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Exclusive: Principal flute is voted out of ‘sexist, racist’ Vienna orchestra

Musicians rejoiced 15 months ago when Jasmine Nakyung Choi, associate principal of the Cincinnati Symphony Orchestra, was named principal flute of the Vienna Symphony Orchestra. Many saw it as a sign of enlightenment in a society often held to account for illegal discrimination.

Here’s the unhappy ending: last Saturday (we hear), players in the Vienna Symphony Orchestra voted against retaining Jasmine as their #1 flute.

We hear strong background rumours of sexism and racism from within the orchestra. Jasmine had been playing on top form all season. Despite being voted out, she was asked to play on for another year but has decided to have nothing more to do with the hostile ensemble.

She is now back on the job market.

We doubt she will be out of work for long, but it’s sad to see Vienna once again reinforcing historic stereotypes.

UPDATE: Johannes Neubert, the orchestra’s managing director, has responded here.

2nd UPDATE: Jasmine Choi replies here.

jasmine

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Comments

  1. Norman — not Vienna Phil?

  2. More Vienna bashing from Lebrecht.

    • Emil Archambault says:

      What’s wrong with denouncing racism and sexism?

      Or do you have any other pertinent information to this story?

      • Harold Betner says:

        So you’ve heard an official statement that says as much? I would think a bit of patience is in order before we start throwing daggers their way.

  3. She was voted out because of her sex and race?

  4. Who are you quoting in your headline?

  5. Mr Oakmountain says:

    Does anybody know how often it happens that new principlas are voted out after the the trial period?
    That would be interesting to know in order to establish if this is out of the ordinary or not.
    I also would like some confirmation of the “strong background rumours of sexism and racism”.
    This would be a-typical for the VSO though, since I felt they did try to come across as more international and less conservative then their (more famous and richer) VPO colleagues.
    Is there an official statement from the VSO?

  6. The voting out after the trial period happened here with the Berliner Philharmoniker and clarinet star Andreas Ottensamer…

    • Emil Archambault says:

      Where’s “here”?

    • Malcolm James says:

      Andreas Ottensamer is still listed as a member of the Berlin Phil and his bio says he’s been there since March 2011. If he had failed his trial period he wouldn’t be there any more.

      Also, a French viola player told me that up to half of players on trial for principal positions fail their trial period, so Ms Choi’s experience is hardly unusual. Yes, sexism and racism MAY have been the cause, but we just don’t know for sure.

      • Ottensamer was voted out of the Orchestra after his trial period. They then prolonged the period and shortly before the end of last season they confirmed him after all… And here is Berlin!

      • Michael Schaffer says:

        Yes, it happens quite often that candidates for principal positions are not confirmed after their trial period. Musicians who are outstanding soloists are not necessarily automatically great orchestral players, too.

        Obviously, “racism and sexism” have absolutely nothing to do with this because if that was the case, they wouldn’t have hired her in the first place. That takes about 2 seconds to figure out if you think about it.

        The only racism connected to this story is in how easily and quickly some people jump to the conclusion that it must have something to do with “racism and sexism” because it is Vienna and they think everybody there must be “racist and sexist”. So, those of you who did, consider yourself outed as racists.

        • Jean-Marie van Bronkhorst says:

          How many women are in the Vienna Philharmonic? Let’s start there.

          • Michael Schaffer says:

            That’s irrelevant in this context. She is a woman, she is from Asia, she got her trial year – those are the facts relevant here. Let’s start there. And we are actually talking about another Viennese orchestra here. Which already has female and Asian members – and plenty of non-Austrians in general, too. Let’s start with the facts.

          • Part of the fact, Mr Schaffer, is that Vienna is already with a dark history of bigotry (and I’ll admit, as does most and perhaps any other group or people). It is the question of whether or not this tradition is leaving its vestiges to this day. When someone claims to be a direct victim of it, I am, unlike you, more inclined to listen than to brush it off as sour grapes. I am more inclined to listen because of what I know of Vienna’s past and because I know people personally who have had to face this discrimination.

            By the way, elsewhere have you brought up the topic of black musicians in America. (As I have said, and as you have implied, many or any group of people have had their dark past of bigotry.) This is not as apt a comparison as you may think. The ratios of black musicians in conservatoires and black musicians in orchestras are closer by miles than the ratios of Asian musicians in Viennese conservatoires and Asian musicians in Viennese orchestras.

          • Dear Anon:
            You want to compare
            a) The number of black students of music, citizens of the U.S. (!), in relation to the vanishing number of black musicians in US orchestras.
            b) The number of Asian guest students in Vienna, having a student visum but being neither citizens of Austria nor of any other EU country (!), in relation to the not so little number of Asian musicians in Viennese orchestras.

            In fact, the relative number of Asian musicians in Viennese orchestras is much higher than the relative number of PERMANENT citizens of Asian origin in Vienna among all permanent citizens of Vienna.

            Permanent residency and citizenship is a different issue than student visa.

            So you compared apples and oranges.

  7. Thomas Robertello says:

    Very sad news indeed. I’ve heard Jasmine play in the orchestra in their broadcast concerts and no one is playing the flute more beautifully right now. She has endless energy and gives stunningly beautiful performances. My hope is that she will audition for and win the solo flute position in Berlin. Whatever commentary this story generates, one thing is certain – she is a world class artist, orchestral and solo musician.

    • So, who is leaving in Berlin? Blau and Pahud are co-principals. There also appears to be a vacancy for principal flute with Berlin Opera, which closes in about 10 days. I am sad for Jasmine also. I heard her play at NFA last year and am looking forward to her performances this year at NFA in New Orleans–hope she is doing o.k. –we’ll see. I know, I know, NFA is already underway (just started today). Couldn’t get away till tomorrow.

      • Michael Schaffer says:

        I think Blau turns 65 this year or next year, so he will definitely retire soon. Since the orchestra members are technically employees of the city, they all retire at 65.

    • Don Stein says:

      Spot on Tom! You and I both know that Mr. Baker would be disappointed but not shocked because he knew about the deal “over there.”

  8. Rgiarola says:

    Vienna is the Alan Rickman of Slipped disc. Always playing the villain.

  9. Brian O'Donnell says:

    A nasty situation to be sure but Jasmine is a strong individual as well as an enormous talent and rest assured she will indeed weather this storm and land in a better place. Take it to the bank.

  10. Robert Fitzpatrick says:

    Some stats please from those who know this scene:

    How many women are principals in Vienna Phil, Vienna Sym, Berlin Phil ? How many Asians are filling that role? If the answer is a goose egg, the headline of this thread is more than credible. (yes, I know that one of the Berlin concertmasters is a Japanese male). The Concertgebouw appears to have greater diversity than most other high profile European ensembles. Am I dreaming or is that true?

    Jasmine Choi plays the flute at the highest professional level. I would like to offer an additional thought beside sexism and racism. Does her American training with Julius Baker and Jeffrey Khaner enter into this denial of tenure? It is indeed very rare to find an American trained musician leading a section in a major European orchestra and vice versa, to a great extent (Europeans as principals in the USA). I would welcome corrections on this possible misconception on my part.

    • There is a thorough article regarding Vienna Philharmonic, albeit slightly off mark from your question. http://www.osborne-conant.org/ten-years.htm

      I believe Jasmine Choi has triple malice against her. She is a She (how novel), Asian, and as you suspect as an issue, American-trained.

      I had heard a few years ago that Vienna Phil had hired their first woman concertmaster. I know in Berlin there was an American female violist that led the section for a couple years around 2005 or so, but left. I do not know if it is the same position, but I believe there is a Japanese woman leader of the viola section at present. I also believe the first woman cellist to be admitted to Berlin was in the mid-2000s. These are all things I have heard by word of mouth and is by no means factual. Would someone please correct me if they know something.

      Last but definitely not least, and on a side note, I remember seeing a video of the Luzern Festival Orchestra and wondering if I was looking at an American orchestra because there were so many women. So on that regard, you are probably not dreaming.

  11. John Kelly says:

    Orchestras are strange to say the least in selecting co workers and principals. All I can say is Norman’s post made me go to Youtube to listen to this wonderful player. Try looking for “Jasmine Choi Faun”. There are other videos too. This is someone who can not only play spectacularly but has such a lovely sense of the singing line. Not going to have any trouble finding another post IMO. Another Kincaid? The VSO made their choice for whatever reason but it will be some other band’s gain.

  12. Dear Mr Lebrecht

    Without doubt Jasmine is a wonderful musician, and she has indeed been playing on top form all season. And of course, every negative decision about a trial year is controversial and therefore everyone can question if the decision was the right one.

    There is absolutely no reason to assume that the decision of our players was based on race or gender, though. The Vienna Symphony hired its first female musicians in 1987; our musicians come from 16 different nations (including countries like Kazakhstan, Japan, P.R. China, Australia and the United States of America). We see ourselves as an Austrian ensemble, but purely in a musical sense. It does not matter for us where our new colleagues were born or whether they are male or female. We want to carry forward the tradition of Austrian music making; this connects us, nothing else. Therefore we will continue to hire female musicians, and without doubt this will include all kinds of nationalities. However, now as well as in the future, it must be possible that our musicians make their decisions without being called racist or sexist.

    With best wishes
    Johannes Neubert

    Managing Director
    Wiener Symphoniker
    (Vienna Symphony)

    PS: By the way, it is not true that we asked Jasmine to play for another year. In the meantime, she has decided not to play any further projects and everyone accepts and understands this.

  13. Why not let the Symphony patrons and the audience make the final decision? What does the conductor or music director think aboiut this?

  14. Is there any proof that it was a sexist and racist decision? Maybe it was something as trivial as her not being able to read, write, speak or hear “deutsch”, which in the long run can be a huge stresser during group meetings, committee meetings, watching TV, etc. I speak from Erfahrung!

  15. James Reading says:

    Hang on, Mr. Lebrecht.

    ONLY fact in this story: Flutist voted out of orchestra after trial period.
    Not a particularly exciting headline…

    Sensationalism: implying it is because she is a woman and Asian.
    Ka-chink, people now want read and comment on the story! Those vile, evil Viennese!!!

    Hearsay: “we HEAR strong background RUMORS…”

    Please, let us wait for more facts. I will be happy as anyone to denounce sexism, but not because it grabs a headline.

    I very much appreciate the work of Slipped Disc otherwise, and thank you for your work.

  16. I have known Jasmine since she was 15 years old, and from the time I first heard her I have been dumbstruck by her talent and sound. There have been lots of great flutists, but I maintain (and have always maintained) that Jasmine is the only person I have ever heard to turn the music into liquid gold as she plays. It is an extremely uncommon and remarkable gift, which mirrors the lovely person she is. I agree with all of the positive comments above, but the sad thing is no one benefits when these types of things happen in this business – and sadly, Jasmine is not the first nor will she be the last to suffer the indignities put upon her by others. However, she has indeed the dignity to stay above it and carry on.

  17. There might be some information that I am not gleaning from this story. I don’t doubt that Ms Choi is a phenomenal performer. What proof is there that sexism was the issue in this particular case aside from the purported rumors within the ranks?

    I have certainly heard tell of the history of issues of sex discrimination in Viennese orchestras, but what proof is there that in her case that was the issue? I am not asking to begin an argument- I merely want to better understand the situation.

    As I read the article I checked out the Vienna Symphony website and there are many women in the orchestra and have been there for some many years- some of them decades. Some of them also in principal positions.

  18. Jasmine’s playing is indeed very beautiful, but perhaps her playing is just too different from what this group is used to. perhaps they would like less information coming from her movements for example. there are so many determining factors for key players in orchestras. some orchestras have a style, often based on their concertmaster’s movements, that expresses with less bodily movement. others may like alot of movement. others might be open to anything. tradition and values are very slippery concepts. when you don’t have tenure, you don’t have tenure. the orchestra reserves the right to vote you in or out. that is the business. i hope this wonderful player will get something even better!

  19. Forget racism and sexism, there is a major problem with ageism in orchestras. There is frequent reluctance to permanently hire someone young no matter how well they play.

    • I’m sorry, but this is utter nonsense. Not long ago European orchestras asked regularly for applicants of not more than 35 yrs. of age, not infrequently implying an even lower age limit. People were even joking that the top orchestras would always look for a 17 year old applicant with 10 yrs. of professional orchestra experience. In the meantime an age limit would not be legal anymore due to EU regulations, but this has not changed the reality of who gets an invitation in a noticeable way. I have played in orchestras for several decades, and I know with certainty that in case of doubt it will always be the younger player who will be preferred, at least when it comes to audition invitations. And whom but someone young should an “old ” section or orchestra hire for their open position at the end of such an audition? A retiree, perhaps??

  20. The ‘proof’ is that the orchestras are composed almost entirely of sexist, racist, chauvinist [redacted]. Jasmine is one of the best performers of her generation, and this group of men, clinging wretchedly to their fear of being emasculated isn’t going to change that. I personally am never going to support any of their endeavors ever again, and I urge any of the readers here with a shred of empathy for the plight of the other half of the human race trying to make it in the misogynist world of classical music.

  21. This headline is total nonsense… There was nothing about sexism or racism in the voting… They confirmed another female musician on the same day on other principal position, nothing to say more about sexism. There are few other Asian players in the orchestra, so nothing about racism either!
    Jasmine is very good and talented player and there was no doubt about her being the best when she won the audition, but simply did not fit in the orchestra afterwards, musically nor personally (yes, i am a member…).
    I wish her all the best in future, and I know it won’t take long for her to get another position somewhere else.

    1 TIP for her: trial periods in German/Austrian/Swiss orchestras are often very hard and relatively short, so just 1 handshake in a year with your colleague is simply not enough to win his/her heart/vote.

    • Hyo Sang Lee says:

      Are you saying she shook hands with her colleagues only once and it was a big part of the case?

  22. Gilda R. says:

    Mr. Lebrecht, please, PLEASE don’t jump to conclusions that this had anything to do with race or gender. Even if you have heard “rumors” from somewhere, please don’t resort to this sort of speculation.

    As a person who was involved in the controversial hiring of a female music director of a major orchestra some years ago, it was hurtful to me and my colleagues that commentators, journalists and media of all types maintained that there was sexism involved in the controversy of the hiring. They had not one shred of evidence that this played a part, because there was none. I know that for a fact. Why? Because I was involved in the process from step 1 to the end, that’s why. I was there and I lived it and saw it.

    Such irresponsible conjecture was shocking to me at the time. It jaded my confidence in public media, in many of its forms, in a deep way. Not one music critic did any research about our orchestra to know that we had hired three female assistant conductors in the previous 20 years — we actually had an early track record of hiring female conductors but nobody took the time to do the work. Not one journalist took the time to find out that we had a number of lesbian members of our orchestra, who are respected and beloved of their peers (some critics charged that the controversy could be related to the conductor’s sexual orientation).

    I am sure Jasmine is a wonderful flutist, if not she would have not been hired. The orchestral tenure process can be a very complicated and precarious part of orchestra life. There are many types of reasons for which tenure can reasonably be denied, and things can get dicey when there are music directors, players and in some cases managers involved in the process. In most all cases I have participated in, the reasons are musical, i.e. the sound or style didn’t fit into the existing orchestra style. In the other couple of cases the reasons were more personal, in that the candidate just simply did not get along with the section professionally, or vice versa, and the music director had to come down on the side of either the candidate or the section. If it’s the candidate, they get the job — if it’s the section, they don’t.

    But please, I beg you, don’t throw sexism or racism around so freely. I know what it feels like, and it hurts. If you have evidence, please present it so the truth can be known. If you don’t, please, don’t go there.

    • Gilda, thank you for this thoughtful post. The allegations came from within the orchestra and were duly reported. An official response from the orchestra was posted at the earliest opportunity afterwards.

  23. Dale and David says:

    It is a travesty that one of the greatest performers of our time could be treated in such a shoddy manner for ANY reason. Her stunning and flawless performances continue to offer inspiration to countless thousands with whom she freely shares her passion for music. All who know Jasmine are the beneficiaries of her gracious spirit and uncompromising commitment to excellence! There is no question that she is a true Artist in the purest sense but to have achieved worldwide recognition and unquestionable record of accolades at such a young age, speak clearly to her strength and ability to she survive any storm, whatever the source. We applaud her for being a POSITIVE and caring human being in a world that is hungry for the healing and peace that great music gives when words are not adequate.

  24. leetaesuk says:

    The proof lies on jasmine’s experience. Person like her would never make up a story in order to make herself voted out. Proof in this case is jasmine herself. Not just because imbkorean or anything. I beliece that any sexual or ethnical discrimination and injustice must be eradicated.

    • Michael Schaffer says:

      The most recent World Economic ForumGlobal Gender Gap Report shows Austria on rank 20 of 135, just before Canada and the US, and just behind the UK and Cuba.

      South Korea is a little further down on the list…on rank 108. Ouch!

  25. Zack Bond says:

    I was in school at Curtis with Jasmine. She is one if the best flute players I have ever heard. She is extremely professional and kind to everyone. I remember Temirkanov and Rattle commenting on her outstanding abilities as a student. It’s Vienna’s loss and it will be another orchestras gain! Good Luck Jasmine!

    • Michael Schaffer says:

      I don’t find it particularly “professional and kind” if someone who fails to pass her trial year makes such a fuss about it and even smears the orchestra as “racist, sexist” after they gave her a fair chance by giving her the trial in the first place, obviously regardless of her gender or background. And that’s not a good recommendation for her for the future. There are a lot of very good musicians around and other orchestras may hesitate to give someone a trial year who acts like that.

  26. Elizabeth Gaston says:

    In the attached video, William Tell, suggests that she is a very emotive player. For me, her body language is distracting and contrary to the music….the whole music. Wm Tell is not a flute solo piece. But we flutists often practice these excerpts as though they are!
    Her playing is lovely… I’d like to see her touring and playing in front of the orchestra.

  27. Hyo Sang Lee says:

    It may not be racism or sexism in this case. But, what is “Austrian music” quoted in the manager’s reply “We want to carry forward the tradition of Austrian music making; this connects us, nothing else.”? Maybe more than sexism and racism, it could be her training background; she has been trained in the U.S. If that is the case, it still shows their narrow-mindedness, insisting on “Austrian music.”

    • Fabio Fabrici says:

      Well, you have to give to them, that a major part of the core classical repertoire was written by Austrians or in Austria. (Mozart, Haydn, Beethoven, Schubert, Brahms, Bruckner, Mahler, …)
      With it comes a major tradition of performance praxis. You might like it or not, but they rightfully consider their regional tradition to be very meaningful when it comes to classical music making.

      • Hyo Sang Lee says:

        It is absolutely fine that an orchestra pursues their music in the way they want. But it is a shame that an orchestra with an international fame like VSO pursues a regional tradition. I can understand that they have high pride of being Austrian as the center of classical music. But the managing director’s comment that “. . . [the Austrian music] connects them” implies that Jasmine Choi was voted out because her playing was not fitting “Austrian music” they pursue. It is a disappointing attitude for an orchestra with a caliber of VSO, and may well be as narrow-minded as sexism and racism.

        • Fabio Fabrici says:

          Why should an orchestra playing on a very high level, lower it’s standards to a dull mainstream globalized one?

        • This attitude is not narrow-minded at all. Please, consider specificity to be a necessary part of a “corporate identity”. Otherwise, all orchestras would be exchangeable for each other, which in the end would result in lower income of their musicians, every orchestra would obey the same stereotypic style, and there would be no need of new concerts or new recordings.

          • Anonymous says:

            Austrian, your point of view I understand. But you cannot then deny that appearance has a lot to do with said “corporate identity”.

  28. fluteplayer says:

    Listening to this excerpt of William Tell I can only say that she is often too sharp and she doesn’t seem to listen to the English horn at all during the whole excerpt. ( not just the beginning)
    In the beginning she does not try to match what the English horn puts as a setting. After that she rushes like hell in the arpeggio part and then has to put the breaks on. It sounds pretty unrithmical. It’s beyond “rubato”
    Her movements make me very nervous too. For these reasons I would have said NO too.

  29. As an orchestra musician, just looking at that one video it’s pretty obvious why she has been voted against. Sexism may be a factor for one or two voting, however, There is so much extraneous movement, unrelated to the music for those around her. Quite simply, it’s really distracting. I’m not saying she’s unmusical and everything would make sense to her. Still, you have colleagues to consider and this style of playing doesn’t fit in that orchestra. Also, an orchestra member made a comment that one hand shake doesn’t mean you’re part of the family. Very true. It’s a pity the author of this doesn’t realise how incredibly difficult it could have been for the players around her. She looks completely alien to the orchestra no matter how incredible she is. I really hope Jasmine Choi is not cut up about this, because she at least needs to understand why she hasn’t been retained. I find it extremely difficult to believe an orchestra could get enough votes against a player for the reason of sexism. That has no logic at all. Yes, once again, she seems absolutely amazing, but this can’t change the fact that she doesn’t fit in the VSO. Let’s have some sympathy for both the orchestra and her. Additionally, I would feel sorry for audience members entertained and enthralled by her playing. For musicians and colleagues, though, to endorse her in retaining the position it would be the equivalent of finding 80 of the best soloists and putting them onstage together. Why would you do it? That’s simply not what an orchestra is about.

  30. Brian O'D says:

    *She looks completely alien to the orchestra * says CM. Hey, CM…she looks like she loves the music she’s playing. Look at the rest of the orchestra….they look like corpses. Any body who moves the least bit is going to distract you ? How sad. Is the audience shocked, too, when Jasmine plays her heart out ? I really doubt it. Take a deep breath, CM, Vienna S.O. and learn to feel …really feel what you love

    • Fabio Fabrici says:

      They look like “corpses” because in that moment of a duet of flute and English horn, most of them are not playing or only play minor accompanying stuff. Do you expect those with tacet bars to do dances on their seats, to inspire you?
      You telling experienced professional musicians how to “feel what you love”, you might show your palmares first please.
      There is nothing wrong with “playing your heart out”, when the music implies it, not because a musician simply wants to “show off”.

      • Hyo Sang Lee says:

        Are you saying Jasmine Choi was showing off with her body movement?
        Your reply in the first paragraph is valid. The first half of your second paragraph is also valid, but the second half of your second paragraph has a cynical innuendo.

        • Fabio Fabrici says:

          She was “showing off” because her posture, tone, articulation, dynamics, was not fitting the music or even wrong. She had a solo and used it to make a big “show” out of it instead of doing what the music requires.
          Her intonation could be better. She is missing some notes, all only in that short excerpt.

  31. Thanks Fabio. I agree with everything you said in principle. However, I would like to think all musicians are open to opinions and questions. Challenging thoughts and conventions is really important.

    B. O’D, it is a bit unfair to ask me to learn to feel, as this is what I try to do almost every day. To improve myself as a person and musically. My comment here is purely to offer an alternative information. I am not wanting you to agree with me, but please just take it on board and let’s be respectful with the tone all around. Let me clarify my previous statement a little and respond to yours in an unbiased way.

    Music can be subject to various interpretations of what is right or wrong. This is just what art is all about. Somewhere the boundaries have to be drawn, and some people have stricter boundaries than others. For the record, so we are on the same page, I have mentioned nothing about her being a bad musician nor anything wrong with her playing her heart out as you put it. You said yourself that VSO doesn’t appear to be doing that, which again really highlights my point of so much difference between her and the rest of the orchestra.

    One would like to think most of all that Jasmine Choi herself could realise she isn’t the best fit for this orchestra. Perhaps, if she were really upset by this there might be other reasons involved. Such as she has a partner in Vienna, or whatever. If she is so highly acclaimed by leading musicians and conductors, then she should not be out of work for long as the author put it. As I don’t know the facts I don’t want to speculate, but if she does have an emotional argument it is probably about something to do with wanting to be in Vienna more than anything else.

    Please let me make clear that I’m all for moving and communication amongst musicians with each other and to the audience. This is vital and a huge part of the artform. Nothing is more boring than watching disengaged people onstage holding instruments, making sound, yet wishing they were elsewhere. The flautist here in the video, and this being once more purely my opinion, is making too much abstract movement. It might look good to the observer watching in the video clip and suit a solo recital or concerto, but it can actual detract from the music making occurring elsewhere (basically part of the point Fabio was making). Playing a solo line and being a soloist are slightly different. Respectfully, it’s not about music being boring at all. It’s about a unit of people coming together to make music together and sharing it for the benefit of all.

    As for your comment about the VSO being lifeless. Personally, I would be inclined to agree with you from the clip provided on this post. However, it is only a couple of minutes where many musicians have rests. You can’t truly judge an orchestra until you’ve seen at least a few performances. There might have been something impeding their ability to play out (not referring to Jasmine Choi necessarily, could be anything at all). Ideally an artist should strive to do their best always, but don’t forget we’re all human and imperfect by nature.

  32. she got voted out of the orch? what??!

  33. Peter Ramsauer says:

    Dear Ms. Choi,

    I suggest you consult with a lawyer who has special expertise dealing in cases that breach the “Gleichbehandlugnsgesetz”, BGBl Nr 66/2004. It might be worthwhile to look at the fact pattern to evaluate whether a suit against the Verein Wiener Symphoniker would be advisable. Also, check whether you have legal insurance covering your litigation risk and costs.

    Best wishes

    Peter Ramsauer

  34. Carmen Mendes Barros says:

    Unfortunately, Wien Orchestra is famous for this kind of problem. But I thought it could have changed. I’m so sorry…

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