Orchestra goes in search of Gatti evidence

Orchestra goes in search of Gatti evidence


norman lebrecht

August 07, 2018

The Mahler Chamber Orchestra has written individually to all players and staff who have worked with Daniele Gatti since 2010.

Citing his ‘firing from his position as Chief Conductor at Royal Concertgebouw Orchestra’, the MCO asks people to come forward with ‘any inappropriate or unacceptable situations’ that may have ever arisen.


UPDATE: Further to the leak of the letter MCO has issued the following public statement:

‘Daniele Gatti has held the Artistic Advisor title with the Mahler Chamber Orchestra since 2016. In our artistic partnership we collaborate in several periods of rehearsals and concerts each year. After the most recent information and developments regarding Daniele Gatti, we are closely reviewing the situation within our orchestra. As a democratic and collectively governed ensemble, it is important to us that all members are involved in discussing and evaluating the situation, which therefore can take some time.

‘As a free and independent orchestra that places a strong emphasis on the values of collaborative partnership and mutual respect, it is essential to us to maintain an environment in which all musicians, guest artists, staff members, and other partners feel safe and fully respected. The Mahler Chamber Orchestra does not tolerate sexual harassment or disrespectful behaviour in any form.’

Slipped Disc makes no presumption of guilt or innocence in respect of the Concertgebouw allegations.



  • Charles says:

    Is it usual for an organisation to actively seek dirt on their Conductor/ Artistic Advisor in this way?

    It feels like that they have already made their mind up and just seeking evidence to back up their future decision.

    I am no supporter of Gatti, but this feels rather a sinister way to act;

    • Thomasina says:

      Agree with you.

    • Tamino says:

      I suppose they feel political correctness pressure to cancel future engagements with him? And are looking for a way out to legalize it?
      Desperate times require desperate measures.

    • Bruce says:

      Maybe they recognize the possibility that there may be others within the organization who have [still] not come forward.

      As with the cases of Harvey Weinstein and Larry Nasser and Richard Strauss (not that Richard Strauss this guy was a doctor for the wrestling team at Ohio State University) the initial couple of complaints opened the floodgates for many many more.

      I would say please keep in mind that all allegations are not automatically treated as fact, and that the Concertgebouw surely has lawyers who can assess the credibility of each individual claim. With the kind of money at stake that they are dealing with, they will probably want to be very careful so that they don’t end up losing the case and owing punitive damages (or whatever happens in such cases in Europe).

    • MacroV says:

      It’s called “due diligence.” Maybe MCO will turn up no evidence of such behavior, and at that point they should publicly say so, even if they choose to sever ties.

    • V.Lind says:

      I agree — there is a real whiff of “when did you stop beating your wife” to this.

      • Gareth Jones says:

        Disagree, respectfully: it’s a serious situation and the Orchestra needs clarity and transparency. It is very sad but, if there are victims of abuse, then they need to be heard, supported, and vindicated. Sexual harassment is genuine and serious and cannot be dismissed as political correctness.

        • Tamino says:

          Why is it so hard for people to understand the rule of law. EVERYBODY needs to be protected, accused, alleged victim, witnesses. Innocent until proven guilty.
          Have the last three hundred years of the age of enlightenment really been for nothing (and some iPhones)?

          • MacroV says:

            MCO should have made the inquiry quietly. They probably did but someone leaked.

            However, Gatti is not an employee of the MCO, he’s a contractor; they can choose to stop associating with him at any time, for any reason. At worst they might have to pay off contracts for future engagements if it comes to that. He has a right not to have his reputation destroyed over unfounded charges, absolutely. But MCO has an absolute right – indeed an obligation – to investigate.

          • Tamino says:

            They have a right to investigate criminal wrongdoing, not morally questionable character flaws. It is not illegal to be a sleazy arrogant womanizer.
            This is not the times of the Spanish Inquisition, or Stalin‘s „great“ cleansing.
            The willingness of the apparent majority in the „free“ west to enslave themselves to a pseudo-moralistic tyranny is nothing but astonishing, 229 years after the French revolution.

          • Vaquero357 says:

            “He has a right not to have his reputation destroyed over unfounded charges, absolutely.”

            The Washington Post article and Concertgebouw’s actions have already taken care of that.

          • Saxon Broken says:

            Tamino: your comments that only criminal behaviour warrants dismissal are plain wrong. There is lots of conduct that can get you fired, but won’t results in jail.

    • Jack says:

      Obviously you don’t understand much about this. Or perhaps you’re just an apologist for people who do this sort of thing. Wink-Wink-Nod-Nod. Boys will be boys.

    • LKB says:

      I would´ve done the same.
      If in the next weeks someone comes forward, I´d have to face the question why I did not previously and on my own looked into it after such a dramatic development in Amsterdam.

      Looking for dirt is not throwing dirt.
      If there is no dirt, there is nothing to throw with.

    • Malcolm James says:

      Agreed. Whatever the MCO’s motivation, there are good reasons why the police or HMRC are not allowed to go on fishing expeditions.

    • Malcolm James says:

      Agreed. There are good reasons why the police and HMRC, for example, are not allowed to go on fishing expeditions.

    • Rgiarola says:

      They should investigate in secrecy, and later announced the results. Now they are just destroying DG reputation based on allegations made by the media.

  • Tablot says:

    and about Radio France and the Orchestre National de France ? No process of investigating ?

    • Pedro says:

      And the RPO, Bologna, Covent Garden, Zurich Opera and every other institution where Gatti has worked? What are they waiting for to investigate his past? The last time I heard Gatti was at the Concertgebouw on June 22. It was his last concert there with a Beethoven and Wagner programme which ended with the last scene of Gattidämmerung, though we didn’t knew it at the time. Superb evening.

      • Saxon Broken says:

        He is not a current employee of the RPO or the other organisations. They can simply decide not to engage him in the future. The RCO conducted an investigation since he was their employee.

    • Anonymous says:

      It’s Europe not the US. The “Me too” thing is a US phenomenon. The Dutch are probably the most closely aligned with the US in terms of how they feel about issues like this. No surprise that Concertgebouw was the 1st European orch. to speak out.

      It will not fly so easily in the other continental EU countries, I guarantee it. Possibly a German or a British orchestra might come forward. But we could be waiting for decades for any of the great French or Italian orchestras to act against a conductor for this type of behaviour. Big cultural differences.

      • Karl says:

        But Dutoit has lost his jobs conducting European orchestra’s. Metoo is everywhere. All men are guilty unless they can prove their innocence.

  • John Borstlap says:

    A Gatti Helpline….. The man innocently thought, as an Italian, that he was just erotically active and flirting with the beautiful ladies, honouring players with his expert attention, and now he finds himself suddenly in a labyrinth of moral indignation, with helplines set-up, and possibly a future inquisition case and the guillotine being taken out of the somewhat derelict barn. Although no doubt there will be shown to have been rather unpleasant interaction between conductor and players, the whole story has something of one of those tragic/comic Woody Allen movies.

    • Tamino says:

      Gatti has already used the last resort of Stalin times “self-criticism”, since he has recognized what times and what system we are living in nowadays. He will still be shot.

    • anon says:

      Don Giovanni heading straight to hell with no regrets.

    • CGDA says:


      “The man innocently thought, as an Italian, that he was just erotically active and flirting…”

      Don’t bring nationality in this.

      • John Borstlap says:

        But all the Italian men I know nod seriously if I bring-up the subject of amorous cultural identity.

  • Sue says:

    Oh yes, leave no stone unturned. Make sure you’re watching watching, listening and writing it all down. You could also employ some spies. There are witches out there and they have to be burned at the stake. Jackboots also helpful.

    Where’s Arthur Miller when he’s needed?

    • Bruce says:

      He already wrote the play. Unfortunately, he wrote it about people trying to expose a type of creature that doesn’t exist.

  • Caravaggio says:

    Good for the MCO administration. They are pursuing logical due diligence and if anything turns up, hopefully justice for any victims of predation or sexual harassment too.

    • EagleArts says:

      What would be your distinctions between flirting, sexual predation, a possibly clumsy pass and sexual harassment?

      • Vienna calling says:

        You don’t know the difference? Seriously? * sigh *

        • Eaglearts says:

          That’s not the nature of the question, I’m asking Caravaggio what they believe the distinctions are. You should not assume that I’m ignorant of the variables.

  • Rob says:

    Don’t forget to check all the airport’s.

  • Tamino says:

    To paraphrase a famous JFK bonmot:

    „Don‘t ask what a man can do against you. Ask what you can do against a man!“

    • Rgiarola says:

      They will say JFK does not belong to this world anymore for longer. No one can go against the holy war proposed just upon a denouncement to a media journalist

  • anon says:

    Why stop at Gatti?

    Every orchestra, every opera house, should have a helpline to report every conductor, stage director, chorus master, concertmaster…

    If the RCO had had such a helpline set up a year ago, Gatti’s contract would never have been renewed, and the RCO would not be in the legal and financial pickle that it is in now.

    • Bruce says:

      That actually makes a lot of sense.

      Most “normal” (i.e. non-artistic) places of employment have a phone number set up to report any and all types of unethical/ illegal behavior, at least in the US.

    • EagleArts says:

      Most organizations do have such a “helpline”, it’s called the Human Resources department/office.

      Honestly, to be sacking people without a proper investigation, presentation of evidence and giving the accused an opportunity to respond is simply wrong. It becomes a true witch hunt at that point. The #metoo movement needs to do better.

      • professor says:

        In almost any organization, the Human Resources office exists to protect the interests of the employer firstly, while providing basic information and services to the employees (rather than to advocate for them).

        • Eaglearts says:

          That’s not been my experience.

          Perhaps to protect the organization from liability, but not the music director/concertmaster etc. as they not the employer. If complaints of harassment (sexual or otherwise) against a colleague or superior are not taken seriously it shifts liability onto the organization as well as the offending individual, which is a much bigger problem in every way.

          Secondly, there are orchestra committees in addition to unions/players organizations involved with every performing arts group.

    • Karajon says:

      Good point.
      Why RCO members did not warn earlier? If they did, what happened to those complaints? Many dubious questions and actions.

      • John Borstlap says:

        17 players of the Torino Mandoline Orchestra complained at the HR dept about the one male player who had been winking into the direction of the 2nd mandolins at a rehearsel. The man had to appear before a tribunal consisting of the entire ensemble and justify his behavior, which he claimed was a nervous twitch because he had heard a wrong intonation at the back. Since medical truth could not, retroactively, be established, the case merely left a bad taste in the ensemble and became so painful that the perpetrator went on sick leave for 2 months. Which shows that complaints are not always effectively handled, not even in a gender composition perfect to detect male subversion.

        (Source: The International Mandoline Review, issue December 2006, Edizioni Fugitivo, Rome.)

    • Saxon Broken says:

      The RCO are not in either a legal or financial pickle. I don’t know why you believe they are. They are in no danger of actually being successfully sued by Gatti. If his lawyers ever get in touch with the RCO, I am sure they will refer to the reply given in “Arkell v. Pressdram”.

      • Saxon Broken says:

        By the way, Private Eye later published the following:

        “Mr Arkell has now, albeit belatedly, complied with the suggestion made to him at an earlier stage of the proceedings.”

  • Ed says:

    Madamina, il catalogo è questo…

    • Bruce says:

      Actually it’s interesting in Don Giovanni how the three female roles portray three kinds of encounter:

      • Donna Elvira, who it sounds like was actually married to him, or thought she was for awhile. Now she goes around trying to warn others away from him while still carrying feelings of her own.
      • Zerlina, who is a flirty, saucy minx but turns out to be naive when Giovanni takes her offstage and tries to get down to business. (In real life, today at least, such a person might easily convince herself or be convinced by others that, by flirting with him and – gasp – being alone with him, she deserved whatever happened to her.)
      • Donna Anna, who actually has the most confusing/ confused story of the three and doesn’t always seem 100% sure herself what happened. Naturally her character is the one who comes in for the most “unreliable female” derision.

      • John Borstlap says:

        Da Ponte considered another version of the plot in which Don Giovanni simply is arrested by the police after the murder in the 1st act, and being tried by female ‘judges’ which are the three female victims disguised as representating the rule of law, after which the Don would beg forgiveness before being beheaded by Donna Anna, but Mozart complained it were too much ahead of their times and would omit his opportunity to set female jeremiads to wonderful music.

  • Robert Holmén says:

    I’m surprised to find out there is something called the “Mahler” chamber orchestra.

      • Robert Holmén says:

        …and that a chamber orchestra is doing Bruckner 9

        • qwerty1234 says:

          The origin of the name comes from the Gustav Mahler Youth Orchestra, where all of the founding members met and decided to continue playing together after they reached the upper age limit. It doesn’t have so much to do with Gustav Mahler in the sense of his grandiose and hugely orchestrated symphonies. Also, they don’t play repertoire like Bruckner 9. All MCO members are also members of the Lucerne Festival Orchestra, which Claudio founded and conducted.

          • Anonymous says:

            No, they are not all members of the Lucerne orchestra. That is a fact. Mahler Chamber Orch. is a pick up orchestra with teachers, free-lancers and players from other orchestras, but not all Lucerne. It is not full time.

            Furthermore, since they often play without conductor, Gatti seems to be mostly present as an “Artistic Advisor”.His name is on their website in that capacity. I am wondering how much actual contact he has with the musicians in this group.

            I think MCO is jumping into the fray because they want to make sure their association with him is clean. Since the musicians’ jobs are not full time with any type of long term contract (to my knowledge) I seriously doubt that anyone will come forward.

  • John Borstlap says:

    I had set-up a helpline here but there were no help requests apart from mine, and since I was manning the helpline myself it turned-out not to be very effective.


    • jaypee says:

      Shut up. Just shut the fuck up.
      Don’t you have any pride left, bortslap?

    • anon says:

      I never did get “Sally”, is this some sort of Dutch humor that is lost in translation?

      • John Borstlap says:

        These people are really in need of a helpline, a bunch of old fogeys shrinking under the wave of feminist liberation… My advice: do take up a hobby! for instance, the bassoon is most uplifting, although the thing itself is a bit heavy, but lighter than your silly dullwitted [redacted]!


  • barry guerrero says:

    I subjectively hope that nothing comes of this. Any orchestra that carries the name “Mahler” should hope not as well, as Gatti is – for me, at least – a bit of fresh air among today’s conductors who like to promote the ‘Mahler lite’ aesthetic.

    I like the two Mahler cd’s he did with the RPO (4 and 5), and I very much like the Mahler he has done, so far, in Amsterdam. A friend was completely knocked-out by a Mahler 6 he did with the N.Y. Phil. two decades ago too.

    I was hoping Gatti would get to Mahler symphonies 6 through 8 in the Concertgebouw, but that’s certainly not going to happen now. Sucks, from my perspective.

    • Feurich says:

      He did conduct Mahler 6 with RCO the year before his apointment. I went two nights and I was disappointed both. I heard him also in Mahler 3 with RCO and loved it.

      • barry guerrero says:

        Yes, I have a ‘pirate’ of that Mahler 3 and also love it. Sorry the 6th wasn’t as good. There’s a Decca download available of an M6 he did in Paris that I find it to be really interesting.

  • CGDA says:

    If no one comes forward, this case will have a very interesting twist. Is it likely that other orchestras will come forward?

    • Anonymous says:

      It will, indeed. I doubt that anyone will come forward and Gatti could use that in court against Concertgebouw.

      But you have to look at the credibility of the “Mahler Chamber Orchestra” as an entity. It’s not much. No comparison with a full time professional orchestra like Concertgebouw.

      • Saxon Broken says:

        He can not use anything at the Mahler Chamber Orch in his case at the Concertgebouw. That would be bizarre: the RCO isn’t responsible for anything that the MCO does, or how he behaved with the RCO. He was fired from the Concertgebouw for his behaviour at that organisation (the RCO), and this is the only grounds on which he can challenge the decision.

  • barry guerrero says:

    If he’s being fired by the Concertgebouw, shouldn’t any legal argument pertain to only that which happened with their members (?). Just asking.

    • CGDA says:

      It seems that the rapport with the Concertgebouw was not brilliant. The Maher Chamber Orchestra might be doing this to support Gatti because if there has never been wind of harassment or abuse he need=s to be defended.

      • Anonymous says:

        Their rapport has probably been better because he’s there mostly as a figure head, a prestigious name acting as “Artistic Advisor”.

        How many concerts does he even conduct with this group per season? Someone should look that up. It’s not many. How many concerts are even in their season? His contact with them, I’m sure is quite limited. Also, all the members of MCO are freelancers. It’s a part time gig. Freelancers are the last people who are going to speak out against a conductor.

        And just for the record, the Mahler Chamber Orchestra has very little to do with Mahler. It’s a freelance pick up orch. and they play pretty much what they want to.

        The only reason they did this questionnaire is because Gatti’s name is on their website and they want to make sure it’s safe to keep it there.

    • CGDA says:

      It seems that the rapport with the Concertgebouw was not brilliant. The Mahler Chamber Orchestra might be doing this to support Gatti because they might have never got any wind of harassment or abuse and therefore they might feel that justice needs to be made.


  • kelly says:

    i have played some of the most astonishing performances with him- his othello and meistersigner were simply brilliant. and while i respect women like you can not imagine… i spent hours. days even in the pit with with him and he is a complete professional.

  • Anon says:

    Mahler Chamber Orchestra is kind of an inbred pick up orchestra. They don’t have official auditions, as far as I know. It’s not a full time job. The musicians all make their actual living playing in other orchestras or teaching.

    They are a small circle of friends who recommend and hire their own friends. It’s an extension of Mahler Youth Orchestra, which apparently most of them played with at some point. Once they got to old to be in a youth orchestra they couldn’t let it go.

    It’s totally an EU thing. They make a token nod to a couple of non EU countries in their membership, but that seems to be mostly for show. It’s a very nepotistic organization as far as hiring musicians.

    My personal experience with the members of this orchestra is they are snobby and elitist and membership in this group makes them feel entitled. It’s a club. They really think they’re hot stuff. They want the prestige of a name conductor for their elitist little pick up band so I don’t think these musicians are going to speak out readily against Gatti.

  • barry guerrero says:

    All of this is as distressing as it is disappointing. The Concertgebouw is supposed to be – according to Gramophone and other ‘hop along’ English critics – THE top orchestra in the world. They had plenty of time to do background checks and find out if they had a real rapport with Gatti. They knew for a very long time that Jansons would not be around forever (why would they want him to be). Clearly, there must have been some faction of the orchestra that wanted Gatti to be there. Now this.

    Maybe they should go the route of the Vienna Phil. just use different, ‘interchangeable’ conductors going forward. Then everyone will have to be on their best behavior. That’s what we want, right?

    • Tamino says:

      Forget about this THE top orchestra thing. They are a very good orchestra, the best in the Netherlands, probably among the best ten to twenty in Europe, but that’s about it. They have currently problems attracting new talent, they have a great legacy, but the pay is not competitive to attract the very best young orchestra musicians.

      • John Borstlap says:

        In Holland, paying for culture meets a profound inner resistance, because it is not really felt as something important for human life. Where people will pay hundreds for a soccer match, buying a book or a ticket for a concert is considered a waste of money, something you indulge in when you still have money left after having paid for all possible other things.

        • Feurich says:

          And yet if you live in South Holland area, you can hear the Concertgebouw one night, the Rotterdam Philharmonic the next, many smaller towns have chamber music societies, so there is usually a sting quartet to listen to on a given week. There is modern dance (NDT, Introdans if visiting) Ballet, (Scapino, National Ballet) excellent Opera. Not bad for a country that does not like spending on the arts.

          • John Borstlap says:

            But most of this is window dressing. The arts in the NL are almost entirely dependent upon politics, i.e. state subsidized. And there have been many rounds of serious subsidy cuts over the last years, and every subsidy period of some 4 years produce great anxiety among the cultural institutions about who and what will be victim next. Political parties follow the vox populi, and its loudest voice is the idea that ‘the arts’ are merely a hobby of leftwing elites. The subsidy system looks nice and democratic on paper but in practice, it is a way of channeling the little money there is, to the most populist and primitive projects. Even the established institutions have to cope with less and less support. Since there is no tradition of private donations or business sponsoring, as in the UK for instance, the few sponsors are some big banks who only pay something for the few big institutions because that gives status to their business. It is a populist country.


            (And living in the NL while having your musical activities abroad, offers a) good quality of life and b) great inner freedom. And you learn to understand the value of high art through its absence and taboo – some exceptions excepted.)

        • Tamino says:

          Why is that? Why is Holland like that?
          Is it the early onset of liberal education?
          The subsequent loss of respect for culture and high art?

          • John Borstlap says:

            It is because the NL are not a really European country, feeling involved in the ‘European idea’ of a civilization. It is squeezed between two European giants: France and Germany, which it has learned to be very suspicious about. So it looks to the USA and the UK for identification. The country was born from a liberation war with Spain, and the first truly bourgeois country in Europe, without a real cultural tradition, without a court that could support culture and set standards and stimulate the arts (the famous 17th century which was its best period for painting, was a thoroughly bourgeois affair). Main interests: trade, money, equality, and a shared protestant guilt complex because of amassing wealth by often ‘shadowy’ means (slave trading, piracy). Some information about the peculiar cultural climate of the country can be found in this text which is about state patronage for new music, which focusses on a particular sub-theme but which brings the mentality in relief:


          • John Borstlap says:


            I think these passages are the more relevant to the questions:

            “The Netherlands were born from a liberation war from a superpower, in this case Spain. Being a rich territory and ideally situated at the crossroads of trade traffic networks, it had enough of being bullied and exploited by much bigger and much more ambitious countries, which sported all kinds of ideological cults around monarchs, religions, power spheres and war campaigns. These cults were, to a great extent, reflected in the arts of which the churches and the courts were the main patrons. In the first period of wealth and freedom of the Netherlands, the flowering of painting is especially unusual in its subject matter: it is mostly daily life, the real world, which the viewer could see framed and often elevated to a higher level. Also religious scenes were furnished with people and sights which could be recognized from real life experience, as can be seen from the local Jewish types Rembrandt used for his bible scenes, settled immigrants from Spain and Portugal, who kept to their customs and dress codes. In other words: the subject matter of normal, real life, and not the pretentious historical and allegorical traditions of other European countries were popular, and this idea of the free, wealthy burger, who kept to his real, physical world and who would not be impressed by wild ideologies which only could make a mess of the hard-won orderliness in the towns filled with small, individual houses and canals, this became the fundament of how the Dutchman began to understand himself. Being a young country, also the idea of youth as something with a worth of its own, in contrast with the general notion of youth as immaturity, as a stage to leave behind as soon as possible, became part of Holland’s self-image; there are various travel diaries from past centuries by foreigners who were utterly perplexed by the rude and uncouth behavior of children and teenagers in these lands, jumping around like chimpanzees and looked-upon by their parents with an approving smile. This was not just a lack of civilization, it was an expression of individualist freedom, a liberation from authoritarian rules as were common in those pretentious, dangerous neighbouring countries.”

            “This self-image as a small, but free and individualist, materialist and rather immature country was internalized and survived to this day. Holland is not a country of phantasy, dreams, great passions and ambitions, but of a small-scale, orderly life, where all you see is all you get, where most of the creativity is channelled in organizational skills and material cleverness, and where the inner life is kept carefully indoors. To atone for the wealth, individualism and materialism, the Calvinistic group cult of guilt, sobriety and predestination formed a perfect balance so that one could have it both ways. This group instinct went into modern state bureaucracy which is, in the Netherlands, developed to a level of differentiation and regulation which would have made Soviet-Regimes envious. For the calvinistic mind, music, that is: art music as a high art, is a seduction for not being under theological control, and therefore in the churches only functioning as an accompaniment to the psalms or a pleasant ornament to the service; for the tradesman, it cannot be measured, weight, and produced and sold as spices, weapons and slaves can. The absence of a court culture completes the picture of a kleinbürgerliche society where music is not a serious occupation.”

            This means that what there is in terms of serious music, has to struggle all the time in adverse circumstances – and more so than in other countries in Europe where there still is a chunk of traditional cultural awareness, in whatever form, to counter populism in our times.

  • Rgiarola says:

    Everyone says “the moral” is the reason for a forward punishment, however the laws were created in order to establish the acceptable behavior of each citizen living in the same society. Moral is a very subjective thing, and even inside any Congress you will find a huge range of moralism from the religious representatives up to liberals that believe the State should not intervene in any situation. Nevertheless, only after a law is approved that society knows the acceptable level of moralism and it can demand strictly follow up of all citizens.

    Without laws, everyone will want a lynching every time something will be against her/his personal moral values. Chaos.

    That’s the thing is always happening with this kind of denouncements. No one denounce to police or legal authorities and the reason is probably they know it won’t be acceptable as a sexual harassment in the view of the law. If it is not the reason, I cannot understand why they don’t go for their rights and even for a real punishment and for indemnity, but prefer to denounce to media. No one is more able to protect the identity of a victim them the authorities.

    • Tamino says:

      Exactly right. But #metoo is not an enlightened movement, that seeks the rule of law. It is to the contrary a modern form of a lynch mob, for the active participants. And a lot of voyeuristic bystanders who feel that sweet shudder, seeing ‘the nigger’ hang. Not much has changed.

      • Rgiarola says:

        Actually no one is also thinking that It can be used by any rivals even males, in order to destroy careers and open row for the slanderer. Considering all we know about human being nature, if someone does not believe it or any similar stratagem is possible, sounds like a real naive (Or malicious) person. That’s one more reason why things must be professionally investigated, and the real guilty ones judge and punished by the law. Does not matter if a real sexual harassment perpetrator or another slanderer, because both are crimes in the majority of countries. Both can cause serious damages to a society as well

  • debussyste says:

    They fire their conductor and AFTER they look for evidence ! McCartysme is alive and well !

  • Karl says:

    I think more and more men are going to start following the Mike Pence rule – never be alone with a woman who isn’t your wife.

  • Saxon Broken says:

    Actually, the letter seems, on the face-of-it, if they are inviting people to make complaints against a specific individual in the organisation, then they could be in legal trouble.

    You can not, as an organisation write to your employees: “I want to fire X, so please provide me with some accusations which will allow me to.”

    You can write something like: “There has been a lot of publicity about sexual harassment in orchestras recently. Please feel confident that you can speak to the management if you have any concerns on this issue, and that your complaints will be taken seriously.”

    The first would, almost certainly, amount to constructive dismissal (even if the underlying complaints are true). The second would be legal. I haven’t seen what the MCO wrote, but…I hope they have taken proper legal advice about what they have written (however well intentioned).