Here’s a crazy idea, why not apply the for-profit business practice of franchises to orchestras? Specifically, I’m thinking about a chamber orchestra that has the flexibility to perform chamber music as well as ballet and opera productions that offer a high quality artistic product for a lower than normal user fee (ticket price). You could either build on a successful established program or start a program that can be easily reproduced. From a bottom line standpoint, you can save a considerable amount of money on expenditures that relate to education, outreach, marketing, artistic operations, insurance, and accounting costs. Additionally, you can lower expenses by contracting guest artists, composers, and conductors for multiple dates and locations at one time.
When exclusivity is a bad thing
In my mind the term exclusive usually conjures up a positive image. Unfortunately, when I think of the orchestra industry I think of exclusivity in a negative context. What I’m talking about is the absolute control the American Symphony Orchestra League (commonly referred to as “the League”) exerts over the training, hiring, and professional development of orchestra executive and middle managers. You can read more about this in my Orchestra Leadership: …