While women have increasingly assumed professional leadership positions, not all sectors have been open to the possibility of breaking down stereotypes. Instead, many continue to put down obstacles to prevent women from achieving their goals according to their preparation, talent and professionalism.
The world of classical music remains very closed. Although the number of female performers is increasing every day, the role of the orchestra conductor has fallen almost exclusively to men. It is a problem of opportunities. Women conductors do not ask for the world, they only demand to have their work taken into account, without sexist implications.
Recently, the life of Antonia Brico, the first woman to conduct the Berlin Philharmonic and many other important orchestras, was the subject of a film. Despite the good reviews she received during her career, she never became a chief conductor and had to deal with sexism. Those in charge belittled her and downplayed her talent because she was a woman.
The film, The Conductor, demonstrates the reality of gender inequality on the orchestral podium. After so many years, it would seem that the situation would be different, but no. Today, there are few women conductors, and far fewer in elite symphony orchestras.
The position involves leading a group of people and giving an identity to the result. Not all men within the industry believe that women can assume this role. On the one hand, there is the idea that men are the ones who are designed to give orders, take on certain responsibilities, lead groups and, on the other hand, some think that women on the podium can become a distraction.
Women in music have been systematically silenced. Less than 10% of conductors around the world are women. Until recently, only one female had conducted, when tenured, one of the most prestigious companies in the United States. Marin Alsop, from 2007 to 2021, conducting the Baltimore Symphony Orchestra and created an educational program to give free lessons to children in that city. Although there was some resistance during her selection, Alsop stayed for 14 seasons and is expected to guest conduct for a few more years.
Alsop became a reference, but she was very lonely all these years on the podium. The conductor admits that, when she was elected, she thought the move would open many more opportunities to others, but she is surprised that the numbers show a different reality even today.
In recent years, women conducting elite ensembles are in the news for being women, revealing the gender inequality in this industry to a widerl audience. A few weeks ago, the Atlanta Symphony Orchestra announced Nathalie Stutzmann as the new chief conductor, and she becomes the first woman to assume the position at the ensemble.
Some of the most recognized names for holding the baton of international orchestras are Ariane Matiakh, Laurence Equilbey, Alice Farnham, Marin Alsop, Mirga Gražinytė-Tyla and Alondra de la Parra. They have fought against the odds, broken down the barriers imposed by the guardians of tradition, and have become an inspiration for young up-and-coming musicians.
The mentality is changing, but very slowly. It was not until 1997 that the Vienna Philharmonic accepted women as instrumentalists, after social pressure helped to change this reality. At the time, it was a great controversy within the cultural world, but even today there are few women musicians on the staff.
The process has not been easy. Many girls and young women learn to play instruments, but few occupy important positions within classical music. It is not a matter of complying with statistics and filling positions to please, but if they allow themselves to look at other options, surely they will find excellent women composers, conductors and instrumentalists.
Marin Alsop continues to help change the image of women in leadership positions. A few years ago, she became the first woman to conduct the Last Night of the Proms and, recently, she took the baton of the Vienna Radio Symphony Orchestra, making her the first permanent female conductor of that institution. Vienna is known for its great musical past, so it becomes a responsibility, for conductors like Marin Alsop, to seize these opportunities so that in the future it is not just about a select few women.
This is an excellent moment in history to focus on the role of women in leadership positions. In the world of music, there is not the equality that we should be seeing these days. While there are more opportunities than in the past, discrimination is still palpable, even if there is better standing than 100 years ago when Antonia Brico was constantly shunned. This is no time to lose heart, better prospects are on the way, as Marin Alsop said, “Believe in yourselves … because you will create a future filled with possibility”.
Image credit: Governo do Estado de São Paulo
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