Opening nights at large musical organizations are vital events for income, audience-building, publicity, and prestige. Two of San Francisco’s major institutions — the San Francisco Symphony and San Francisco Opera — are seeing what happens when the season gets off to a rocky start.
Just 10 days after the SF Opera Orchestra received some (still-unknown) concessions from management so that the musicians would play on opening night, the SF Symphony — with contract negotiation problems of its own — has found itself in a similar situation.
The musical crown jewel of the SF Symphony’s first classical concerts of the 2024–2025 season, Sept. 19–21, is Verdi’s Requiem, a majestic work for orchestra and chorus. On the afternoon of Sept. 16, all 32 professional singers of the SF Symphony Chorus voted to strike. Additionally, there are about 120 unpaid volunteer choristers who have no union representation.
The professional singers’ union, the American Guild of Musical Artists (AGMA), authorized the strike and said that “81.1 percent of the unpaid singers from the Verdi Requiem chorus have pledged to honor an AGMA picket line.” (See AGMA’s full statement below.)
The strike authorization vote does not mean that a strike has begun, but the AGMA board of governors already gave the head of the union the authority “to call a strike if and when necessary, in consultation with the negotiation committee.”
This conflict has been escalating ever since AGMA claimed in July that SF Symphony management “proposed slashing the [SFS] Chorus budget by 80 percent.” This would mean, AGMA said, reducing the current salary of the professional singers from $21,621 to $4,324 for the 2024–2025 season, which covers 26 performances and 56 rehearsals, a total of 82 services. Practically, this would be accomplished by having the AGMA choristers participate in fewer performances.
In response to the strike threat, SF Symphony management repeated previous statements pledging good-faith negotiations but, per organizational policy, gave no indication of an offer, even of a limited agreement, to resolve the situation. (See management’s full statement below.)
The administration’s stance in contract negotiations is that the organization faces a financial crisis that requires cost cutting. That assertion is brought into question by the SF Symphony’s newly released 990 tax form for 2022–2023, which does show a loss, with an operating budget of $80.9 million against total revenue and contributions of $71.1 million, but also discloses over a third of a billion dollars in both assets and endowment.
In more news related to the Sept. 19–21 concerts: Three short works by Gordon Getty originally scheduled for the program have been removed, to be performed at a later date. They are St/ Christopher; the Intermezzo from Goodbye, Mr. Chips, Getty’s 2021 opera based on James Hilton’s novella; and The Old Man in the Snow, set to a poem by Getty.
There are no statements — and none expected — from two people vitally involved in this situation: Music Director Esa-Pekka Salonen and Chorus Director Jenny Wong.
Statement from AGMA:
On the evening of Sept. 16, AGMA leadership and the AGMA members of the San Francisco Symphony Chorus voted overwhelmingly to authorize a strike. The choristers voted 100 percent in favor of the authorization. 98.1 percent of eligible members participated in the vote, and 81.1 percent of the unpaid singers from the Verdi Requiem chorus have pledged to honor an AGMA picket line.
A work stoppage is the most powerful action union members can take, but a strike is always a last resort. At this time, it does not mean that a strike has begun. The AGMA board of governors has granted Interim National Executive Director Allison Beck and/or her successor, the authority to call a strike if and when necessary, in consultation with the negotiation committee.
This pivotal decision follows a challenging period of negotiations that have, unfortunately, failed to produce a fair contract. AGMA members have continued working under an agreement that expired on July 31.
AGMA President Ned Hanlon, who also works as a full-time chorister at the Metropolitan Opera, stated, ‘The decision to authorize a strike is never taken lightly, but the chorus members of the San Francisco Symphony have demonstrated incredible unity and resolve in the face of a management unwilling to negotiate fairly.
‘The proposed drastic budget cuts would result in the loss of union jobs — jobs that are vital to maintaining the artistic excellence of the Chorus and the Symphony as a whole. The AGMA board of governors and artists around the country stand fully behind the Chorus as they fight not only for their livelihoods, but for the future of the performing arts in the Bay Area,” he continued.
‘The San Francisco Symphony already receives, by far, the largest return on investment from any other pillar of the organization from the Chorus, as only a quarter of the singers are paid, and those paid singers receive the lowest rates of any working artist in the company,’ said Elliott Encarnación, an AGMA governor on the executive council and [SFS Chorus] negotiating committee member. ‘To target the Chorus with these dubious cuts suggests an unconscionable lack of respect, and frankly understanding of the treasure this ensemble is or how to steward it responsibly.’
San Francisco Symphony management’s refusal to offer an adequate response has now jeopardized the Symphony’s upcoming three-day run of Verdi’s Requiem, set to begin on Sept. 19.
AGMA calls on its members across the country to stand in solidarity with these choristers, including both union members and non-paid singers who are selflessly standing shoulder-to-shoulder with AGMA.”
Statement from SF Symphony management on Sept. 16:
Our Chorus and each of its members are an essential part of the Symphony. We’re engaged in good-faith negotiations for a new contract. We’re meeting with our AGMA union partners regularly and have had productive conversations, with more touch points to come.
During those meetings and prior, we’ve been transparent about the challenging financial pressures we face — like many other arts organizations since the pandemic. We’re working with union representatives to collectively address those realities. Above all, we’re very optimistic about our future.
Out of respect for the negotiating process, we won’t be providing specifics about the details of talks at this time.”
