Ongoing Crisis in the Teatro Colón – Open letter from the artists

There is no end of the crisis to be seen at the Teatro Colón in Buenos Aires. Artists recently published an open letter which you will read here in English translation:

Colòn artists say: BASTA!

Colòn artists say: BASTA!

“With deep regret Teatro Colón artists today feel obliged to report and make public abuse and neglect by those who suffer should give us the minimum necessary conditions to develop our professional work. Despite currently having the theatre with the highest budget in its history, we are concerned, as every year the programming of its artistic bodies is reduced, reaching the self-produced one of the lowest levels ever seen since its creation today.

The level of discomfort of their artists is, however, very high: the Teatro Colón is offering today the worst working conditions in the region. They should include the draining institutional abuse (and occasionally even personal abuse).

It is our duty to recognize that they are creating the conditions for the recurrence of conflicts that have not been resolved:
‘In 2011 the SWA issued the creation of a Commission of Career order to begin to solve the labor problem Theatre, but despite having worked hard for nearly two years, not a race was implemented. He just arrived in some palliative and temporary improvements.
‘In the past 22 months (almost two years) the artistic wage type has suffered a loss in the purchasing power of 23%. By the nature of some of those fleeting improvements, scheduled production decline further affects the salary of the artists and also the increasing tax burden of the National Government. Years ago, in deference to the public, artists endure mistreatment and management inefficiency and inability resolution of each claim to have presented aiming to recover our historical levels of production.

We must reaffirm that there is no correlation between the demand made institutionally, the remuneration received. Nor between our professional hierarchy and authoritarian and provocative treatment we offer (arrogant and offensive attitudes, sanctions, summaries and layoffs of colleagues). Old problems have not improved: unable to enjoy a dignified retirement, older artists must rely on lawyers to hold on to their jobs by amparo and precautionary measures, instead of resting after so many years of hard work. Those who do however opted for a voluntary retirement relying on a predictable wage developments, also is punishing them for the above.

On numerous occasions we have submitted proposals and offered to collaborate in finding solutions that allow us to concentrate on our work and activity. We have only received silence and disinterest, which today are already read by house artists such as trowels provocations.
For 11 months we have been warning repeatedly written about stress and distress prevailing, but do not see any change in the attitudes of those who should be most interested in your staff to feel mistreated.

Definitely, in this climate of unrest cannot fully produce neither art nor beauty.
By this today Teatro Colón artists we say ENOUGH TO ABUSE!
We want a quality theatre, open society and greater self-produced, decent wages and respectful and indiscriminate their artists who have won their positions through competitive international competitions and opposition background treatment.

Colon Theatre Artistic Bodies
September 2014”

Season brochure BR SO 2014/15

Outstanding Season brochure from Bavarian Radio Symphony Orchestra!

If there were a prize for innovation of season brochures, you would have to award it the Bavarian Radio Orchestra in Munich!

Season brochure BR SO 2014/15

Season brochure BR SO 2014/15

Each orchestra will wonder why it has not come even earlier at it: The BR-brochure is therefore outside inconspicuously, but has it all. Once in hand, one does not put it away again. At 130 pages, the reader learns not only the program of the next season, but among other things, which physical stress conductors and musicians are exposed in a concert, what alternative career the musicians might have chosen, from which cities, countries and continents they come, when they chose their present instrument, etc.

All this is presented in impressive infographics, where one delves enjoyable. More impressive the inner workings of an orchestra have not been explained yet. A graph is worth a thousand words.


Download the brochure here!

Berlin Philharmonic Orchestra, Radio Choir Berlin (in strike jackets), Sir Simon Rattle, Simon Halsey (front)

Breaking: Berlin Philharmonic & Sir Simon Rattle support Berlin Radio Chor strike

Today the Berlin Philharmonic Orchestra and their principal conductor Sir Simon Rattle have shown solidarity in front of the Philharmonie with the Berlin Radio Choir (Photo: Peter Adamik). Together they rehearse the resumption of the highly acclaimed stage performance of “St. Matthew Passion” by Johann Sebastian Bach.

Berlin Philharmonic Orchestra, Radio Choir Berlin (in strike jackets), Sir Simon Rattle, Simon Halsey (front)

Berlin Philharmonic Orchestra, Radio Choir Berlin (in strike jackets), Sir Simon Rattle, Simon Halsey (front)

Shortly before the summer break, the choir members were on strike. This has now been temporarily suspended to allow the concerts with the Berlin Philharmonic not have to be canceled. The Berlin Radio Choir has been working for 21 years without a valid collective agreement. Ten years ago, the last salary adjustment was made. For over two years led the German Orchestra Association (DOV) and the German Theatre Association contract negotiations, which culminated in a collective agreement ready for signature. Surprisingly, the signature has been denied by the City of Berlin and the Federal Republic of Germany, who are two major shareholders.

Delegates waiting for Daniel Hope's keynote


Rotterdam (Netherlands) – The organisers of Classical:NEXT, the global meeting for all art music innovators, have just opened their call for proposals for the 2015 programme. Professionals from across the world concerned with classical and art music are encouraged to submit their ideas, projects or music as well as put forward innovative and interactive conference formats.



After three successful editions, Classical:NEXT has established itself as the event for progressive themes in classical and art music, with its emphasis on mutual collaboration allowing those active within the genre to play a role in developing its future. In 2015, the event will once again be shaped by delegates with Classical:NEXT Director, Jennifer Dautermann, calling on everyone to take part.

Submission Deadline 26 September 2014

Submissions must be received by Friday, 26 September 2014. Following this date, the Classical:NEXT jury, an independent group comprised of five experts from within the classical and art music world, will meet to make the programming selection. Proposals are being accepted in the following three categories:

  1. With a focus on groundbreaking approaches, soloists and ensembles perform for Classical:NEXT delegates and the general public in short evening concerts of 30 minutes each. Proposals that one normally will not find on the traditional competition circuit are particularly encouraged. These might use unusual concert formats, audience interaction, multimedia or unconventional techniques and inspirations. The jury will be looking for “the NEXT”!
  2. Video showcases have the same purpose as live showcases and also last up to 30 minutes. However, using video to present allows large ensembles or staged productions a showcase opportunity with a minimum of fuss or expense. Project pitches are lightning quick “find and seek” sessions. Make a pitch to the international classical community to try and find a partner, a funder, a record label or whatever it is you might seek. For a total of 9 minutes, show the audience what you’ve got using video, power point or just your own powers of persuasion!
  3. The conference programme covers both business and creative themes, featuring today’s burning issues and paths forward into tomorrow. Subjects must be of relevance to multiple sectors. Interactivity and audience participation are highly desired. The conference section of Classical:NEXT can include numerous formats including discussions, brainstorming and/or networking sessions, mentoring and presentations.

More information on proposals for Classical:NEXT 2015

The programme of Classical:NEXT 2014 was also selected from community proposals:

Bayreuth Festspielhaus

Worldwide unique: The Bayreuth Festival Orchestra

There are many classic music festival around the globe. And there are many festival orchestras perfoming worldwide. But there is only one Bayreuth Festival Orchestra. And this one is unique: Since its first appearance in 1876 the Bayreuth Festival Orchestra is recruited out of a selection of superb orchestra musicians from Germany, other international well known orchestras and a couple of music conservatoire professors. Orchestra directors are (s)elected musicians themselves, for everey section: strings, woodwinds, brass, percussion. They decide whom to invite for the next season. This is a matter of a continuing high standing quality and an outstanding audience experience.

Bayreuth Festspielhaus

. Bayreuth Festspielhaus

Some 200 musicians started rehearsing  in the Bayreuth Festival premises in late June. The know “their” Wagner scores for years and sometimes by heart. They love to perform this music in the very special, stair like (and from the auditorium side invisible) orchestra pit. This pit construction is a guarantee for an unique acoustics. The musicans are soundkeepers of a German Wagner sound, especially when Christian Thielemann is conducting. This is a part of German orchestra tradition and an unique orchestra sound. Traditionally, on July 25 the first night of the festival will be open for a prominent audience which will walk on the red carpet in front of the “Festspielhaus”. And listen to an unique orchestra.

Big Bucks for orchestra CEOs

Salary Gulf for US Orchestra CEOs

According to a listing from US music expert Drew McManus salary gulf for US orchestra CEOs goes on.

Big Bucks for orchestra CEOs

Big Bucks for US orchestra CEOs

As ‘Top 10 Earners’ (2011/12) are reported the CEOs from:

Los Angeles Philharmonic: $1,751,039
New York Philharmonic: $912,858
San Francisco Symphony: $638,857
Boston Symphony: $622,938
Minnesota Orchestra: $619,313
Philadelphia Orchestra: $610,446
Cleveland Orchestra: $584,498
Chicago Symphony: $577,189
Saint Louis Symphony: $419,625
Atlanta Symphony: $406,747

The average income was about $265,297. The lowest salary: CEO of Portland Symphony: $87,593.