Although the 2006/07 season didn’t bestow the average ICSOM music director with outlandish improvements in compensation, many of these stakeholders managed to set all time high compensation levels at his/her respective organization. Moreover, one conductor set a new record for the entire field with an annual compensation totaling nearly $3,000,000…
2009 Compensation Report: ICSOM Executives
If you were the CEO or Executive Director for an ICSOM orchestra in the 2006/07 season, odds are you enjoyed a sizeable increase in compensation. Not entirely unlike for profit executives in that period (but certainly not to the same degree), orchestra executive compensation skyrocketed during this time when most orchestras in the business had stabilized finances following the economic downturn following 9/11 (or so they thought). WHERE THE DATA COMES …
If You Listen, You Can Hear It Coming
It is almost June and that can only mean one thing at Adaptistration: the Orchestra Compensation Reports! This year’s reports feature all of the recompense goodness you’ve grown to love along with a few new twists. And no matter how hard you try, it just isn’t possible to separate timely revelations about Wall Street executive compensation practices from the orchestra figures awaiting us next week…
Enough Of What I Think, What’s Your Opinion?
The ubiquitous standing ovation. Just about every orchestra musician that blogs has written about this topic at one point or another and most share a common thread; audience response to a lackluster performance with a standing ovation can have an unintentional demoralizing impact. During the Springfield Symphony Orchestra (MO) board retreat last week, we talked about how the organization can develop its interaction with the audience and this topic popped up. But instead of warming up stale conversation leftovers, the organization’s board president, John Simmons, offered an intriguing personal encounter that is worth sharing…
So How Do You Really Feel?
Lock up the liquor, hide the kids, and brace yourselves as conductor Bill Eddins has something to share on the painful subject of cutting staff. In particular, Eddins directs his in-case-you-miss-the-point-easily-let-me-make-it-painfully-clear pointed commentary squarely at those shouldering the task of deciding which employees stay and which go. His advice is not only well timed but could serve as a chapter in the Orchestra Management for Dummies book (wait, that doesn’t exist yet)…