Admin profiles JZ

James M. Johnson

Chief Executive Officer
New York Pops
New York, New York
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Years in current position: 8
Years in the field: 21

Majors:
B.A. Music.
M.A. Arts Administration
M.B.A.

Career Path:
Director of Operatons, Martha Graham Dance Company
Director of Operations, Orchestra of St. Luke’s

What are the most surprising, interesting or challenging aspects of your day-to-day work?
The job requires every bit of knowledge I have gained in music and arts administration. People skills are paramount.

What inspired you to work for an orchestra?
I love music.

What was your first step towards an orchestra career?
I volunteered to be an unpaid intern at a local performing arts center. It was a great way to begin.

What advice would you offer to someone considering the orchestra field?
First, love the arts. Second, be prepared to learn, work hard, and struggle at times. Third, find joy in supporting others as they create and interpret works of art.

Any other advice?
Welcome! There is always a place for great people in our field.

Vikki Johnson

Executive Director
Richmond Symphony Orchestra
Richmond, Indiana
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Years in current position: 3
Years in the field: 3

Majors:
B.S. Management

Additional Training:
Various fund-raising, grant-writing, leadership workshops

Career Path:
Administrative Assistant,  Richmond Symphony Orchestra
Administrative Assistant, Hope House ARC (homeless/addiction shelter)
Administrative Assistant, Economic Development Corporation of Wayne County, Indiana
Manager of Business Retention & Expansion, Economic Development Corporation of Wayne County

What are the most surprising, interesting or challenging aspects of your day-to-day work?
How diverse each day is! One really does need to be good in so many areas: marketing, sales, special-event planning, concert production, bookkeeping, budget planning, customer service, board management. It is challenging to bring all these areas together and do them all well.

What inspired you to work for an orchestra?
My passion for music and the reality that excellence in artistry exists in my hometown. I had to be a part of making sure it contined.

What were your first steps in your professional career?
My first step was wanting to do everything correctly the first time; that is not a very good way to learn because there are often several paths to get the desired end. Allowing myself to find alternate ways to get the results I sought was enlightening and freeing.

What advice would you offer to someone considering the orchestra field?
Do your homework! Working for a small non-profit means a lot of long hours, doing what you hopefully love for a lot less money than you might be able to make elsewhere.  If you really have the passion for something, then you must follow that and create some beauty in the world around you. Also revel in the moments when it all comes together!

Any other advice?
Learn to work with others in your town/region to leverage your resources. There is seldom enough people/money/time to do all you want to do, so get help and give it, too!
 

Alan Jordan

Executive Director
Vermont Symphony Orchestra
Burlington,  Vermont
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Years in current position: 10
Years in the field: 28

Majors:
Bachelor of Music in Vocal Performance

Additional Training:
Orchestra Management seminar, League of American Orchestras
Undergraduate accounting/finance course
Orchestra Leadership Academy seminars, League of American Orchestras

Career Path:
House Manager/Instrument Librarian, New England Conservatory
Assistant Stage Manager/Stage Manager, Tanglewood Music Center
Assistant Manager, Brevard Symphony Orchestra (FL)
General Manager, Brevard Symphony Orchestra
Director of Operations, New Hampshire Symphony Orchestra
Executive Director, New Hampshire Symphony Orchestra

What are the most surprising, interesting or challenging aspects of your day-to-day work?
The variety of tasks, interaction with many people, travel.

What inspired you to work for an orchestra?
A college workstudy job at New England Conservatory, and summer work at Tanglewood.

What were you first steps toward an orchestra career?
I enrolled in the League’s Career Center (receiving the then bi-weekly snailmailed job notices), applied for the Orchestra Management Fellowship Program, took part-time work with Boston-area freelance orchestras.

What advice would you offer to someone considering the orchestra field?
Intern, take a part-time position, or volunteer with an orchestra.

Any other advice?
Be patient. The job for you may not be the first—or even the seventh—opportunity.

Lawrence Kopp

Executive Director
Atlantic Classical Orchestra
Fort Pierce, Florida
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Years in current position: 1
Years in the field: 8

Majors:
B.M. Performance
M.M. Musicology

Additional Training:
Not training per se, but I spent eleven years as an officer in the U.S. Army, which was invaluable in learning leadership and management.

Career Path:
Executive Director, American Composers Orchestra
Exec Director, Altoona Symphony Orchestra
Freelance Musician, Operations Manager, Grand Teton Music Festival

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Dealing with the multiple personalities involved in the various orchestra constituiencies.

What inspired you to work for an orchestra?
Love of music.

What were your first steps toward an orchestra career?
Taking advantage of the incredible opportunities that presented themselves, but of course they only come to those who work hard and in a sense make them come their way.
I had many opportunities to perform as a freelance musician, which led to my being hired to work at the Grand Teton Music Festival. And applying and being accepted into Officer Candidate School in the Army.

What advice would you offer to someone considering the orchestra field?
Get practical, hands-on work experience! Management and leadership are not orchestra specific. And of course, always treat others with respect and kindness.

Any other advice?
Learn about all aspects of the orchestra field and, if possible, get experience in as many of them as possible.

Philip Leininger

Chief of Staff and Board Liaison
New Jersey Symphony Orchestra
Newark, New Jersey
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Years in current position: 3
Years in the field: 20

Majors:
B.A. Music Education (vocal emphasis), Luther College 
M.M. Church Music (organ performance and choral conducting), Westminster Choir College

Career Path:
Taught vocal music in the Morris, Minnesota public schools 
NJSO: various departments (Ticket Office, Development, PR and administration)  Various church jobs throughout

What are the most surprising, interesting or challenging aspects of your day-to-day work?
I enjoy and appreciate working with the President and CEO, the board co-chairs and members of the board, as well as the senior administrative staff. No two days are ever the same!

What inspired you to work for an orchestra?
Wanted to earn a living in the arts, doing something that would supplement my work in the church.

Would you have done anything differently?
If I had known where life would take me (arts administration), I would have taken a business course or two while in college.

What advice would you offer to someone considering the orchestra field?
Seek a wide range of experiences and knowledge. One never knows what elements of these will be beneficial in the future.

Any other advice?
Be prepared for a roller-coaster ride! 

Jeffrey Luther

Executive Assistant to the Music Director
Baltimore Symphony Orchestra
Baltimore, Maryland
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Years in current position: 2
Years in the field: 2

Majors:
B.A. Music Education

Career Path:
Assistant to the Director of Opera Production, Clarice Smith Performing Arts Center  Development Intern, Baltimore Symphony Orchestra

Sandi M.A. Macdonald

Miami Residency Director
The Cleveland Orchestra
Miami, Florida
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Years in current position: 1
Years in the field: 22


Majors:
B.S. Business
M.B.A.

Additional Training:
Income Managers program (Canadian-based management training program)
Banff School of Music Senior Management training program.
Various Leage of American Orchestra programs (as a participant and a program leader)

Career Path:
Tour Manager, Canadian Opera Company 
Marketing Sales Manager, Toronto Symphony Orchestra 
Director of Markeiting, Michigan Opera Company 
Director of Marketing and Communications, Toronto Symphony 
Director of Marketing and Communications, Seattle Symphony
Director of Strategic Planning and Audience Development, Seattle Symphony 
Director of Marketing and Public Relations, The Cleveland Orchestra  

Lisa McDaniel

Director of Volunteer Programs and Donor Events
Chicago Symphony Orchestra
Chicago, Illinois
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Years in current position: 9
Years in the field: 12

Majors:
Undergraduate: Communication Management, minors in Psychology and Business Management
Graduate: Arts, Entertainment and Media Management

Career Path:
Development Intern, Goodman Theatre
Development Assistant, Goodman Theatre
Volunteer Project Manager, Chicago Symphony Orchestra

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Every day is different when working with volunteers. Some days are very motivational and some are very challenging, but each day brings a different set of tasks and objectives.  For people who thrive in a fast-paced environment, partnering and working with volunteers would be a good job.

What inspired you to work for an orchestra?
I am inspired by working for an arts organization, regardless of whether it is an orchestra.  Creative expression is a valuable tool and I feel very proud to be able to work for an organization that gives back so much to the community.

What steps did you take toward a career in the arts?
Two internships during college with the same summer theater company. My first internship was working with the Operations Director and my second internship was working with the Executive Director. Having such exposure early on really helped solidify my desire to work in the arts. Once I started graduate school, I took a part-time job in the arts, just to learn more and be exposed to more people in the field.

What advice would you offer to someone considering the orchestra field?
Internships are really the best way to gain experience and exposure to the industry; doors will be opened to you that wouldn’t otherwise.

Any other advice?
The best advice someone gave me is this: The job that you retire from may not exist yet, so be creative in thinking about what you are interested in doing—perhaps you will find one day that you are able to design your own dream job! 

J.L. Nave III

President and CEO
Fort Wayne Philharmonic
Fort Wayne, Indiana
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Years in current position: 2.5
Years in the field: 13

Majors:
B.A. Conducting
M.A. Arts Administration
M.B.A.

Additional Training:
Orchestra Management Fellowship Program, League of American Orchestras

Career Path:
Operations Assistant, Cincinnati Chamber Orchestra
Orchestra Manager, Northeastern Pennsylvania Philharmonic
President and CEO, Baton Rouge Symphony

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Dealing with the needs and interests of the orchestra’s diverse constituencies, which can sometimes be in direct conflict with each other.

What inspired you to work for an orchestra?
I have been in music my entire life—performing on trumpet, voice, handbells, and eventually going into conducting. After pursuing graduate studies in conducting, I realized I did not want to be stuck in a practice room for hours a day, but I needed to stay closely connected to the music.

What were your first steps toward an orchestra career?
The first step I took was an honest conversation with my graduate conducting professor about the demands of the conducting career and other professions that speak to my passions and talents.

What advice would you offer to someone considering the orchestra field?
Network, network, network! Be open to all opportunities, because you never know what door leads to another.

Any other advice?
If you don’t have true passion for music, this will be a very frustrating (and likely short-lived) career. If you do have the passion, it will carry you through almost any professional trial.
 

Janet Newcomb

Executive Director/CEO
Charleston Symphony Orchestra
Charleston, South Carolina
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Years in current position: 1
Years in the field: 30

Majors:
B.A. Music with minor in theatre and dance
M.A. Modern Dance

Additional Training:
On-the-job training in the dance department of George Washington University while pursuing my graduate degree.

Career Path:
Dance Faculty, State Universtiy of New York-Buffalo, University of South Carolina
Arts Management Faculty and Director, Medaille College
Executive Director of Arts Councils: Corning, New York; Beaufort and Greenville, South Carolina
Director of Grants, South Carolina Arts Commission
Vice President of Development, Interim President and CEO, Rochester Philharmonic Orchestra

What are the most surprising, interesting or challenging aspects of your day-to-day work?
The surprising aspect of working with orchestras is how poorly managed they can be and how staff can be allowed to work in silos. Thus, I have spent my first year building a team and developing operational procedures and policies. My previous work in smaller arts service organizations provided a solid base for leadership positions in orchestra-land. Success in arts service is measured by being able to develop collaborative projects and being artist-centered rather than self-centered. Also, having worked with many boards—both good and bad—I’m very aware of the isometric exercise that’s part of the CEO and board leadership process. I’ve found that orchestras do not embrace change easily, so my mantra from my choreographer days has been that the elements of dance are space, time and force—alter one of those elements and you have a new dance. It seems to help people undertake change less reluctantly.

What inspired you to work for an orchestra?
It was a strategic decision to get out of arts service and take that knowledge and expertise to a primary arts provider. When I was made President and CEO of the RPO for seven months, while still handling the VP of Development position, I realized that I was most successful as a CEO. That’s why I allowed myself to be recruited for the CSO job.

What were you first steps toward an orchestra career?
After working with arts management interns, I am convinced that one must first have a degree in an art form and then learn the business and management side through on-the- job training and graduate work. Although my M.A. is in dance, I worked at GWU for five years as the secretary of the department (free tuition) and handled all budgets, summer workshop planning, scheduling, etc. —in addition to all of the artistic and performing parts of the degree program. It was an excellent beginning that I would recommend to others.

What advice would you offer to someone considering the orchestra field?
Be a participating artist in at least one art form. You don’t have to be Twyla Tharp, but at least know what it’s like to be a choreographer and company founder. Then, learn about the other art forms and go to performances, exhibitions, etc. Be an arts consumer all of your life and be an arts education advocate.

Any other advice?
It’s funny to me that orchestra people seem to be so focused on the music they are producing that they don’t know about or seem to appreciate other art forms. I think this limits the field. People need to be encouraged to think strategically about the impact of their products, delivery systems, and operational barriers. I’d recommend reading Learning Audiences: Adults Arts Participation by Nello McDaniel. Also, books such as Jim Collin’s Good to Great and Monograph for Social Sector; Tipping Point, Whack on the Side of the Head are always good to help alter one’s perspective on programming.

Nathan Newbrough

Executive Director
Colorado Springs Philharmonic
Colorado Springs, Colorado
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Time in current position: less than 1 year
Years in the field: 10

Majors:
Bachelors Degrees: Instrumental Music Education, Music Business

Additional Training:
League seminars
Association of Fundraising Professionals seminars

Career Path:
Professional Services Coordinator, League of American Orchestras 
Manager of Artistic Services, League of American Orchestras 
Executive Director, Orchestra of the Southern Finger Lakes 
Executive Director, Amarillo Symphony 

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Surprising challenge: After moving to this mid-level orchestra, I’m shocked by lack of sophisticated systems and administrative capacity needed to support such a large budget.

What inspired you to work for an orchestra?
Love for the music, working with musicians. Stayed in the industry because I’ve come to appreciate the complexity of the organizations.

What advice would you offer to someone considering the orchestra field?
Get a mentor and nurture that relationship. There are a lot of quality managers willing to help.

Any other advice?
Attitude is everything. Don’t go into orchestra management if you’d really rather be on stage. This profession needs talented people who feel called to manage. Moreover, you can do it!

Kenneth A. Oldham, Jr.

President
National Philharmonic
North Bethesda, Maryland
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Years in current position: 3
Years in the field: 10

Majors:
Bachelor’s in Music Management, Frostburg State University.

Additional Training:
League of American Orchestras National Conferences have very helpful in my career development.

Career Path:
Intern, Grants and Sponsorships, Kennedy Center for the Performing Arts
Development Manager, Washington Chamber Symphony 
Development Manager, National Philharmonic
Development Director, National Philharmonic 

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Watching the purchasing and contributing behaviors of customers and donors is always the most interesting and challenging.

What inspired you to work for an orchestra?
Years and years of interest in classical music.

What were you first steps toward a career in orchestras?
I took up a music major in college, realized that I wasn’t going to make it as a classical guitar performer, and stumbled on the business aspect of the classical music industry.

Linda Onorevole Annett

Executive Director
New Jersey Youth Symphony
New Providence, New Jersey
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Years in current position: 2.5
Years in the field: 14

Majors:
B.A. Music Education (Certified K-12, vocal and instrumental music) 
11 credits towards Master of Arts in Performance (vocal)

Additional Training:
Various seminars

Career Path:
Concert Manager, Montclair State University 
Assistant Executive Director, New Jersey Chamber Music Society
Director of Marketing and Public Relations, Jersey City Museum

What are the most surprising, interesting or challenging aspects of your day-to-day work?
I am most surprised at the amount of time spent on personnel issues.

What inspired you to work for an orchestra?
I am very interested in promoting music education in all of its forms, and found that working with a youth orchestra was an excellent way to reach a large number of students.

What was your first step towards an orchestra career?
I was introduced to arts administration while in college. I worked in the music department as part of my financial aid and at that point became extremely motivated to be “behind the scenes” in making programs and organizations successful.

What advice would you offer to someone considering the orchestra field?
Attend as many workshops as possible; talk to people in the field; arrange for informational interviews to learn about the day-to-day.

Any other advice?
Come on in, the water’s fine!

Trevor Orthmann

President
Symphony in C
Camden, New Jersey
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Years in current position: 7
Years in the field: 13

Majors:
Bachelor of Music, Violin Performance
Master of Arts Management

Career Path:
Marketing and Finance Assistant, Baltimore Opera 
Personnel Manager and Assistant to Executive Director, Haddonfield Symphony 
General Manager, Haddonfield Symphony 
President, Symphony in C (formerly Haddonfield Symphony)

 

Michael Pastreich

President and CEO
The Florida Orchestra
St. Petersburg, Florida
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Years in current position: 1
Years in the field: 19

Majors:
B.F.A., Silversmithing, minor in English
Graduate studies, Silversmithing

Additional Training:
Orchestra Management Fellowship Program, League of American Orchestras

Career Path:
Internships, Saint Louis Symphony, Chicago Symphony Orchestra, Music of the Baroque  Tour preparations, Pittsburg Symphony Orchestra
Interim Operations Director, New World Symphony 
Concerts Manager, San Jose Symphony
Executive Director, Elgin Symphony Orchestra

What are the most surprising, interesting or challenging aspects of your day-to-day work?
The variety of tasks that come across my desk each day. I can be in the middle of discussing the format of a $30,000,000 stabilization campaign when I am asked what we should do about the next concert broadcast, and then jump into staff development and delegation issues. I feel like every ounce of my brain is used on a daily basis.

What inspired you to work for an orchestra?
My frustration with my silversmithing studies was that I did not see sufficient variety.  I enrolled in a class on arts management at Washington University because I thought an artist should know something about the management side of things. The class entailed an internship with the Saint Louis Symphony. As soon as I became involved with administrative issues, I was fascinated.

What advice would you offer to someone considering the orchestra field?
This is a fascinating field. It is also an exhausting one. Meet people in the field and get an internship. If the challenges are truly fascinating, dig in further. If you think you could grow to enjoy it, or that it would become more interesting if you had a more advanced position, it might not be a good fit.

Any other advice?
Managing an orchestra well is a never-ending drive to become a better servant; to your community, the musicians, the board, and the staff.

Meredith Petrov

Project Associate
Chicago Symphony Orchestra
Chicago, Illinois
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Years in current position: 3
Years in the field: 3

Majors:
B.A. Fine Arts

Career Path:
Administrative Assistant, Chicago Symphony Orchestra
Project Associate, Chicago Symphony Orchestra

Connie Pomeroy

Assistant to the Music Director
The Cleveland Orchestra
Cleveland Ohio
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Years in current position: Less than 1
Years in the field: 20

Majors:
Business

Additional Training:
Organization, communication, computer, writing, interpersonal courses and seminars

Career Path:
Cleveland Museum of Art: Finance and Purchasing Administrator, Department Coordinator for Information Technology
Department Assistant for Finance, BP America

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Working with the visiting artists is very interesting—getting to talk with people from all over the world. It can be challenging to provide people with what they need and want before they know what that is.

What inspired you to work for an orchestra?
Being involved in producing such magnificent events, like a concert or an opera, is very exciting.

What advice would you offer to someone considering the orchestra field?
Network all your friends, including their parents. Most jobs are found from friends or friends of friends. Don’t be afraid to try new things, you can always make a turn off if you do not like your current path. Ask pointed questions during interviews to be sure you understand the expectations of the job.

Any other advice?
Remember, you will be working with artists. Sometimes they have a unique view of the world and management must understand and be able to work with this view.

 

Robert Rosoff

Executive Director
Glens Falls Symphony Orchestra
Glens Falls, New York
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Years in current position: 10
Years in the field: 10

Majors:
Biology and Bio-Chemistry

Additional Training:
Aspen Seminar in Artistic Excellence, League of American Orchestras
Orchestra Leadership Academy seminars, League of American Orchestras

Career Path:
I was in retail for 30 years. I was asked to join the Glens Falls Symphony Orchestra  board in 1992, was president 1997-98, and became the first full-time executive in 1998.

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Challenging: Coordinating rehearsal/performance schedules with other orchestras in our region. Interesting: Interacting with others in the field

What inspired you to work for an orchestra?
Life-long love of classical music; extensive management experience in retail.

What advice would you offer to someone considering the orchestra field?
Arts management courses in college/conservatory and the League’s Orchestra Management Fellowship Program.

Any other advice?
Do it. 

Molly K. Sasse

Executive Director
Chattanooga Symphony and Opera
Chattanooga, Tennessee
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Years in current position: 1
Years in the field: 30

Majors:
Undergraduate: Music
Graduate: Arts Administration

Additional Training:
Hundreds of seminars at conferences, especially on fundraising

Career Path:
Director of Community Arts and Touring, Tennessee Arts Commission 
Executive Director, Allied Arts of Greater Chattanooga

What are the most surprising, interesting or challenging aspects of your day-to-day work?
How many details there are that must all be handled at the same time!

What inspired you to work for an orchestra?
I have loved classical music from my childhood, thanks to parents who loved good music, too. I remember going to concerts as a youngster and reading the list of donors who made the concerts possible, and thinking how much I would like to make concerts possible myself. I majored in music in college with no thought of becoming a musician, and when I discovered arts management, I knew I had found my calling.

What were your first steps toward an orchestra career?
Graduate school in Arts Administration, which led to interesting internships, which led to real jobs. Although it took a while to get a decent job after I finished graduate school.

What advice would you offer to someone considering the orchestra field?
If you don’t truly love the music, go somewhere else. Take every opportunity you can, whether you get paid or not, to get as many kinds of experience as you can. Learn all you can about fundraising—a good fundraiser is probably more desirable to an arts organization than a good admnistrator. Take accounting and learn to read and understand financial statements and budgets.

Any other advice?
Don’t get too hung up on the glamour—most of the work is anything but glamorous.
 

 

Louis Scaglione

President and Music Director
Philadelphia Youth Orchestra
Philadelphia, Pennsylvania
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Years in current position: 12
Years in the field: 20

Majors:
B.S. Music Education
M.M. Conducting

Additional Training:
Oregon Bach Festival, Eugene, Oregon
Internationale Bachakademie, Stuttgart, Germany
Europaishe Musikfest, Stuttgart, Germany 
Classical Music Seminar, Eisenstadt, Austria 
St. Petersburg Conservatory, St. Petersburg, Russia

Career Path:
Conductor, Philadelphia Young Artists Orchestra
Artistic Director and Conductor, Choral Society of Montgomery County, Pennsylvania
General Music Director, Luzerne Music Festival, New York
Adjunct Faculty, Montgomery County Community College, Pennsylvania
Faculty, Temple University Music Preparatory Division 
Artistic Director, Arts at Andalusia, Andalusia Foundation, Pennsylvania
Assistant Conductor and Chorus Master, Temple University Opera Theater, Pennsylvania
Assistant to Artistic Director, Illinois Opera Theater, University of Illinois

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Each day brings a new set of challenges when running a non-profit organization. The most challenging aspect of my work is to continually build upon prior success.

What inspired you to work for an orchestra?
I’ve always wanted to teach music. With a youth orchestra, I get to work with the best and brightest young people from my community.

What were your first steps toward an orchestra career?
I took advantage of all opportunities, and I sought opportunities that I believed would help guide and develop my career as a professional educator, musician, conductor, and administrator.

What advice would you offer to someone considering the orchestra field?
Immerse yourself in your work. Be prepared to work 24 hours a day, seven days a week.  If you don’t wish to put in that kind of time and effort, then this business is not really for you.

Any other advice?
Be prepared, conduct yourself professionally, and seek as much experience during your learning years as possible.

 

Michael Schwerin

Executive Director
Grand Junction Symphony Orchestra
Grand Junction, Colorado
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Time in current position: 3 months
Years in the field: 2.5

Majors:
Bachelor’s Degrees in Mathematics and Music-Trumpet Performance
Master's Degree in Music Theory, with a secondary area of emphasis in Music Education

Additional Training:
Eight years of direct sales and business management experience that has been a tremendous help
Essentials of Orchestra Management, League of American Orchestras
Priddy Fellowship for Arts Leadership, University of North Texas

Career Path:
I was an administrative intern for the Greater Denton Arts Council for six months, and then was Marketing Director for the Waterbury (CT) Symphony Orchestra for two years before coming to Grand Junction

What are the most surprising, interesting or challenging aspects of your day-to-day work?
This job requires me to be able to manage my time wisely, and multitask at all times (I almost always have multiple projects going at once). No two days are the same, and there always seems to be some unexpected task that appears each week or month.

What inspired you to work for an orchestra?
This career allowed me to take my experience in business and sales and use it in the music field, something I have always had a fondness for. I also feel that this career is a great way for me to give back—my way to make the lifestyle of the community a little better.

What was your first step toward an orchestra career?
The first step I took was applying for the Essentials of Orchestra Management class, which gave me the opportunity to have a informational interview with Fred Bronstein, who was President of the Dallas Symphony at the time. This was a great chance for me to learn about the field, to be able to gain some valuable insights into what orchestra management is all about.

What advice would you offer to someone considering the orchestra field?
I would highly recommend that you talk to professionals in the field. If that is not possible, just speak with other non-profit professionals. It is a different atmosphere than corporate America, which is the part of the fun of the job.

Any other advice?
This is a very rewarding career, and I truly love my job each and every day. The pay may not always match what you can get in the for-profit world (an important thing to realize when you start in this field), but it is definitely more rewarding.

Nicole Springer

Executive Director
The Youth Orchestras of Fairfax
Fairfax, Virginia
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Years in current position: 1.5
Years in the field: 5

Majors:
B.A. German and Music (double major)
M.A. Arts Management

Additional Training:
Law and contracts for the arts
Board member on local symphony

Career Path:
Project Director at MENC: The National Association for Music Education (current)

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Working with parents, grant writing.

What inspired you to work for an orchestra?
Having performed with symphonies for the past fifteen years.

What advice would you offer to someone considering the orchestra field?
Get your foot in the door, volunteer, take an entry-level position in an organization whose mission you feel passionate about.

Any other advice?
Get experience in different fields such as marketing and development. Fundraising knowledge is extremely important.

Letitia Stevens

Executive Director
Newton Symphony Orchestra
Newton, Massachussetts
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Years in current position: 2
Years in the field: 4

Majors:
BTEC Higher Diploma in Furniture Restoration and Conservation, London College of Furniture
Master of Music in Vocal Performance, Longy School of Music

Additional Training:
Westminster Choir College: short course in choral conducting
Private voice lessons and coachings

Career Path:
Bench Furniture Restorer, Hatfield and Sons, London
Conservation Officer, The Wallace Collection, London 
Intern in Furniture Conservation, Museum of Fine Arts, Boston
Self-employed Furniture Conservator, Letitia Stevens Conservation, Medford, Massachussetts

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Surprising: What fun it all is. Interesting: Solving multiple problems at once.  Challenging: Raising money.

What inspired you to work for an orchestra?
I played in an orchestra in high school and thought it would be fun to run one. My sister worked in orchestral administration briefly when I was in college and I wished it was me. I discovered I was good at administration when I was in graduate school, so when I was given the opportunity to help temporarily (for two weeks) in the office at the Newton Symphony, I jumped at it. It went from two weeks temporarily to two years part-time to two years and more full-time.

What would you have done differently?
I would do what I wanted to do and not what I thought I should do, or what was safe, or what others wanted me to do. I would have been much happier and much further along in my career had I worked in arts administration from my mid-twenties instead of from my late thirties!

What advice would you offer to someone considering the orchestra field?
Having taken over the position from someone who was a very experienced administrator, but who had no musical background and found that to be very difficult, I would say, learn about the arts side of things and if necessary pick up the administration on the way, provided you are by nature reasonably well organized. If you really want to, do an M.B.A. in arts administration, but above all know how the music field works.

Any other advice?
It’s fun. But you will always have way too much to do and probably be underpaid. On the other hand the musical and personal rewards are great. You need to love people, particularly the musicians and the little old ladies who forget where their seats are and if they have sent in this year’s subscription.

Eugenia Strauss

Executive Director
CityMusic Cleveland
Cleveland, Ohio
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Years in current position: 4
Years in the field: 4

Career Path:
Director of Development, Friends of the Cleveland School of the Arts
Chairman of the Board, Pilobolus Dance Company 
Trustee, Cleveland Ballet
Founder, CityMusic Cleveland

What are the most surprising, interesting or challenging aspects of your day-to-day work?
To balance the budget, build collaborations, and developing cutting-edge management policies.

What inspired you to work for an orchestra?
I founded this orchestra to show that, given half a chance, ordinary citizens enjoy classical music and will be supportive of it.

What advice would you offer to someone considering the orchestra field?
Have a vision, be creative, and try new approaches.

Any other advice?
Have great people skills and know how to build relationships in the funding world.

Audrey Szychulski

Executive Director
Orchestra of the Southern Finger Lakes
Corning, NY
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Years in current position: 4.5
Years in the field: 10

Majors:
Music Education, Performance
Master’s in Arts Administration

Additional Training:
Indiana Fundrasing Group workshops

Career Path:
Performer, various
Conductor, various 
Manager of Education and Community Partnerships, Orchestra of the Southern Finger Lakes

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Balancing. We run seven programs on two-and-a-half staff members.

What inspired you to work for an orchestra?
It seemed like a natural progression from traveling musician.

What advice would you offer to someone considering the orchestra field?
As an undergrad, if possible major in Music Business. Look for internships early and be willing to take two if it will get you more experience. Be open to trying all aspects of office work.

Any other advice?
Be prepared for hard work and long hours.

Jeff vom Saal

Executive Director
Quad City Symphony Orchestra
Davenport, Iowa
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Years in current position: 1
Years in the field: 5

Majors:
Trumpet Performance

Additional Training:
Institute for Executive Director Leadership, University of St. Thomas, St. Paul, Minnesota

Career Path:
Executive Director, Metrowest Youth Symphony Orchestra, Framingham, Massachusetts
Executive Director, Fargo-Moorhead Symphony Orchestra, Fargo, North Dakota

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Every day is different. Working with so many different groups of people. Spending lots of time getting to know people. Working on the “big picture” and really enjoying the strategy that goes along with running an organization.

What inspired you to work for an orchestra?
I’ve been involved with music from a very young age. It’s a very natural fit and I feel I’m able to make a difference.

What was the first step you took toward a career in orchestras?
Attending a career-services seminar at New England Conservatory.  If I could have, I would have taken more classes in management and finance during college. But I didn't know that this is what I would be doing.

What advice would you offer to someone considering the orchestra field?
Just get into it. Dive in, listen hard, and work harder. Opportunity is ample for those willing to invest themselves fully in what they want.

Any other advice?
It’s a wonderful field. It’s not always easy, but there are many moments that stick out as special for me as I reflect back on my career thus far.

 

Valerie Whyman

Executive Director
Williamsport Symphony
Williamsport, Pennsylvania
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Years in current position: 5.5
Years in the field: 6.5

Majors:
Music and Education

Career Path:
Music teacher (11-16 year-olds) UK
Head of Music at elementary school, UK
Raising children, volunteering for non-profits as fundraiser and grant writer
Administrative assistant to orchestra

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Managing donors, relationships with the volunteers (especially the board).

What inspired you to work for an orchestra?
My upbringing—I have always served on committees for the music groups I played in.  Now I am paid to do what I have done all my life.

What would you have done differently?
I wouldn’t have been a teacher, although it is invaluable as part of promoting the orchestra’s importance to educational program, managing budgets and boards, etc. Had I known this is where I would end up, I would have chosen business studies or management as a degree.

What advice would you offer to someone considering the orchestra field?
Know as much as you can— about donor cultivation, finances, investments, musicians, music, education, the community in which you live. And know as many people as you can. Be very very organized—you will be dealing with more than 100 people at once.

Any other advice?
It’s very rewarding. Very important: Keep an upbeat attitude. You are likely to encounter micro-management, criticism, refusals. It goes with the territory.
 

Paul Winberg

Executive Director
Eugene Symphony Association
Eugene, Oregon
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Years in current position: 4.5
Years in the field: 10

Majors:
Bachelor’s in Music and Theatre; primary instrument, piano
Master’s in Public Administration

Additional Training:
Numerous League of American Orchestras training programs and seminars
Currently participating in the League’s new Executive Leadership Program

Career Path:
Operations Intern, Grant Park Music Festival
Operations and Education Director, Elgin Symphony Orchestra
Orchestra Manager and Artistic Administrator, Grant Park Music Festival
Development Director, Elgin Symphony Orchestra

What are the most surprising, interesting or challenging aspects of your day-to-day work?
The variety of personalities and varying needs of the Eugene Symphony’s constituent base—musicians, board members, staff, volunteers, and audience members. Understanding and addressing those needs constantly keeps the work engaging and satisfying.

What inspired you to work for an orchestra?
A passion for the music. I’ve been drawn to symphonic music since I was first introduced to it as a young person.

What were your first career steps?
Before working in the orchestra management field, I had experience in a variety of non-profit environments. I stumbled into the orchestra management field first as a volunteer and then as an intern.

What advice would you offer to someone considering the orchestra field?
Don’t be in a hurry to become the next great executive director. Learn as much as you can about the field and get hands-on experience in production/operations and fundraising. As an executive director, I draw upon that body of knowledge and skills everyday.

Wendy T. Young

Executive Director
Symphonicity-the Symphony Orchestra of Virginia Beach
Virginia Beach, Virginia
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Years in current position: 9
Years in the field: 10

Majors:
Piano Pedagogy/Music Theory
Graduate work in Musicology

Additional Training:
Local arts workshops in development
League of American Orchestras marketing seminar

Career Path:
Owner, Wendy Young Piano Studio (current)
Librarian, Symphonicity 

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Trying to get all the work done as a part-time employee!

What inspired you to work for an orchestra?
Love of classical music.

Would you have done anything differently?
I would have studied Arts Adminsitration sooner if I had known how much I would love it.

What advice would you offer to someone considering the orchestra field?
Get a degree in Business, Arts Administration, take business courses, and lots of computer training.

Any other advice?
Be prepared to keep a lot of balls in the air, and be able to handle crises with an even temperament.