By Matt Heller, Una Voce editor
In this issue, Michelle Zapf-Belanger explains a role that is either unknown or still taking shape in most of our orchestras: the Musician Tenure Advocate. My first instinct was to shorten the title to “Tenure Buddy”. But as I read Michelle’s piece, I soon realized this is about way more than just supplying new hires with a pal. It could be one of the most important roles we ever get to perform for our orchestras and our colleagues.
Also, President Bob Fraser dives deep into OCSM’s history and what we’re all about. TL;DR? We’re about exchanging information to make our workplaces better. We witness OCSM Delegates in the act with a question about who gets to sit on Audition Committees, in our Ask a Delegate column. I preview this summer’s OCSM Conference in Winnipeg. And we list some highlights of 2025-26 -- new hires, retirements, milestones.
Michelle and Bob’s pieces both got me thinking about what this newsletter is for. Exchanging information? Check. But I think exchanging ideas and opinions can be just as valuable, especially on the issues that are most unsettled and consequential. Auditions and tenure clearly qualify. So does immigration.
When I moved to Canada in 2007, you often heard the phrase “Landed Immigrant” for what is now known as a Permanent Resident. Becoming “Landed” was THE goal, at least as much as getting tenure, because it meant that you could have a real life in your new home. Until you Landed, everything felt at least a little more complicated and precarious — signing an apartment lease, getting a credit card, making plans past June.
Becoming Landed was not easy. It involved a Byzantine application process with many steps, tests and checks, and then you had to get the whole thing notarized. At certain points it felt like it might take forever. Yet I never really doubted the outcome. I became Landed in 2010, less than three years after moving here. I became a citizen in 2014.
Most current immigrant musicians are not nearly so fortunate. A year or so ago, Immigration Canada changed the points system, removing the benefit to musicians with verified job offers. Points are awarded based on age, language skills, other demographics — but not for being a uniquely talented orchestral musician. Those who fall short of points have little recourse but to remain as “Temporary Foreign Workers”, subject to the limitations of their work permit.
There is room for disagreement about the appropriate levels of immigration for Canada as a whole. There is reason for fury at how the US government has treated Canadian musicians trying to make their livelihood through touring. But in our sector, I think there is widespread agreement that foreign-born musicians have been a benefit to Canadian orchestras. I like to think I have contributed something to Canada, and I know my foreign-born colleagues have. It will never measure up to what Canada has given me, though — a career, a home, a family, a life. I am truly forever grateful to this country. Our newly hired expat colleagues are no different than I was. They want the same things I did, and it breaks my heart that our country would deny them that.
Allistair Elliott, our AFM Vice President from Canada, is making this case to immigration officials and members of Parliament right now. Many orchestra managements are also pushing for a return to a more welcoming policy. I hope many musicians and Locals will add their voices in support.