I. The Tornado and the Plow Horse I recently plugged the words “Salieri” and “Festival” into Google, which limped back with a meager Salieri Opera Festival of 2010, presented by Fondazione Fioroni in Verona, Italy. Curious, I added “2013” to the search, and Google came back with only three results, none of which led to[…]Read More
In this article, Michael Manley offers some compelling thoughts about the future of orchestral programming. He challenges us to break down the barriers of “art music,” “commercial music,” and “pops” and to be more open to including a wider variety of music on orchestral concerts. I think you will enjoy his writing style and his ideas for the future!Read More
American Orchestras, so we are told over and over again, are on life-support. Audiences are aging or dwindling; “operating expenses” (often a euphemism for “musician salaries and benefits”) are rising; fundraising has reached a ceiling; Apple and Amazon exist; people just aren’t as “educated” about classical music as they were; public music education programs are[…]Read More
Michael Manley, who formerly worked at the national office of the AFM, is one of this year’s American Symphony Orchestra League’s Management Fellows. Each fellow works with four orchestras for a few months each during the course of the fellowship year. Michael is spending the winter months in Sioux Falls, South Dakota, after a time in Aspen and the Los Angeles area with the Pacific Symphony. He heads to Cleveland in the spring.
I asked Michael to write about his year as a League Management Fellow — in particular what motivated him to leave his union work to pursue a career in orchestra management. He’s still working on that article, but sent his impressions of working with the South Dakota Symphony, a piece he prepared for their Annual Meeting. Michael is a very artistic kind of guy (he’s a playwright as well as a hornist); I hope you enjoy his art comparisons and contrasts as much as I do!Read More