New oboe is a low blow, say locals
NewsYou may recall that the San Antonio Symphony was liquidated by its board, only to be revived by the musicians as the San Antonio Philharmonic.
Sad to say. they are not a happy crew.
Music director Jeffrey Kahane has told them he is importing a New York principal oboe, Belinda Rosen, without audition, for the whole season. The local musicians are simmering.
Rosen, principal oboe at Brooklyn Chamber Orchestra, teaches at the 92nd St Y. She will commute to Texas.
Belinda is no doubt a wonderful player. I feel bad you’ve used her picture and made her the central figure of the article, rather than leaving the criticism to the organization itself.
However, it is understandable and reasonable to think there are many qualified oboists in a much closer proximity, that wouldn’t require commuting from NYC for such a limited engagement.
Yes, I agree with them. It also is not an easy situation for her to come into– Auditions need to happen. Orchestras that keep “appointing” people – especially when they haven’t even had an audition in the first place are ridiculous!
Agree with whom: the “simmering locals”? That could be one disgruntled player. This is a stand-in appointment.
What evidence can you cite that people are upset?
I’m sure she’s an excellent musician. However, it seems that DEI initiatives often result in an unspoken ‘asterisk’ next to a minority hire, as if their qualifications are being questioned. This is unfortunate, as it can unfairly diminish their accomplishments and devalue their hard-earned success. It’s frustrating that BFWs reduce the solution to simply ‘hire more women,’ rather than embracing a more thoughtful and holistic approach to diversity.
This has nothing to do with DEI… hiring a white woman to an orchestra hasn’t been an issue since the 90s at latest. The issue is Kahane importing rather than auditioning. The same displeasure would arise if he had brought in a white man.
I’m dying to know how the musician in question is a “DEI hire.” Are all women, full stop, now considered DEI hires in Trump/Vance’s Gilead?
Exactly. America has gone too far in both directions.
Where do you get the sense that this is a DEI appointment? The current principal is Deana Johnson, a very busy woman indeed.
The appointment is as acting principal, suggesting Ms, Johnson has some reason to be away for a time — it may be a professional reason, and a personal one certainly suggests itself. I don’t know how much notice the conductor got of the need for a stand-in, but it may have been short enough that he did not want, or feel he had time, to go through the audition process and appointed someone whose work he knew well.
And a quick scan of the music and San Antonio press has not added information about the “simmering” locals, but I do not have the “inside sources” in San Antonio that this blog clearly has.
The most thoughtful comment here. As a black gay man i applaud dei and other “attempts” at leveling the playing field but often there are inconsistencies and other issues. America is the land of many promises never meant to be reckoned with-perhaps.
and how does your comment apply to this particular situation? I’m not finding any connection.
Hiring a qualified woman to play in an orchestra is about as unremarkable as it gets. Where on Earth does DEI come from? This decision is fraught with many other issues but DEI ain’t one of them.
People like you should just die. Seriously, all you do is hate anyone who isn’t *just* *like* *you*.
Mary, how is this a DEI appointment?
I don’t know when the season will be starting, but auditions take time to arrange and for even a temporary appointment to be made. This seems to be an exceptional situation and, if the orchestra has a longer-term future, there will need to be an audition for a permanent position.
Who are the “people” and what have they said?
Perhaps a one year appointment without audition is allowable under the terms of the master agreement. This is not a brand new thing to have happen-it all depends on several variables which we just do not know, most of us. Typically after a one-year appointment, an appointee would have to win an audition to stay in that role.
Not to take sides, but what does the new orchestra’s CBA have to say about this? Ages ago in Tulsa, our CBA permitted the Music Director to make one-season appointments [by any means] in the event that local or national auditions produced no winners. The CBA further required such appointees to participate in local or national auditions if they hoped to continue. I made a few such appointments over my three seasons as Music Director, all worked out quite well.
So what happened to the original local oboeist?
She will commute? Will the Philharmonic also be paying her plane fare, hotel and per diem? If not, she will net $0 for every gig.
Wonder what the UNION has to say about this…IF the SAP is still a Union orchestra!
Norman, you knew exactly what you’re doing, choosing to post this picture of her (not a professional headshot or even one in an orchestra context) and gossip mongering with your choice of words. Belinda is an excellent player and a very kind, hard-working person. This is a low blow to her reputation. Why not focus on the institution rather than casting her as a central figure?
Well, because he knew exactly what he was doing. Cracks me up!
Not sure why folks are objecting to the picture. It’s a lovely picture, and not unprofessional at all. If he’d published a photo of her playing her instrument the same folks would have accused Lebrecht of some sort of obscene innuendo.
@CT Of course he knows what he is doing. I couldn’t have said it better. He’ll do anything to get a click!
The above article is full hearsay and innuendo. How can anyone take it seriously? The reputation it can affect is the author’s.
What is the relationship between said conductor and new oboist?
This appears to violate the authority of the contract , the local, and due process.
I have never met Ms. Rosen in person. I heard her play on multiple live recordings and was deeply impressed. She was also recommended warmly to me by a member of the Philharmonic and by another superb oboist who is one of the finest oboists in the country and a long-time colleague. Nothing about this appointment is in violation of anything at all or it would have been contested by now, nor would it have even occurred to me to make such an appointment in the first place.
I know little of this orchestra or musician. However, bankruptcy is an obvious indication of a failing organization. Accordingly, major changes are obviously required: including substantial salary cuts and improved credibility. Expect tears and more and more if this organization is to survive. There is no shortage of musical ensembles.
The San Antonio Philharmonic mentioned here is not the bankrupt, defunct San Antonio Symphony, shut down by its worthless board that refused to do the necessary fundraising to support that historic institution.
All this depends on what the orchestras protocols are. If the conductor’s backed by the orchestras board then there isn’t an issue. It would also depend on what and if there’s a funding stream. In other words, is there a transparent and agreed process about appointments…. If it’s being abused take some legal or other legitimate action…..
Same thing happened last year in the Phoenix Symphony. It was a very desirable one year position which could easily have been filled by a well-qualified local player.
Outgoing music director Tito Munoz decided to bring in someone he happened to know from elsewhere.
Phoenix is teeming with well-qualified players on this instrument who would have loved a shot a this one year job, or even just to be able to audition for it. Everyone was puzzled as to why this appointee appeared out of no where. Apparently this happens regularly in Phoenix. Shame on Phoenix Symphony, their CEO, their Committee & the Musicians’ Union for not speaking up.
Like in San Antonio and most other orchestras, the contract grants the MD the authority to take this action if necessary, but it still requires approval from the OC when it occurs. Therefore, if someone was brought in, it means both the OC and the principal of the section approved it. The conductor cannot invite players without some form of agreement. Since COVID, Phoenix has had numerous one-year appointments, consisting of both local and out-of-town musicians. Phoenix’s freelance pool has a wide range of average to competent players but few exceptional ones across all instruments. To avoid remaining mediocre, Phoenix needs to look beyond the local talent pool, which explains why local musicians often don’t secure positions there, like most orchestras. The same situation applies to San Antonio.
Thanks. Yes, I understand.
The glaring problem with the recent Phoenix appointment I’ve described is that while the person the MD brought in was qualified, they were not exceptional. There are many local players suited for that position who play as well or better. That’s why the appointment raised eyebrows.
Another important point that often goes overlooked is that hiring a local musician for a 1-year contract can deplete the already limited pool of substitute musicians. It often comes down to a numbers game.
Now, regarding Phoenix…
“Everyone was puzzled as to why this appointee appeared out of no where.”
Everyone? Certainly not the committee, the other section members, or the union. It’s worth noting that an MD can’t make these decisions unilaterally, and such decisions are typically guided by the principal players in the section.
There were at least five or six 1-year positions in Phoenix last season, most of which went to local musicians.
You mentioned that the hired player was qualified, so it sounds like your dissatisfaction stems from not being selected yourself. It’s important to remember that even audition outcomes can vary, and if your frustration is about being passed over for a 1-year position, you should probably address it with the section principals, who likely had a significant role in the decision you’re concerned about.
My complaint is that hiring one year players in Phoenix is not a transparent process. If the OC is approving these appointments, then it’s become an oligarchy – a few people making important decisions which affect a large group of musicians, both within & outside of the orch.
They’re choosing who they want – they could be friends, students – not necessarily based on artistic merit. Once in a while, in a pinch, yes, I get it. But this is how Phoenix Symph. is regularly hiring. Yes, I’ve also heard the stories of the many other 1 year appointments in Phoenix. And the startling tales of renewing those contracts ad infinitum with no auditions. That’s not transparent. It’s not fair to the community or to local players. Or to any players for that matter. If you’re interested in bringing in “exceptional” players, then do it by audition, not by appointing friends of the OC & MD. And then to keep those players in those positions with perpetual one-year contracts?! This is a poor orchestral model which would not be tolerated in any other major US city or most other cities in the world. Just saying.
I’d imagine that being non-profit, Phoenix receives some form of state & federal funding. That should come with an obligation to hire all positions fairly and openly. The reason Vienna had to ultimately open auditions to women was because they also receive govt funding. Please take a lesson from that.
Unless Phoenix Symphony is a privately funded, privately managed organization which receives no public funding whatsoever, it should be obligated to have fair and open auditions for everyone.
The “sub pool” is one of the issues. In the example I originally cited, the person who had the one-year contract did not gracefully return to their previous city. They have apparently decided to remain in Phoenix and now appear to be 1st call sub for the orch. This nixes the possibility for any other well-qualified players to be considered to sub for that section.
I couldn’t care less about playing with your orch. I’m concerned about the shocking orchestral model your system presents for players (particularly young professionals) in the Phoenix area who are being taught that this is how the orchestra profession works. I just don’t believe it’s right.
A board that cannot sustain a community orchestra clearly cannot sustain a regional one ..☹️
This orchestra will never finish the season.
The Board all quit.
They don’t pay anyone on time, if at all.
They have no place to perform.
There are other orchestras in the city without all the drama.
They have canceled more concerts than they’ve performed.
There are multiple lawsuits pending.
Multiple fraud investigations are going on.
Support is dwindling from the government.
No CBA.
No staff.
Bad press.
You can’t buy tickets half the time.
The ED has no experience in arts management and by all accounts is a disaster.
The local will dissolve and be absorbed by Austin.
Everybody hates them.
It’s over.
She needs to stay home for her own good. Or at least buy refundable tickets.
This article is silly. If she was a bad player she wouldn’t have been asked to play.
Audition processes are a scam. They are lucky to have her.
Belinda is a wonderful musician. Quit griping everyone- just a one year appointment.
This is a ridiculous article. Anyone who is currently in the business knows this is exactly how one-years in America can and usually do go- an auditionless appointment made by the conductor. Belinda is a fantastic person and player and does not deserve this treatment whatsoever.
And to just slap her photo there.. absolutely wild. Beware anyone who receives a one year… you could become tabloid fodder I guess.
Put a picture of Jeffrey Kahane, not her, if you want someone to blame.
Realize the power that you have by publishing something on the internet that lives on forever… and please use it ethically.
yes, my sentiments exactly. Norman, make sure that the pot you’re stirring deserves being stirred, ok?
Hear her play on YouTube.
Obviously chosen for being an Artist. Conductor wanted a player that could be compared favorably to Paul Lueders, the wonderful player, moving on to Chicago Lyric Opera.
https://m.youtube.com/watch?v=sq6IN7VvvBc&pp=ygUSYmVsaW5kYSByb3NlbiBvYm9l
Ah, so we are now auditioning for full time orchestra positions on youtube? Well then, let’s have a look at the youtube videos of every other oboist who’s interested in this position.
Perhaps I can shed a little light on this situation. I was appointed music director-designate of the San Antonio Philharmonic in Februrary, and only became music director officially in July, less than two months ago. Anyone familiar with audition procedures in this country knows that auditions must be announced and advertised several months in advance. Prior to this appointment, the Philharmonic was in negotiations with another oboist who is from the area, and wanted very much to return home after working elsewhere. That player was then offered and accepted another position, and we suddenly found ourselves in a position of needing to appoint an acting principal with only weeks to go before the start of the season. It will not be for many months that we will be able to schedule auditions, and when we do, anyone who wants to apply for a permanent position will be able to do so and go through a rigorous and absolutely fair audition process.
The orchestra could not have scheduled an audition for this (or any) position without a music director in place. All open positions will be auditioned according to a timetable yet to be determined in consultation with the the orchestra committee. This is an appointment for an ACTING principal. There are already other acting principals in the orchestra who were already in those positions when I was appointed, and no one inside or outside the orchestra has made even the slightest objection to that fact. As far as the implication that this appointment is somehow disrepectful to local musicians, that is simply absurd. If I didn’t have the deepest respect for local musicians I would never have accepted the position of music director in San Antonio in the first place. I did what any music director would do on such short notice when dealing with one of the key positions in the orchestra, which was to appoint someone whom I knew was a wonderful player and whom I felt would be a good fit for the section. That is both my right and my responsibility. I have absolutely no doubt that there are other wonderful oboists in the area, and they will have every opportunity to audition for the principal position when that audition takes place.
The saddest thing about this story is that it would be reported without so much as the slightest effort to understand the context. Finally, I have made it very clear from the moment I was appointed that I am open to any and all communications from the musicians, and if there really are locals who are simmering, they might have considered writing or talking to me before taking their concerns public in a way that only hurts the institution.
I neglected to mention one extremely important fact in my previous post. Since I was music-director designate until July, and I knew that for the sake of consistencit was important to have an acting principal oboist, I specifically asked the orchestra committee, who are elected to represent the orchestra, if there were any objections to my making a one-year appointment. There were none, neither before nor after Ms. Rosen was appointed, nor has the Union registered any objection. (And yes, the SA Philharmonic is very much a union orchestra.) This appointment was done strictly “by the book,” and the decision to appoint Ms. Rosen was done on the basis of her superb playing, and nothing else.
Thank you for the explanation, Maestro. And kudos to you for checking with the Committee. The Committee, in my opinion, should have brought it to the Union. The Union isn’t going to know about something like this unless a member informs them. They didn’t know, that’s why they didn’t object.
Whoever complained to Norman is probably a local oboist upset by this appointment. If they’re paying local AFM dues, they have every right to complain to the Union about this.
As far as hiring her for a one year acting job with no audition, Maestro, you might have considered hiring her on a per-service basis until an audition for that one year acting job could be held. Yes, that’s inconvenient for you, but it’s a good faith gesture to show the musicians in your community (whose support you need) that you’re not ignoring them.
Or solicit resumes & videos from interested local candidates & hire one or two you approve of as per service subs until you can hold auditions. If it’s a big oboe program, sure bring your friend in for that, but give local players the opportunity as well. That would go a long way in your community.
You’ve got to understand, Maestro, that orch. wind positions, esp. Principal ones, are as scarce as hens’ teeth. I’m sure you’ve got highly qualified players in the SA area with advanced performance degrees from the best schools, who play at a very high level who are maybe taking national auditions & waiting tables or teaching middle school band kids just to get by.
Then a local job comes up and you bring someone else in without giving these local players a chance. Yeah, I get why they’re bent out of shape. . .
I’m sure Maestro understands how scarce auditions are.
It’s slim pickings in San Antonio in terms of musicians.
To whoever complained to “TMZ”: please reevaluate your perspective.
And next time realize that tons of one years are given out every season to random people who aren’t local, have no connection to the orchestra and don’t have to audition. There’s no uproar about that. In fact, it’s encouraged.
It is my understanding that the orchestra committee did indeed bring this question to the Union and the Union raised no objection.
As I mentioned earlier, I had originally offered this position to a musician from the area who was living elsewhere and wanted very much to move back here with their family. That person then received another offer and decided to take that position, which we learned just a few weeks ago. With the opening of the season just a weeks away, we were in no position to solicit resumes or videos, nor would I have had time to review multiple applications.
This is the only position in the entire orchestra which is being filled for the full season by a non-local player. The SA Phil has been and continues to support the musicians of the city and the region. And we look forward very much to starting the audition process as soon as it is logistically feasible, and continuing the process of rebuilding this wonderful orchestra.
Well said Maestro.
To have auditions, there needs to be money and a music director. Kahane has just started his time there. The principal oboe spot has been open since before the orchestra went down. This isn’t NYC with a large pool to draw from.
Rosen is not unknown to Texas, she received her MM in Oboe Performance from Rice University’s Shepherd School of Music in Houston in 2020.
I hadn’t heard of Belinda Rosen until I read this article, but I did look up her bio and it includes performances with the San Francisco, Houston, and Oakland, symphonies among others, tours of Europe, and the Americas, a masters degree from Rice university’s Shepherd School of Music, graduate study at the San Francisco Conservatory of music, And recording with a Grammy nominated pianist. She also serves on the music faculty Of Queens College. To describe her as a teacher at the 92nd St. Y seems designed to add fuel to the flames and does everyone a disservice. I get the point, they might’ve found someone closer to San Antonio and made that person audition.
I can see how a new bassoon or a new trombone would be a low blow, but an oboe?
First of all, Ms Rosen is a fine oboist, as well as a wonderful colleague. It is not unusual for a music director to appoint a principal player,and I can cite many examples from other major orchestras, as I’m sure you can too.
To imply by innuendo that something underhanded has happened – is just irresponsible.
Norman, whomever fed you this story is clearly someone with an axe to grind. The SA Philharmonic’s musicians THEMSELVES have been actively recruiting players from all over the country to come in as one-year appointments. I myself have been directly contacted by a string player in the orchestra to see if I was interested in a 1-year leadership position. Every orchestra in the US I’ve played in has broad authority to bestow 1-year, non-tenure track positions to qualified musicians when the orchestra is in need. I have no doubts that the orchestra and Jeffrey Kahane abided by the CBA. If the music director, permanent musicians, and the 1-year musician are all happy, what on earth is the point of this story? As lovely a city as San Antonio is, the idea that there is an overflow of world class freelance talent there is false.