Tag Archives: orchestra news

Baltimore Symphony Orchestra Signs One-Year Contract

Baltimore Symphony Orchestra (BSO) musicians and management reached an agreement on a new one-year contract, several months ahead of the current contract’s expiration in September. The one-year agreement goes into effect September 11 and extends through September 9, 2018. Key terms of the contract include a 2% increase in weekly salaries—with minimum weekly scale reaching $1,591.20—and language requiring that five auditions take place during the 2017-2018 season.   

“We believe that this settlement is a positive step in maintaining the treasured orchestra we’ve built over a century, and we look forward to building an even stronger institution for the city of Baltimore and the citizens of Maryland,” says Local 40-543 (Baltimore, MD) Secretary-Treasurer Mary Plaine.

Greg Mulligan, Baltimore Symphony Orchestra Players’ Committee Chair, spoke about the dedication of all involved: “The BSO musicians are glad that we have reached a new agreement, and we thank our board and staff leadership, including our new CEO Peter Kjome, for their constructive and positive approach to these negotiations. We look forward to continuing our work with Marin Alsop, Board Chair Barbara Bozzuto, and Peter as we build our world-class orchestra.”

San Diego Symphony Achieves Record Ticket Sales

The San Diego Symphony’s 2016-2017 season set a new sales record, with its classical series bringing in 15.6% more revenue than last year. The symphony’s musicians are members of Local 325 (San Diego, CA).

Combined with the summer 2016 outdoor series, the symphony also set an overall record for the number of paid admissions for an entire fiscal year, with 154,614 tickets sold. In addition to the record-setting sales, the classical series garnered 4,034 more paid admissions, representing an 8.2% increase over last season.

Four performances at the symphony’s 2,200-seat concert hall were sold out: both dates of Harry Potter and the Sorcerer’s Stone in March, Danny Elfman’s Music from the Films of Tim Burton in October, and the Chamber Orchestra with conductor David Danzmayr in February. Conductor Edo de Waart’s three-performance run of Beethoven’s Symphony No. 9 was symphony’s best-selling triple concert in its history, with more than 6,000 paid attendees.

In total, ticket revenue exceeded $6 million—just under 30% of the orchestra’s operating budget of $24 million. The orchestra attributes the increases to more aggressive and efficient use of technology, which has allowed it to create stronger relationships with patrons.

2017 Player Conference Preview

TMA Conference  |  july 31-august 1 |  Phoenix, Arizona

The Theatre Musicians Association Conference will be held at the Crown Plaza Phoenix-Phx Airport. All members are welcome and encouraged to attend this once a year opportunity to network, share experiences, and work toward our common goals. For more information visit the website (afm-tma.org).

ROPA Conference  |  August 1-3  |  Phoenix, Arizona

The Regional Orchestra Players’ Association (ROPA) Conference will be held at the Westin Phoenix Downtown Hotel. A negotiations seminar will be held July 31. The conference is hosted by the Arizona Opera Orchestra and AFM Local 586 (Phoenix, AZ). All AFM members are welcome to attend the open sessions. For registration and information, visit the ROPA website (ropaweb.org).

OCSM Conference  |  August 14-18  |  Gatineau, Quebec

The Organization of Canadian Symphony Musicians (OCSM) Conference will be held at the Four Points Sheraton Hotel in the national capital region. It will be hosted by Local 180 (Ottawa, ON). All musicians from member orchestras are welcome to attend the open sessions, beginning August 15.

ICSOM  |  August 23-26  |  Buffalo, New York

The International Conference of Symphony and Opera Musicians (ICSOM) Conference will be held at the Adam’s Mark Hotel, hosted by the Buffalo Philharmonic Orchestra, and Local 92 (Buffalo, NY). Follow the conference links from the ICSOM website (icsom.org) for more information

Minnesota Musicians Work with Students in Arts Access Project

In early May, students from Minneapolis and St. Paul, Minnesota, presented a concert in the atrium of Orchestra Hall as part of the Minnesota Orchestra’s new Arts Access project. Over the course of the 2016-2017 season, the orchestra has partnered with ComMUSICation, an after-school choral youth-development program based in Saint Paul; and with the MacPhail Center for Music in Minneapolis. Minnesota Orchestra musicians support MacPhail’s programs by playing alongside students  and working with them to compose arrangements of folk songs. Students have performed in spaces at Orchestra Hall, and have received free tickets and busing to Minnesota Orchestra concerts.

Participating Minnesota Orchestra musicians and Local 30-73 (Minneapolis-St. Paul, MN) members include bassist David Williamson, cellist Pitnarry Shin, violist Kenneth Freed, and violinists Pamela Arnstein, Catherine Schubilske, and Deborah Serafini. The partnership with the youth programs is planned to continue next season.

Philadelphia Orchestra Broadcasts on SiriusXM Satellite Radio

The Philadelphia Orchestra is returning to national radio with a regular presence on satellite station SiriusXM. Broadcasts will air three times per week over the next year, rotating 26 concerts recorded in Verizon Hall. In addition to the concert performances, the broadcasts will feature Music Director Yannick Nézet-Séguin of Local 77 (Philadelphia, PA) speaking about his personal approach to the music.

The Philadelphia Orchestra, whose musicians are also members of Local 77, will be the first American orchestra to be heard in regularly scheduled programming on the station. The deal, which gives the orchestra a regular national radio presence for the first time in more than 25 years, was facilitated and is being underwritten by an orchestra donor.

SiriusXM is a paid service with a monthly fee, and reaches listeners across the US and Canada. With more than 34 million SiriusXM subscribers, the broadcasts are expected to expand the orchestra’s reach in terms of audience. 

New Jersey Signs 2015 Contract

After more than a year, the New Jersey Symphony Orchestra (NJSO) has signed a two-year agreement that was ratified in December 2015. The agreement is retroactive to September 2015 and effective through August 2017.

The agreement includes an allowance to continue to iron out several minor outstanding issues after ratification. Due to management delays, the process of addressing those issues and signing the contract dragged on until April of this year.

Under the two-year agreement, the season length remains 29 weeks and the orchestra size remains 66 musicians, members of Local 16-248 (Newark-Paterson). Annual salary increased from just over $37,000 in 2014-2015 to $38,529.43 in the current 2016-2017 season.

NJSO musicians previously did not contribute to healthcare, but are now responsible for a small portion of a deductible. Vacation structure changed from two vacation weeks and one relief week per season, to three vacation weeks. A 36-week cap was set for maximum disability time.

Sarasota Librarians Represented Under CBA for First Time

In November 2015, the librarians of the Sarasota Orchestra signed cards asking to be represented by the AFM and to be included in the collective bargaining unit of the Sarasota Orchestra. For more than a year, Florida Gulf Coast Local 427-721 officers and AFM representatives worked with the librarians and orchestra members to finalize an agreement with management. The resulting agreement fully recognizes the librarians as musicians and members of the orchestra, and provides coverage on par with the orchestra’s CBA.

Throughout the process, management proposed separate CBAs that would continue to treat the librarians as administrative staff, and through several sessions, rejected recognition of the librarians as musicians. With persistence and continued support from the AFM and their fellow musicians in the Sarasota Orchestra, a Memorandum of Understanding (MOU) was ratified May 22. The MOU calls for immediate tenure for the principal and assistant principal librarians. Beginning September 1, librarians’ benefits and salaries will be equivalent to the instrumentalist musicians who share the same principal and assistant principal titles.

“We are grateful for the support of the AFM local and our colleagues in the orchestra as they have been pursuing this issue at the bargaining table for many years now. The warm reception we have already felt from our fellow musicians made this outcome even more meaningful,” says Sarasota Principal Librarian Justin Vibbard.

Librarians will have their own specific terms for obtaining tenure, but in virtually every other instance, will be treated as their fellow musicians under the terms of the CBA.“The members of the Sarasota Orchestra have long been grateful for the excellence and musical skill that our librarians are able to afford us onstage and off. We certainly would not be able to perform at the level we do without their far-reaching knowledge and hard work. It is with excitement that we officially welcome them to our orchestra as musicians and colleagues,” says Orchestra Committee Chair and Principal Percussion George Nickson.

Lancaster Symphony

Casting Off the Yoke of Misclassification

Jay Blumenthalby Jay Blumenthal, Director Symphonic Services Division

As announced in the May 2016 issue of the International Musician, the recent ruling by the US Court of Appeals for the District of Columbia Circuit to deny the Lancaster Symphony Orchestra’s petition for review and grant the National Labor Relations Board’s (NLRB’s) cross application for enforcement is indeed a very important ruling, especially for the Lancaster Symphony Orchestra musicians. This decision affirms the NLRB’s classification of Lancaster Symphony musicians as employees, not independent contractors as the Lancaster Symphony Orchestra management asserted. Nine years is a long time to wait to be allowed to bargain a union contract, but I expect it will certainly be worth the wait. 

Why was this outcome so important and why was it worth expending union resources to achieve this goal? I’m reminded of the repeating chant “The whole world is watching! The whole world is watching!”

While it may be an exaggeration to suggest that the whole world was watching this case, to be sure, many friends and foes of the labor movement were indeed watching. Our friends were hoping for a positive outcome for the Lancaster Symphony musicians because this case provides an opportunity for other musicians, and potentially other workers with similar circumstances, to finally cast off the yoke of misclassification. 

Musicians classified as employees are allowed to join a union and bargain collectively. Wages, working conditions, job security, grievance and arbitration, pension, health insurance, vacation, and leaves of absence are all “mandatory subjects of bargaining” between an employer and the union representing its employees. When workers are classified as employees rather than independent contractors, their employer is also obligated to pay its fair share of Social Security and other statutory employment taxes, rather than shifting the entire burden onto the musicians. And employees, but not independent contractors, are entitled to protection under state workers’ compensation and unemployment compensation laws.

The life of a symphonic musician tends to be challenging enough without being misclassified as an independent contractor. Anyone performing in an orchestra knows how preposterous it is to suggest they are anything but an employee. The employer hires and fires, tells musicians where to be and when to be there, what to wear, when they can leave the stage, and yes, even how musicians are to sit and act.

As the court pointed out, musicians “must not cross their legs, talk, or practice while the conductor is on the podium, or interfere with the concentration of other musicians.” And, in a description that surely strikes a chord with every symphonic musician, the court observed: “the Lancaster Orchestra’s conductor exercises virtually dictatorial authority over the manner in which the musicians play.”

Now, with union representation, the Lancaster Symphony musicians will for the first time have a meaningful voice to engage in dialogue with their employer about their wages, benefits, and working conditions. And as negotiations for a first collective bargaining agreement finally begin, the whole world—or at least the world of symphony orchestra musicians—will still be watching what unfolds in Lancaster.

Early on, the significance of this case and the far-reaching ramifications of the outcome were not lost on the AFM, which has been fully supportive of the Greater Lancaster Federation of Musicians, Local 294, and the musicians of the Lancaster Symphony. AFM General Counsel Jeff Freund and Trish Polach of Bredhoff & Kaiser in Washington, DC, ably represented the interests of Local 294 as intervenors, working closely with the NLRB to vindicate the rights of the musicians. They deserve our thanks and recognition for their great work on this case.

But at the end of the day, the musicians of the Lancaster Symphony Orchestra are deserving of the highest praise, for they are the ones who had the courage to stand up for themselves by organizing and voting for union representation. 

Bravissimi tutti! Let the negotiations begin!

Lyric Opera of Chicago to Be Featured on Great Performances

The Lyric Opera of Chicago and its orchestra’s recent world premiere production of the opera Bel Canto by Jimmy López will be broadcast on the PBS series Great Performances next season. The opera was on stage during December 2015 and January 2016, and performances in early January were recorded. Orchestra musicians will be covered and compensated for the recorded under the AFM’s Integrated Media Agreement (IMA).

The new opera is based on Ann Patchett’s best-selling novel by the same title, inspired by the 1996 hostage situation in Peru. It was commissioned by Lyric Opera of Chicago and developed with the guidance of Lyric Creative Consultant Renée Fleming.

“This will be the first time since 1991 that a Lyric production of an opera has been televised,” says trumpet player Matt Comerford, a member of Local 10-208 (Chicago, Il) and vice chair of Lyric’s orchestra committee. “Having a national audience for this world premiere is very significant and exciting for our company and all of our musicians. For the Chicago Lyric Opera Orchestra, it is the second time in five years the group has appeared on Great Performances, the first being at Symphony Hall for a concert with Sir Gilbert Levine and the Chicago Symphony Chorus in honor of Pope John Paul II April 23, 2012 followed by rebroadcasts.”