# Managing an orchestra



## Couac Addict (Oct 16, 2013)

Visitors from abroad are often surprised that French orchestras don't worry about the receipts because it has nothing to do with the budget. Hence why you can book a seat for €10.

Someone sent me this link: http://symphonyinternational.net/antony-ernst-with-the-orchestre-philharmonique-de-strasbourg/

You may have to skim the first four paragraphs or so before it gets to the point.

I have nothing to do with the Strasbourg Philharmonic but I did start out with one of the "provincial" orchestras before moving to Paris. Most of the major orchestras operate in much the same way.

I was in the U.S. a year ago and was surprised at how major orchestras were operated over there. I knew things were lean but didn't realise how hard it was to get the band up and running.

You may find it interesting reading.


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## GreenMamba (Oct 14, 2012)

Definitely interesting, and not entirely what I was expecting.

He acknowledges increasing budgetary pressures, which raises the question of whether the French way is sustainable.



> When I did the interview for the position in Strasbourg, one of the questions was 'M Ernst, you're aware that the economic situation in Europe is getting more difficult, and you probably know that this is having an impact on the orchestras here - do you think that in the future you would be able to work with a more restricted budget?' I was able to say (not without a touch of self-righteousness, I have to admit) 'Gentlemen, with all due respect, you know nothing of budget restrictions'.


However, he worries that in Strasbourg, he would struggle to obtain sponsorship because that's just not how it is done over there.

Even aside from that, it isn't just an issue of that public funding means less concern for popularity ("If they don't enjoy what we do, they'll likely not stand up for us if there's a threat to our subsidies, and subsidies can no longer be taken for granted").

And then there's this (admittedly written by an "outsider"):



> ...personally I aim for a respectful relationship with the audience that takes their tastes seriously and *doesn't regard my role as that of trying to enlighten an inchoate group*. Ultimately, the reason for concerts is the audience, and even if you can get away with acting as if this were not the case in the long run I think it would be likely to harm the sustainability of the art.


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## Couac Addict (Oct 16, 2013)

The French orchestras always complain about budget constraints because it's never as much as the Visual Arts. It's still a lot more than everywhere else but that is conveniently overlooked.
It's a different model over here. In the UK, it was very much 'pay and play' system. Musician were paid after each performance.
The U.S. model seems to be that musicians are employees to the orchestra and the orchestra relies heavily on sponsorship/private funding.
In France, the orchestra is part of the public sector and musicians are sort of like public servants. Paris had 5 major symphony orchestras (more if you include ones playing the matinee sessions) performing on different nights.
Financial constraints of late have put the brakes on some cultural projects but it's more to do with a new concert hall being built (and being over-budget). This will be the new home once it's completed. http://www.designboom.com/architecture/jean-nouvel-philharmonie-de-paris-is-under-construction/

Our main problem over here are the venues. The acoustics aren't great but at least but some in-roads are being made. The Bastille is a lot better now for opera. Some of the older theatres aren't suitable for today's orchestras.


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