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Brazil Facebook protest – another jury member quits

A second of the foreign ‘experts’ called in to re-audition members of the Brazil Symphony Orchestra for their jobs has withdrawn from the process. The judge, who has not been named, was persuaded to step down by James Wilt, associate principal trumpet of the Los Angeles Philharmonic Orchestra, who has been rallying support for the embattled musicians.

Here is Mr Wilt’s announcement on the trumpetherald message board:
One of the “consultants” has decided not to participate. This was done at considerable cost to this person, as they had to give up a week’s worth of salary to make the trip, and obviously will not be compensated for the time they would have spent in Brazil. It says a great deal to me about this person’s integrity. 

Still working on the other one I contacted. 

Good luck!
Jim Wilt 
LA Philharmonic 
Colburn School

Samba school particpant from Beija Flor

Yesterday, the violinist Isabelle Faust informed me that she was not taking part, despite having her name posted as one of the judges in the official Government diario. Stand by for further developments.

Facebook’s blackout protest appears to be winning this fight. Meanwhile, carnival continues.

Costumes from the Samba School Imperio Serrano

Participant of the parade from Beija Flor

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  1. Denise Gomes says:

    Bravíssimo !!!!!!!!!!!!!

  2. Pedro Bezerra says:

    Here is the truth, the jury member probably quited due to the instability in Rio de Janeiro, the city is very dangerous and is very risk there. Or may be the jury was already robbed by a “smart carioca”. No one quits without a reason.
    He is afraid probably to attacked after the evaluation, since most of the rebellious musicians are very aggressive and disrespectful. Yes, this is Rio de Janeiro, the truth from the inside.

  3. I can’t believe it… Musicians are not “rebellians”, they are dedicated and committed performers who give their talent and energy to their orchestra daily.
    The management decision is unanimously considered absolutely unfair and counterproductive by the entire musicians community worldwide.
    It is also subject to reprobation by orchestra managers.
    There is an opportunity here to change for a more inclusive partnership in governance in which performers can be genuinely involved, as in other orchestras throughout the world. This would be mutually beneficial to the orchestra, its musicians and management and, last but not least, to the public.

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