Big Orchestra in Town<\/FONT><\/EM><\/B><\/A> got more than 500 resumes
\nfor their one section violin position,” she writes, “and after carefully reviewing mine decided not
\nto ‘invite’ me to the audition. Waah! They even returned my $100 deposit fee!” Read about her
\nextraordinary commitment to getting that audition, no matter what. The odds are actually greater
\nthan 500 to 1, but LA Observed says, “Don’t bet against her.”<\/P>
\nPostscript:<\/STRONG> It should be mentioned that the problem of a woman
\nbeing picked for the LA Phil doesn’t have much to do with gender these days, in
\ncontrast to the Vienna Phil. This is particularly true for violinists. There are nine women
\nand nine men in the first-violin section, for example, and at least four women among
\nthe 15 second violinists. The total for all sections<\/FONT><\/EM><\/B><\/A> of the LA Phil — by my count 31
\nwomen and 72 men — is about average for American orchestras.<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"While we were busy chronicling the customary discrimination against women at the Vienna Philharmonic, Laurie Niles, a volinist in the Pasadena Symphony, has been describing her effort to get an audition at the Los Angeles Philharmonic. We learned about Niles from a friend’s smart tip. He pointed to this item at LA Observed, which in turn […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-555","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-8X","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/555","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=555"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/555\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=555"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=555"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=555"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}