A rude horn blat!!! Wow, a French horn player missing a note. Haven't you figured it out yet? The French horn is a difficult instrument. Get used to it. My wife and I watched the recent New York Philharmonic concert broadcast from North Korea and Philip Myers (the phenomenal principal horn player) missed the high E concert at the top of the famous horn call in the 4th movement of Dvorak's New World Symphony. I'm sure if it had happened here in Miami you'd be asking for his dismissal. I have a wonderful recording of Dennis Brain performing the Strauss first horn concerto and even HE misses a few notes. Get over it, the Horn is a fundamentally difficult instrument.

Almost every review you?ve done has found fault with the French horn section in each ensemble, from the Cleveland Orchestra to the Florida Classical Orchestra to the Miami Symphony. The French horns have always been singled out in your criticisms. After a while, most intelligent people would come to the conclusion that the French horn might be a difficult instrument to play. Every one of the orchestras mentioned above is comprised of different individuals ? the only thing they have in common is playing one of the most treacherous instruments in the orchestra. Get over it!!
Reginald F. Nicholson

Dear Larry, For the record there were virtually no missed notes from the horn section on Saturday night. The couple that happened, including the one you mentioned, were caused by a lack of a preperatory beat. You of course don't even know what I'm talking about so I don't want to waste my breath.

I have kept silent for far too long. It's time that I finally set you straight about a few things. First the make-up of the orchestra's personnel has almost completely been chosen by Stewart Robertson, the Florida Grand Opera's music director. For you to blame myself or Sunset Entertainment for poor quality, is the same as if I blamed the personnel manager of the Los Angeles Philharmonic for a poor quality orchestra. Which would be foolish since he has absolutely nothing to do with it. Nor would the personnel manager be responsible for the LA Phil being great, which they are. I used a rediculous simile here, as the other problem with your assertions, are that they are totally false. The Florida Classical Orchestra is an excellent part time orchestra. Stewart Robertson has crafted a terrific group of musicians. We were the largest single professional orchestra in South Florida by budget and number of services, which is why we commanded the loyalty of the best musicians here. What you have accomplished by consistently attacking us does not improve the situation artistically. It will have made it significantly worse.

What I have not given you credit for is the power of the press here in Miami. Despite a majority of past good reviews by multiple critics. You have almost single handedly wreaked havoc on our orchestra. What is truly sad is that the politics in the South Florida Arts scene have listened to you and acted upon your opinions without realizing that they are only harming what THEY created! Myself and Sunset Entertainment have done nothing but do everything asked of us by Florida Grand Opera, and do it with honesty and integrity. Something that is frequently a rarity in this business.

Very Sincerely, Kurt Hagen, Executive Director, Florida Classical Orchestra

Dear Mr. Johnson,
As a member of the "out-going" FGO orchestra, I find it particularly ironic that you see fit to gloat about the company "finally upgrading" its orchestra by hiring a new contractor. Are you really naive enough to think that by starting at square one with a new set of local players from the same basic talent pool, but without the benefit of seven years of working together as an ensemble, that the level of quality is suddenly going to skyrocket to the level of the Met? The big opera houses have certain advantages that attract the top-flight players - A living wage for example. A real contract with collective bargaining rights. Job security. Health benefits. Things that would allow the players to devote themselves to developing their art on a full-time basis, not having to drive all over the map to pick up extra teaching and playing jobs just to make the rent. I put over 30,000 miles on my car per year, mostly from having to teach at distant locations and drive to "gigs" from Miami to Ft. Pierce. Not to mention the drive time involved. Considering the travails we musicians must endure to survive, it's amazing we're able to maintain the high level of quality we do, regardless of your opinions. We are neither novices nor dilettantes, and we want nothing more than the opportunity to practice our long-studied art with a reasonable degree of respect and regularity. As long as FGO refuses to employ their orchestra as an "official" entity, there will always be unevenness, substitutions and other problems. Hiring a new contractor with new and unseasoned players will only exacerbate the problem. Thanks in part to your influence, there will be only the illusion of positive change in the pit. If FGO and the city of Miami wants a real professional-level opera orchestra, they'll have to do as the pros do - take responsibility as the orchestra's employer and provide the same benefits and rights as the major companies do.

Sincerely,
Chas Reskin

Usually I find you right-on. This time I think you had a bad meal before the performance, or something like that.
Former Fla Phil conductor James Judd was there. What's up with that?

I thought the whole performance was a moving and beautiful experience. I'm thankful that I'm not so knowledgeable as to have missed the high that I carried away from it.

I respect your right to express a more informed opinion, but your comments seem to me unnecessarily harsh and cruel. Perhaps the first comment posted, suggesting that you had a bad meal or some other unpleasant experience before the show has some merit. But I can't help but wonder if you might find it easier to write something you think is clever if it is really viscious.

I am also a member of the out-going orchestra, although I choose to remain anonymous. There are a few things I'd like to address. First of all, I find it absolutely maddening to be told, once again, that the strings were lacking in fullness of sound. What Mr. Johnson refers to as "hyperkinetic" movements from Varonese, were actually over-exaggerated and distracting grimaces and gestures to make the orchestra play softer. Apparently opera houses over here have different acoustics than in Italy, and perhaps one of the operatic "powers that be" should suggest to Varonese that he actually listen to something in the hall, because, to the best of my knowledge, a singer has to date never been covered up by the orchestra, least of all by the "underpowered" string section at the ballet opera house. What are we supposed to do when we have a hyper man shaking his hands and head, and "shooshing" us every 5 seconds? Never mind the fact that all of his ridiculous shaking is very unnerving and causes lack of concentration in the pit. How can we, as an orchestra, be blamed for that?
And, speaking of the pit, I would have to ask Mr. Johnson how he already knows that the new orchestra is an upgrade? He would have no way of knowing that. It shows his clear bias. But it's obvious that the reviews next year will of course be better, because apparently Mr. Johnson approves of Oliva, and has already decided that the orchestra will be better. Mr. Johnson would probably give a good review to a bag of garbage, as long as it wasn't given to him by Kurt Hagen or the Florida Classical Orchestra. I have the absolute smallest amount of confidence in the integrity, honesty, and astuteness of Mr. Johnson's comments. The problem that I see here is that the wealthy, albeit uneducated and unartistic, members of the Opera's "powers that be" are totally driven 100% by every word that Mr. Johnson writes, and Johnson sears his venom on Hagen, FCO, and Stewart Robertson every chance he gets. It makes me wonder is Stewart is next to be ousted!
I'm not delusional, and I will be the first person to admit that there are inconsistencies in the technical level of certain players in the orchestra. This also is true in almost every major orchestra, up to and including Chicago and Cleveland, both of which examples I speak of from personal experience. Dead wood exists in most orchestras, with very few exceptions. And, Alfredo's orchestra has similar inconsistencies. They're all freelancers, just like we are. I've heard them, i've played with them, some of them play well, some don't. Oliva's new orchestra is not going to be an upgrade, but it will certainly seem and feel that way, since the reviews will magically be much better. If the general readers of Johnson's reviews actually think that he speaks the journalistic truth, then they don't deserve high quality art. Oliva spreads himself very thin with the musicians he hires, he hires from out of town, he hires Palm Beach Opera musicians who will have conflicts, he hires unexperienced college students who have no idea how to play in an orchestra. At least with Florida Classical Orchestra, the personnel of the orchestra was mostly consistent. But, once again, no one in power at the opera thought of that before firing FCO. The right thing to do, and the thing to do that will guarantee quality, is for the opera to take responsibility and negotiate CBA, and to have it's own orchestra, whether or not it's Hagen's musicians or Oliva's musicians who win the auditions. Until that happens, the orchestral situation is not going to magically improve because the opera hired a new contractor. If the opera is blind enough to think that their choice to hire Oliva is going to solve their problems, then they deserve whatever maladies continue to plague their operations, from janitor all the way up to Mr. Heuer.

I would also like to add to the comment left by "isoop", in reference to horn blats. No one likes biffs, they don't sound good. DUH! They happen. Musicians train to eliminate them, but they happen. And they happen at the Met. I saw a wonderful production of Marriage of Figaro at the Met in 2000. In Figaro's 4th act aria, there is a quick repeated horn arpeggio ending on a high concert B flat. The principal horn player missed almost every single one. The principal horn player of the Metropolitan Opera Orchestra missed a series of notes! Maybe he got them the night before, maybe the night after, but the night I was there he biffed them. I'm sure he wasn't castigated endless by the New York Times. And I'd like to see Mr. Johnson try his obviously agenda-driven antics in New York City journalism. He wouldn't make it past the door. But why would he want to leave Miami? He says what he wants, and obviously is able to use his influence to forward an agenda that is a clear violation of the ethics that his position should maintain.

ISN'T THERE ANYONE @ THE HERALD WHO WILL REVIEW THE SATURDAY EVENING CONCERT BY NWS? wHAT A WONDERFUL ROMEO. MUCH, MUCH BETTER THAN THE UNDESERVEDINGLY PRAISED RNO.

It is too bad that the relatively small number of talented musicians willing to sacrifice the many hardships of being a local musician, have to also deal with corrupt contractors controling the music scene through political bribery. It is a sign of the times; not enough jobs to go around for caused by the low demand for symphonic concerts. (hasn't it always been this way?)Only the most underhanded, manipulating, intimidating, narcisistic, egomaniac, god father type, individuals that seem to be born with these extra "talents" prevail. It is not about real talent anymore; or unified, positive musical growth; it is about who gets on top regardless of what it takes or who has to be removed. I bet that regular concert goers don't even read these columns; it is the musicians that read this. Those ending up at the top in this situation have done it through pure politics and manipulation, not through demonstrated musical ability; what is the scale for determining who is the best musician or orchestra? Have auditions been announced? I missed the announcement; Is this corrupt critic what controls and shapes the music scene as roos did? I bet this critic takes infleunce from him b/c it is the same type of attack that eventually lead to the demise of the other orchestra; and left nothing comparable in its place. I commend the musicians that have been true to their art without succuming to the greed and corruption that is evident here. This is a recurring theme in the south fl. music scene; why many decide it is not worth their precious time. Maybe someday the union, lead by a conductor that knows, like James Judd will step up; but it appears to be a losing battle, in the right to work state; only God can do something. The thankless job Musicians with integrity do here in SF will always be appreciated more than those without integrity. In the end what will matter, that you got to the top by stepping on your own "family"; that you are left alone with your band of "yes" men and women? that you will always be remembered as scum by those that really know you? Maybe in the end you will see the light; I really hope so; but meanwhile back to reality; who will go under next at the hand of the "god father"?? will it be your stand partner? or will it be your news man? or whomever is in your way; you must feel proud for all the attention; but those that see through you will never forget everything you've done and see you for what you are; I've seen your face before my friend...

As a horn player myself, I would like to throw my hat into the ring here. While I am a pro-union AFM musician, I am not a FGO musician. I do not even live in Florida. However, I do take an interest in this debate as local issues can have a national impact.

Mr. Johnson's repeated attacks on Mr. Hagen are crass, excessive and inflammatory. If I were Mr. Hagan I would investigate legal avenues. Since Mr. Johnson's rants have resulted in concrete financial loss, there might be something to this.

As other posters have noted, horn players miss notes. It is the nature of the beast and has nothing to do with ability, professionalism or talent. In a recent performance in my scene, a conductor approached me and rudely commented, "what is the DEAL with the horns tonight? Why are you missing so many notes!?" I feigned sincerity and apologized. Of course in my head I had visions of the conductor's head exploding like a Halloween pumpkin. Missed notes have nothing to do with ability and everything to do with context.

Critics that point out sour notes show more about themselves than the criticisms they offer. Horns miss notes, clarinets play out of tune, conductors give erratic beats, tubas drag and string players squeak. That is the nature of the orchestra beast. It is a technology based in the 18th century and mistakes are part of the experience. If you want note-for-note perfection, listen to an edited CD or some electronic, computerized music. If you want excitement and raw energy on the other hand, listen to a live band or orchestra.

Imperfection is part of the experience. A beautiful woman's beauty is enhanced with a mole here, wider eyes there or a crooked nose right in the middle of her face.

I have seen a lot of live Met productions myself - both at Lincoln Center and via their wonderful live HD theater broadcasts. Even the highest paid orchestra in the nation misses notes. By pointing out the obvious glitches, Mr. Johnson demonstrates his intellectual bias and ignorance of live art.

On another note, there is a lively debate going on at Johnson's April 13th online article "FGO Fires Its Contractor." A wide cadre of characters has chimed in there.

And on another note, by my estimation Stewart Robinson makes something in the neighborhood of $350,000/year. What does the average section player make?