Every year foreign orchestras with exotic or impressive-sounding names crisscross the country. They follow grueling routes and play in arts centers, small theaters and school auditoriums in places like Pembroke, N.C., and Modesto, Calif.
But they are not always what they seem.
The Dublin Philharmonic that played two years ago in nearly 50 towns? Mostly Bulgarians. The Moscow State Radio Symphony Orchestra that toured the United States last year? Largely freelancers. The “Tschaikowski” St. Petersburg State Orchestra, which is scheduled for a major American tour next year? Even the man advertised as its principal guest conductor said he had never heard of it.
A close look at these groups shows a pattern of creative marketing — even truth shading — concerning credentials and identities. At the least, audiences often do not know what they are getting, even though visa regulations require the groups to be “recognized internationally as outstanding” and to have had three-quarters of the same players for at least a year. Many of these groups are in fact pickup ensembles or have little reputation, even in their home countries.
Of course they aren’t the only orchestras that aren’t what they say they are. Take a look at some youth orchestras. Then look again. Do some of those kids look a little older? They probably are. They might even be thirty. Heck, they might even be mothers or fathers. Some youth orchestras hire what we call “ringers” to come in at the last minute to play concerts, sometimes even moving a real member down so the hired player can sit in a solo position. Some pay full fare to bring ringers on tour with them. When I find out an orchestra is doing that when they have members who should be playing, I no longer recommend the group. I just can’t.
So was I surprised by the article? Not really. Many things aren’t as they seem. Sad, but true.
