2006 ROPA Conference: Charleston, WV

The annual ROPA conference took place in Charleston, WV, August 7-11, 2006. There were 72 orchestras represented, of which Palm Beach Opera Orchestra was one. After introductions were made, roll call was taken and break out sessions with assigned Members-at-Large ensued. This provided the opportunity to discuss important issues in smaller groups, which is essential now that ROPA has grown so dramatically over the years. Despite the inherent differences that occur due to geographic locations and economic climates, numerous commonalities emerged, such as the continuous struggle for improved wages while cultivating public support. Many orchestras were building halls, embarking on music director searches, lacking health insurance for musicians, and dealing with service changes that result to accommodate growth. The break-out group to which PBOOMA was assigned discussed the changing role of artists in today’s society and the development of a broader audience base. We also focused on our common concerns of stagnant growth, declining public support, competition with other orchestras or arts groups, and increased use of recorded music. This and summaries of other break-out sessions led to a morning pit break-out, which was an invaluable exchange of ideas.

The following day featured a panel on Negotiating Committee Responsibilities with Nathan Kahn, Chris Durham, Gordon Stump, Kathleen Grimes, and Greg Near; Janice Galassi, moderated. They discussed steps that an orchestra should address, including surveys and their protocol, internal organization (critical), the leadership of the orchestra, the role of the committee and the Local, and the importance of orchestra member involvement. They emphasized mutual respect on both sides as being crucial for agreement. After lunch, a presentation on the new Symphonic Live Media Agreement was given by Trisch Polach and Debbie Newmark. This new agreement ensures a project-by-project approval and revenue sharing after direct cost is met. It also allows orchestras to “own” the product, not a recording company, and that musicians reserve an upfront payment. This is specifically for live performances only, although patch sessions may be used if approved. Actual language will be determined and announced after this conference. Following this, AFM Secretary-Treasurer Sam Folio addressed high-tech developments and how that will continue to affect the music industry. AFM President Tom Lee then spoke briefly, followed by a question-answer session with Delegates.

David Bonior, former Minority Whip for the US House of Represenatatives, gave a presentation on worker’s rights with an overview of today’s labor movement. He stressed that every worker has the right to be treated fairly and to participate in decisions that affect their working conditions. Ron Bauers, lecturer at the University of Nebraska – Omaha, presented “Demystifying Financial Intelligence.” He urged us to remember that a CBA requires our viewing all current information pertinent to an organization, which includes all financials. He suggested we specifically ask for the 990s, IRS audits, and the artistic budget (which is critical for musicians to fully understand, in his opinion, to successfully negotiate). Bauers stressed that management make every effort to repeatedly preserve the endowment. Jan Gippo, ICSOM Chairperson, then spoke, followed by campaign speeches for upcoming officer elections.

Friday started with a panel discussion on building relationships with orchestra and board members, featuring Doug Patti, Nathan Kahn, and Sheldon Lentz; Laura Brownell moderated. It was stressed that all musicians should start this process now; the negotiating table is too late. A board that feels comfortable with its musicians will be more fully vested. Both sides may feel uncomfortable but it must be stressed that everyone is working together for a common goal. Damone Richardson of Cornell University addressed Industry Consolidation, who has steadily researched society’s growing trend of melding the arts with entertainment, leisure, communications, and media over keeping it as a more independent facet. As time has progressed, companies have consolidated as well, resulting in certain conglomerates to monopolize this melting pot. Richardson’s study of Clear Channel recognizes its international domination of live music concerts, live theatre productions, radio, and television. The conference concluded with the election of officers and members-at-large for the new term.

Respectfully submitted,
Francesca Arnone, Palm Beach Opera Orchestra, Alternate/Attending Delegate

Pittsburgh Ballet Presentation: 2006 ROPA Conference
Cynthia Anderson, Delegate

The Pittsburgh Ballet Orchestra struggled for years with problems with musicians’ issues; they did not receive financial support as emphasis was placed on investing in sets, costumes, and the company. Their interim company manager and artistic director proved to be a bad combination. Only 6% of the budget went to music, and live music was termed a “nice enhancement of the ballet but not necessary.” There was immediate and overwhelming support of the public for the orchestra when this was announced.

On August 18, they had their first performance of the season in an outdoor park, a venue which never has live music. The Board has a champagne dinner. Musicians attended and wore t-shirts declaiming the support of live music; they leafleted and circulated petitions, business cards. Twenty of the dancers wore orchestra t-shirts and processed to the board’s dinner; they were later admonished for this.

Unfair labor practices were soon filed by AFM. PBO musicians made visits everywhere where there were labor unions, returned all phone calls from the press, and visited schools and universities. They picketed constantly while live music was being performed alongside the picket lines. There was a multi-page article in the Post-Gazette on freelance musicians, which featured three PBO musicians.

The PBO musicians were committed to making the bottom line always about preserving the integrity of the art of ballet rather than about their own circumstances. They feel strongly that this was largely responsible for their successful campaign.

After the first ballet performance, the NLRB, ROPA, and AFM went into full swing.
The company stated that they couldn’t afford an orchestra even if they played for free. The PBO brass played throughout the Nutcracker picketing despite this.

A new Artistic Director, Harris Ferris, was then appointed. The company now could not fundraise while under an unfair labor practice, so they requested the orchestra to come back for one performance at minimum wage. The orchestra countered with an agreement for a two-production minimum for the following year and a “Say It with Music” campaign. This consisted of the orchestra agreeing to donate one performance for Coppelia, and then they would be allowed to make a curtain speech at every performance for the rest of the season so that no one would come to the ballet and not know that an orchestra should be there. They also insisted that corporate owners be cultivated to endow the orchestra for the future.

In summary, the PBO musicians feel that the audience wants to have live music, but they need to be constantly reminded of this. Their tireless efforts kept the orchestra very present even while they were absent from the pit, which only proved to be emphasized every performance. They felt indebted especially to Nathan Kahn for his great advice throughout the struggle.

Update in October 2006: the first performances with paid orchestra were an overwhelming success; although the company had fewer performances they performed to consistent full houses and earned rave reviews.

Summary respectfully submitted by Francesca Arnone, Palm Beach Opera Orchestra Alternate/Attending Delegate