Emma Gerstein, second flute of the Chicago Symphony Orchestra, has published a tour diary that documents something orchestral musicians have always done but rarely discussed publicly: performing at the highest level while caring for an infant.
The Reality
Gerstein traveled with her 10-month-old son, Ronan, on a recent CSO tour. Her diary entries are specific and unvarnished. Getting ready for a concert with a baby in the room is "extremely difficult because he only wants me." During the New York leg, Ronan developed a fever of 101.4°F — the kind of crisis that tests any parent, let alone one who has a concert in a few hours.
There was the ongoing anxiety about whether Ronan would accept a bottle from a babysitter: he hadn't done so during the tour. For a breastfeeding mother, this is not a minor logistical issue. It determines whether she can be away from her child long enough to perform a concert.
The Cultural Shift
What makes Gerstein's diary noteworthy is not that she faced these challenges — musicians have always faced them — but that she documented them publicly, and that the CSO environment made it possible.
"The culture in the orchestra has definitely shifted," Gerstein wrote. "A lot of people bring their kids on tour now." She noted another musician couple also traveling with their child.
This is a real change. A generation ago, touring with an infant would have been seen as unprofessional — a distraction from the serious business of making music. Today, at least in some orchestras, it is understood as a normal part of professional life.
What Hasn't Changed
The structural challenges remain. Orchestra tours are designed around rehearsal schedules, travel logistics, and venue availability — not around childcare. There is no standard provision for nursing rooms at concert halls. Babysitters in unfamiliar cities must be found and trusted on short notice. The physical demands of performing — breath control, concentration, stamina — do not pause for sleep deprivation.
Gerstein's diary is valuable because it makes these realities visible. The CSO's willingness to support her is encouraging. But individual accommodation is not the same as structural change — and until orchestras build parental support into their touring infrastructure rather than leaving it to individual musicians to manage, stories like Gerstein's will remain stories of personal resilience rather than institutional progress.
Comments
Sign in to join the discussion.