Did the Vienna Philharmonic make a purely token gesture by granting it's first membership
to a woman musician membership back in February, 1997?
Hint: there are just TWO woman members.
more information and December 2007 update by William Osborne
"Three women are already too many....By the time we have twenty percent, the orchestra will be ruined.
We have made a big mistake, and will bitterly regret it."
Anonomous VPO string player, quoted in February 24, 2003 Profil (Austrian weekly) article.
Current Status
News Updates
Media Coverage
The VPO thinks they can tell the gender of a musican just by listening. Really.
What can I do? and Who should I contact?
...things to think about...
ZAPVPO email list
Related web sites and mailing lists
"Zap the VPO" - the original page! and protest documentation
Last revision was December 31, 2007.
The struggle for women musicians to assume their place in the orchestra is not new. It's easy to overlook what has come before, of the impact earlier events had, of how those events shaped our current outlook and influenced our expectations. Here are some things to think about... .
At a press conference in New York on March 4, 1997, the establishment of the VPO Watch was officially announced by Catherine Pickar, a board member of the International Alliance for Women in Music. On February 13, 1997, the IAWM had issued a press release inviting the media to this press conference, and this release included information about the VPO Watch. Here's the text of that announcement:
"The International Alliance for Women in Music and local chapters of the National Organization for Women (South Orange County NOW and NYC-NOW) congratulate the Vienna Philharmonic in finally taking the first step on the road toward equal opportunities for women musicians - for all musicians - by granting membership status to Anna Lelkes."
"This announcement sets an historic precedent for the VPO, and satisfies the first point of the VPO WATCH, which outlines three points to ensure that membership is open to all qualified musicians based solely on their ability on their instrument without regard to gender, race, or religion. The VPO can expect continued protests until all three goals of the VPO WATCH are met."
P
Preempt further protests by dismantling your all-male ideology.
O
Offer an orchestral audition procedure for the VPO and the State Opera Orchestra that would provide equal opportunity for all musicians with decisions based solely on musical ability, not gender, race or religion.
W A T C H
The VPO WATCH intends to monitor the actions of the orchestra until such time as the three points of the WATCH are well established with visible results.
"V", the first of three points for the VPO WATCH is now checked off. The final two points are not, and that is why the demonstrations in California and New York in March, 1997 were held, and why the VPO can continue to expect additional protests in the future.
Although the VPO decided to grant Ms. Lelkes membership, this decision did not change the makeup of the orchestra which appears onstage: after all, the VPO has been playing with Ms. Lelkes as harpist for over twenty years. Only her status has changed -- not the composition of the orchestra. Granting Ms. Lelkes membership status "effectively immediately" (after 26 years!) is a far cry from actually admitting women as members in the first place. The audition procedures remain unchanged, with photographs required with the audition application, and with the final rounds of the auditions played without a screen to protect the applicants' gender and/or ethnic identity. When this is changed "O" of the watch points will have been met.
Members of the VPO have refered to the presence of a female harpist in their midst as "so far at the edge of the orchestra that it doesn't disturb our emotional unity." Granting membership to Ms. Lelkes, as they did on the eve of an international tour and in response to mounting public protest and media attention, is an admission of their sexist policies. This is just the first step in the long and difficult process of change, and is "P" of the watch points.
VPO Watch
Current Status
May 2007
So, now there are two.... Violist Ursula Plaichinger becomes a member (the first non-harpist) - six years after winning an audition in 2001. (There is a three year probationary period, but Ms. Plaichinger was also on leave for a portion of this time since 2005.)
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February 2007
Well, now it's ten years after harpist Anna Lekles became the first women member of the Vienna Philharmonic in February, 1997. And there's still is just one woman member of the orchestra (harpist Charlotte Balzereit).
Since 1997 six women (two harpists, two violinists, one violist, and one cellist) have won auditions, and begun serving a three-year probationary periods with the Vienna State Opera Orchestra that is the prerequisite for membership in the Vienna Philharmonic. Of those six: only one is a member of the Vienna Philharmonic; three are not members (only one of those is not yet eligible in terms of length of service, the other two); and two did not complete their probationary period.
Harpist Julie Palloc was hired in 1999 and left the orchestra before completing the three-year probationary period.
Harpist Charlotte Balzereit was hired in 2001, and became a member in 2004. She is member of the only woman member of the Vienna Philharmonic, replacing the first women member who was also a harpist.
Violist Ursula Plaichinger won an audition in 2001 and although eligible for membership has not yet applied.
Cellist Ursula Wex was hired in 2003; she was on maternity leave and has returned part-time; the date of her eligibility is uncertain.
Violinist Isabelle Caillieret won an audition in 2004 and entered the orchestra in 2005. Barring delays she will be eligible to become a member of the Vienna Philharmonic in 2008.
Violinist Iva Nikolova was an audition in 2004 but did not pass her trial year with the State Opera Orchestra.
February 2006
Now it's nine years after harpist Anna Lekles became the first women member of the Vienna Philharmonic in February, 1997.
There is still just one lone woman member of the orchestra (harpist Charlotte Balzereit) and even supporters of the Vienna Philharmonic would be hard pressed to explain why so few women have assumed membership in the orchestra almost a decade later.
Since 1997 six women (two harpists, two violinists, one violist, and one cellist) have won auditions, and begun serving a three-year probationary periods with the Vienna State Opera Orchestra that is the prerequisite for membership in the Vienna Philharmonic. Of those six, four (or possibly five) remain with the opera orchestra and as such are candidates for eventual membership in the Vienna Philharmonic.
Harpist Julie Palloc (2000) left the orchestra in 2000 before completing the three-year probationary period.
Violist Ursula Plaichinger (2002) is now eligible for membership, but is believed to be on leave.
Harpist Charlotte Balzereit (2002) is now a member of the Vienna Philharmonic (the only woman member).
Cellist Ursula Wex (2003) is eligible to become a member of the Vienna Philharmonic in 2006.
Violinist Isabelle Caillieret (2005) will be eligible to become a member of the Vienna Philharmonic in 2008.
Violinist Iva Nikolova (2005) will be eligible to become a member of the Vienna Philharmonic in 2008.
November 2006
February 27, 2006 will mark the 9th anniversary of the date that harpist Anne Lelkes was belatedly made
a member of the Vienna Philharmonic after 26 years of service as a "non-member." This took place
on the eve of an American tour in an unsuccessful effort to avert worldwide coverage of the
orchestra's discriminatory practices.
Eight years later the situation is the same: one female harpist member. This is progress?
Since 1997 four women (two harpists, one violist, and one cellist) have won auditions, and began
serving their three-year probationary periods with the Vienna State Opera Orchestra, the prerequisite
for membership in the Vienna Philharmonic. One woman (harpist Julie Palloc) left the orchestra
before completing the three-year period and the other harpist (Charlotte Balzereit) is now a member. Two other
women, violist Ursula Plaichinger and cellist Ursula Wex, remain in the pipeline. Ms. Plaichinger
is eligible for membership; all of the men who entered the orchestra after her and
completed the probationary period have become members. (Ms. Plainchinger is now on a leave of absence.)
Ms. Wex becomes eligible for membership in 2006.
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February 2005
dum da dum dumm...
Eight years later...so, where ARE all the female *members* of the Vienna Philharmonic?
(not women serving the three year probationary period, not women playing as subs)
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February 2004
As the 7th anniversary of the admission of the first (and so far,
the only) female member of the Vienna Philharmonic approaches
on February 27, 2004, the VPO has not surprisingly decided to
forgo all United States appearances aside from the traditional
concerts in New York City's Carnegie Hall Feb. 18-20, 2004.
Could this be due to questioning from the press during last year's spring tour of seven cities in the States, and the orchestra's less-than-forthcoming answers? Although the Vienna Philharmonic toured with women playing in the orchestra, none were members, and none were permitted to speak with the media.
Or is it simply that the plain fact that seven years later having 149 male members and 0 female members is just too difficult to explain as anything other than overt gender discrimination?
Three women hired since 1997 are serving probationary periods as they perform with the orchestra: violist Ursula Plaichinger, and harpist Charlotte Balzereit, and cellist Ursula Wex. Ms. Plaichinger is due to be eligible to be voted into membership in 2004, Ms. Balzereit in 2005, and Ms. Wex in 2006. (Harpist Julie Palloc is no longer with the orchestra.) However, only the members (all male) of the orchestra are permitted to vote, and becoming eligible for a vote does not necessarily mean that a vote will be held, or that the outcome will be favorable.
The world still waits...but hardly with baited breath.
Scoll down for last year's status report.
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February 2003
As the 6th anniversary of the admission of women members to the VPO approches on February 27, 2003, the VPO begins it's most extensive United States tour since the inital protests back in 1997 with concerts in Chicago, Detroit, Boston, Cleveland, Washington D.C., Philadelphia, and New York with no female members.
In 1997 Anna Lelkes was the first woman to become a member of the VPO, and her admittance (after 26 years as a "non-member") broke down a barrier against women that had existed since the orchestra's founding in 1842. Her being granted membership also allowed women - for the first time! - to audition for positions with the state opera orchestra, the parent organization of the VPO. Since the VPO (a private organization) draws it's membership exclusively from the state opera orchestra (a public organziation), the exclusion of women in the VPO until 1997 had also prevented women from becoming members of the state opera orchestra. With Ms. Lelkes' retirement in 2002 the VPO returned to an all-male membership.
Since 1997 four other women have been hired by the state opera orchestra: harpists Julie Palloc and Charlotte Balzereit, violist Ursula Plaichinger, and cellist Ursula Wex. To be considered for membership in the VPO, musicians must first serve for three years in the opera orchestra, and then be voted into membership by the current (now all male) VPO members. Of these women, Ms. Palloc was reported to have been fired after her probationary period after two years with the opera orchesta, leaving just Ms. Plainchinger, Ms. Balzereit and Ms. Wex eligible to be considered to join the VPO upon completion of their preliminary three years of service in the state opera orchestra. However, admission to membership in the VPO is contingent upon being approved as a new member by a vote of current members of the (now all-male) VPO. It remains to be seen whether or not these women will be admitted into the VPO once their three years of service in the opera orchestra have been completed.
Ms. Plaichinger won the opera orchestra audition in February, 2001, making her eligible to be voted into VPO membership in 2004. Ms. Balzereit will become eligible in 2005. Ms. Wex was hired in the 2002-2003 season. It is very common for members of the state opera orchestra to perform with the VPO during their first three years of service, but they are not VPO members, with the benefits (financial and otherwise) that VPO membership provides.
Although Ms. Plainchinger and Ms. Balzereit, along with three other women, performed with the VPO on their international tour in 2003, and Ms. Plainchinger was very prominently featured in the VPO's internationally televised 2003 New Years concert, it extremely important to note that none of these women are yet members of the VPO. William Osborne has coined the devastatingly correct term "Rent-a-Frau" to describe the addition on stage of non-member women in order to disguise the fact that upon the retirement of Anna Lelkes in 2002 the VPO returned to an all-male membership.
2003 press release from the International Alliance for Women in Music.
Top of Current Status
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Musings from June, 1997:
(much is still applicable)
On Thursday, February 27, 1997 the Vienna Philharmonic Orchestra granted membership status to Anna Lelkes, a harpist with the orchestra since 1974. Ms. Lelkes is the first woman musician to ever become a member of the VPO, and her admittance breaks a barrier against women that has existed since the orchestra's founding in 1842.The orchestra voted to admit a woman member back in 1997 because pressure to do so on all fronts - from individuals, feminist groups, the international music community, and the Austrian Government - was widely publized in media coverage in Austra and abroad. Despite this historic decision by the Vienna Philharmonic, several factors served to temper our celebration of this first step towards equal opportunity with cautious optimism.
The actual composition of the VPO did not changed with this announcement. Although not a member, Ms. Lelkes had been performing as the second harpist for the VPO for over twenty years. Granting her membership "effectively immediately" after 26 years was a far cry from actually admitting women into the orchestra through audition. Of course, now that Ms. Lelkes has retired, the VPO is once again an all-male orchestra.
The VPO is the alter-ego of the state-funded Vienna State Opera Orchestra. Since membership for a least three years in the opera orchestra is a prerequisite for membership in the VPO in order for women to be admitted into the VPO they must first be admitted into the opera orchestra. The Vienna State Opera Orchestra hired harpist Julie Palloc in 2000, and so after the required three years of employment with the opera orchestra she will become eligible to join the VPO in 2003. Violist Ursula Plaichinger was hired by the Vienna State Opera Orchestra in 2001, and so will become eligible to join the VPO in 2004. In the meantime, the VPO has returned to it's all-male status.
The audition procedures remain unchanged for the Vienna State Opera Orchestra, the orchestra from which member of the VPO are drawn. Although that orchestra is also now open to woman, photographs are still required with the audition application, and the final rounds of the auditions are played without a screen protecting the applicant's gender and racial identity. In 1997, the opera orchestra held auditions for trumpet, tuba, double bass, and solo viola. The 1997 auditions marked the first time that audition applications from women were even considered. The opera orchestra also requires that applicants be under 30 years of age (age discrimination is common in European orchestras).
The integration of women into previously all-male domains is never easy and rarely rapid: moving from tokenism to equal opportunity to full equality can be an arduous process, one often measured in decades, not years. The Vienna Philharmonic's granting membership to Ms. Lelkes is an historic moment in the the orchestra's history, setting a precedent which can never be stepped away from. Although a momentous occassion, it marks just one step of a very long journey - efforts to overcome the discrimination faced by women orchestral performers stretch back to the beginnings of this century. As we continue into a new millennium, the VPO Watch invites the Vienna Philharmonic, along with every musical organization throughout the world, to enter a new era: an era where musicians of all races and genders are welcomed, their gifts honored, their talents valued and their creativity celebrated.
In order to ensure that membership in the Vienna Philharmonic Orchestra is open to all qualified musicians based solely on their ability on their instrument without regard to gender, race, or religion, the VPO Watch will monitor the progress of the Vienna State Opera Orchestra and the Vienna Philharmonic Orchestra.
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News Updates VPO Watch
Current Status | Media Coverage | News Updates
1/26/04
William Osborne reports that cellist Ursula Wex performed with the VPO on their New Year's concerts, marking the second time in history that a non-harpist woman musician to appear with the VPO on these extremely high profile televised concerts (violist Ursula Plaichinger performed with the orchestra at the 2003 New Year's concerts, and harpist Anna Lelkes played for many years, but with only her hands - never her face - televised). He also reports that the first person of color (male) was hired by the orchestra - tubist Yasuto Sugiyama, and the the male to female probationary employment ratio (for non-harpists) in the last seven years been 20 to 2. [There still are no female members of the orchestra, although three are in the pipeline: violist Ursula Plaichinger, harpist Charlotte Balzereit, and cellist Ursula Wex. Ms. Plaichinger is due to be eligible to be voted a member in 2004, Ms. Balzereit in 2005, and Ms. Wex in 2006. Harpist Julie Palloc, hired to replace the first - and so far only female member - is no longer with the orchestra, leaving before her probationary period was completed - MB]2/24/03
Regina Himmelbauer reports on an article and interview in the Austrian weekly Profil dated today, which includes the information that a third women has been hired for the opera orchestra, cellist Ursula Wex. An anonoymous VPO string player is quoted as saying "Three women are already too many....By the time we have twenty percent, the orchestra will be ruined. We have made a big mistake, and will bitterly regret it." See media coverage for more information. The VPO's US tour begins on February 26th.2/12/03
2003 press release from the International Alliance for Women in Music1/01/03
William Osborne reports that violist Ursula Plaichinger performed with the VPO on their New Year's concerts, which are broadcast worldwide to huge audiences. This is the first time in history that a non-harpist woman musician has performed with the VPO on these extremely high profile concerts. The camera focused on Ms. Plaichinger many times during the concert, giving her far more exposure than the concertmaster in an apparent effort to draw public attention to her presence.12/29/02
William Osborne provided an update on the VPO situation, which remains all-male after the retirement of harpist Anna Lelkes, the first female member of the VPO. Harpist Julie Palloc was hired to replace Ms. Lelkes in the Vienna State Opera Orchesta, but left in 2000 over a pay dispute and never completed the three year tenure requirement that would have made her eligible for VPO membership. Another woman harpist, Charlotte Balzereit, was been hired to replace Ms. Palloc and she will be eligible for membership in the VPO until 2005. Violist Ursula Plaichinger, hired by the Vienna State Opera Orchestra in February, 2001, will be eligible for membership in the VPO in September of 2004.01/01/02
William Osborne reports that upon the recent retirement of Anna Lelkes the Vienna Philharmonic Orchestra is once again a male-only orchestra. Since the International protest that resulted in Ms. Lelkes' appointment, only two women have been hired by the Vienna State Opera Orchestra, the VPO alter-ego. (Membership for three years in the opera orchestra is a prerequisite for membership in the VPO). Harpist Julie Palloc will be eligible to join the VPO in 2003, while violist Ursula Plaichinger will be eligible to join in 2004.2/15/01
William Osborne reports that Ursula Plaichinger, a violist, has won an audition for the Vienna State Opera orchestra. Ms. Plaichinger will be the first woman to enter the State Opera Orchestra who is not a harpist. After three years of employment with the State Opera Orchestra, Ms. Plaichinger would be eligible to be considered for a position with the Vienna Philharmonic (in approximately 2004). See Woman wins Wiener Staatsoper orch. job for more information.9/23/99
William Osborne reports that after additional meetings the VPO has accepted the 2 million dollar described in the 9/8/99 update. However, this new contract has no clauses which would obligate the orchestra to use fair employment policies. See VPO Accepts Gov. Offer for more information.9/8/99
William Osborne reported in August that that the Vienna State Opera Orchestra/Vienna Philharmonic Orchestra rejected a 2 million dollar contract with the Austrian government to perform at governmental functions because it stipulated that the orchestra offer equal employment opportunity to women. See VPO Rejects Offer from Government for more information.3/7/99
William Osborne reports that the Vienna State Opera Orchestra/Vienna Philharmonic Orchestra is requesting a large raise this from the Austrian government. Austrian women are protesting this request, since the VPO women-unfriendly enviroment forces women orchestral musicians to seek employment elsewhere, employment in lesser paid orchestras. If you think that the VPO should not be rewarded for their sexist policies, email Viktor Klima, Chancellor of Austria and acting Arts Minister.2/13/99
William Osborne reports that the Vienna State Opera Orchestra AKA the Vienna Philharmonic Orchestra has hired a second women - Julie Palloc, another harpist - to begin working with the Vienna State Opera Orchestra in 2000. After three years of employment with the State Opera Orchestra, Ms. Palloc would be eligible to be considered for a position with the Vienna Philharmonic (in approximately 2003). It is commanly thought that this is about the time when Anna Lelkes, the only women member of the Vienna Philharmonic, will be retiring. In that case, one woman would simply be replaced with another. See Mr. Osborne's post for more information.
What can I do?
Check this page annually to see the progress of the introduction of women into the Vienna Philharmonic Orchestra.
Let people know your opinions about the Vienna Philharmonic Orchestra's hiring practices. Urge the media to keep on doing their job by following this story. Insist that those who continue to support the Vienna Philharmonic - by presenting them in concerts, recording them, playing their recordings, or allowing them to rent performance venues - accept the consequences of their actions.
Generate local publicity and hold protests when the Vienna Philharmonic tours in YOUR area. The VPO Watch can help you organize - contact us if you wish additional information.
Monitor the auditions for the Vienna State Opera Orchestra
Think twice about purchasing or playing recording by the Vienna Philharmonic. If you do choose to play a recording, on air or in the classroom, let folks know why. Consider holding a discussion as to whether or not the gender of performers influences the quality of musicianship. If your local radio station plays recordings by the VPO, contact them to let them know your feelings about this.
Take the pledge - let the the recording industry know your opinions!
Volunteer to help with the VPO Watch project. Right now we could especially use letter writers and phone callers, translators (German to English), sleuths (Austrian and/or electronic) and webfolk, but we can put anyone who wants to help out to good use!
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Who to Contact
Concert Halls and Presenters
Local, National and Internationl Media
Federal Chancellor Wolfgang Schuessel wolfgang.schuessel@bka.gv.at
Federal Minister for Education, Science and Culture Elisabeth Gehrer elisabeth.gehrer@bmbwk.gv.at
The Austrian President is Heinz Fischer (this is a cermemonial position)
Vienna State Opera
Wiener Staatsoper
(the VPO's "other" employer) Ioan Holender, Director
Opernring 2
Kantnerstrasse
A-1010 Vienna
AUSTRIA
Tel: 43 1 51 444 2958
Fax: +43 1 51 444 2969
Vienna Philharmonic Orchestra
Wiener Philharmoniker
Boesendorferstrasse 12
A-1010 Vienna
AUSTRIA
Tel: +43 1 505 6525
Fax: +43 1 505 9220
Email: philoffice@philharmoniker.vienna.atLinks to the Austrian Media
Austria's entry in the CIA The World Factbook.
Protest Documentation
This Area Under Construction
"Advocacy: Vienna Philharmonic Orchestra" by Monique Buzzarté
"Diary of Resistance" by William Osborne who also is the author of "A Difficult Birth: Reauditioning after Maternity Leave In the Vienna Philharmonic", "The Image of Purity: the Racial Ideology of the Vienna Philharmonic in Historical Perspective" Parts 1 and 2, "Art is Just an Excuse: Gender Bias in International Orchestras" with a sidebar, and a forthcoming book on the VPO.
Media Coverage
Protest Materials: flyers, buttons, placards
Archives of postings to the IAWM , ZAPVPO, and Gen-Mus email lists regarding the VPO's exclusionary policies Timeline of Protest Events
Selected Materials
Statements of Support - 1997 original IAWM media letter of December 1999 VPO Fact Sheet December 1996 letter to the VPO from then IAWM President Deon Nielsen Price VPO Response to IAWM, February 1997 IAWM Response to VPO Response from Deon Nielsen Price Response from Carnegie Hall to IAWM, February 1997 December 1996 letter to various Austrian agencies from then IAWM President Deon Nielsen Price posts to the IAWM list by William Osborne, Spring 1997 IAWM list discussions, Spring 1997 Advocacy Action: Vienna Philharmonic Orchestra IAWM Journal report February 1997 VPO update, early 1998 report March 1999 letter to Chancellor Klima and others from then IAWM President Deon Nielsen Price
About Vienna Philharmonic Recordings
At the end of March 1997, NYC-NOW sent the following letter to executives in the classical music recording industry . You can help support NYC-NOW's effort by sending your own letters to the label who record the VPO, and by taking the pledge.
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Individual Pledge for
Basic Rights in the Music Industry
I recognize that musical talent and performance ability are unrelated to gender, race, and/or ethnicity.
I endorse the following rights for musicians seeking employment with the Vienna Philharmonic Orchestra and all other similar musical organizations:
opportunity to audition regardless of gender, race, and/or ethnicity
blind auditions
equal visibility and recognition as members of the organization irrespective of gender, race and/or ethnicity
I urge the VPO and all other comparable organizations to adopt policies which recognize these rights.
Name:
Title/Organization:
Address:
City:
State:
Zip:
Phone #:
Signature:
Please print out and mail to:
VPO Watch at NOW-NYC
150 West 28th Street, Room 304
New York, NY 10001
At the end of March 1997, NYC-NOW sent the following letter to executives in the classical music recording industry . You can help support NYC-NOW's effort by sending your own letters to the label who record the VPO, and by taking the pledge.
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NYC-NOW's Letter to Recording Industry Executives
Dear __________,
I am writing to inform you of the prejudicial hiring procedures used by the Vienna Philharmonic. Werner Resel, the chairman of the orchestra, has repeatedly supported measures discriminating against non-Europeans, particularly those "visibly of foreign origin." Describing the VPO as "an orchestra of white men playing music by white men for white people," Resel reiterates the bias voiced by the VPO's other musicians. Second violinist Helmut Zaertner stated in a public broadcast that the "it [was] worthwhile to accept the racist and sexist irritation" caused by the VPO's hiring policies to ensure that the quality of the orchestra's music would not decline with the introduction of "superficial egalitarianism." NOW finds such attitudes intolerable; we embrace the view that such discrimination can never and should never be justified. In the face of evidence demonstrating clear discrimination against women and individuals of Asian, African, and Jewish ancestry, financial and moral support is unacceptable.
Though discriminatory hiring practices have historically plagued the world of classical music, solutions are not without precedent. The adoption of blind audition policies has increased the number of women in the Boston, San Francisco, New York, and Chicago symphony orchestras. During its first year of blind auditioning, the New York Philharmonic accepted an equal number of men and women. The VPO does not practice blind auditions. It is one of the few prominant symphony orchestras that continues to require that all musicians submit a photograph with their applications and perform final auditions without a screen (which preserves anonymity and ensures that gender, race, and ethnicity do not influence hiring decisions).
The Vienna Philharmonic Orchestra's 1993 tour was marked by protests by concerned individuals in Toronto. On February 28, 1997, after continued political pressure, the VPO admitted the first woman to its ranks. Although NOW-NYC believes the admission of Anna Lelkes, a harpist with the VPO for 26 years, to be a critical step towards more equitable hiring policies, we fear that this may be an act of tokenism aimed at deflating future protests. NOW-NYC questions whether the move to allow women to audition is merely an empty gesture made in the face of mounting pressure.
Until the Vienna Philharmonic adopts blind audition practices, NOW-NYC will continue to protest its openly racist and sexist selection practices. We feel that the most effective ways to pressure the VPO are through financial measures. If the VPO fails to respond to public criticism by making substantive changes in the makeup of its orchestra, we may decide to boycott Carnegie Hall and all other promoters of the VPO. In addition, we may find it necessary to boycott all recordings, companies with whom the VPO holds record labels, and music stores who continue to carry (and support) VPO albums.
We at NOW-NYC believe that a prominent company such as _______ would find the Vienna Philharmonic's hiring policies in direct contradiction to its own and would certainly not support these racist and sexist practices. We ask that you join in our efforts to ensure that the Vienna Philharmonic discontinues its openly prejudicial hiring policies. Thank you for your support.
Sincerely,
Anne Conners
President NOW-NYC
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Back to VPO WatchAbout the Vienna State Opera Orchestra Auditions
Do you really think women are welcomed into the orchestra now? Think again.
- Rainer Kuchel, concertmaster of the the Vienna Philharmonic, claims that he can tell the gender of a violinist -- even if they're concealed behind a curtain!
- Ioan Hollander, the director of Vienna State Opera, thinks that women are less "appropriate" than men for certain instruments. Huh?
1997 Results
Audition Summary Questions to ask
Update - July 1997
Update - Spring 1997
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1997 Audition Summary
Vienna State Opera Orchestra
According to "Even Legends Adjust to Time and Trend, Even the Vienna"by James R. Oestreich, an article which appeared in the February 28, 1998 edition of The New York Times, five positions have come open in the last year in the opera orchestra:
Tuba and Trumpet - no women applied. Gee...I wonder why?
Principal Violist
Of the 22 applicants, 18 were men and 4 were women. Of the 14 players invited to audition, 13 were men and 1 was a woman. (see below) Of the __ who auditioned [no number given], all were men. Christian Frohn was selected. (He was already a member of the opera orchestra - but a second violinist, not a violist!) [See "For Violist, the Rules Never Seemed to Change" by Jan Herman]
Second Violin
Of the 72 applicant, 47 were men and 25 were women. Of the 25 players invited to audition, 16 men were men and 9 were women. Of the 14 who auditioned, 11 were men and 3 were women. No one was selected
Principal Cello Of the 44 applicant, 38 were men and 6 were women. Of the 24 players invited to audition, 20 were men and 4 were women. Of the 15 who actually auditioned, 13 were men and 2 were women. A man was chosen.
Photographs are stil required with the application application. Although the preliminary rounds are screened (the players perform behind a curtain), for the final rounds the curtain is opened -- percisely at the point where it is most needed! The presence of women and non-white men in the final rounds confronts the orchestra with the possibility that the best player may not be a white male. Will the finalists be judged on their musical ability - or how they "fit in"?
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Vienna State Opera Orchestra Auditions
Spring 1997
One thing that we can do is to monitor the auditions for positions with opera orchestra this June for trumpet, tuba, double bass, solo viola and solo cello. While these auditions mark the first time that applications from women will be considered, there are no assurances that any women will actually be invited to attend the auditions. The auditions procedures remain unchanged, remember - a photograph of the applicant is still required with the application, and the final rounds of the auditions will continue to be played without a screen. Write or call Ioan Holender, the director of the Vienna State Opera Orchestra, and remind him that the world is watching to see what will happen in June. Mention that there is absolutely NO musical reason that a photograph should be required with the audtion application!
We can encourage women to apply for these auditions, especially those with stellar resumes already holding position with major orchestras, and see if they will even be invited to the audition. If women of this caliber aren't invited and less-qualified-on-paper men are, then we'd have some documentation of what might be wrong with the process. (Photographs, perhaps?)
Another thing we could do would be to help provide financial assistance, if necessary, for women who ARE invited to get to the auditions - the cost of their airfare could be defrayed with benefit concerts or donations.
We also could encourage media to continue to cover the story - in June bager them to question the opera orchestra with specific questions of how many applicants for each postition, the gender breakdown of both total applicants and the numbers invited for each position, etc. Women have usually entered formerly all-male orchestra in tutti string (mostly violin) or harp positions - rarely in principal string positions or brass - and the only tutti opening here is for bass. A barrage of phone calls from the press to the opera office helps to send a message that WE ARE STILL OUT HERE WATCHING.
Here's who they should contact about the June 1997 auditions:
Ioan Holender, Director
Vienna State Opera
Opernring 2
Kantnerstrasse
A-1010 Vienna
AUSTRIA
Tel: 43 1 51 444 29 58
Fax: 43 1 51 444 29 69
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Vienna State Opera Orchestra Auditions
July 1997
Many of us may remember that one of the results of the recent protests against the VPO regarding their exclusion of women members (in addition to a woman being made a member!) was that applications to audition for positions in the Vienna State Opera (Staatsoper) Orchestra would now be accepted from female musicians. (All members of the VPO are drawn from the Staatsoper orchestra - which has a membership virtually identical with that of the VPO - and musicians must first perform three years with the Staatsoper to become eligible for membership in the VPO.) This is a key point, since it opens a path for the eventual entry of more women into the VPO.
The Staatsoper orchestra auditions, like many in Europe, are open to musicians by invitation only. And although women are now permitted to apply, they must (like all other applicants) submit a photograph with their application. Please note that they are currently two women in the Staatsoper orchestra - both harpists (one is Ms. Lelkes, second harpist in the VPO) - both of long tenure. There is also a male harpist who is first harpist in the VPO.
Various sources reported Staatsoper Orchestra was to have held auditions in June 1997 for the following positions: trumpet, tuba, solo-viola, solo-cello, and double bass. (Some of these positions might have been for substitute players, or there may have been auditions for substitute players on other instruments.)
Since the end of June a number of us have been trying to ascertain the results of these auditions, in addition to attempting to find out information about the application and audition system, and whether the process was truely "open" to women. Although the Staatsoper press office and two other independent sources do confirm that one woman was invited to the solo-viola audition, we have not been able to confirm any other information. (One source reports that although a woman was invited to the viola audition, she did not attend.)
A press contact at the Staatsoper (Ms. Kubadinow) told us that all those who who could comment on these matters are on holiday from July 1 to September 1, and that we would have to wait to get comments and information until after they returned in September.
Our work with the VPO has already showed us the power that many individuals working together can have. It's relatively easy to brush aside calls and letters from a handful a people, but an outpouring of calls and letters from many interested parties around the world could well result in more forthcoming information from the Staatsoper -- which after all is a state organization. (I for one find it highly unlikely that everyone who could comment is gone for two months!) At the very least, it puts the Staatsoper on notice that these are not the concerns of just a few people, but that the world IS watching to see what wil happen next.
We are simply asking for information at this point. (Some of our question are given below). A large number of calls or letters helps to show the Staatsoper (and by extension, the VPO) that those who are interested in securing rights of equal opportunity for women musicians will persist in their efforts, and that the much-belated appointment of Ms. Lelkes to the VPO was but the FIRST step on the path for full equality for women orchestral musicians in the VPO, not the FINAL one.
Here's who you can contact:
Ioan Hollander
Director, Weiner Staatsoper
Opernring 2
Kantnerstrasse
A-1010 Wein
AUSTRIA
Tel: +43 1 51 444 29 58
Fax: +43 1 51 444 29 69
Send a copy of your letter to Wolfgang Schuessel, the Austrian Chancellor.
Viktor Klima
Austrian Chancellor
Bundeskanzleramt
Ballhausplatz 1
A-1010 Wien
AUSTRIA
+43 1 5353650
We have focused on trying to confirm which positions actually were auditioned - reports included trumpet, tuba, solo-viola, solo-cello, and double bass, as well as for substitute positions - and then to attempt to get answers to the following questions:
How were these auditions announced? (in Das Orchestra? word of mouth?) How many applicants were there?
What was the gender breakdown of those applicants? (total and by position) How many applicants were invited to the auditions? (total and by position) What was the gender breakdown of applicants invited to audition? (total and by position) Who decided which applicants would be invited to the auditions? (A committee, I'd imagine, but who exactly? how many? Are they VPO members? If not, who else?) (total and by position, and gender breakdown total and by position) What criteria were used for selecting the invitees? (Current positions? Education? References? Recommendations?) Were any musicians invited to audition who had not formally applied? How many of the musicians who were invited to audition actually showed up? (total and by position, gender breakdown total and by position) Who heard the auditions? (ie same committee as in #5, or different?) Describe the audition process (number of rounds, screening in each round, do finalists play with section and/or orchestra?, etc.) How is the decision made whether to advance a candidate? (voice vote, written vote, majority, by points, etc.?) If any women were invited to the auditions (and attended) did they advance past the first round? If so, did any women advance past the second round? Etc. Were screens used for each round? What is the rational for requiring photographs with the audition application?
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Comments from the Vienna State Opera
Compare this:
Ioan Holender, the director of the Staatsoper (as quoted in Kurier on January 17, 1997) stated that "Women should have all opportunities from this moment on" and that "From this moment on I want to see the applications for the auditions, and to know how many qualified women applicants will be invited. And I have also explained my standpoint, that from this moment on women must be employed, if they win an audition." (Translation by William Osborne)
p> to this:
In William Osborne's paper given at the FMT4 ("Patrician Rituals") he cited a portion of an interview on February 24, 1997 on Austrian State Television. When asked if a woman might win a tuba position the Executive Director of the Vienna State Opera (confirmed by Regina Himmelbauer to be the very same Ion Holender quoted above!) responded negatively, explaining that: "I cannot imagine that a woman could do that. There are, indeed, differences that nature has made between man and woman... Naturally, these differences have an effect on instrumental performance. Naturally, there are different lung constellations between men and women, and naturally there are different mouth constructions, and naturally there are different lips between men and women. And for certain instruments, women are less appropriate than men. That is a fact." (Translation by William Osborne)
Source: "Achtung Kultur"
February 24, 1997, 10:30PM
Second Austrian State Television.
This particular interview was a few days before the February 27, 1997 announcement that Ms. Lelkes had been made a member of the VPO, but several months after Holender's comments cited earlier in this post.
and draw your own conclusions!
There are more doozies by VPO personnel on the original Zap the VPO page.
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ZAPVPO
ZAPVPO is an email list designed to help coordinate efforts to ensure that membership in the VPO open to all musicians based on their ability, without regard to gender, race, or other non-musical factor. To subscribe, just write "sub zapvpo Your Name" in the body of a message sent to "maiser@raildelivery.com"
The ZAPVPO list began in November, 1996, and is an electronic meeting place for those working in this area to pool their resources, share their information and provide support for one another. This list can help people throughout the world to work together more efficiently and avoid needless duplications of effort.
Related Web Sites and Mailing Lists
Links to Other Web Sites
International Alliance for Women in Music, especially the advocacy page. The (Un?)offical Vienna Philharmonic WWW Page Society for Music Theory Committee on the Status of Women Bibliography of Sources Related to Women's Studies, Gender Studies, Feminism, and Music Links to Other Mailing Lists
Zap the VPO (ZAPVPO) In the body of the message write: SUB zapvpo Your Name International Alliance for Women in Music (IAWM) In the body of the message write: subscribe Gender and Music (gen-mus) In the body of the message write: subscribe gen-mus Gender Research in Music Education (GRIME) In the body of the message write: SUB GRIME-L full_name College Music Society's: Music, Women, and Gender Discussion List In the body of the message write: subscribe cms-teaching-womgen
Orchestralist In the body of the message write: subscribe Orchestralist YourRealName Classical Music In the body of the message write: subscribe classm-l Your Name Links to Mailing List Archives
ZAPVPO Mailing List Archive. In the body of the message write: SEND vpoYYMM.ARC with YY= year and MM = month. For example, for messages from November 1996 (when the list was activated) you'd write: SEND vpo9611.ARC IAWM Mailing List Archive, now searchable! Gen-Mus Archive . In the body of the message write: index gen-mus. You'll get a message back with a list of files, each one represents a month's messages. To retreive a file, send another message to majordomo: get gen-mus.xxxx with the xxxx=the year and month you wish to view.
IAWM Statement
February 27, 1997
The International Alliance for Women in Music congratulates the Vienna Philharmonic for taking the first step on the road toward equal opportunities for women musicians -- for all musicians -- by finally granting membership status to Anna Lelkes, a harpist with the Vienna Philharmonic who is eligible for membership. This is an historical occasion worthy of celebration.
However, the admittance of women into previously all-male orchestras in just token numbers is well documented. Without a specific plan outlining how women will be admitted in the future through the audition process, the VPO can expect further protests.
In 1996 VPO violinist Helmut Zehtner describes the all-male ideology with his reference to the female harpists; "if you ask how noticeable the gender is with these colleagues, my personal experience is that this instrument is so far at the edge of the orchestra that it doesn't disturb our emotional unity, the unity I would strongly feel, for example when the orchestra starts really cooking with a Mahler Symphony. There I sense very strongly and simply that only men sit around me. And as I said, I would not want to gamble with this unity." (Source: "Musikalishche Misogynie" broadcast by the West German State Radio, February 13, 1996).
The IAWM will continue with our mission of advocacy for ALL women musicians, harpists and others, by educating and informing the general public and the media of the VPO's policies until open auditions occur and women are fairly represented in the orchestra.
VPO Announcment
February 27, 1997
English translation by William Osborne
"THE VIENNA PHILHARMONIKER ANNOUNCES:"
"Today's general assembly of the Vienna State Opera and the Vienna Philharmonic has decided, on the basis of agreements made with State Secretary Wittmen, which secure for the future the special capabilities of the Orchestra, that equal employment opportunity for both genders exists.
"On this basis Frau Ilse Lelkes (Harp) will be employed as a member of the organization of the Vienna Philharmonic, effective immediately.
"In addition the Vienna Philharmonic has decided, to no longer apply for the subvention that they have received up until now."
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Quotable Quotes
In an article titled "Of music and men" (a profile of VPO concertmaster Rainer Kuchl in the December, 1997 issue of The Strad magazine - a violin magazine - pp1324-1329) Evelyn Chadwick wrote:
Apart from criteria of age and experience, no-one is barred from auditions yet the orchestra has just one woman. Long-serving harpist Anna Lelkes was only named a full member when a proposed US tour this year was threatened with demonstrations by equal rights campaigners and the Austrian government applied pressure to make the ensemble drop its 'men only' rule. Kuchl gives a complex explanation of the difficulties of staffing two separate orchestras but ultimately feels it is far easier to stay all male and not have to worry about pregnancies on top of everything else. He feels women play differently - not worse but more softly, more flexibly. He claims to be able to tell a female violinist at once even if she is concealed by a curtain.[and so on...]'Our goal has always been to employ people from regions where we have the same "feeling". Nowadays new orchestra are formed with players from totally different backgrounds, all stirred together in the same pot and all with a totally different concept of tone. Then all they have to do is play with precision and that's the current idea of a good orchestra. There's a lot more to it than that.' So are all his players Austrian men? Are there no Czechs, Slovaks or other central Europeans, perhaps those who have studied in Vienna?
'We don't need such players,' insists Kuchl. "They might play like gods but they wouldn't fit in. We once had a Bulgarian concertmaster but he left of his own volition. Audition juries have a very difficult job. They have to look far beyond the actual performance to assess the musician's ability to fit in and develop correctly.'
More quotes on the original "Zap the VPO" page
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Acknowledgements
This page would not exist without information and assistance from the following people, who have all generously contributed their reseach, expertise, suggestions, and/or personal support. Please join me in thanking:
Jeanice Brooks
Bill Dennison
Lisa Feurzeig
Annegret Fauser
Nora Graham
Jeff Harrington
Regina Himmelbauer
Robert Levine
Laura Ann McLary
Name Withheld By Request (8)
Kristin Norderval
Varda Ullman Novick
William Osborne
Elena Ostleitner
Catherine Pickar and her students at George Washington University
Sally Reid
Michael Ritterson
Clare Shore
Martin Stefflre
Maria Elena Tobon
Marie Verde and her daughter, Kate
Mimi Yin
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VPO on Tour
Check the Vienna Philharmonic Orchestra's web site to fnd out when they are coming to a location near you. The VPO Watch can help you organize a protest - contacting the local media, presenters, and women's rights organizations - so that the orchestra's employment policies are brought to the public's attention.
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This letter was e-mailed and/or faxed on IAWM letterhead March 16/17, 1999 to: Chancellor of Austria Viktor Klima, State Secretary Wittman, Gabrielle Moosyrsch and Micael Wolf of Volksoper Betriebsrat, Vienna Philharmonic Orchestra Chairman Dr. Clemens Hellsberg, and Vienna State Opera Director Ioan Holender.
March 15, 1999
Dear Herr Chancellor Klima:
Representing the eight hundred members of the International Alliance for Women in Music (IAWM), whose purpose is to celebrate the contributions of all women in music, I urge that the government of Austria not give additional funding in any form to any orchestra that excludes women. We believe that the strong equal opportunity laws of the Austrian government do not condone its institutionalization of sexism.
Early in 1997, the IAWM joined with others both in Austria and around the world in protesting the discriminatory hiring practices of the esteemed Vienna Philharmonic Orchestra to various Austrian officials, media, and VPO concert presenters. On the morning of their departure for concerts in the United States the VPO members responded to these protests by voting to grant full membership to Anna Lelkes, their harpist of 25 years. I was pleased to sign the IAWM letter congratulating them on taking this first step.
Since then, however, the IAWM has kept well-informed about auditions for the Vienna State Opera Orchestra, a preliminary step to eligibility for the VPO. In spite of the recent VSOO hiring of harpist Julie Palloc, whose eligibility for the VPO will not be until Anna Lelkes is eligible to retire, the IAWM is still waiting to see a change in policy which would allow equal opportunity to women performers in all the families of orchestral instruments.
Sincerely,
Dr. Deon Nielsen Price, Doctor of Musical Arts President, International Alliance for Women in Music
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Cities on the VPO's 2003 US Tour
Chicago, Detroit, Boston, Cleveland, Washington D.C., Philadelphia, and New York
Chicago
Orchestra Hall
February 26, 2003
Chicago Sun-Times
http://www.suntimes.com/index/index.html
Letters to the Editor: letters@suntimes.com
Chicago Tribune
http://www.chicagotribune.com/
Letters to the Editor: ctc-TribLetter@Tribune.com
Local NOW Chapter contact: jkoehler23@aol.com
http://www.illinoisnow.org/
Detroit
Opera House
February 27, 2003
This is the 6th anniversary of the admission of harpist Anna Lelkes, first ( and so far, the only) woman member of the VPO. She retired in 2001, at which point the VPO returned to an all-male membership.Detroit News
http://www.detnews.com/
Letters to the Editor: letters@detnews.comDetroit Free Press
http://www.freep.com/
Letters to the Editor: letters@freepress.comLocal NOW Chapter contact: detroitnow@juno.com
http://www.michnow.org/
Boston
Symphony Hall
February 28, 2003
Boston Globe
http://www.boston.com/globe/
Letters to the Editor: letter@globe.com
or use the web form at https://bostonglobe.com/newsroom/Editorial-Opinion/lettersform.aspBoston Herald
http://www.bostonherald.com/
Letters to the Editor: letterstoeditor@bostonherald.comChristian Science Monitor
http://www.csmonitor.com/
Letters to the Editor: oped@csps.comLocal NOW Chapter contact: bostonnow@hotmail.com
(617) 232-1017
http://bostonnow.site.yahoo.net/
Cleveland
Severance Hall
March 2, 2003
The Plain Dealer
http://www.cleveland.com/plaindealer/
Letters to the Editor: letters@plaind.comLocal NOW Chapter contact: msdodge@akrobiz.com
(330) 336-2578
http://www.akrobiz.com/ohionow/
Washington D.C.
Kennedy Center
March 3 & 4, 2003
Washington Post
http://www.washingtonpost.com/
Letters to the Editor: Letters@washpost.comWashington Times
http://www.washtimes.com/
Letters to the Editor: letters@washingtontimes.comLocal NOW Chapter contact: dcnow@dcnow.org
Philadelphia
Kimmel Center
March 5, 2003
The Daily News
http://www.philly.com/mld/dailynews/
Letters to the Editor: use the web form at http://www.philly.com/mld/philly/contact_us/feedback_np2/
specify subject as "letter to the editor"The Philadelphia Inquirer
http://www.philly.com/mld/inquirer/
Letters to the Editor: inquirer.letters@phillynews.comLocal NOW Chapter contact: philadelphianow@yahoo.com
(215) 735-2850
http://hometown.aol.com/pwetherby/pharnow.htm
New York
Carnegie Hall
March 7, 8, & 9, 2003
The New York Times
http://www.nytimes.com/
Letters to the Editor: letters@nytimes.comNewsday
http://www.newsday.com/
Letters to the Editor: letters@newsday.comLocal NOW Chapter contact: mail@nownyc.org
(212) 627-9895
http://www.nownyc.org/