San Francisco Opera Orchestra Musicians Take Their Strike to the Streets

On Wednesday evening, the usually unseen faces of the San Francisco Opera’s pit emerged onto the sidewalk in front of the iconic War Memorial Opera House. Instead of rehearsing behind the curtains, the unionized musicians set up their chairs, tuned their strings, and played for passers‑by – a poignant reminder that the dispute over their contract has now become a public performance.

“We attract the most talented musicians from all over the world and the country,” said violinist Craig Reiss, who is in his 34th season with the company. He smiled, then grew serious. “Our future is at risk,” he added, gesturing toward the gathering crowd of opera lovers, chorus members, and curious onlookers.

The strike, the first in the orchestra’s history, began after the collective bargaining agreement expired at the end of July. Negotiations, which kicked off in May, have stalled over what the musicians call an untenable pay proposal. Reiss explained the latest offer: a five‑year wage freeze that, in effect, translates to roughly a 20 % pay cut.

“You’re not going to be able to live in San Francisco or most of the Bay Area on what you make from the second largest opera company in the United States,” he said, citing the soaring cost of a one‑bedroom apartment—now hovering around $5,000 a month.

Support wasn’t limited to the street musicians. San Francisco Opera chorus singers joined the demonstration, waving signs and adding their voices to the chorus of concern. Honks, cheers, and the occasional spontaneous applause punctuated the performance, turning a labor standoff into a lively, if somber, community event.

English horn player Ben Brogadir, in his third year with the orchestra, summed up the group’s resolve: “What we want more than anything is to be back in the pit playing. If we can’t be in the pit right now, we’ll bring it out front of the opera house.” He added, with a hint of humility, “I’m not always the most eloquent speaker, but I communicate best through music.”

The strike has already forced the cancellation of several productions through Sunday. The opera company told ticket holders they could apply the value of their tickets to another show this season, donate the amount, or receive a full refund. Meanwhile, management says it is offering a multi‑year contract that would phase in wage increases, arguing that rising expenses have left the organization with a $15 million deficit.

For the musicians, the outdoor concert is more than a protest; it’s a plea for survival. “If we don’t get a fair deal, we won’t be able to keep the level of artistry our audiences expect,” Reiss warned, his voice barely audible over the final notes of a Brahms encore.

As the night wore on, the sounds of violins, cellos, and the occasional rustle of sheet music mingled with the city’s ambient noise. The performance may have been impromptu, but the message was clear: these artists are willing to step out of the shadows of the opera house to make sure their voices—both literal and metaphorical—are heard.