International Conference of Symphony and Opera Musicians (ICSOM), Philadelphia, PA (2026)

06/06/2026

Emeritus Principal Second Violin Virginia Price began her career with our featured orchestra, the San Francisco Opera Orchestra, in 1976 and was witness to truly amazing growth in the organization. She shared some of those experiences, as well as advice in hindsight after a long, successful career.

- What is the biggest change you've seen in your orchestra over the course of your career?
When I first joined San Francisco Opera Orchestra in 1976 it was a seventeen week marathon from mid-August until mid-December. The General Director and a small musical staff had complete control of auditions and tenure. My audition had been announced fourteen days in advance with, "Bring a solo and be prepared to sight read." I played my first season and assumed I had won a position. However when the following summer rolled around, the personnel manager informed me that there was going to be another audition for my seat. You could only be considered for tenure after playing two consecutive seasons. The reason, I found out, was that the General Director liked to see if a better candidate might show up. I decided not to audition again and returned temporarily to the East Coast.

On the night before the first rehearsal of the season the personnel manager re-engaged me. The position paid well but it was per-service. In 1980 the San Francisco Symphony had a new hall and the Opera Orchestra had a lot of openings since we had shared players. It took time to shape our new orchestra. The biggest change was that we negotiated an Annual Compensation Guarantee, which unified us as an entity and gave us income security. Over time our season expanded to include a summer season, giving us 26 weeks with four weeks of paid vacation, personal days, a negotiating committee, orchestra committee, tenure review committee and guaranteed days off during the week.

- What is your favorite piece or a piece you would have loved to play?
I love the opera repertoire so picking one favorite is daunting. Italian operas were my immediate favorite in the beginning. I vividly recall Tosca, Aida and La Bohème the first time I performed them. They are so dramatic and lyrical. Also, I performed with all three of the great “Three Tenors” during my first two seasons! I recall seeing men in the first row of the audience, handkerchiefs out and weeping. It seemed to me that people went to the opera to feel something.

But, if I had to pick one piece out as my favorite to perform it would be Wagner’s Ring Cycle. Yes, it’s very long. There are four operas and the total playing time is somewhere around nineteen hours. To me the length seems necessary to tell the tale, set the mood, allowing for great swaths of uninterrupted orchestral interludes and introductions to the huge number of characters. I always felt like I had earned the reward of the final glorious scene. It never gets old.

- What is it like to experience your orchestra from the audience perspective?

In 2018 I was already retired when I decided to see The Ring from the audience. San Francisco Opera was doing the cycle that summer. What I learned that I hadn’t expected was there is audience energy. As the cycle progressed so did the audience anticipation. We had enough time sitting together to start talking about the story we were witnessing. It was electric. It put into perspective how we as musicians are so self critical of every tiny perceived mishap. Seeing my former colleagues afterwards I gushed praises for how glorious it was. I think they didn’t believe me.

- Knowing what you know now, what’s something you would have told yourself in the early stages of your career?
To my younger self I would emphasize the importance of staying engaged in orchestra activities. Be on a committee, go to ICSOM, do whatever you can to contribute. If nothing else it will make you grateful for the colleagues who always seem to be serving.
Learn how to resolve problems, personal or musical. You will probably be with this group for a very long time and unresolved issues make it hard to work together in a productive manner.
Be aware of what repetitive stress can do to your body. If something hurts, find out why sooner rather than later and address it.
Finally, I would advise my younger self to leave for work earlier.

📸: Virginia Price

06/02/2026

Our featured orchestra of the week just began their season and they are the musicians of the San Francisco Opera Orchestra!

They reconvened in May to launch the 2026 summer opera season, and performed a free concert at the San Francisco Conservatory of Music for the third year in a row. These community concerts, called “Harmonic Interludes,” are organized entirely by members of the orchestra and the audience has grown with each iteration of the annual event. The performance was conducted by Robert Mollicone and featured Jesslyn Thomas, a member of the SF Opera Chorus.

At this year’s Harmonic Interlude, they partnered with By the Bay, a local independent nonprofit hospice provider. The musicians have volunteered their time to visit hospice locations and perform for patients and the concert provided an opportunity to raise awareness and support for the organization.

The summer opera season includes runs of Rossini’s Barber of Seville and Richard Strauss’ dark masterpiece, Elektra. They will also perform a second annual Pride Concert on stage at the War Memorial to wrap up Pride month at the end of June. They are entering negotiations with their contract expiring later in the summer.

In addition, the orchestra and Music Director Eun Sun Kim are preparing for Wagner's Ring Cycle in 2028. This summer they will present excerpts from of all four Ring operas to donors, as well as presenting a stand alone run of Das Rheingold next year. There are many newer members of the orchestra for whom this will be the first Ring, an exciting rite of passage!

An entire Ring Cycle is uncommon, so put it in your calendars to see them in 2028! We know it will be an incredible production by this accomplished group of musicians.

📸: Jose Gonzalez Granero (all photos)

05/29/2026

This week, our emeritus spotlight shines on Theresa Langdon, who joined the Indianapolis Symphony in 1979 under John Nelson and held the position of Associate Principal Viola of Indianapolis Symphony until 2002 when she elected to move into the viola section. She has always been an active chamber musician and educator in the arts community of Indianapolis, and she performs regularly at the Indianapolis Museum of Art, the Manchester (IN) Symphony Orchestra and at various churches throughout the city. In the summers, Theresa also participates in the Endless Mountain Music Festival in Mansfield, Pennsylvania and Corning, New York. Teaching affiliations include her home studio, the Quattro String Academy, and the Indianapolis Youth Orchestra. She served on the faculty of the MasterWorks Festival for fifteen years. Her students, mostly high school-aged, have gone on to be music majors or to continue playing as non-majors at excellent colleges and universities. She is a past president of Indianapolis Matinee Musicale. Theresa Langdon holds music performance degrees from Indiana University and Yale University.

- What is the biggest change you've seen in your orchestra over the course of your
career?
I joined the orchestra in 1979 and in the first several years of my tenure witnessed the commencement of several artistic endeavors which have helped to establish the reputation of the Indianapolis Symphony. We were in the process of moving into our new home at Hilbert Circle Theatre, which was an old movie palace that we renovated to fit our needs. Indianapolis Power & Light owned the building and actually sold it to us for $1! The Indianapolis Violin Competition began its inaugural season in 1982, and I have played every single competition since then. Our Yuletide celebration had its first performance in 1986. This was the first show of its kind and it was a huge risk that paid off - since then it has become an important tradition to
the people of Indianapolis. There are now thirty performances every December! We have been lucky to have premium quality conductors for Pops during my time at ISO. Erich Kunzel began our Pops Series in 1982, and was succeeded by Jack Everly and Enrico Lopez~Yañez. That same year, we began our Symphony on the Prairie residency at Connor Prairie, which is our outdoor summer season. I was lucky to be there for the inception of all these programs which have become integral to the identity of the orchestra.

John Nelson, who hired me in ‘79, was a notable music director in that he was American and also quite young compared to other conductors. He was a strong proponent of American repertoire and American guest conductors and soloists. His programming was dramatic and had great audience appeal. He would fill programs so densely with music that performances were executed at breakneck speed just so we wouldn’t go into overtime! I played with ISO with three more Music Directors, Raymond Leppard, Mario Venzago and Krzysztof Ubanski, all of whom had unique specialties and talents that they brought to our orchestra. Through my tenure, I have witnessed the personnel grow and change. It has been a pleasure to see the orchestra develop a very professional and respectful working environment where the standard is held high and music making is the most important part of the job.

- What is it like to experience your orchestra from the audience perspective?
I worked with Jun Märkl many times over the years before he became Music Director and have always appreciated both his clear baton technique and his collaborative spirit with the musicians. Now having transitioned into the audience in the last couple of seasons, it has been a joy to hear Jun bring out the orchestra’s many beautiful sound colors. I really enjoy experiencing this great repertoire from a new perspective and being able to appreciate my colleagues’ talents.

I am not surprised that we have such a talented pool of newcomers to the orchestra, since orchestral auditioning has become a prominent focus for training young classical musicians. It used to be that most of my classmates wanted to become soloists and usually held orchestra auditions as a Plan B! These days, auditions have become the sole focus of many of the conservatory students. That being said, the audition process since I joined the orchestra hasn’t changed much. Decades ago, the ISO began holding all auditions behind a screen through the final round. However, even before that we had a procedure in place to ensure that the audition
was fair and the hire merit-based.

- What is your favorite piece or a piece you would have loved to play?
I have always loved performing Brahms’ First Symphony. I believe that Brahms achieves the quintessential sound of the full orchestra, orchestrating the instruments in the most brilliant way. The richness of the harmonies, combined with the colors Brahms creates and the long, beautiful phrases makes this piece irresistible. And of course, it has a great viola part. Additionally, it makes great use of the contrabassoon!

- Knowing what you know now, what’s something you would have told yourself in the
early stages of your career?
My first thought is pretty logistical: When I began my career with Indianapolis, I was hired for Assistant Principal Viola (third chair). I won Associate Principal (second chair) shortly thereafter. I was in for a rude awakening! Sitting on the inside is much more physically demanding because the angle to the music stand is more awkward. Looking back, third chair was the best spot and I would have never moved up!

I very much appreciate the power and dedication of the Indianapolis Symphony’s audience. The city of Indianapolis has always cared so deeply about the symphony and showed up for us when we truly needed them, and I feel very touched by that. Sitting in the audience recently has reminded me of their fascination and love for the symphonic repertoire. I can sense their anticipation and the deep enrichment they feel when they see the orchestra perform and I am so glad to be a part of that audience now.

📸: Katherine Langdon

05/26/2026

This week in Indianapolis, the musicians of the Indianapolis Symphony have lots of news to share as they wrap up their indoor season while navigating some pivotal changes.

Jun Märkl just finished his second season as Music Director and has already hired twenty-two musicians, including five Principals. CEO James Johnson will depart in June, with Jonathan Martin stepping in as interim COO. They hope to emerge in a stronger position both to provide for the future of the organization and to serve their community.

Concert attendance has grown in the past few seasons, but they have not reached pre-pandemic numbers. Their Pops series is specifically undergoing some changes as they welcomed Enrico Lopez-Yañez as Principal Guest Pops Conductor in the 2024-25 season (Jack Everly remains Principal Pops Conductor) and they are eager to see how Enrico’s programming and arrangement resonates with their audiences.

The Indianapolis Symphony musicians are in a unique position right now. They have an abundance of new talent, a strong relationship with their Music Director, a new leader in management and are located in a metropolitan area that is one of the fastest-growing in the Midwest. They hope this intersection opportunity will bring sustainability and growth in the future.

We hope this for them too and are backing them all the way. If you find yourself in Indianapolis, you can help increase attendance by catching a concert and being one of those audience members!

📸: Indianapolis Symphony

05/22/2026

Former Associate Principal Bassoon of the Boston Symphony, Richard Ranti, is our featured emeritus musician this week. Hear what he has to say about his long career with the BSO and beyond!

- What is the biggest change you've seen in your orchestra over the course of your career?
My career started in the late 80s in the Philadelphia Orchestra, then I shifted to the Boston Symphony a few years later. Those were bustling times. Every seat in the Academy of Music was sold out before the season started. We recorded every week in what was a final ten-year flourish as we digitally re-recorded the oft-recorded great repertoire, and the Boston Pops was still riding a wave of TV, John Williams, and excited audiences. Over the next 50 years, there has been a slow and steady attenuation. Good music education is not a given, the media market is fractured and impossible to monetize, attention spans are short, and the world bombards us with hyperstimulation. It’s harder for classical musicians to make their way in this “attention economy." But it is very wrong to apologize for bringing to life the greatest artistic achievements humankind has produced. Great is great; all people can recognize that. They just need to quiet the noise in their heads, get in our seats, and listen. When they do this, they are transported. In an increasingly artificial and ugly world, great musicians have a vital role to keep something real, powerful, great, and beautiful alive. The selling of us seems obvious. To all managements and boards: say it loud, say it proud. If you don’t believe in great music, get another gig.

- What is your favorite piece or a piece you would have loved to play?
Mozart Piano Concerti were my life-blood as an associate bassoonist. Love the music, love the collaboration with great pianists, and loved my parts!

- What is it like to experience your orchestra from the audience perspective?
The BSO is thrilling on stage and from the audience! I love the artistry, the expressiveness, the dedication, the expertise. I know very well how hard everyone is working - how much it means to them, how much they love the music and their jobs, and I am so very grateful for it because their efforts blow me away. I am moved and in awe. I am also grateful to just sit back and enjoy the performances without the distraction of trying to do what they are doing!

- Knowing what you know now, what’s something you would have told yourself in the early stages of your career?
I wouldn’t have listened to me. I was laser-focused on getting my instrument to say what I wanted to say, come hell or high water. After I became a seasoned musician, I struggled a bit with the restrictions in my life. I love learning, and I regret a little bit my narrow Curtis education (although I am also grateful for it, and it suited what I wanted at the time). I would have liked to have been an astrophysicist, a doctor, to have been a great cellist, pianist, and tenor, to have read every great book, and to have had much more time giving back to the community. Retirement allows me to whittle away at the last two items on that list, and it is very gratifying. I am thankful for my career and thankful I could step away with a decent pension and good health.

📸: Rebecca Gitter

05/19/2026

We are pleased to feature our wonderful colleagues of the Boston Symphony Orchestra this week, where they are working hard to improve their relationship with management and their board.

They are currently in contract negotiations and this is happening amidst a backdrop of turmoil since the announcement on March 6 that the Board of Trustees had terminated BSO Music Director Andris Nelsons' "evergreen" contract. Shortly prior to this controversial announcement, three other artistic leadership vacancies arose: VP of Artistic Planning, Director of Artistic Planning for the Boston Pops, and Conductor of the Tanglewood Festival Chorus. The post of Principal Guest Conductor remains unfilled for many years. Of six artistic leadership positions only Conductor of Pops remains filled. Negotiations center around proposals prioritizing the musicians’ stake in artistic decision-making.

Since March, the members of the Boston Symphony Orchestra have been wearing red flowers during performances as a visible symbol of orchestra unity. This visual show of solidarity represents the BSO Musicians' commitment to maintaining the highest level of artistry for their audiences, and support for the Players Committee as it negotiates a fair contract which advocates for a stronger artistic voice in the artistic future of the orchestra.

We wish them all the best in their pursuits!

📸: Winslow Townson

05/15/2026

From our esteemed featured orchestra's cello section is Robert Hausmann, who spent 43 years with the Buffalo Philharmonic! Recently retired, we asked what it has been like to go from a full-time orchestral career, to this new pace of life as a musician.

•What's the biggest change you've experienced since retirement?
"Are you still playing the cello?" This is a frequent question when I tell others I have retired from the Buffalo Philharmonic Orchestra. The inquiry stings a bit. Perhaps a mail carrier may not walk their route after retirement, but to quote Pablo Casals on why he continued to practice hours a day, he said, “because I think I’m improving.”

I feel fortunate that my passion for the cello has only grown throughout my 43 years with the BPO.

•What is your favorite piece or a piece you would have loved to play?
I capped off my orchestra career by performing Ernest Bloch’s Prayer with the BPO last July—what a thrill to perform for family and so many friends in our devoted BPO community.

•What is it like to experience orchestral music from the audience perspective?
I do miss my cello family. As we all know, we often spend more time with our fellow musicians than almost anyone else. I recently moved to Boulder, Colorado, this past January to enjoy hiking, skiing, and biking with family, and I have very much enjoyed attending concerts of the Colorado Symphony. As much as I enjoy listening from the audience, I find myself wishing at times to be on stage again—especially for works like Rachmaninoff’s Second Symphony and Stravinsky’s The Rite of Spring.

•Knowing what you know now, what’s something you would have told yourself to expect throughout your career?

Still, this new chapter is only a few months old. In June, I will perform a cello duo recital with a new cellist friend in Boulder. I continue to love practicing, and over the years I have developed a deep passion for performing works by Jewish composers—a repertoire rich with pieces that deserve to be heard.

I’m eager to discover what opportunities lie ahead.

📸: Sean Kirst

05/12/2026

Our featured orchestra of the week are our esteemed colleagues of the Buffalo Philharmonic Orchestra, and they are currently moving through a landmark year, balancing a powerful conclusion to its 2025–2026 season.

Under the direction of JoAnn Falletta, the BPO continues to serve as Western New York’s cultural anchor, blending professional artistry with deep community integration through its education programs. Looking ahead to the 2026–2027 season, the BPO will celebrate the 250th anniversary of the founding of the United States with programs that feature American composers.

Of note, the organization is entering a pivotal transition period. After years of leadership and stability, Executive Director Daniel Hart has announced his departure effective December 31, 2026. Hart’s tenure saw the tripling of youth concert attendance and the orchestra’s first international European tour in decades. Jennifer Barbee will step in as interim Executive Director in September 2026, ensuring the BPO’s momentum remains steady during the search for permanent leadership. The musicians will also be entering into their final year of the current contract and are optimistic that a fair new contract can be easily reached alongside finding a new executive director.

We wish them all the best in their Executive Director search, and look forward to all the wonderful things they will continue to do for their community!

📸: Enid Bloch

05/08/2026

Emeritus violinist Hernan Constantino was a member of our featured orchestra, the San Diego Symphony, for 35 years! We were able to ask him a few questions about the enormous growth he witnessed in the orchestra, and some memories he treasures from his time there.

- What is the biggest change you've seen in your orchestra over the course of your career?
Over the course of my career, the biggest change I’ve seen in the orchestra has been its evolution in both identity and connection to the community. When I first joined, the focus was very much on the traditional symphonic canon, performed at a high level, but within a fairly conventional framework.

The orchestra grew from a solid regional ensemble into a nationally recognized one. Expectations rose, from repertoire choices to guest artists to the level of polish demanded in every rehearsal. The musicianship deepened, and the collective sound matured into something unmistakably its own.

Over time, I’ve watched the orchestra become more versatile and outward-facing. The repertoire has expanded to include a wider range of composers and styles, from contemporary works to cross-genre collaborations. There’s also been a much stronger emphasis on engaging new audiences—through outdoor concerts, educational initiatives, and more accessible programming.

Another major shift has been in the culture within the orchestra itself. There’s greater collaboration, openness, and adaptability now. Musicians are not only performers but also ambassadors, educators, and advocates for the art form.

Perhaps most striking is how the orchestra has embraced innovation while still honoring its traditions. That balance, between preserving the past and staying relevant in the present, is something that has defined its growth, and it’s been incredibly rewarding to be part of that journey.

- What is your favorite piece or a piece you would have loved to play?
Any Mozart, Beethoven symphonies, new 20th century works as well as accompanying some of our great soloists today with whatever they are playing.

- What is it like to experience your orchestra from the audience perspective?Experiencing the San Diego Symphony from the audience side has been both strange and really special. It’s both familiar and completely new, like hearing a language you once spoke every day, now spoken back to you with a different kind of beauty.
What surprised me most is how different the balance and blend feel out in the hall. You spend a career trying to imagine what the audience hears, but it’s never quite the same as actually sitting there. Certain lines come through more clearly than I expected, and the overall sound has a depth and cohesion that you don’t fully experience on stage.

For so many years, my entire perspective was from inside the orchestra. When you’re on stage, you’re focused on details, accuracy, ensemble, the next entrance, counting rests, watching the conductor, listening across the ensemble, always thinking about how my part fit into the whole. Sitting in the audience, for the first time, I could just receive the music. I didn’t have to anticipate anything or prepare... I could simply listen. From the audience, you feel the arc of the piece, the energy of the room, the connection between the orchestra and the listeners. It reminds me why we do this in the first place.

It’s also emotional. I don’t just hear the music, I see the people. I know the musicians, their sound, their habits, even their personalities in the way they play. So it becomes this layered experience: part listener, part insider, part proud former colleague.
In a way, it’s given me a deeper appreciation for the orchestra than I had even while I was playing in it.

- Knowing what you know now, what’s something you would have told yourself in the early stages of your career?
Having retired from the San Diego Symphony after 35 years, I think one of the biggest things I would tell my younger self is: don’t be in such a hurry.
Early on, I was so focused on proving myself, playing everything perfectly, never missing an entrance, trying to meet every expectation. And while that drive is important, I think I missed some chances to enjoy where I was. A long orchestral career isn’t just about getting better, it’s about learning how to live inside the music over time.

If I could sit down with my younger self, perhaps backstage at the Jacobs Music Center before a rehearsal in the early days... and share what the next few decades would hold, the advice would be less about fingerings and more about the long game.
I would advise - protect your ears and your body early. Musicians are elite athletes, but we didn't always treat ourselves that way thirty years ago. My advice is to invest in a good high-fidelity earplug and a really good physical therapist now, not when it hurts. The transition to the Rady Shell and the renovated Jacobs Music Center brought a new level of "sonic power." To play into your 60s with the same vigor as your 20s requires a proactive approach to the "occupational hazards" of the stage.
I’d also remind myself to listen more broadly, not just to my own part or even my section, but to the entire orchestra. The more I learned to hear the full texture, the more meaningful and collaborative the experience became.

Another thing is, trust that your voice matters. When you’re younger, it’s easy to feel like you should just blend in and not take up too much space. But some of the most rewarding moments came when I leaned into the musical line and really contributed something personal.

And maybe most importantly, I’d say, take care of the relationships. The people around you ... those are the ones you grow with, struggle with, and celebrate with over decades. That sense of community ends up being just as important as the music itself.

In the end, I’d tell my younger self that it’s not just about building a career ..... it’s about building a life in music.

📸: Gary Payne

05/05/2026

This week we're in sunny San Diego to shine a spotlight on our colleagues of the San Diego Symphony, where they have had venue renovations, adding to the immense growth this orchestra has experienced over the last 20 years.

They recently completed a $125 million restoration of their 94-year-old hall, with 2025 marking its second full season of operation. This reopening represents the orchestra’s second major infrastructure investment, following the summer 2021 completion of the Rady Shell at Jacobs Park, a year-round performance venue on San Diego Bay. Together, these projects have formed the cornerstone of the orchestra's strategic vision over the past decade. With both venues now fully operational, the San Diego Symphony is focused on expanding its audience and deepening its connection to communities throughout the region. Under the leadership of Music Director Rafael Payare, they also plan to release recordings in the coming years, further elevating their national profile.

With the current CBA set to expire at the end of the 2027 season, the musicians are optimistic and motivated to negotiate a new agreement that reflects the organization’s recent achievements and the momentum they have created.

During a time where it's safe to say we have all felt an impact of financial challenges in the arts, it's amazing to hear this has not held them back from these incredible achievements!

📸: Sam Zauscher

International Conference of Symphony and Opera Musicians (ICSOM)

06/06/2026

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