The Podium Posse: When Abusive Conductors Throw Shade (and Maybe a Music Stand) at the Orchestra

In the symphonic world, the conductor is the undisputed master of alchemy who can turn a cacophony of sound into a transcendental symphony. But what happens when the maestro’s magic wand turns into a weapon of down-right abuse? Let’s explore the tempestuous terrain of conductor tantrums—where the line between artistic passion and outright abuse is as thin as a violin string.

Imagine being a conductor. You've got the weight of the performance on your shoulders, the expectation to deliver nothing less than a transcendent experience. It’s enough to make anyone sweat through their tails.

But while the pressure to perform can bring out the best in some, it brings out the worst in others. For some conductors, the stress cooker turns them into ticking time bombs, and when they go off, it’s not pretty. Think less Leonard Bernstein and more Mount Vesuvius—minus the actual lava, but just as destructive.

Let’s start with the verbal assaults. Picture this: A conductor, known for his towering ego, berates the second violinist for missing a cue. “Are you even listening?” he barks, his voice cutting through the air like a dissonant chord. “"You’re a disgrace to your instrument and dragging the entire ensemble down. I expect perfection, not mediocrity! If you don't improve, I'll replace you!" The violinist, sitting there mortified and humiliated, while the rest of the orchestra sits in silence pretending to be interested in their sheet music or a spec of dust on their stand.

Or how about the maestro who channels his inner drill sergeant? “I don’t care if your lip starts bleeding, you’ll play that solo again until you get it right!” he snarls at a trumpet player. The poor musician, already on the verge of collapse after the 7th time of playing this extremely difficult passage, pushes through, fearing the conductor’s wrath more than their own physical pain.

Then there’s the emotional manipulation—an art form some conductors have mastered as well as conducting Brahms. One particularly infamous conductor was known for pitting musicians against each other, whispering to the first oboist that the clarinetist thinks she’s off her game, just to see the tension rise. He’d watch with a smirk as the orchestra simmered in a stew of anxiety and rivalry, believing that a little conflict would sharpen their performances. Spoiler alert: it mostly sharpened their desire to see him retire early.

And of course, there are the physical displays of anger. In one memorable rehearsal, a conductor, furious with what he considered a lackluster performance, grabbed a music stand and hurled it across the stage. It didn’t hit anyone—this time—but the message was clear: the next person to miss a note might not be so lucky. The orchestra’s playing improved, but only because no one wanted to become the next unintended percussion instrument.

While these stories might elicit gasps or even nervous laughter, the reality is that abuse in the rehearsal room can have lasting impacts. Musicians can suffer from anxiety, burnout, and in extreme cases, trauma. The orchestral can start to feel less like a place of artistic creation and more like a minefield where the slightest misstep could lead to an explosion.

Fortunately, the era of the untouchable, tantrum-throwing maestro is on the wane. More and more, orchestras and their institutions are recognizing that brilliance in conducting does not excuse abusive behavior. Musicians’ unions are stepping in, enforcing stricter codes of conduct, and providing safe avenues for reporting misconduct. The days of “grin and bear it” are giving way to a culture of accountability.

In the end, the best conductors know that the true power of their baton lies not in fear but in the ability to unite an ensemble under a shared vision of the music.

So, the next time you see a conductor waving their arms wildly, just remember: they’re guiding a symphony, not conducting a demolition derby. And if they forget that, there’s always the option of playing a little louder to drown out the tantrum. After all, nothing says “we’re all in this together” like an orchestra standing up to its maestro, one note at a time.

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Articles on Alleged Misconduct Involving Music Conductors

Now let's get down to even more serious business. Here are a few articles that provide an in-depth look into the controversies surrounding prominent music conductors and their alleged misconduct. I've also provided a list of notable journalists who cover misconduct, among other things in the classical music world, and links to more articles on misconduct and exploitation farther below.

• James Levine (Metropolitan Opera)
  

  • NY Times - Zachare Woolfe: With James Levine Fired, Should We Rethink Maestro Worship?

  • NY Times - James B. Stewart and Michael Cooper: The Met Opera Fired James Levine, Citing Sexual Misconduct. He Was Paid $3.5 Million

  • NY Times - Lela Moore: ‘James Levine Is a Conductor, Not a God’: Readers React to His Firing

  • Metropolitan Opera, James Levine Estate Sued Over Sexual Abuse for $25 Million

  • NPR - Anastasia Tsioulcas: James Levine Accused Of Sexual Misconduct By 5 More Men

  • NPR - Tom Huizenga and Anastasia Tsioulcas: Levine, Former Met Opera Music Director, Is Dead At Age 77
    

• Charles Dutoit (Orchestre Symphonique de Montréal)
  

  • AP - Angela Charlton - Conductor accused of sexual assault lauded on Paris stage

  • NPR - Anastasia Tsioulcas: Sexual Assault Claim Against Conductor Dutoit Is Credible, Boston Symphony Says

  • The Guardian - Patrick Greenfield: Royal Philharmonic Orchestra conductor quits over abuse claims

  • NPR - Tom Huizenga: Charles Dutoit Facing New Sexual Assault Accusations, Royal Philharmonic Cuts Ties
    

• Daniele Gatti (Royal Concertgebouw Orchestra)
  

  • BBC - Daniele Gatti: Conductor fired over sexual harassment allegations

  • NY Times - Micahel Cooper: Top Dutch Orchestra Fires Conductor After Sexual Misconduct Accusations
    

• Plácido Domingo (LA Opera)
  

  • NY Times - Michael Cooper: Plácido Domingo Leaves Met Opera Amid Sexual Harassment Inquiry

  • PBS - Jocelyn Gecker: Placido Domingo’s name comes up in Argentina sex sect probe

  • PBS - Ciarán Giles: Spain cancels Plácido Domingo’s appearance in two opera dates
    

• Gustavo Dudamel (Los Angeles Philharmonic)
  

  • Opera Wire - Francisco Salazar: Human Rights Foundation Condemns Gustavo Dudamel for Conducting National Children’s Symphony at Carnegie Hall

  • The Times - Jessica Duchen: Corruption, abuse, propaganda — it’s time we washed our hands of El Sistema
    

• David Robertson (Sydney Symphony Orchestra)
  

  • The Sydney Morning Herald - Bhakthi Puvanenthiran: Sydney Symphony conductor defends working on opera accused of 'pro-terrorist sentiment'
    

• John Eliot Gardiner (Monteverdi Choir and Orchestras)
  

  • Independent - Emma Guinness: World-class conductor fired for slapping singer sets up comeback choir

  • New York Times - Javier C. Hernández: Maestro Accused of Striking Singer Won’t Return to His Ensembles

  • The Guardian - Emine Sinmaz: John Eliot Gardiner starts new orchestra and choir after 2023 assault apology
    

• Daniel Barenboim (Berlin Staatsoper)
  

  • New York Times - Alex Marshall and Christopher F. Schuetze: Daniel Barenboim Seemed Untouchable. Now He’s Accused of Bullying
    

• Cristian Măcelaru (WDR Symphony Orchestra)
  

  • Opera Wire - Francisco Salazar: Angela Gheorghiu Calls Out Cristian Macelaru & Bucharest National Opera

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Prominent Writers on Misconduct and Abuse in Classical Music

Here’s an extensive list of writers and journalists who have covered misconduct, abuse, and scandals in the classical music industry. These individuals have written for various respected publications and have extensively reported on the issues of abuse, harassment, and toxic environments within the world of classical music.

• Michael Cooper (The New York Times)

• Alex Ross (The New Yorker)

• Zachary Woolfe (The New York Times)

• Jenna Simeonov (Schmopera)

• Anne Midgette (The Washington Post)

• Joshua Kosman (San Francisco Chronicle)

• Rachel Cooper (BBC Music Magazine)

• Charlotte Higgins (The Guardian)

• Elizabeth Nonemaker (The Baltimore Sun)

• David Patrick Stearns (Philadelphia Inquirer)

• Mark Swed (Los Angeles Times)

• Leah Broad (The Conversation, Various Academic Publications)

• Shirley Apthorp (Financial Times)

• Daniel Wakin (The New York Times)

Additional Notable Writers:

• Katherine Needleman (Queen of Filth Digest)

• Anthony Tommasini (The New York Times)

• Tim Ashley (The Guardian)

• Ivan Hewett (The Telegraph)

• Charlotte Smith (Gramophone)

• Heidi Waleson (The Wall Street Journal)

• Lawrence A. Johnson (Chicago Classical Review)

• Catherine Baker (The Conversation)

• Philip Kennicott (The Washington Post)
  

These writers have made significant contributions to the ongoing discussion about the culture within the classical music industry, helping to shed light on issues that have long been underreported or ignored.

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Here are more articles on alleged misconduct and exploitation in the classical music industry.

Together, they offer a deeper look at the power dynamics, unspoken rules, and systemic issues that shape the industry’s culture. If you know of additional articles that should be included here (coming soon), please reach out to harpischord.hotsauce@gmail.com.

You can also explore the misconduct tracker for classical musicians at "We Had No Idea" and browse the Queen of Filth Digests for countless firsthand testimonies.

(c) Katie A. Berglof, 2024 (See: Legal Disclaimer)