New Philadelphia Orchestra CEO

Ryan Fleur has been appointed president and CEO of the Philadelphia Orchestra, following the departure of Matias Tarnopolsky, who is now CEO of the NY Philharmonic. The press release says that the appointment comes after ¨an extensive international search,¨ and I gotta say, it was the fastest extensive international search in history. Tarnopolsky´s appointment was announced in December and Fleur was appointed interim president. Five months is....really fast.

Here´s the press release:

(Philadelphia, April 23, 2025)––The Philadelphia Orchestra and Ensemble Arts announces the appointment of  Ryan Fleur as president and CEO, effective immediately. Fleur, a visionary leader with over three decades of experience in the performing arts, steps into this role after serving as interim president and CEO since January 2025. Fleur has dedicated the last 13 years to serving the Philadelphia community and beyond in executive-level positions with both the world-renowned Philadelphia Orchestra and the recently merged institution, The Philadelphia Orchestra and Ensemble Arts, one of the largest performing arts complexes in the country. His appointment marks a pivotal moment as the Orchestra prepares to celebrate its 125th anniversary during the 2025–26 season and the Kimmel Center for the Performing Arts approaches its 25th anniversary in 2026.

 

“After an extensive international search, we are thrilled to appoint Ryan Fleur as president and CEO,” said Ralph Muller, chair of The Philadelphia Orchestra and Ensemble Arts Board of Trustees. “Ryan’s deep understanding of our mission, his innovative vision, and his unwavering commitment to artistic excellence across our varied genres make him uniquely qualified to lead us into an exciting future. My thanks to the Board of Trustees and the search committee for their pursuit of the best possible candidate.”

 

Music and Artistic Director Yannick Nézet-Séguin praised Fleur's leadership: “Ever since our mutual arrival at The Philadelphia Orchestra many years ago, Ryan has been a steadfast partner in fostering an environment where music thrives. His dedication to the musicians, his forward-thinking approach, and his ability to unite diverse communities around the transformative power of music ensure that our future is brighter than ever.”

 

“The Philadelphia Orchestra has been at the heart of my professional life since 2012, and it has been a privilege to help shape its evolution over the past 13 years,” said Fleur. “This is a defining moment of opportunity to build on our momentum and fully embrace our belief that the arts are essential to community. I am thrilled to lead an organization that is committed to creating cultural spaces where everyone feels welcome and inspired. Together with Yannick, the Board, musicians of the Orchestra, staff, and community partners, we will continue to innovate, elevate, and connect through the power of music and the performing arts. I am deeply grateful to the Board of Trustees and the search committee for their confidence and vision.”

 

Philadelphia Mayor Cherelle L. Parker commended Fleur’s dedication to the city: “Ryan embodies the spirit of Philadelphia. He is deeply committed to bringing our great city together around the arts, acting as a convener for civic dialogue, collaboration, and community values. Under his leadership, The Philadelphia Orchestra and Ensemble Arts will continue to shine as a beacon of creativity and unity for every Philadelphian in all our neighborhoods.”

 

Fleur has been an integral part of Philadelphia's cultural fabric for over 13 years, previously serving as executive director of The Philadelphia Orchestra and playing a key role in its historic merger with the Kimmel Center for the Performing Arts (now Ensemble Arts Philly). Fleur previously served as president and CEO of the Memphis Symphony Orchestra and held executive positions at Boston Ballet, the New York Philharmonic, and the Pro Arte Chamber Orchestra of Boston.

 

Throughout his tenure with The Philadelphia Orchestra, Fleur has demonstrated a deep commitment to artistic excellence and innovation, global initiatives, education and community partnerships, and digital media projects. He created partnerships that restarted the ensemble’s international recording projects and weekly radio broadcasts. In 2022 the Orchestra received its first GRAMMY^® Award for Best Orchestral Performance for its Deutsche Grammophon recording of Florence Price’s Symphonies Nos. 1 and 3. During the COVID-19 pandemic, he worked to innovatively bring music to people around the world when they needed it most through the creation of the Orchestra’s Digital Stage. His commitment to international partnerships has strengthened ties in Europe, the Middle East, and Asia—particularly China—through a robust program of tours and residencies that showcase and advance the Orchestra’s role as a global cultural ambassador. In 2023 Fleur led Orchestra musicians on a special visit to China, commemorating the 50th anniversary of the Orchestra’s historic 1973 tour to China, the first by an American orchestra. The visit was recognized by Presidents Joseph R. Biden and Xi Jinping, who noted the Orchestra’s ongoing commitment to cultural diplomacy. In 2024 Fleur played an integral role in the dedication of Marian Anderson Hall at the Kimmel Center for the Performing Arts, the first major concert venue in the world named in honor of the trailblazing Black singer, civil rights icon, and Philadelphian.

 

As leader of the Memphis Symphony from 2003–2012, Fleur helped the organization become a key artistic and civic asset, leading a comprehensive strategic planning process focused on artistic excellence, education, and community engagement. The transformation was featured in a League of American Orchestra’s case study titled “Fearless Journeys: Innovation in Five American Orchestras.” In 1998 Fleur was appointed executive director of the Pro Arte Chamber Orchestra of Boston, one of four professional cooperative orchestras in the United States. He led the Orchestra through an international conductor search, an extensive planning process, and a revitalization of the governing board, while establishing programs in education and community engagement. Fleur also served as program director and pianist for Boston Ballet before being selected to participate in the Orchestra Management Fellowship Program of the League of American Orchestras. As a fellow for the 1996–97 season, he worked with the CEOS of the San Francisco Symphony, the New Jersey Symphony, and the Indianapolis Symphony. He then served in the executive office of the New York Philharmonic.  

 

An accomplished pianist, Fleur received his bachelor’s degrees in economics and business from Boston University. He serves on the board of the Philadelphia Convention & Visitors Bureau and is deeply committed to the vital role of the arts in strengthening communities. He and his wife, Laura Banchero, a professional ballet instructor and former dancer, live in Bala Cynwyd and have two grown children.

 

The Philadelphia Orchestra and Ensemble Arts president and CEO search was facilitated by Isaacson, Miller.  

Matias Tarnapolsky to the NY Philharmonic

 

Matias Tarnopolsky

Photo by Jeff Fusco, courtesy of the NY Philharmonic

There had been rumors that the NY Phil was negotiating with Matias Tarnopolsky to succeed Gary Ginstling as President and CEO of the orchestra, following Ginstling's 18 months in those positions. Apparently they were true, as the orchestra announced Tarnopolsky's appointment today.

He has been president and CEO of the Philadelphia Orchestra since 2018. Previously, he was executive and artistic director of Cal Performances at the University of California, Berkeley. (This is the reason that he is the only head of a large U.S. orchestra with whom I am on first-name terms.) He has also been Vice President, Artistic Planning, at the New York Philharmonic, 2005–09, as well as the Chicago Symphony Orchestra and BBC Symphony Orchestra. 

For more information, read the NYPO's press release and the NY Times article (gift link) about this appointment.

Philadelphia Orchestra Cast Change

About five minutes after I received the Met press release with the Nozze cast and conductor updates, I got a very similar press release from Philly. I can imagine the phone call / chat / Zoom call on which one person from the Met's communications department said to a person at Philly's communication department something like "Oh, yes, thanks, I've sent out my press release and now you can send out yours." And also whatever discussions there were deciding on the exact wording from their joint music director, etc.

Philadelphia, November 29, 2021)—Following a busy fall that marked The Philadelphia Orchestra’s highly anticipated return to live concerts with audiences, Music Director Yannick Nézet-Séguin has withdrawn from the Orchestra’s December 31, 2021, and January 2, 2022, concerts. Conductor Xian Zhang has graciously agreed to lead both concerts. The program will include the world premiere of Composer-in-Residence Gabriela Lena Frank’s Pachamama Meets an Ode, a Philadelphia Orchestra commission, and Beethoven’s Symphony No. 9 (“Choral”), as previously scheduled. (Nézet-Séguin will lead the Carnegie Hall performance of these works on January 11, 2022.)

 

“We look forward to welcoming Xian Zhang to Verizon Hall for these special concerts and to her subscription debut with the Orchestra in May 2022,” said Matías Tarnopolsky, president and CEO of The Philadelphia Orchestra and Kimmel Center, Inc. “We are deeply grateful to Yannick for his leadership, artistry, and perseverance during the last 20 months—during which he and the Orchestra kept music front and center at a time when it was needed most—and for his extraordinary role in reuniting the Orchestra with audiences this fall.”

 

“I am grateful for the collaborations that led to deeply moving and memorable openings in Philadelphia, at the Met, at Carnegie Hall, and in Montreal, bringing us together again with audiences,” said Music Director Yannick Nézet-Séguin. “This has been a difficult time for so many and I have been, and remain, fully committed to providing much-needed hope and inspiration as we heal from the past year and a half. This short break will allow time for me to reenergize as we return in the new year with more inspiring art.” 

Xian Zhang is currently in her sixth season as music director of the New Jersey Symphony Orchestra. She also holds the positions of principal guest conductor of Melbourne Symphony Orchestra, and conductor emeritus of Orchestra Sinfonica di Milano Giuseppe Verdi following a successful period from 2009–2016 as their music director.  

Monday Miscellaney

• The Philadelphia Orchestra announced ten new Digital Stage programs to take place between January and June this year; they'll include works by Mason Bates, Valerie Coleman, Florence Price, Caroline Shaw, Melinda Wagner, and others. The orchestra also announced the appointment of Nathalie Stutzmann as principal guest conductor, starting in the 2021-22 season.
• Opera America awarded IDEA Residencies to  composer Laura Jobin-Acosta, librettist  J. Mae Barizo, and composer Tamar-kali Brown. The press releases noted that "This new program provides New York City-based composers and librettists of color an opportunity to explore opera as an expressive medium." and also that "Each artist will receive a full-year residency at OPERA America’s National Opera Center and a total package of $22,500." 
• Sheri Greenawald was given the San Francisco Opera Medal by SFO, acknowledging her long service to the company, as a singer and as head of the San Francisco Opera Center. Greenawald retired from that position at the end of December, 2020. Full details at the SFO web site.
• Meanwhile, at the other SFO, Santa Fe Opera announced a series of Consider the Source seminars and conversations, about the source materials for several operas in their upcoming season. The first one is tomorrow (I apologize sincerely for the late notice); these look like a lot of fun. Full details are on the web site; the source works under consideration are the Beaumarchais Figaro trilogy; Shakespeare's A Midsummer Night's Dream; Pushkin's Eugene Onegin; Bram Stoker's Dracula and Euripides' Bacchae, the latter two for the new John Corigliano opera Lord of Cries.
• Opera Orlando notes that "The Opera has postponed the piano workshop of its first commissioned opera, The Secret River, and will now launch the Opera on the Town series this February with the world premiere of Death of Ivan Ilych in partnership with Thompson Street Opera Company."
• San Francico's Ross McKee Foundation has announced a tasty series of piano concerts and talks, of which the first is a tribute to the late Robin Sutherland. This is on February 5, 2021 and features such luminaries as Jeffrey Kahane, Keisuke Nakagoshi, and Jeffrey LaDeur.

This is Quite a Tell.

The Philadelphia Orchestra announced a new appointment last month, and hoo boy, the self-tell:

(Philadelphia, June 16, 2020)—The Philadelphia Orchestra is pleased to announce the appointment of Nicole Jordan as principal librarian beginning in the 2020–21 season. The position will bring her back to Philadelphia, where she was raised and began her career as The Philadelphia Orchestra’s library fellow from 2008 to 2011. Jordan will be the first African-American woman to join the Orchestra as a full-time member.

Uhhhhh and the situation isn't so different elsewhere. I would be interested to know when each US professional orchestra hired its first full-time Black member, man or woman. When did Philly hire the first African-American man, for example? 

 

Philadelphia Orchestra Pulls Together

The Philadelphia Orchestra sent out a press release this morning that is a great example of working together during a difficult time. In brief, the administration and the musicians negotiated the following to make sure that the orchestra would survive ("preserve recent financial progress"):

• Musicians take voluntary 20% salary reduction starting April 1.
• Staff salaries reduced by net 20% based on salary level beginning April 1.
• Music Director Yannick Nézet-Séguin voluntarily reduces compensation (foregoing 20% of his April and May compensation). Yes, one might reasonably wonder why his other institution didn't handle their financial problems this well. Also, if you're drawing music director salaries from two big musician institutions....maybe you could take a bigger cut.

Here's the full press release:

(Philadelphia, March 31, 2020)—The Philadelphia Orchestra Association and the musicians of the Orchestra today jointly announced that musicians have volunteered to take a temporary salary reduction of 20%, beginning April 1, to help counter the significant financial impact of the COVID-19 crisis. This cooperative step to preserve institutional financial progress of recent years is complemented by a 20% net reduction in staff salaries, based on salary level, also beginning April 1. Music Director Yannick Nézet-Séguin is forgoing 20% of his March and April compensation. These steps are among a series of measures the organization has been taking since the last concert performed on March 12, 2020. 

A call to donate tickets to cancelled concerts has been met generously by dedicated Philadelphia Orchestra audience members, and additional financial gifts made in the context of the crisis have contributed to the initial phase of a plan for long-term financial recovery.

To enable ongoing connection to the Orchestra during a time when music is vitally important, audiences can engage with the Virtual Philadelphia Orchestra. Through three specific endeavors—WATCH, LISTEN, LEARN—the Virtual Philadelphia Orchestra offers access to past and previously unreleased performance videos, specially-created content from musicians of the orchestra, online learning, new Listen On Demand audio, and more at www.philorch.org/virtual. The Virtual Philadelphia Orchestra is generously funded, in part, by the William Penn Foundation. LEARN initiatives of the Virtual Philadelphia Orchestra are supported by Wells Fargo. 

“In the challenging new reality of the COVID-19 crisis, the priorities of The Philadelphia Orchestra are to maintain the integrity of the ensemble, to take care of our people, and to preserve a position of financial strength built by our dedicated Board, generous donors and audiences in the recent past,” said President and CEO Matías Tarnopolsky.“We have a plan, and we have taken important initial steps. We will continue to work together to inspire support so that when we come back to the concert hall and to our communities in person we are as vibrant and vital as ever.” 

“The musicians of the Orchestra are dedicated to helping ensure a bright future for The Philadelphia Orchestra," said David Fay, chair of the Members’ Committee of the Orchestra. “This salary reduction is an expression of our commitment to work to maintain the progress we have made together. We look forward to being with our audience again and to thanking them in person for their support during this time.”

“We remain focused on the future.” said Music Director Yannick Nézet-Séguin. “We are in this together, and know that our collective strength and resolve will bring us together again. We look forward to when we can reunite to thank our beloved audiences for the outpouring of support that we have felt so deeply.”

***

I have said this in the past, but it's important to compare this excellent leadership and communication style to what went on previously with the orchestra.

Chicago Symphony Orchestra Strike

View from the uppermost balcony

Orchestra Center, Chicago

Photo by Lisa Hirsch

Updates, 4/13/2019:

1. I forgot to link to ICSOM's press release supporting the musicians.

2. The CSO has called off concerts through April 23.

I'm late in catching up with the CSO strike, but here goes.

The core issue is the orchestra's retirement plan. At present, the musicians have what's called a defined benefit plan: you receive retirement benefits as a pension, a fixed amount annually based on years of service and perhaps your salary during your employment. I believe that pre-retirement  contributions to the plan are made by the musicians and the orchestra, but maybe don't quote me on this; it could depend on the contract, etc.

The orchestra wants to change this to a defined contribution plan, a 401(K) type plan in which contributions are made by both musicians and orchestra, but what you can draw on during retirement is a crap-shoot because you make decisions about how to invest these contributions, and there is no guaranteed payment. Worst case: you make bad decisions and you have little or nothing. The bad decisions can include not contributing enough (or at all) and making bad investment choices. You can also be the completely innocent victim of a terrible economy and lose a lot of money in a stock market crash, even if you made good investment decisions. An event like that the year before you intend to retire (or after you have retired) will affect your financial position for a long, long time.

This week, the CSO made what it calls its last, best, and final offer, which the musicians voted on and rejected last night. Here's management's statement:

Last night, the musicians of the Chicago Symphony Orchestra voted not to accept the CSOA’s last, best and final offer for a new contract and continue their strike. The CSOA shared details of that offer publicly, and we encourage you to read the news release.

We have proposed a long-term agreement that would allow the parties to repair their working relationship, bring stability to the organization, support the musicians in a transition to a new retirement benefit and grow the annual base salary by 12%, retaining a contract that remains at the top of our industry.

The Association now faces the need to review the CSO season schedule and cancel additional concerts as needed due to the musicians’ decision to continue to strike. Today, we regret to inform you that all CSOA-presented concerts and related events scheduled through Tuesday, April 23 are postponed or canceled. For details on affected concerts, please visit cso.org. We sincerely apologize for any inconvenience.

Thank you for your continued support of the Chicago Symphony Orchestra Association, and we look forward to seeing you back at Symphony Center soon.

Sincerely,

Helen Zell Chair, Board of Trustees

Jeff Alexander President

By stability, they mean "we are limiting the orchestra's responsibility to the musicians," because defined-contribution plans shift so much retirement responsibility from institutions to individuals. 401(k) plans are pretty well understood to be useful to high-earning individuals who are savvy investors, that is, people who can afford to max out their contributions.

Me, I support the musicians. Most large US orchestras have defined-benefit (pension) plans; in the last decade, Philadelphia and Pittsburgh's musicians agreed to a two-tier system in which musicians already in the orchestras stayed in an existing pension plan, and newcomers get a 401(k). This can cost a huge amount over a player's lifetime and makes those orchestras less attractive than those with traditional pension plans. I understand that orchestra jobs are so rare that the impact on hiring may not be entirely predictable, but in the case of Philly and Pittsburgh, the musicians threw future musicians under the bus.

Now, I am something of an amateur in talking about these issues. You'll want to follow Drew McManus's reports and commentary at Adaptistration for the perspective of a real pro. This link goes to posts tagged Chicago Symphony Orchestra.

New Philadelphia Orchestra Contract, 2019

The Philadelphia Orchestra has had some tough times in the last 20 years, including an ill-advised relocation, a terrible board, their hiring of a terrible chief executive, and bankruptcy. As I just noted in the previous post, they also have a two-tier contract.

You might expect more troubles, but last year, Matias Tarnopolsky became their President and CEO, and this year, the orchestra and musicians came to an agreement very quietly and without fuss. Here's the press release from last month; it contains a lot of good news:

The Philadelphia Orchestra Association

and the Musicians of The Philadelphia Orchestra  

Invest in the Future with New Four-Year Contract

Agreement includes annual wage increase and addition of two members to the Orchestra

Sunday afternoon concerts to increase to 18 per season, in response to community interest

Agreement reached six months before expiration of current contract;

first early agreement in modern history of the Orchestra

(Philadelphia, March 12, 2019)—The Philadelphia Orchestra Association and the Musicians of The Philadelphia Orchestra today jointly announce the ratification of a new four-year collective bargaining agreement, effective September 16, 2019, through September 10, 2023. Completed six months prior to the expiration of the current contract—a first in the modern history of the Orchestra—the new agreement represents a joint investment in the organization’s future. 

Under the terms of the new agreement, the Orchestra’s complement will increase by two positions over the course of the four-year term: one in 2020-21 and one in 2022-23. Additionally, musician salaries will increase over the term of the contract: 2% in year one, 2.5% in year two, 2.5% in year three, and 3% in year four. In response to community interest, the number of Sunday concerts will increase from 12 to 18 per season. 

“With this pathbreaking agreement, our intention is to position The Philadelphia Orchestra for an artistically exciting and financially robust future—for all the people of Philadelphia and the many, many fans of the Orchestra across the country and around the world,” said Richard B. Worley, chairman of the Board. “On behalf of the Board of Directors, I would like to thank all involved for their good faith negotiations and commitment to a strong and healthy institution.”

“This early agreement is the fruit of years of work invested in strengthening relationships among Musicians, the Board of Directors, Administrative Staff, Volunteers, and all of our stakeholders. This allows us to look to the future with confidence,” said William Polk, chair of the Negotiating Committee of the Orchestra. “I would like to thank Chairman Richard B. Worley and the Board of Directors of The Philadelphia Orchestra Association for their wise stewardship of our, and Philadelphia’s, treasured institution. I would also like to offer my thanks to President and CEO Matías Tarnopolsky and his able administrative team for engaging with us in a straightforward and respectful process. The Musicians of The Philadelphia Orchestra are proud to represent this great city by continuing to set the highest standards for music performance, both at home and on the world stage.”

“Through this unprecedented early and long-term agreement, the Musicians of The Philadelphia Orchestra and the Board of Directors and Administrative Staff of The Philadelphia Orchestra Association send a powerful message to the people of Philadelphia: this is your Orchestra, and together we are focused on creating our brightest future ever,” said Orchestra President and CEO Matías Tarnopolsky. “My sincere thanks to all for moving swiftly and sincerely through the negotiation process, and for supporting fairness and stability. Yannick Nézet-Séguin and The Philadelphia Orchestra are now poised to embrace an ever more exciting future.”

“The spirit of the process that brings us to this new agreement reflects the beauty of the musicians, of the people of the Association, and of The Philadelphia Orchestra as one whole passionate musical body that I have come to know and love, very much, in these seven years together,” said Music Director Yannick Nézet-Séguin. “We are here to engage in the joy of music, to be part of the heart and the soul of the beautiful communities of Philadelphia—and now we have a new, long horizon ahead of us. My deep thanks to all for this, for your generosity and commitment.”

Reflecting a commitment to collaboration and to building a bright future together, Association leadership and the Negotiating Committee of the Orchestra embarked on the negotiation process with goals of early ratification and equitable and responsible increases. The Negotiating Committee consists of chair William Polk, violin; Derek Barnes, cello; Holly Blake, contrabassoon; Gloria dePasquale, cello; David Fay, bass; and Joseph Parente, president of the Philadelphia Musicians’ Union, Local 77, American Federation of Musicians. Participating on behalf of the Association were President and CEO Matías Tarnopolsky, Executive Director Ryan Fleur, and Director of Orchestra Personnel Marilyn Rife.

Tarnopolsky to Philadelphia Orchestra?

Email from a friend this morning alerted me to a report by N***** L******* saying that Matias Tarnopolsky would be the next president of the Philadelphia Orchestra. (I'm not going to link to NL or even mention the name of his blog. Do a web search if you want to see the report.) Now there's an article by Peter Dobrin in The Inquirer, and that I'm happy to link to. Dobrin says there's no contract yet and the Philly board hasn't voted on it, but there is a verbal agreement. It could theoretically still fall through, but who knows who the leaker is? Somebody close to the orchestra.

Joshua Kosman has picked up Dobrin's report. I have email out to Cal Performances but have heard nothing yet.

UPDATE: It's true. He'll have his work cut out for him at Philly. His predecessor might be characterized as union-busting, given her administration at Philly and at Atlanta. She took the orchestra into and out of bankruptcy.

The orchestra has had a problem board that let the organization drift for way too long. Note the five-year tenure of Christoph Eschenbach, followed by four years of acting MD Charles Dutoit (they might be regretting this now) before Yannick Nezet-Seguin was tapped.

This year's season is also notably dull, despite having an energetic young MD, and it's an all-male season. Let's hope Matias Tarnopolsky can turn the ship around.

Other coverage:

• Michael Cooper, Times
• Peter Dobrin, updated
• Joshua Kosman, updated

Here's the Cal Performances press release about his departure, after the cut.

Orchestra Executive Merry-Go-Round

Yesterday, Drew McManus had an article at Adaptistration about current vacancies, and recently-filled vacancies, in the executive suites of various American orchestras.

1. Brent Assink's departure from the San Francisco Symphony after many successful years of financial and (mostly) labor stability. 
2. Rita Shapiro's departure from the NSO in Washington, DC. She has been replaced by Gary Ginstling, formerly an executive at SFS, a good hire.
3. Matthew VanBesien left the NY Philharmonic, which then managed the fantastic coup of luring Deborah Borda back to NY from the Los Angeles Philharmonic.
4. Of course, this leaves a huge gap at the LA Phil, but they've got two excellent internal candidates in Gail Samuel and Chad Smith, and the orchestra should just promote one of them.
5. Most recently, Allison Vulgamore is out at the Philadelphia Orchestra at the end of this year. It's about time: she was terrible for the Atlanta Symphony (and so was her successor there) and she happily led the Philly into bankruptcy.

My current nightmare: LA or SF hires Allison Vulgamore. Please, no. You had really good things going with Assink and Borda. Keep the streak going.

The Seemingly-Inevitable Comes to Pass

Here's the press release from the Metropolitan Opera confirming what has been the rumor for the last....year? two? about their next Music Director: it will, indeed, be Yannick Nézet-Séguin.

I have not heard him conduct live or on record or on a Met broadcast, so I have no personal opinions about his conducting. I do, however, have an opinion about these points from the Met press release:

In the Met’s 2017-18 season, Nézet-Séguin will assume the interim title of Music Director Designate. He will become Music Director in the 2020-21 season, the first season in which he is available to take over the full responsibilities of the position. However, he will immediately become involved in the company’s artistic planning, which happens many years in advance.

[several paragraphs later]

Since 2012, Nézet-Séguin has been Music Director of the Philadelphia Orchestra, which announced today that he has extended his contract with them through 2025-26. (A separate press release on that announcement is available.) Given the close proximity of New York and Philadelphia, Nézet-Séguin will be able to easily commute between his two posts, and the Met and the Philadelphia Orchestra will also be exploring the possibilities for artistic collaboration between the two institutions.

He is also the Music Director of Montreal’s Orchestre Métropolitain and of the Rotterdam Philharmonic, a position he will resign at the conclusion of the 2017-18 season.

So...it will be four years before YNS can take up his full responsibilities; he will remain MD of the Philadelphia Orchestra (an important job at an important orchestra that, like the Met, has some big problems), and he will retain his longterm job at the Orchestre Métropolitain. 

This worked out so well when James Levine was at the Met and the Boston Symphony. Yes, YNS is 30 years younger and a lot healthier than Levine. Still. How many of these jobs can a music director do, and do well? Why don't organizations realize that there's enough conducting talent in the world to limit the talented to one job each?

Who's Next?

The New York Philharmonic is about to lose its principal clarinet - again.

Let's take a look at the sad story of that seat in the last few years:

• Stanley Drucker retires, 2009, after 60 years with the orchestra
• Ricardo Morales was appointed and would have started in September, 2012, but he resigned the position before he played a note, opting to stay with the Philadelphia Orchestra
• Stephen Williamson takes the job, plays for the 2013-14 season, then heads back to the CSO

Perhaps the NYPO should check out Burt Hara, late of the Minnesota Orchestra, currently with the LAPO, though sunny LA might be more appealing, or perhaps Mr. Hara plans on a return to Minnesota. But as I've said before, keep your hands off Carey Bell.

This Week in the Death of Classical Music

The sky has failed to fall in....Boston, Massachusetts!

The BSO and its musicians have signed a new contract. Here are the relevant numbers, copied directly from Adaptistration:

• Wages (three percent increase per year): 2011-12, $132,028; 2012-13, $135,980; 2013-14, $140,088.
• Pension (Private): Increases $2,000 to $77,000.
• Orchestra Size: Unchanged at 101 members.

Nice figures: base salary rises 3% per year and pensions, demonized by politicians and others elsewhere, are going up two grand a year.

Why couldn't Philly do this? Let me guess: the BSO has better management.