Shop Talk S01E14: Musician Injuries Could Soar After COVID: Artistic Decision Makers Perspective

This is the first in a series of podcasts focusing on the topic of what orchestras of all budget size should be considering when planning for post-COVID concert activity. This installment gets right to the heart matter by talking to artistic decision makers.

Guests Tito Muñoz, Phoenix Symphony Music Director, and Jennifer Arnold, Richmond Symphony Director of Artistic Planning and Operations, talk about their views on the topic. It is an all around fascinating conversation that doesn’t shy away from difficult topics.

Here are a few highlights from the discussion:

Just like spring training, this is what we need to get out team back. - Shop Talk S01E14: Musician Injuries Could Soar After COVID: Artistic Decision Makers Perspective Click to Tweet
Throughout this experience, I realized how important programming is to patrons. - Shop Talk S01E14: Musician Injuries Could Soar After COVID: Artistic Decision Makers Perspective Click to Tweet
There's a cost associated with returning safely. - Shop Talk S01E14: Musician Injuries Could Soar After COVID: Artistic Decision Makers Perspective Click to Tweet

Resources

Guests

Jennifer Arnold

LinkedIn | Twitter

Jen was privileged to spend 15 years performing in the Oregon Symphony viola section which was the best arts administration training she could ask for. She participated in almost every EDCE activity orchestras are doing across the country because she believe music touches people, sometimes when they need it most. Jen participated in asks and have spent substantial time interacting with board members and have seen how boards need to be invested in their musicians to sustain an organization through tough times.

She spent 5+ years learning the CBA as an orchestra committee representative and served on three negotiating committees. The highlight of her committee duties was spending six seasons on a very active orchestral artistic advisory committee that made her fall in love with all aspects of creative programming. Now she wants to spend the next decade highlighting BIPOC composers and artists whose music is often left out of the classical canon. She’s interested in using music to tell the stories of everyday people, their joys and sorrows. She believes classical music is for everyone and plans to continue to dedicate her life to making it feel more inclusive and welcoming.

About Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.

I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.

In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.

For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

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Tito Muñoz

titomunoz.com | @TitoConductor | Facebook

Praised for his versatility, technical clarity, and keen musical insight, Tito Muñoz is internationally recognized as one of the most gifted conductors on the podium today. Tito previously served as Music Director of the Opéra National de Lorraine and the Orchestre symphonique et lyrique de Nancy in France. Other prior appointments include Assistant Conductor positions with the Cleveland Orchestra, Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestra and the Aspen Music Festival. Since his tenure in Cleveland, Tito has celebrated critically acclaimed successes with the orchestra, among others stepping in for the late Pierre Boulez in 2012 and leading repeated collaborations with the Joffrey Ballet, including the orchestra’s first staged performances of Stravinsky’s Rite of Spring in the reconstructed original choreography of Vaslav Nijinsky.

Tito has appeared with many of the most prominent orchestras in North America, including those of Atlanta, Baltimore, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, and Milwaukee, as well as the Saint Paul Chamber Orchestra, Orchestra of St. Luke’s, and the National Symphony Orchestra. He also maintains a strong international conducting presence, including recent and forthcoming engagements with SWR Symphonieorchester, Frankfurt Radio Symphony, Deutsche Radio Philharmonie Saarbrücken, Mahler Chamber Orchestra, a tour with Orchestre National d’Île de France, Royal Philharmonic Orchestra, Ulster Orchestra, Lausanne Chamber Orchestra, Danish National Chamber Orchestra, Luxembourg Philharmonic, Opéra Orchestre National Montpellier/A Midsummer Night’s Dream, Opéra de Rennes/The Turn of the Screw, Auckland Philharmonia, Sydney Symphony and Sao Paolo State Symphony.

Now in his seventh season as  Music Director of the  Phoenix Symphony, he champions the composers of our time through expanded programming, commissions, premieres, and recordings. A passionate educator, Tito regularly visits North America’s leading conservatories, universities, summer music festivals, and youth orchestras.

About Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.

I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.

In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.

For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

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About Shop Talk

The official podcast of Adaptistration.com, Shop Talk invites captivating guests to talk about engaging topics connected to the orchestra business.

Shop Talk Archives | Shop Talk; Last Call Archives

Publication Schedule (subject to change #obvs)

  • E01Reaching Diverse Audiences Through The Marcom Lens, Ann Marie Sorrell and Ceci Dadisman 08/18/2020
  • E02Art Has Always Been Political, Weston Sprott and Jason Haaheim 09/01/2020
  • E03Deconstructing Silos, Anwar Nasir and Scott Harrison 09/15/2020
  • E04Fostering BIPOC And Women Composers, Anne M. Guzzo, Daniel Hege, and Holly Mulcahy 09/29/2020
  • E05: What Orchestras Administrators Really Need, Zak Vassar and Jeff Vom Saal 10/13/2020
  • E06: The Need For Expertise, Mark Almond and Jason Haaheim 10/27/2020
  • E07: Changing Your Narrative, Mark Larson and Scott Silberstein 11/10/2020
  • E08: Centering Equity, Ruby Lopez Harper and Brea M. Heidelberg 11/17/2020
  • E09: How to Create High-Quality Video Content, Bruce Kiesling and Niccolo Go 12/08/2020
  • E10: Walking Back Artistic Elitism, Kenji Bunch and Jenny Bilfield 12/22/2020
  • E11: Being A Content Creator Before It Was Cool, Jeff Curnow 01/05/2021
  • E12: The Commercial Life, Ceci Dadisman and Marc van Bree 01/19/2021
  • E13: Composers In Academia, David MacDonald and Sam Merciers 2/2/2021
  • E14: Musician Injuries Could Soar After COVID: Artistic Decision Makers Perspective, Jennifer Arnold and Tito Muñoz 3/9/2021
  • E15: Musician Injuries Could Soar After COVID: Musician Perspective, Jon Bowen, Catherine Chen, and Yumi Hwang-Williams 3/23/2021
  • E16: Academia/Pro Divide: Eric Esparza and Michael Lewanski

About Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.

I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.

In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.

For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

Comments (powered by Facebook)

About Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.

I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.

In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.

For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

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