Drew McManus on the Orchestra business | est. 2003

Philadelphia Orchestra

When Orchestra And Chorus Policies Collide

Mon, Aug 8, 2022
It was bound to happen. An orchestra’s guidelines requires as much masking for on stage musicians as possible. A chorus that operates as a separate entity has a different policy and refuses to wear masks. As a result, any works that require a chorus are removed from the program. An article by Peter Dobrin in

Looking To The Past When Thinking About The Philly Orch-Kimmel Center Not-A-Merger

Tue, Jun 6, 2021
On 6/17/21 The Philadelphia Orchestra and Kimmel Center announced the organizations were “uniting under a new parent company”. Before we dive too deep into the weeds, it’s worth noting that one of the key figures involved here is Anne Ewers, Kimmel Center president and CEO. If that name sounds familiar within the context of merges, you

Is There A Way To “Win” Baltimore’s Labor Dispute?

Fri, Jul 7, 2019
Out of the gate, it’s fair to mention that in a labor dispute as contentious as the Baltimore Symphony Orchestra’s (BSO), there are no “winners,” only shades of loss. Events this week have demonstrated the executive leadership appear to be dug in for the long haul and the musicians have responded in kind. If nothing

Top-Tier Musician Compensation 2019

Fri, May 5, 2019
It’s time to revisit base musician compensation levels at the top eight highest paying orchestras. For a number of these orchestras, the 2018/19 season marks the end of their existing collective bargaining agreement (CBA). In each of those instances, the outcomes will have a large impact on what many orchestra musicians consider their organization’s ability

Negotiating Yourself Into A Corner

Thu, May 5, 2019
Adaptistration People 100
The recent Chicago Symphony Orchestra (CSO) strike is an excellent example of something that demonstrates how much the work stoppage PR landscape has shifted over the past decade. For example, one of the strongest musician talking points is the deleterious impact concessions have on an orchestra’s ability to attract and retain the very best artistic
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