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She was promoted in 2008, shortly after the orchestra fired Helene Kenyeri, oboist and only woman outside the string section. The appointment of a woman, Albena Danailova, as a concertmistress, seems groundbreaking. Yet the one tarred in the press was Zinggl. Yet 2006 saw the firing of Iva Nikolova, a move documented by Zinggl, that exposed the conflicted heart of the orchestra: Zinggl documented petitions denied, threats nailed to dressing-room doors and attempts to revise orchestral laws. Thereafter, musicians work for both.) Dr Wolfgang Zinggl, the Green politician, concluded: "It's easier for a camel to pass through the eye of a needle than for a woman to get into the State Opera Orchestra under Resel." The State Opera responded by saying Mr Resel's role was "administrative". After three years, a State Opera musician is eligible for the Philharmonic. (The Vienna Philharmonic is the private band of the State Opera Orchestra, which holds the auditions. And in 2006, Werner Resel, who had resigned in 1997, reappeared in the newly created role of Director of the State Opera Orchestra, then aged 71. By the time we have 20 per cent, the orchestra will be ruined". In 2003, a string player lamented "three women are already too many. Two more women passed their probejahr, four remain today on probation – all in the string section. The second women tenured was her replacement, Charlotte Balzereit. Its then chairman, Werner Resel, resigned shortly afterwards. It found itself threatened with 800 protesters and negative press so it hastily voted to admit Anna Lelkes, a harpist, and to ensure open auditions would follow.
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American public opinion, due to the research of conductor and musicologist, William Osborne, was turning against it. The date was no coincidence, being a week before the orchestra flew to New York to play the Carnegie Hall. In February 1997, the Philharmonic voted to end its discrimination against women. The Philharmonic's maleness and whiteness seems to remain as inviolable a part of its identity as the liquid legato of its Vienna horn. The belief system surrounding classical music seems to reach its most conservative apotheosis in Vienna. No other internationally ranked orchestra has so few women and non-whites: respectively three percent and zero per cent. Yet once Stravinsky immolates into silence, pause, for before you is a bald fact: an orchestra almost exclusively male and white. Bernstein called it "that unbelievable orchestra, which plays like one hundred angel-fingers growing out of my hands".
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The Vienna Philharmonic is currently visiting the UK in a haze of otherwordly sound, toting instruments long since vanished from the rest of the world.