the delegates of the Regional Orchestra Players’ Association Resolved, That the Regional Orchestra Players’ Associa- Resolved, That ROPA hereby confers upon Carla tion congratulates the Los Angeles Opera and the Lehmeier-Tatum the status of ROPA President Whereas, Many musicians who are members of musicians of the Los Angeles Opera Orchestra for Emerita. Regional Orchestra Players’ Association (“ROPA”) the great honor of receiving two Grammy Awards. orchestras also work as substitute and/or extra Submitted by:The ROPA Executive Board musicians in other orchestras; and Submitted by:The ROPA Executive Board (continued on page 8)

Page 8 THE LEADING PageTONE 7

(Resolutions, continued from page 7)

Resolution Nº. 9 Whereas, The Regional Orchestra Players’ Associa- Whereas, Paul Austin was elected as delegate for the tion (“ROPA”) values union membership and sup- Grand Rapids Symphony Orchestra to The Regional Subject: Resolution commending the American ports free bargaining laws across the country; there- Orchestra Players’ Association (“ROPA”) in 2007; Federation of Musicians for implementing the Local Officer fore, be it and Training Program Resolved, That the Regional Orchestra Players’ Associ- Whereas, Paul Austin served on the Executive Board AFM Local Officer Training Resolution ation hereby declares its opposition to H.R. 785; and of ROPA from 2008 through 2011 as Member-At- be it further Large and also as Vice President, which included the Whereas, During the 2016 International Convention of duty of serving as Conductor Evaluation Administra- the American Federation of Musicians of the United Resolved, That ROPA supports the American Federation tor; and States and Canada (the “AFM”), a Resolution was of Musicians of the United States and Canada (the considered to develop more training for local officers; “AFM”) in its efforts to lobby against H.R. 785. Whereas, After stepping down as Vice President in and 2011, Paul Austin continued in his role as Conductor Submitted by:The ROPA Executive Board Evaluation Administrator; and Whereas, This program was successfully developed through the cooperative efforts of the AFM Symphon- Whereas, Even after his orchestra became a member ic Services Division and the AFM International Execu- Resolution No. 11 of the International Conference of Symphony and tive Board; and Opera Musicians (“ICSOM”), Paul remained in the Subject: Resolution commending the work of the role of Conductor Evaluation Administrator of the Whereas, AFM local officers are now receiving this American Federation of Musicians in lobbying to support ROPA Conductor Evaluation Bank until the spring of training; and continued funding of the National Endowment for the Arts 2017; and

Whereas, This training will be available to more local NEA Resolution Whereas, Paul remains a valuable contributor to the lives officers in the future without additional financial of symphonic musicians in the United States by serving burden to the locals; and Whereas, President Trump’s proposed budget for on the ICSOM Governing Board; therefore, be it 2018 eliminates all funding for the National Endow- Whereas, The importance of having knowledgeable ment for the Arts (the “NEA”); and Resolved, That the Regional Orchestra Players’ Associa- and well-trained union officers is critical to protecting tion hereby thanks, applauds, commends and recog- the rights of AFM members and to growing the AFM Whereas, Many member orchestras of the Regional nizes Paul Austin for his many years of outstanding membership; and Orchestra Players’ Association (“ROPA”) rely on service and unwavering devotion and friendship to funding, either directly or indirectly, from the NEA; ROPA and its members, and to unionism itself, and Whereas, Local officer training leads to improved and wishes him well on his future endeavors. communications and relationships between Regional Orchestra Players’ Association (“ROPA”) member Whereas, The survival of the NEA is a crucial ele- Submitted by:The ROPA Executive Board; orchestras and their locals; therefore, be it ment in helping our communities to thrive; and co-sponsored by Sarah Chandler, delegate, Binghamton Philharmonic Resolved, That the Regional Orchestra Players’ Association Whereas, Elimination of funding for the NEA would hereby applauds, commends, and recognizes the AFM be extremely harmful to ROPA orchestras and to the for providing local officer training, and looks forward public at large; and Resolution No. 13 to the positive influence it is sure to have on ROPA orchestras. Whereas, The American Federation of Musicians of Subject: Resolution ack nowledging the Pittsb urgh the United States and Canada (the “AFM”), alongside Symphony Orchestra Musicians for donating $10,000 to Submitted by:The ROPA Executive Board several other arts organizations, has worked tirelessly the orchestra endowment fund of the Pittsburgh Ballet and successfully to fight the proposed elimination of Theatre Orchestra. funding; and Resolution No. 10 In Honor of the Musicians of the Pittsburgh Sympho- Whereas, House appropriators have seen fit to restore ny Orchestra Subject: Resolution in opposition to H.R. 785, the FY 2018 NEA funding at a level of $145 million in proposed National Right-to-Work Act opposition to the President’s proposal; therefore, be it Whereas, The Pittsburgh Ballet Theatre created an endowment fund for the Pittsburgh Ballet Theatre National Right-to-Work Resolution Resolved, That the Regional Orchestra Players’ Associa- Orchestra, a member of the Regional Orchestra tion hereby applauds, commends, and recognizes the Players’ Association (“ROPA”) with a goal of $4 Whereas, On February 1, 2017, Representative Steve AFM and its lobbying arm for its hard work in Wash- million for the orchestra endowment, as part of its King (R-IA) introduced H.R. 785, the “National Right ington D.C. to preserve funding for the NEA; and be $21.2 million capital campaign; and -to-Work Act,” in the United States House of Repre- it further sentatives; and Whereas, The goal of the fund is to protect the com- Resolved, That ROPA objects to the President’s proposal pany’s current level of orchestra accompaniment, and Whereas, The Taft-Hartley Act of 1947, which allows to eliminate funding for the NEA and opposes any to build on its goal of sustainable, long-term funding states to adopt anti-labor “right-to-work” laws, has and all efforts that diminish or eliminate the NEA. for annual performances with live music; and undermined unions for 70 years by allowing individ- uals who work under collectively bargained agree- Submitted by:The ROPA Executive Board Whereas, In 2006 the Pittsburgh Ballet Theatre scaled ments to “free ride”; and back live music to where the ballet has committed to performing with the full Pittsburgh Ballet Theatre Whereas, “Right-to-work” legislation, in states where Resolution No. 12 Orchestra for only two out of five mainstage produc- it has been enacted, compromises our locals’ abilities tions; and to support our member orchestras; and Subject: Resolution thank ing Paul Austin for his years of service to ROPA Whereas, The Musicians of the Pittsburgh Symphony Whereas, A federal “right-to-work” law would irrep- Orchestra, a member of the International Conference arably harm unions in the United States; and In Recognition of Paul Austin (continued on page 9)

VOLUME 33, ISSUE 1 Page 9

(Resolutions, continued from page 8)

of Symphony and Opera Musicians (“ICSOM”), has (1) Shirley McMarlin, Pittsburgh Symphony Musi- Whereas, Nancy has selflessly stepped up in times of made a donation to the Pittsburgh Ballet Theatre of cians Donate $10,000 for PBT Orchestra, TRIB LIVE, need by also performing the duties of a Member-At- $10,000, specifically for the orchestra endowment, in June 14, 2017 (quote from Micah Howard, PSO Bassist Large; and the belief “...that live music is essential to the success and Orchestra Committee chair) of all ballet performances, and we hope that our Whereas, Nancy has offered comfort, leadership, and donation will encourage other generous individuals support to all delegates, from the newest orchestras to in our city to give in order to bring the orchestra back Resolution No. 14 the founding member orchestras; and to all Pittsburgh Ballet Theatre performances...”(1); therefore, be it Subject: Resolution in gratitude to Nancy Nelson Whereas, In her role as Vice President, Nancy has for 6 years of faithful service as Vice President of ROPA. trained many new ROPA delegates to be union lead- Resolved, That the Regional Orchestra Players’ Associa- ers; therefore, be it tion appreciates and acknowledges the generous Nancy Nelson Resolution work of orchestras supporting other orchestras in Resolved, That the Regional Orchestra Players’ Associa- their local arts community; and be it further Whereas, Nancy Nelson has served for three terms as tion hereby thanks Nancy Nelson for her service to Vice President of the Regional Orchestra Players’ ROPA and its members; and be it further Resolved, That ROPA and the Pittsburgh Ballet Theatre Association (“ROPA”); and Orchestra acknowledge and thank the Pittsburgh Resolved, That ROPA expresses its most sincere hope and Symphony Orchestra Musicians for their generous Whereas, Under her guidance, ROPA’s membership desire that Nancy will continue to be a part of ROPA, donation to maintain and grow the number of live has grown and thrived; and in any capacity, for many years to come. performances of the Pittsburgh Ballet Theatre Orchestra. Whereas, Nancy’s dedication to ROPA’s guiding Submitted by:The ROPA Executive Board principles has been an inspiration to the ROPA Submitted by: The Musicians of the Pittsburgh Ballet Executive Board and all of ROPA’s member Theatre Orchestra and The ROPA Executive Board musicians; and

SAVE THE DATE: 2018 ROPA Conference Tuesday, July 31st—Thursday, Aug. 2nd Negotiating Orchestras Workshop: Monday, July 30th Portland, Oregon

Mount Hood overlooking downtown Portland. Photo credit: Wikimedia Commons

Page 10 THE LEADING TONE

(2017 ROPA Conference Report, continued from page 1)

From left to right: Steve Wade (Member-at-Large), Hartford Symphony; Maya Stone (MAL), Huntsville Symphony; Mary Anne Lemoine (outgoing MAL), Colorado Springs Philharmonic; Lisa Davis (MAL), Mississippi Symphony; Donna Loomis (Treasurer), El Paso Symphony; Dave Shelton (Vice President), Lexington Philharmonic; Mike Smith (President), Minnesota Opera Orchestra; Sean Diller (MAL), Southwest Michigan Symphony Orchestra; Karen Sandene (Secretary), Omaha and Lincoln Symphony Orches- tras; Amanda Swain (MAL), Houston Ballet Orchestra and Houston Grand Opera Orchestra; Naomi Bensdorf Frisch (MAL to the AFM Convention), Illinois Philharmonic and Wisconsin Chamber Orchestra; Taylor Brown (MAL), Chattanooga Symphony and Opera Orchestras; Katie Shields (MAL), Arizona Opera Orchestra; and Nancy Nelson (outgoing Vice President), Houston Ballet Orchestra and Houston Grand Opera Orchestra. Not pictured: Marika Fischer Hoyt (MAL), Madison Symphony Orchestra

including the addition of an eighth Mem- (Lexington Philharmonic), Secretary Ka- Orchestra and Houston Grand Opera) and ber-at-Large to serve our delegates, which ren Sandene (Omaha and Lincoln Sym- Steve Wade (Hartford Symphony). acknowledges that ROPA is a growing phony Orchestras), Treasurer Donna organization. Rochelle Skolnick and Todd Loomis (El Paso Symphony), Delegate-at- And finally, we offer our sincere apprecia- Jelen led the delegates through a lively Large to the AFM Convention Naomi tion to conference hosts, the musicians of role playing activity, “Internal Orchestral Bensdorf Frisch (Illinois Philharmonic and the Arizona Opera Orchestra, Local 586 Organizing.” The day’s final presentation Wisconsin Chamber Orchestra) and Mem- (Phoenix, AZ), Phoenix Local President was by ROPA’s good friend, Nathan bers-at-Large Taylor Brown (Chattanooga Jerry Donato and numerous hard-working Kahn, who shared his wealth of Symphony and Opera), Lisa Davis local volunteers. We also would like to knowledge on negotiations. That evening, (Mississippi Symphony), Sean Diller thank Conference Coordinator Linda Boi- conference attendees traveled to the home (Southwest Michigan Symphony Orches- vin and ROPA Delegate Katie Shields for of the Arizona Opera for a dinner hosted tra), Marika Fischer Hoyt (Madison Sym- their outstanding work assisting the ROPA by Local 586. phony), Katie Shields (Arizona Opera Board in presenting a well-run confer- Orchestra), Maya Stone (Huntsville Sym- ence. We look forward to our 34th Annual Along with the diversity sessions men- phony), Amanda Swain (Houston Ballet Conference in 2018 in Portland, OR! tioned earlier, the final day of the confer- ence included remarks by SSD staff. Throughout the conference, Director Ro- chelle Skolnick, Debbie Newmark, Chris Durham, Jane Owen, Todd Jelen and Lau- rence Hofmann provided valuable knowledge and support to our delegates, and we thank them very much for their service to the orchestral world. We also welcomed ICSOM General Counsel Kevin Case, who discussed the topic of bullying in the orchestral workplace.

Following the election of officers, the 2017 -18 ROPA Executive Board will include President Mike Smith (Minnesota Opera Orchestra), Vice President Dave Shelton Jane Owen from SSD leads a negotiating workshop.

VOLUME 33, ISSUE 1 Page 11

ROPA Guiding Principles

What is the Regional Orchestra Players’ Association (ROPA)?  Build relationships to develop industry contacts to provide sound  Professional orchestra musicians of large and medium-sized budg- advice; ets with AFM contracts;  Provide professional musicians of ROPA with labor education and  Service organizations networking with over 5,000 musicians and strengthen networking; 87 orchestras;  Collect regional orchestra data for the industry;  Representatives of Regional Symphony Musicians at International/  Strengthen rights and working conditions of our member musi- National forums. cians;  Educate our membership on what is possible and how other musi- Who does ROPA serve? cians have arrived where they are;  ROPA rank and file musicians;  Work to bring our constituents together: AFM, Players Confer-  Future musicians by protecting today’s jobs; ences, Locals, Orchestra Committees, and Musicians.  All orchestras. What affects one affects all;  The American Federation of Musicians; What are the crucial components ROPA utilizes to accomplish  The communities our orchestras serve; its goals?  Elected representatives—Delegates and Orchestra Committees.  Information sharing with orchestra to orchestra, musician to musi- cian and person to person;  The information is shared through website, emails, Facebook, telephone calls, conferences and newsletters;  Work to create an atmosphere within each ROPA Orchestra of concern and commitment;  Create awareness of issues through Delegate communicating to the ROPA Executive Board.

What are the results of the work of ROPA?  Inclusion in a labor community;  Better professional lives and contracts than we otherwise had;  Solidary and support;  Greater awareness of management tactics;  Knowledge of what works and what doesn’t work;  Education of membership;  Orchestra profiles: wage and scale charts, orchestra reports. ROPA Orchestras, as of 2016

Why does ROPA exist? What are the Values of ROPA?  To give knowledge and tools to union orchestras’ musicians and to  Unity assist in establishing fair working conditions;  Fairness  To educate the membership about industry standards, labor law,  Democracy in work place procedures and practices;  Education  To empower and enable our colleagues to better their lives in their workplace;  Shared Sacrifice  To communicate during a time when labor is being dismantled in  We are one with all labor our country.  What impacts one, impacts all  Collective action to find solutions Other important principles identified:  Identify problems—Identify Successes  ROPA is a place for our member orchestras to turn to for support;  ROPA establishes a forum for our member orchestras to discuss concerns and to educate orchestras on current trends and solu- tions;  ROPA provides assistance for orchestras in crisis with advice and contact information;  ROPA works to create fair collective bargaining agreements, fair working conditions and fair compensation.

What are the important defining roles the ROPA Executive Board performs in the organization?  Assist orchestras in need and identify resources for issue at hand;

Page 12 THE LEADING TONE

Regional Orchestra ROPA Players’ Association

A conference of the American Federation of Musicians, AFL-CIO

The Leading Tone 901 C Street Lincoln, NE 68502

ROPA Officers

John Michael Smith, President Lisa Davis Amanda Swain Rachel Cox, Historian Minnesota Opera Orchestra Mississippi Symphony Houston Ballet Orchestra Southwest Florida Symphony Orchestra [email protected] [email protected] Houston Grand Opera Orchestra [email protected] [email protected] Dave Shelton, Vice-President Sean Diller Lisa Bressler, Social Media Coordinator Lexington Philharmonic Southwest Michigan Symphony Steve Wade Madison Symphony, Illinois Philharmonic, [email protected] Orchestra Hartford Symphony Orchestra Kalamazoo Symphony [email protected] Karen Sandene, Secretary [email protected] [email protected]

Omaha Symphony Orchestra Marika Fischer Hoyt Lincoln Symphony Orchestra Delegate-at-Large to the Sharon Jones, Leading Tone Editor Madison Symphony Orchestra [email protected] AFM Convention Elgin Symphony Orchestra [email protected] Naomi Bensdorf Frisch [email protected]

Donna Loomis, Treasurer Illinois Philharmonic Orchestra Katie Shields El Paso Symphony Wisconsin Chamber Orchestra Martha Warrington, Webmaster Arizona Opera Orchestra [email protected] [email protected] [email protected] [email protected]

Steve Benne, Conductor Evaluation Bank Members-at-Large Adjunct Officers Maya Stone Administrator Taylor Brown Linda Boivin, Conference Coordinator Huntsville Symphony Knoxville Symphony Chattanooga Symphony & New Mexico Philharmonic [email protected] [email protected] Opera Orchestra [email protected] [email protected]

ROPA Member Orchestras

Full Members Elgin Symphony Orchestra Monterey Symphony Symphony Silicon Valley Akron Symphony Orchestra Erie Philharmonic Orchestra New Haven Symphony Orchestra Tacoma Symphony Orchestra Albany Symphony Eugene Symphony New Mexico Philharmonic Toledo Symphony Orchestra Allentown Symphony Fort Wayne Philharmonic New West Symphony Orchestra Tucson Symphony Orchestra Annapolis Symphony Fresno Philharmonic Orchestra Oakland Symphony West Virginia Symphony Ann Arbor Symphony Harrisburg Symphony Orchestra Omaha Symphony Orchestra Wichita Symphony Orchestra Arizona Opera Orchestra Hartford Symphony Orchestra Orchestra Iowa Wisconsin Chamber Orchestra Atlanta Ballet Orchestra Houston Ballet Orchestra Pacific Symphony Atlanta Opera Orchestra Houston Grand Opera Orchestra Palm Beach Opera Orchestra Associate Members Austin Symphony Orchestra Huntsville Symphony Orchestra Pasadena Symphony Orchestra California Philharmonic Binghamton Philharmonic Illinois Philharmonic Orchestra Pittsburgh Opera Orchestra Central City Opera Orchestra Boston Ballet Orchestra Kalamazoo Symphony Orchestra Portland Opera Orchestra Eastern Connecticut Symphony Orchestra Boulder Philharmonic Knoxville Symphony Orchestra Portland Symphony Orchestra Flint Symphony Orchestra California Symphony Orchestra Lansing Symphony Orchestra Reading Symphony Orchestra Glimmerglass Opera Orchestra Canton Symphony Orchestra Las Vegas Philharmonic Rhode Island Philharmonic Hudson Valley Philharmonic Chattanooga Symphony & Opera Orch. Lexington Philharmonic Richmond Symphony Lincoln Symphony Orchestra Colorado Springs Philharmonic Orchestra Long Beach Symphony Orchestra Santa Barbara Symphony Milwaukee Ballet Orchestra Dallas Opera Orchestra Los Angeles Opera Orchestra Santa Rosa Symphony Pittsburgh Ballet Orchestra Dayton Philharmonic Madison Symphony Orchestra Sarasota Orchestra Tri-Cities Opera Orchestra Delaware Symphony Orchestra Memphis Symphony Orchestra South Bend Symphony Tulsa Opera Orchestra Duluth Superior Symphony Orchestra Michigan Opera Theatre Orchestra Southwest Florida Symphony Orchestra East Texas Symphony Orchestra Minnesota Opera Orchestra Southwest Michigan Symphony Orchestra El Paso Symphony Mississippi Symphony Orchestra Spokane Symphony Orchestra