Concertmaster Frank Almond posted a thought provoking article on 11/6/2013 on the topic of women conductors. Written from his perspective of someone in the front row of orchestra musician trenches, he provides some much needed clarity on the topic.
You may wonder what angle could possibly be missing from the avalanche of words spilled (and sometimes wasted) on what is rapidly becoming a tiresome dialogue (to me, anyway). Here’s a little secret, at least in my experience: nobody cares. That is to say, truly gifted conductors are in such short supply these days that most orchestras wouldn’t care if you are male, female, or some combination as long as you possess that intangible and complex set of skills that both inspires and challenges a large group of musicians to play their best on a regular basis without growing to despise you in the process. And even if that happens, they’ll still be happy about some great concerts.
That pretty much says it all. Outrageous attitudes by some in the field notwithstanding, most of the professionals actually making the music don’t care about which vowel appears at the end of the ceremonial title.
And that’s exactly the way it should be.
I’d go so far to say board members and executives think more about it than the musicians; in fact, that would make for a fascinating study.
But what do you think, is Almond’s assessment of musician attitudes overly generous or spot on?
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Norman Lebrecht published an interesting post at slippedisc.com that notices the trend in conductors holding multiple titled positions is in no danger of going…
Actually the “vowel at the end of the ceremonial title” does make a difference. A “maestro” is a “maestro” regardless of gender. A “maestra” is a schoolmarm.
In my own (limited) research into the subject, it seems as though the critics are responsible for a great deal of the attitudes toward female conductors. Concert reviews incessantly refer to women as “petite” and often discuss their choice of attire. Males have little to worry about, despite their lack of height, as all are (according to Lynn Harrell) dressed like “Captain von Trapp’s butler.
Frank is right in every respect. The musicians care deeply about quality. The obsession with gender and race in music is almost entirely the concern of orchestra administrations and managements. One may almost forgive them, for they are responding to an onslaught of inquisition, accusation and demands concerning diversity from funding organizations and sectors of their audience who insist that an orchestra’s demographics should reflect the demographics of their place of residence, and that is causing some organizations to make poor decisions which can exacerbate extant tensions. One can almost forgive them. Almost.
One caveat: we should perhaps restrict these observations to American orchestras, for as William Osborne has ably shown there are still problems emanating from the rank and file in places like Vienna. Additionally, I have observed it firsthand in Ukraine.
The comment about “not caring” is what sounds the alarms for some, invoking the heated debate (as stale as it may be). The way I see it, so long as there is precedence of feminine greatness – and there most certainly has – this is a nonissue.
You may wonder what angle could possibly be missing from the avalanche of words spilled (and sometimes wasted) on what is rapidly becoming a tiresome dialogue (to me, anyway). Here’s a little secret, at least in my experience: nobody cares. That is to say, truly gifted conductors are in such short supply these days that most orchestras wouldn’t care if you are male, female, or some combination as long as you possess that intangible and complex set of skills that both inspires and challenges a large group of musicians to play their best on a regular basis without growing to despise you in the process. And even if that happens, they’ll still be happy about some great concerts.
Actually the “vowel at the end of the ceremonial title” does make a difference. A “maestro” is a “maestro” regardless of gender. A “maestra” is a schoolmarm.
In my own (limited) research into the subject, it seems as though the critics are responsible for a great deal of the attitudes toward female conductors. Concert reviews incessantly refer to women as “petite” and often discuss their choice of attire. Males have little to worry about, despite their lack of height, as all are (according to Lynn Harrell) dressed like “Captain von Trapp’s butler.
Frank is right in every respect. The musicians care deeply about quality. The obsession with gender and race in music is almost entirely the concern of orchestra administrations and managements. One may almost forgive them, for they are responding to an onslaught of inquisition, accusation and demands concerning diversity from funding organizations and sectors of their audience who insist that an orchestra’s demographics should reflect the demographics of their place of residence, and that is causing some organizations to make poor decisions which can exacerbate extant tensions. One can almost forgive them. Almost.
One caveat: we should perhaps restrict these observations to American orchestras, for as William Osborne has ably shown there are still problems emanating from the rank and file in places like Vienna. Additionally, I have observed it firsthand in Ukraine.
The comment about “not caring” is what sounds the alarms for some, invoking the heated debate (as stale as it may be). The way I see it, so long as there is precedence of feminine greatness – and there most certainly has – this is a nonissue.