Here’s the latest appeal from the heart of an orchestra that is being torn apart. The writer, a New Yorker, payed first in the Israel Philharmonic, then in Germany before he fell in love with Rio. The rest, is here.
Dear Norman Lebrecht :
It is indeed wonderful that you have allowed so much space in your blog
for the problems with the Brazilian Symphony Orchestra. What is currently happening here in Rio de Janeiro –where I have resided since 1973 and was the first oboe of the orchestra until 1997 or 24 years–resembles unsavoury procedures in the musical world in the 1930s.
Meaning: firing/sacking musicians just because they have committed the
“crime”of getting old or older, calling for re-auditions of veterans
despite their long-time experience and survival in the orchestra and
encouraging scabs to take the place of discarded musicians.
What is the worst “crime”in my view,is Maestro Minczuk and the
Brazilian Orchestra’s use of the Youth Orchestra to replace the
“ÖSB”(Brazilian Symphony) for the first three months of season with
some members of the orchestra–who are not rebelling vs.
Minzcuk–playing in he first stands of the youth orchestra.
In the UK and USA ,a court order would probably bar the younth
orchestra from taking over the initial part of the season from the
professionals. In Rio de Janeiro however(and not necessarily Brazil)
anything goes(unfortunately).
Today,Friday,as I write you Rio’s major newspaper O Globo hasa picture
of the musicians who refuse to take the audition awaiting in the front
of the Labour Ministry for a reconciliation hearing–which never
occurred because neither the Maestro or administration appeared.
We are living in the epoch of internet which has overthrown
dictatorships in the Arab world and hopefully via this same magical
communication ,Maestro Minzcuk and his cohorts will receive their
proper due if these 58 musicians are sacked.
Can the unions in the UK, USA, Canada,etc bar Minzcuk from conducting and
holding auditions? Can other measures be taken? Our fears here in Brazil
are that the draconian measures which have begun in the Brazilian
Symphony will spread to all the 56 orchestras in this growing
nation,threatening thelivelihood of local musicians.
Best wishes,
Harold Emert
oboist
Brazilian National Orchestra
The BBC Philharmonic, based in Manchester, was shaken but unharmed by the quake.
Here’s the
BBC report. Tomorrow’s concert in Yokohama is cancelled.
Conductor Daniel Harding has also tweeted that he’s safe.
Just played Mahler 5 for the 50 who made it… Hope the other 1750 are all ok. Wonderful atmosphere on strangest of days.
Would have played just for the 69 year old who walked 4 hours across Tokyo to make it to the concert! That’s dedication to music!!
Daniel is due to conduct the New Japan Philharmonic in Tokyo a second time tomorrow in Mahler’s fifth symphony. Tonight, many of the musicians are having to sleep on the concert hall floor.
The Maggio Musicale company of Florence, in Tokyo with Zubin Mehta and director Nicolas Joel, have posted on their website that they were shaken up but uninjured.
Here’s the message:
Terremoto a Tokyo: stanno bene i componenti della tournée
Giungono notizie rassicuranti da Tokyo. Tutti i componenti della tournée del Maggio Musicale stanno bene.
Per i familiari che volessero avere notizie dei loro parenti a Tokyo, numero dedicato 055 2779254
Fittingly, they are performing Verdi’s, Forza del destino.
I’ve received accounts of music stands flying around the rehearsal room. Flautist Nicola Mazzanti reports:
This ordeal has made me appreciate the great virtues of the Japanese people.
The American violinist Anne Akiko Meyers told
WQXR that she’s OK:
The American violinist Anne Akiko Meyers had just landed in Osaka after the quake struck. “I heard of the previous earthquake but had no clue that there was another devastating one until we got in our car to go to the hotel,” she said in an e-mail. “The driver had to circumvent the city to arrive at the hotel an hour later because of the traffic and the Hilton hotel in Osaka (!) is sold out because of it.
“Every channel on TV shows unbelievable devastation and there is a feeling that we just landed in the ’emergency zone.’ I don’t have concerts till next week, and have not heard anything from the presenter as we have literally just plopped into our room.” Meyers is scheduled to perform next week with the Osaka Philharmonic.
More follows.
Dear colleagues in Brazil, musicians of the OSEP,
Re-auditioning is simply illegal. Once you have got your orchestra job by an audition you have made it.
Every musician has to keep his artistic standard individually. 133 German orchestras, amongst them the famous Berlin Philharmonic, the Munich Philharmonic and others, have unlimited, longterm contracts. Only by building longterm relations – without re-auditioning – high perfomance teams in the orchestra can grow and develop. Re-auditioning is not the way to raise artistic standards. They are forbidden.
My recommendation to all musicians: just boycot any illegal re-auditioning procedures.
Gerald Mertens
Managing Director German Orchestral Union
I had to rub my eyes twice and pinch myself in the fleshy parts before I could give credence to this news report, but corroboration across the German press suggests that it must be true.
The winner of the 2011 Hebert von Karajan Prize, with a fifty-thousand Euro stash and a widow-signed certificate is…. Helmut Rilling.
Rilling, right? You know who I mean. Chap from Stuttgart, has been conducting Bach all his life. Never frightened the horses, never got charged with war crimes. Quiet chap, does his job nicely and goes home to his slippers.
Rilling is the new Karajan? Not quite. The citation says ‘he’s one of the most outstanding personalities on the international music scene’. Maybe that’s how they see it in the quieter parts of Germany. The award is made in Baden-Baden.
Previous recipients include the Berlin Philharmonic Orchestra (natch), Daniel Barenboim and Anne-Sophie Mutter. I guess they won’t be sending their cash back.
Still, Rilling? The only times I have seen him, twice, it was standing in for one of the big beasts who called in sick (or bored). Rilling came on stage inconspicuously. He did not look like Karajan, strut like him or bear any perceptible charisma, good or bad. He looked, to me, like a Dickensian watchmaker and the longer he conducted the more little wheels he set spinning in my head, tick-tock, tick-tock. He did not need rewinding.
The idea that Rilling, 77, should be honoured with a Karajan prize is priceless. Beyond irony.
Mine’s a Rolex, thanks.
L’ année dernière, l’Orchestre Symphonique Brésilien a celebré 70 ans d’activités. Selon l’administration de l’Orchestre, en 2010 ont été realisés plus de 100 concerts, pour un public estimé de 190 000 personnes. En cette même année le budget de l’orchestre a considerablement augmenté, avec des apports publics issus de la politique federale d’incentiver la culture à travers des reductions d’impôts.
Ce qui pourrait mener à un moment de récompense aux musiciens de cette orchestre – qui pendant des années ont perçu leur salaire avec des retards, ont fait face aux pires conditions de travail et ont sacrifié une grande partie de leur vie personelle en faveur de cette institution – se transforme en un drame sans précedents dans le monde de la musique. Seulement deux jours après le debut de leurs vacances – traditionellement au mois de janvier au Brésil – les musiciens ont été surpris par une lettre de l’administration de l’orchestre leur informant que tous les musiciens seraient soumis à des “avaliations de la performance”, avaliations établies sans aucun critère et sans aucune discussion préalable avec les musiciens, ou leur représentants. Ensuite, il a été annoncé aux musiciens que l’orchestre aurait ses activités suspendues jusqu’au mois de juillet, les concerts de mars, avril, mai et juin seraient efectués par le Jeune Orchestre Symphonique Brésilien, groupe d’étudiants, qui a pour objectif la formation de jeunes musiciens, et l’apprentissage de la musique en groupe. En même temps étaient annoncés des concours pour être admis dans l’Orquestre Symphonique Brésilien (OSB) à Londres, New York, et en dernier, Rio de Janeiro.
Cela montrait de façon claire un projet qui menerait à une demission colective d’une grande partie de l’orchestre, une situation absurde de changer tout un orchestre pour satisfaire les désirs d’une seule personne, le chef d’orchestre et directeur artistique Roberto Minczuk.
Depuis quelques annés l’orchestre et son directeur artistique n’ont pas une bonne relation, surtout après la demission en 2006, le 23 décembre, de 14 musiciens, et de ses nombreux essais de renvoyer les musiciens plus agés et tous ceux qui essayent de s’opposer à ses décisions.
En ce moment dificile, de nombreuses lettres sont envoyées aux musiciens par la direction de l’OSB, leur informant que l’absence aux auditions d’avaliation meneront à de graves punitions, voire même la démission. Malgré cette préssion, 56 des 82 musiciens qui forment l’OSB, ont décidé en assemblée ne pas participer à cette avaliation, en protestant contre le manque de respect, l’arrogance e le manque de dialogue auquel ils sont soumis.
De cette façon, nous demandons votre soutient contre cette violence à laquelle sont soumis les musiciens du plus traditionel orchestre brésilien, en empêchant que le premier des droits de l’homme – le droit au travail – soit bafoué et que les responsables de cette abérration assument leur responsabilités.
Deborah Cheyne Prates
Presidente du Sindicatat des Musiciens de Rio de Janeiro
And another cellist in support:
I have played as a fulltime member of the Brazilian Symphony orchestra for thirty years, twenty of these as solo cellist. Before I came to Brazil I played for fifteen years as a professional orchestral cellist and chamber musician including the London Mozart Players and the BBC London, in England. I was recently honored by Her Majesty Queen Elizabeth II at Buckingham Palace for my services to Brazilian Music, and am an honorary citizen of the State of Rio de Janeiro .
I am absolutely horrified by the attitudes of both the Artistic Director, and the Administration of FOSB. Firstly by the fact that our orchestral season has been cancelled and the OSB has been substituted by a Youth Orchestra, and secondly that a group of loyal, highly professional musicians have been asked to take a test to see if they are good enough for their own orchestra.
As the OSB’s orchestral season was cancelled prior to holding these humiliating tests, this clearly indicates that the intention of the Artistic Director is to dismiss most members of the OSB. What musician in his right mind would face a test, knowing this fact?
How can some one who purports to believe in education, possibly conceive of a plan to substitute a highly experienced, successful and professional orchestral body with a youth orchestra? The orchestra is comprised of students who need to practice their instruments, study music and school subjects. They run the serious risk that in a few years, because of this forced professional work, which only highly qualified professional are capable of, and are trained for, will be burnt out and suffer problems such as muscle tension and mental stress, at a very early age.
One must remember that the OSB is a national orchestra that represents Brazilian music, and if replaced by excellent musicians from other countries, will certainly lose this identity. I stand together with my colleagues, who, over the past thirty years have helped me understand and interpret Brazilian music. Only after so many years of playing together with these most excellent Brazilian Musicians am I able to play as a Brazilian.
I take offense to the fact that our Artistic Director ,in his recent article says that any musician admitted into the OSB after he assumed the position as Artistic director, could play in any orchestra in the world. Does that imply that I and my colleagues would not?
I and many of my colleagues strongly believe in education. We teach in several important institutions and academic centers, as well as teaching in communities around Brazil. What hope can we give our students, if they see the jobs they aspire to in Brazilian orchestras being taken by musicians from abroad, who owe no allegiance to our culture and traditions?
How anti -ethical to see our own students, who play in this youth orchestra replace their teachers, knowing that they are to lose their jobs.
With funding anyone can create a fine orchestra of international musicians; but at what price? What will be lost is a national tradition, and opportunities for young Brazilians to develop careers in the orchestras of their own country. Artistic excellence is a worthy goal but the nurturing of youth and a recognition of national style seem to be superior values to me.
I call on a halt to this madness. May the excellent labor laws of this country be enforced to stop the random acts of this despot, who seems to be intent upon wrecking the lives and careers of so many Brazilian musicians. It is relatively easy to replace a conductor, impossible to recreate a National style of music making that the OSB represents. This orchestra is ready to work at the highest level in tandem with any conductor who can show respect and vision for our ensemble.
<span>
<span> </span>
David Chew OBE
President -Founder -Musical Director O MUSIC
Rio International Cello Encounter(RICE)
Rio de Janeiro
www.riocello.com</span>
<span>www.davidchew.com.br</span
L’ année dernière, l’Orchestre Symphonique Brésilien a celebré 70 ans d’activités. Selon l’administration de l’Orchestre, en 2010 ont été realisés plus de 100 concerts, pour un public estimé de 190 000 personnes. En cette même année le budget de l’orchestre a considerablement augmenté, avec des apports publics issus de la politique federale d’incentiver la culture à travers des reductions d’impôts.
Ce qui pourrait mener à un moment de récompense aux musiciens de cette orchestre – qui pendant des années ont perçu leur salaire avec des retards, ont fait face aux pires conditions de travail et ont sacrifié une grande partie de leur vie personelle en faveur de cette institution – se transforme en un drame sans précedents dans le monde de la musique. Seulement deux jours après le debut de leurs vacances – traditionellement au mois de janvier au Brésil – les musiciens ont été surpris par une lettre de l’administration de l’orchestre leur informant que tous les musiciens seraient soumis à des “avaliations de la performance”, avaliations établies sans aucun critère et sans aucune discussion préalable avec les musiciens, ou leur représentants. Ensuite, il a été annoncé aux musiciens que l’orchestre aurait ses activités suspendues jusqu’au mois de juillet, les concerts de mars, avril, mai et juin seraient efectués par le Jeune Orchestre Symphonique Brésilien, groupe d’étudiants, qui a pour objectif la formation de jeunes musiciens, et l’apprentissage de la musique en groupe. En même temps étaient annoncés des concours pour être admis dans l’Orquestre Symphonique Brésilien (OSB) à Londres, New York, et en dernier, Rio de Janeiro.
Cela montrait de façon claire un projet qui menerait à une demission colective d’une grande partie de l’orchestre, une situation absurde de changer tout un orchestre pour satisfaire les désirs d’une seule personne, le chef d’orchestre et directeur artistique Roberto Minczuk.
Depuis quelques annés l’orchestre et son directeur artistique n’ont pas une bonne relation, surtout après la demission en 2006, le 23 décembre, de 14 musiciens, et de ses nombreux essais de renvoyer les musiciens plus agés et tous ceux qui essayent de s’opposer à ses décisions.
En ce moment dificile, de nombreuses lettres sont envoyées aux musiciens par la direction de l’OSB, leur informant que l’absence aux auditions d’avaliation meneront à de graves punitions, voire même la démission. Malgré cette préssion, 56 des 82 musiciens qui forment l’OSB, ont décidé en assemblée ne pas participer à cette avaliation, en protestant contre le manque de respect, l’arrogance e le manque de dialogue auquel ils sont soumis.
De cette façon, nous demandons votre soutient contre cette violence à laquelle sont soumis les musiciens du plus traditionel orchestre brésilien, en empêchant que le premier des droits de l’homme – le droit au travail – soit bafoué et que les responsables de cette abérration assument leur responsabilités.
Deborah Cheyne Prates
Presidente du Sindicatat des Musiciens de Rio de Janeiro
And another cellist in support:
I have played as a fulltime member of the Brazilian Symphony orchestra for thirty years, twenty of these as solo cellist. Before I came to Brazil I played for fifteen years as a professional orchestral cellist and chamber musician including the London Mozart Players and the BBC London, in England. I was recently honored by Her Majesty Queen Elizabeth II at Buckingham Palace for my services to Brazilian Music, and am an honorary citizen of the State of Rio de Janeiro .
I am absolutely horrified by the attitudes of both the Artistic Director, and the Administration of FOSB. Firstly by the fact that our orchestral season has been cancelled and the OSB has been substituted by a Youth Orchestra, and secondly that a group of loyal, highly professional musicians have been asked to take a test to see if they are good enough for their own orchestra.
As the OSB’s orchestral season was cancelled prior to holding these humiliating tests, this clearly indicates that the intention of the Artistic Director is to dismiss most members of the OSB. What musician in his right mind would face a test, knowing this fact?
How can some one who purports to believe in education, possibly conceive of a plan to substitute a highly experienced, successful and professional orchestral body with a youth orchestra? The orchestra is comprised of students who need to practice their instruments, study music and school subjects. They run the serious risk that in a few years, because of this forced professional work, which only highly qualified professional are capable of, and are trained for, will be burnt out and suffer problems such as muscle tension and mental stress, at a very early age.
One must remember that the OSB is a national orchestra that represents Brazilian music, and if replaced by excellent musicians from other countries, will certainly lose this identity. I stand together with my colleagues, who, over the past thirty years have helped me understand and interpret Brazilian music. Only after so many years of playing together with these most excellent Brazilian Musicians am I able to play as a Brazilian.
I take offense to the fact that our Artistic Director ,in his recent article says that any musician admitted into the OSB after he assumed the position as Artistic director, could play in any orchestra in the world. Does that imply that I and my colleagues would not?
I and many of my colleagues strongly believe in education. We teach in several important institutions and academic centers, as well as teaching in communities around Brazil. What hope can we give our students, if they see the jobs they aspire to in Brazilian orchestras being taken by musicians from abroad, who owe no allegiance to our culture and traditions?
How anti -ethical to see our own students, who play in this youth orchestra replace their teachers, knowing that they are to lose their jobs.
With funding anyone can create a fine orchestra of international musicians; but at what price? What will be lost is a national tradition, and opportunities for young Brazilians to develop careers in the orchestras of their own country. Artistic excellence is a worthy goal but the nurturing of youth and a recognition of national style seem to be superior values to me.
I call on a halt to this madness. May the excellent labor laws of this country be enforced to stop the random acts of this despot, who seems to be intent upon wrecking the lives and careers of so many Brazilian musicians. It is relatively easy to replace a conductor, impossible to recreate a National style of music making that the OSB represents. This orchestra is ready to work at the highest level in tandem with any conductor who can show respect and vision for our ensemble.
<span>
<span> </span>
David Chew OBE
President -Founder -Musical Director O MUSIC
Rio International Cello Encounter(RICE)
Rio de Janeiro
www.riocello.com</span>
<span>www.davidchew.com.br</span
Hello Mr. Lebrecht,
as there are many opinions on the matter and most of those oppose the process I would like to make clear my point of view after many days of doubts:
after having arrived here in Brazil I have talked to people involved in the process and especially members of the orchestra who as well have to play in the auditions. Some of those musicians explained the “inner view” and asked me to take part in the commission – as one of 13 (!) musicians worldwide invited. So I finally decided to do this. There is as well a conviction that the way chosen is the right one or at least one legitimate possibility to give everybody the right chance, to improve the status and quality of the orchestra. I was told that there are musicians playing in the orchestra who have never made an audition to enter. So now they have the chance to legitimize their place in the orchestra – and as we all know: this is better to do in front of a different commission than the own colleagues. I very strongly believe that this is most honest.
It was guaranteed to me by the administration that there will nobody been “thrown out” or dismissed because of our comments: we only evaluate their skills – and I am sure, everybody of the orchestra is as good as it is described, but as well I am sure that the evaluation-notes the members of the commission will write, can help each one to improve. I at least would be happy if once in a while I would have the chance to play in front of an international commission so I have a feedback on what I have to work on! I am playing in my orchestra since more than 20 years.
For me fairness is first: I think fairness has to come from all sides, so from the side of the ones who oppose the process, too. I am convinced that it would be fair if everybody would participate because it is a way to improve everybody’s professional and personal life: better music, better payment, tours around the world, recordings. I of course hope very much that the administration does not fool me: I will have a close watch on the development in the future.
Hoping for the best,
Michael Faust
Local councils around London have announced their budget reductions for the coming year and several of the city’s most ambitious and successful venues are in the firing line.
Worst hit, at first glance, is the Young Vic which has been told that Lambeth Council is cutting its arts allocation by 19%. How much of a hit the Vic will take is not yet known but the theatre is one that combines intense community work with bringing in directors of the calibre of Luc Bondy and Patrice Chereau, as well as operas by Birtwistle, Henze and Jonathan Dove. I will be first in line to rally for its survival.
The Barbican has got off relatively lightly with a seven percent trim from the City of London, while the relentlessly left-political Tricycle Theatre in Kilburn will lose ten percent from Brent.
Sir Peter Hall’s Shakespeare-styled Rose Theatre in Kingston has lost a quarter of its funding.
Arts Council England will announce national grants at the end of the month. Nails are being bitten to the quick.
Footnote on the Young Vic: Its grant from Lambeth is just £15,000. The cut won’t kill.
It so happens that the Young Vic pay Lambeth in rent exactly what Lambeth gives them in subsidy. I guess they could just ask for a rent rebate.
Local councils around London have announced their budget reductions for the coming year and several of the city’s most ambitious and successful venues are in the firing line.
Worst hit, at first glance, is the Young Vic which has been told that Lambeth Council is cutting its arts allocation by 19%. How much of a hit the Vic will take is not yet known but the theatre is one that combines intense community work with bringing in directors of the calibre of Luc Bondy and Patrice Chereau, as well as operas by Birtwistle, Henze and Jonathan Dove. I will be first in line to rally for its survival.
The Barbican has got off relatively lightly with a seven percent trim from the City of London, while the relentlessly left-political Tricycle Theatre in Kilburn will lose ten percent from Brent.
Sir Peter Hall’s Shakespeare-styled Rose Theatre in Kingston has lost a quarter of its funding.
Arts Council England will announce national grants at the end of the month. Nails are being bitten to the quick.
Footnote on the Young Vic: Its grant from Lambeth is just £15,000. The cut won’t kill.
It so happens that the Young Vic pay Lambeth in rent exactly what Lambeth gives them in subsidy. I guess they could just ask for a rent rebate.
This just in from Carnival City:
Aos músicos, amigos, assinantes e ao público da OSB, colegas de todas as orquestras do Rio de Janeiro,
Assunto: mesa redonda no MTE
Convidamos os FaceBLACKs e todos aqueles que apóiam os músicos da OSB neste difícil momento.
Dia 10 de março, a partir das 11h estaremos juntos no endereço abaixo concentrando forças!!!
Sua presença é importante!!
Compartilhe…
Um abraço,
Ubiratã Rodrigues
No dia 10 de março de 2011, às 12h, será realizada mesa redonda perante o Ministério do Trabalho e Emprego, na Avenida Presidente Antônio Carlos, 251, Centro.
Today at 11:00 all orchestral musicians in Rio are being called to join forces in support to their OSB colleagues. They will gather in front of the Labour Court, where a first round of negotiations between the orchestra comitee and the OSB’s management will take place. The perspectives for this first round is that no result at all will be achieved. The musician’s union is suing the orchestra for harassement, because the musicians should have had a voice on all hiring/dismissal matters, which makes this re-auditioning illegal, and because the musicians had their vacations interrupted on the 6th day, that was the day when they received “the letter”.
After confirming that musicians would be fired as a consequence of bad audition, they are denying they said it (only in public). But the simple fact that some audition will take place without the participation of the musicians in its conception breaks their work agreement. Colleagues of the Opera orchestra will ask their conductor to finish the rehearsal two hours earlier, in order for them to be there. (This is 3 min. by foot)
Colleagues of the National Symphony, that is in Niterói, a city the other side of the Guanabara Bay, have no rehearsal today, because their theater is being renovated, but they said they will come. Their Association even wrote a manifest in support of the OSB colleagues yesterday. By the way, Roberto Minczuk is the artistic director of the Opera in Rio too.
This just in from Carnival City:
Aos músicos, amigos, assinantes e ao público da OSB, colegas de todas as orquestras do Rio de Janeiro,
Assunto: mesa redonda no MTE
Convidamos os FaceBLACKs e todos aqueles que apóiam os músicos da OSB neste difícil momento.
Dia 10 de março, a partir das 11h estaremos juntos no endereço abaixo concentrando forças!!!
Sua presença é importante!!
Compartilhe…
Um abraço,
Ubiratã Rodrigues
No dia 10 de março de 2011, às 12h, será realizada mesa redonda perante o Ministério do Trabalho e Emprego, na Avenida Presidente Antônio Carlos, 251, Centro.
Today at 11:00 all orchestral musicians in Rio are being called to join forces in support to their OSB colleagues. They will gather in front of the Labour Court, where a first round of negotiations between the orchestra comitee and the OSB’s management will take place. The perspectives for this first round is that no result at all will be achieved. The musician’s union is suing the orchestra for harassement, because the musicians should have had a voice on all hiring/dismissal matters, which makes this re-auditioning illegal, and because the musicians had their vacations interrupted on the 6th day, that was the day when they received “the letter”.
After confirming that musicians would be fired as a consequence of bad audition, they are denying they said it (only in public). But the simple fact that some audition will take place without the participation of the musicians in its conception breaks their work agreement. Colleagues of the Opera orchestra will ask their conductor to finish the rehearsal two hours earlier, in order for them to be there. (This is 3 min. by foot)
Colleagues of the National Symphony, that is in Niterói, a city the other side of the Guanabara Bay, have no rehearsal today, because their theater is being renovated, but they said they will come. Their Association even wrote a manifest in support of the OSB colleagues yesterday. By the way, Roberto Minczuk is the artistic director of the Opera in Rio too.
Amid deepening confusion, with the music director insisting that no-one would be fired when all players are re-auditioned for their jobs, an inquiry was received late yesterday at the Association of British Orchestras from a caller claiming to represent the Brazil Symphony Orchestra.
The caller asked for urgent advice from the ABO how and where to notify British musicians to apply for a round of auditions at the Brazil Symphony Orchestra.
I suspect musicians in other countries are also being canvassed. Please let me know if you or your association has been approached.
I suspect also that musicians in Brazil are not being told the whole truth.
