You gotta have a MD - someone who not just is in charge of the musicians but also, tempo, dynamics etc - and generally the marriage of the actors with the instrumental sound.
Some directors like to do this. Esp. if you have a small band (ie a rock band, done a few with a 4 piece band), it is not un common for them to be on stage and therefore almost actors, and hence totally integrated with the rehearsal process. These are really fun shows to work on IMO, having the muso's in there from the start.
While the director is indeed the conceptual center in terms of vision for the overall piece, the MD is indeed his/her creative equal, same as choreo or any member of the design team, and in terms of the big choices on the same plane as the director. I patch the rehearsals for music, dance and acting work w the actors, and the MD rehearses the orchestra/band without any input or scheduling or concern from me until we get to tech. Attend orchestra rehearsals? I don't even know when they are. As long as I know it is getting done, which is the MD's responsiblity, I don't care until tech.
True, the MD often has a higher level of control over calls, I like to be able to keep abrest of what is happening, and since it is usually up to me to book the space and make any special arrangements, open the space, and often am required (contractually) to be there throughout the rehearsal, a lot of the times, the MD works under the same conditions the director does - ie all calls organised with me in advanced. Especially the after hours ones at uni, where there is a ton of paperwork that needs to be filled out to prevent them being kicked out by security.
THEN we work together to make sure the musicians have time in the space, time w the performers, a sitzprobe and so forth.
True, this is where the most organisation is required (and demanded)
As to inclusion on the contact sheet, I only tracked the orchestra/band members when they were our consistent musicians. The MD gives me their pertinents for emergencies but only the main and first-tier subs ended up on the final contact sheet (the one compiled for closing night of all folks associated w the actual running of the show), certainly when I was on the road and we had a pickup orchestra city by city. Had we been carrying the orchestra, as some shows do, I would have had all their info, but in my experience the MD (or suitable designate) chased down missing musicians. They operate from a different world, and an SM calling them would have been considered a breech of protocol. Of course, this may be different on big shows that travel with full complement, esp as we all get to know each other far too well.....
The shows I work with have always had a static orchestra, which means that I gather their contact details from the start. As for the MD chasing down missing muso's, in rehearsals, that is fine, but show time, seeing as I am the only one with a phone, and the one with the signin sheets, I see who is missing, and I call.
And I gotta disagree - one of my favorite sounds as a kid was watching and listening to the orchestra tune in pieces, and then together to A-440 as a collective before the downbeat (which, I might add, is the correct name for what you are calling the conductor's "standby." )
no, the 'stand by' is the raising of the hands to 'half mast', then both hands are raised to the top of the 'cycle', giving the upbeat which defines tempo etc etc etc, then comes the downbeat. At least they are the aussie terms.
I have rarely tuned to concert A, although I suppose it all depends on how you were 'raised', or how your MD was raised.
That sound was magic to me, and I loved it. Certainly, there are some instruments that can be tuned farther ahead than others, but how far in advance they can tune depends not just on the instrument, and whether it is string or wind or brass, but also on the house humidity and temp range from night to night. This includes the piano.
I usually have not had the pleasure of having a propper piano. Usually I have keys (small pits, so no room), which means we end up tuning to the keys (lack of ability to properly tune). This means that most of the tuning can be done before the house opens inside the pit, although temperature does change slightly as the house enters and the lights warm. I do not mind sectional and complete orchestral tuning - it is, I agree a pleasent sound - that is the aural tuning. It is however the 'mucking about' on the instrument, playing first grade songs which, speaking from a strictly professional point of view, I find the offensive. Especially if working on a serious show. The only show I did not mind the muso's playing was when we had the curtain out as the house was open, and we had the actors wander out and 'bump in' the set before open - we even did a refocus of a few lights with the cougar. It worked wonderfully - especially since we refocused those same specials during interval.