Orchestras Canada/Orchestres Canada

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Calgary Philharmonic Orchestra’s Heather Wootton wins Orchestras Canada’s 2024 Betty Webster Award

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Calgary, Canada (24/9/2024) – Heather Wootton, Calgary Philharmonic Orchestra’s Assistant Principal Horn is the winner of the Orchestras Canada Betty Webster Award for 2024. 

🎥 Watch the Award Announcement Video on YouTube!

Heather Wootton was nominated by the Calgary Philharmonic Orchestra. The award celebrates Heather’s contribution to Canadian orchestras through her career-long commitment and outstanding impact on music education and expanding opportunities for young musicians. There will be an official award presentation to Heather the evening of September 27 at a Calgary Philharmonic concert.  

The Betty Webster Award was established in 2002 to honour Mrs. Elizabath Webster, C.M. (1925-2018), Orchestras Canada’s founding Executive Director. Past winners include distinguished musicians, volunteers, educators, ensembles, and arts managers: a tribute to Mrs. Webster’s inclusive vision for Canadian orchestras. In 2024, the jury focused on the calibre and impact of the nominees’ contributions to music education of one or more Canadian orchestras.  

Heather has been a member of the horn section of the Calgary Philharmonic since 1993. In 2015, she was instrumental in launching PhilKids, a free after-school visionary music education program to fuel and support the empowerment of children from underserved neighbourhoods through the exploration of music. PhilKids offers elementary students, ages six to 11, the opportunity to learn directly from Orchestra musicians. Since its launch, the program has seen hundreds of successful students and graduates.  

Since 2001, Heather has been regularly invited to the “Summer Music on the Shannon” music festival in Limerick, Ireland, as a guest soloist and horn instructor. On top of her Calgary Philharmonic engagement, Heather is a founding member of the chamber ensembles, Rosa Selvatica, and Altius Brass and she is increasingly busy as a teacher and clinician. In 2010, Heather and her colleagues Laurie Matiation, Jennifer Frank-Umana and Douglas Umana, launched HornFest, a yearly weekend workshop for Horn players from Junior High students to adult amateurs to support their growth and development and joy in playing. It has been running successfully and supporting horn players ever since. 

 

In response to receiving the award, Heather Wootton said:  

“Thank you so much for this incredible honour. Working with the many students and educators involved with PhilKids has been a privilege since its inception in 2015 and launched in 2016. This award belongs to the PhilKids team, who constantly inspire and amaze me with their passion and commitment. This award is a testament to them. To address the current lack of diversity in classical music, we must start at the roots, at the very beginning and provide opportunities for children from diverse backgrounds and circumstances to succeed and ensure accessible opportunities and pathways to advance in music and the arts. Regardless of where their path in life takes them, the skills they develop while studying music and the mastery of an instrument will last their entire lives.”
 

The award includes a plaque and a donation to an orchestra or a group of the winner’s choosing. Ms. Wootton has asked that this year’s donation be directed to the Calgary Philharmonic’s PhilKids program. 

The national jury was chaired by OC board member, Prince Edward Island Symphony Music Director and Symphony 21 Artistic Director, Jaelem Bhate, and included Christie Gray (CEO, National Youth Orchestra of Canada); Dina Gilbert (Music Director, Kamloops Symphony & Walla Walla Symphony, Orchestras Canada Board Member); Jack Chen (General Manager, Nova Scotia Youth Orchestra); and last year’s Betty Webster Award winner, Janna Sailor (Artistic Director, Allegra Chamber Orchestra and Executive Director, CMC Prairie Region.)  

Speaking about the Award, jury chair Jaelem Bhate noted, “Heather Wootton’s career stands as a testament to the transformative power of music education and community involvement. Her work with PhilKids and HornFest has created invaluable opportunities for young musicians and nurtured a love for music in underserved communities. Heather’s dedication and passion shine through in every aspect of her work with the Calgary Philharmonic Orchestra and beyond. The Betty Webster Award is a fitting tribute to her outstanding contributions and her enduring impact on the orchestral world.” 

Circular Portrait of KatherineOC’s Executive Director, Katherine Carleton commented, “Every single nomination for Orchestras Canada’s annual Betty Webster Award is inspiring: but every year, one stands out. Heather Wootton is not only a wonderful colleague and a skilled performer, but she has also consistently, quietly, and generously shared her love of music with musicians young and old, demonstrating over and over again that doing something as well as possible – and sharing what we know with others – make us all better people. Thank you, Heather.”

 

🎥 Watch the Award Announcement Video on YouTube!

The Art of Orchestra Photography

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An interview with expert orchestra photographer Tam Lan Truong
By Boran Zaza

If you attended our last Rendez-vous des orchestres du Québec, then you will have seen an energetic, enthusiastic, friendly photographer roaming around the room smiling to everyone, capturing different moments of the event with great discretion and professionalism (some shared below).  Tam Lan Truong has established himself as one of Montreal’s most sought-after photographers for classical musicians, ensembles and organizations, including orchestras such as Orchestre Métropolitain, Orchestre classique de Montréal, Ensemble Obiora, among others, and artists such as Maria Dueñas, Yannick Nézet-Séguin, Lang Lang, and even Michael Bublé. In the following blog post, I interviewed Tam to learn more about how he gets the perfect shot, how orchestras can make the most out of their relationship with a photographer, and what to look for in a photographer! 

1. How did you start doing classical music photography?

Tam: In Germany, where I grew up, I spent a lot of time on the other side of the camera—as a classical musician and performer. My dad is a cinematographer who trained in Russia, and my grandfather had the only photo studio in his town in Vietnam. So yes, photography is in my blood, but it’s music that really drew me in. 

I still remember my first classical music photography gig back in 2015. Opera McGill hired me after they saw some photos I took of a Broadway choir I used to sing with, and that opened the door to a whole new world. Later that year, Schulich School of Music asked me to update their entire photo catalogue—everything from orchestra shots to concert photos, even brochure covers. That’s when my photography career really took off. 

These days, I’m lucky enough to work with some of Montreal’s top classical music institutions like Opéra de Montréal, Concours Musical International de Montréal, Salle Bourgie, and Orchestre Métropolitain. Whether it’s a donor cocktail,  a passionate performance at Maison Symphonique, or fun moments backstage, capturing the heart of classical music in a city like this is something I’m grateful for every day. 

2. How do you prepare for an orchestra concert shoot? 

Tam: One of the biggest challenges in orchestra photography is finding the best angles without disrupting the performance. That’s why I always get to the hall early to figure out the space. I check which doors I can use without making noise, where I can move without being noticed by the audience, and which angles might work best without drawing attention. 

I also make sure to go over any specific requirements with the orchestra—like if there are particular moments they want captured or areas I should avoid. Then, I clean my gear, review the evening’s program to time my angles with the musical movements, and get everything ready. That way, when the music starts, I’m in the right places to get the shots I need without being in the way. 

3. What is your go-to photography equipment when you are hired for an orchestra concert?

Tam: Shooting orchestras is all about context. Concert halls are dark, the lighting doesn’t change, and you can’t move around much because the audience shouldn’t even know you’re there. And trust me, they’ll notice if you’re not careful—unlike a rock concert, nothing moves in the hall, not even the musicians! So, staying unobtrusive is key. 

That’s why I use two mirrorless camera bodies with a ‘silent photography’ mode—no clicks, just quiet captures. My Nikon lenses silently autofocus using advanced technology, ensuring I don’t disrupt the performance. This setup not only keeps me invisible but also lets me capture every detail with precision, from the subtle expressions of the musicians to the grandeur of the concert hall. I keep my gear handy with a solid black tool belt, and I always wear my go-to outfit: a black shirt, grey pants, and comfortable, elegant, non-squeaking shoes. 

For close-ups that capture the engagement of individual musicians, I rely on a long lens. To showcase the full beauty of the concert hall and the entire orchestra, I switch to the camera with the wide-angle lens. And when I need to be completely invisible—like during the Concours Musical International de Montréal—I bring out my secret weapon: a camera on a robotic arm, set up in advance and controlled remotely. This setup allows me to capture the emotion and atmosphere of the performance without ever being in the way.

An action shot from Concours musical international de Montréal – 2019 | Credit: Tam Photography

4. What are the 5 top qualities an orchestra photographer should have?

Tam: Being an orchestra photographer requires a unique blend of skills and qualities. You need to: 

  1. Be a Musician: Knowing the rhythm and flow of music helps you anticipate those key moments that make a shot special. 
  2. Be a Professional: Being on time is a given. Then there is delivering on your promises, being polite, and respecting the atmosphere of the performance. 
  3. Be Human: Stay present and open to what’s happening around you. Building a connection with the musicians and understanding their energy can lead to more authentic photos. 
  4. Be an Artist: Creativity is key. Whether it’s finding a new angle or capturing a fleeting emotion, being spontaneous and seeking out novelty is what makes each shoot unique. 
  5. Be Adaptable: Every performance is different, and things don’t always go as planned. The ability to adapt quickly to changes, whether it’s adjusting to lighting or responding to a last-minute request, is crucial. 

5. How do you get the perfect action shot of a conductor/orchestra musicians?

Tam: Music is all about change—notes, moods, everything shifts in an instant. A magical moment might last just a second, and you could miss it if you’re only watching.  

That’s why I rely on my ears as much as my eyes. Being a musician myself, I’ve learned to listen for those magical moments: the build-up in the strings, a sudden change in dynamics, or the way a conductor’s energy shifts before a big crescendo. It’s the music that guides me to the perfect shot, often before the moment even happens, allowing me to consistently capture the emotion and intensity that define a performance. 

Yannick Nézet-Séguin conducting Orchestre Métropolitain | Credit: Tam Photography
Daniel Bartholomew-Poyser conducting Ensemble Obiora | Credit: Tam Photography

6. How can orchestras be good clients to you and other photographers?

Tam: To get the best results, it’s important to start with clear communication. I need the usual details: where, what, who, and when. But it also helps to know about any specific shots the orchestra is looking for. For example, if an orchestra has a new conductor, I can focus more on capturing their presence. If photos are needed within 24 hours for social media or press releases, that’s something I can accommodate as well.

The more information provided upfront, the better I can tailor the shoot to meet my clients’ needs. It’s also helpful to discuss any special requests or potential challenges ahead of time. Maybe certain sections need more attention than others. Perhaps the conductor prefers a certain side. Open communication not only ensures we’re on the same page but also helps maximize the impact of the photos we create together. 

Of course, in case of uncertainty, it’s also sufficient just to let me know the date, time, and place, and I will take care of the rest. 

7. From your perspective, besides concert shots/orchestra and conductor shots, what should marketing managers ask a photographer to capture when they hire them?

Tam: Besides the usual concert and conductor shots, I always suggest getting some behind-the-scenes photos. Capturing those moments when musicians are warming up, chatting, or just relaxing adds a personal touch that really resonates with audiences. These shots are perfect for websites, social media, and presentations, giving people a peek into the life of the orchestra. Sure, it might add an extra hour to the shoot, but if we do it on concert day, it’s more efficient and can save on costs. 

As a plus, this provides your musicians with content that they can proudly share on their social media, increasing the reach of your orchestra organically. It also fosters a sentiment of belonging to the orchestra.  

Other shots that will enhance the story you tell about your concerts are shots that highlight your audience before, during, and after the concert. 

Photo from a donor appreciation event by Orchestre Métropolitain | Credit: Tam Photography

8. How do you keep your shots interesting and unique to every orchestra/concert when the lighting conditions are often quite similar in concert halls and all musicians are dressed the same?

Tam: Last year, I shot about 30 concerts at Maison Symphonique. The lighting was pretty much the same every time, and of course, all the musicians were dressed in their go-to black. So how do you keep the shots interesting when the setup doesn’t change much? The trick isn’t in the what—you could see it as a bunch of people on stage with their instruments while the conductor waves their arms. It’s in the how—how the individuals come together to make something special. 

As a photographer, you’ve got to be fully present. Listen to the music and watch the performance closely. Focus on isolating individuals, sections, and the conductor. Pay attention to their movements and their tendencies. Then, capture those moments where the energy shifts and the magic happens. That’s where you find something unique every time, even when everything else stays the same. 

9. What are three things orchestras can do to ensure their concert photos stand out instantly?

Tam: Here are three things you can do to make your concert photos really stand out: 

  1. Play with lighting: Lighting can completely change the atmosphere of your photos. Take the Orchestre Philharmonique et Choeur des Mélomanes at Maison Symphonique—in some concerts, they add extra lights in the background, creating patterns and colors that match the music. Just tweaking the lighting a bit can make a huge difference in how your concert is captured. 
  2. Add some unique elements: Doing something unexpected can make your photos pop. For instance, I’ve seen Ensemble Caprice have their front row of singers toss roses into the audience at the end of a piece—it made for some amazing, dynamic shots. Orchestre Classique de Montréal brought in tango dancers during a Piazzolla performance, adding movement, energy, and passion that really came through in the photos. 
  3. Go for a color theme or special detail: Even small visual touches can set your orchestra apart. Ensemble ArtChoral had everyone wear a red accent for a concert called “A Viennese Evening”, which looked striking on stage. 

It doesn’t have to be complicated. With musicians typically dressed in black and sitting still on stage, even the smallest detail can make your orchestra stand out visually. 

Tango dancers at a performance of Orchestre classique de Montréal | Credit: Tam Photography
Different lighting at Maison Symphonique during a performance by Les 9 de Montréal | Credit: Tam Photography

10. What can orchestras expect from you when working with you?

Tam: Everything I mentioned about being a musician, professional, human, artist, and adaptable comes into play when you work with me. I’m committed to bringing all those qualities into our collaboration to make sure you get the best results. 

In terms of deliverables, if we’re shooting for a two-hour block, you can expect around 40-60 beautiful photos within a week. For an extra fee, I can also make a selection of 5-10 photos for social media the next day. 

My goal is to help make classical music accessible to as many people as possible, and a big part of that is contributing to the image an orchestra presents. That’s why I offer different packages to suit different needs. For example, I can do a 1-hour shoot with a set number of edited photos if that’s what fits the budget. I can also offer discounts when booking me for a whole season to make it more affordable. I definitely understand that orchestra budgets can vary a lot, from large institutions to volunteer-led groups.  

Learn more about Tam Lan Truong here:  https://www.tamphotography.net/

 

About Tam Lan Truong 

A headshot of Tam Lan Truong. He is wearing a brown shirt, a black blazer and is smiling.As a graduate of McGill University’s Desautels Faculty of Management, fluent in English, French, Vietnamese, and German, my career as a professional photographer and artist is shaped by a global perspective and a genuine passion for classical music. This passion is rooted in a family legacy of cinematographers and photographers, driving my dedication to capturing moments that tell a meaningful story. 

Over the past nine years, I’ve developed a strong presence in Montreal’s classical music scene, earning the trust of clients like the Concours Musical International de Montréal, Orchestre Classique de Montréal, Opéra de Montréal, Schulich School of Music, and GFN Productions. I’ve had the privilege of visually narrating their most significant moments. My work has been featured in respected publications such as The Strad and CBC, reflecting the impact and reach of my photography. 

While I’ve had the opportunity to collaborate with internationally renowned artists like Maria Dueñas, Yannick Nézet-Séguin, Lang Lang, and Michael Bublé, these are just some of the highlights of the diverse range of projects I’ve been fortunate to be part of, both within and beyond Montreal. 

My background as a classical musician enhances my artistic approach and deepens my connection to the music and its performers, enabling me to capture moments with authenticity and sensitivity. This blend of music and photography isn’t just my profession; it’s a passion that drives me to create images that celebrate the legacy and beauty of classical music. 

4 Tips for Effective Orchestra Audition Management

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The title of the post overlaid on a photo of a saxophone, a violin, and a flute leaning against a wooden wall.

By Rheena Suter*

No matter the size, location, or mission of your orchestra, auditions are critical for finding the best talent available to you. Not only do you gain an understanding of each prospective performer’s musical abilities, but they also get a taste of what it’ll be like to play in your orchestra, which will help them make an informed decision about joining.

However, there are a lot of moving parts to manage before, during, and after your orchestra auditions. The more prospective musicians on your schedule, the more important it is to ensure your audition days go smoothly and nothing falls through the cracks.

If you’re looking to optimize your orchestra’s audition process, you’ve come to the right place! This guide will walk through four top tips for audition management, including how to:

  1. Leverage Artist Recruitment Networks
  2. Use a Virtual or Hybrid Audition Model
  3. Create an Audition Day Logistics Checklist
  4. Cultivate a Mission-Focused Audition Environment

As you begin implementing these strategies, make sure you’re equipped with the right tools. A digital audition solution can help you coordinate application review, scheduling, adjudication, decision-making, and more so all of your operations take place in a centralized platform. That being said, let’s get started!

 

1. Leverage Artist Recruitment Networks

Your audition management work begins well before actual auditions do, and the first step is to find the right musicians to audition for your orchestra. Some of the best resources you can use as you go about this process are artist recruitment networks.

An artist recruitment network is an online directory in which performing artists can create profiles detailing their personal and professional backgrounds, areas of interest, and portfolios. Once a musician has completed their profile, they can search for audition opportunities that align with their experience level, needs, and wants. Organizations can also browse these profiles and directly reach out to performers they think would be a good fit for their openings.

Here are some ways to make the most of these platforms for your orchestra:

  • Advertise which recruitment networks you use so interested musicians can create profiles on them (if they don’t already have one) to streamline the process of connecting with you.
  • Personalize your network communications—develop templates for outreach messages, but leave spaces to include each individual performer’s name and other details from their profile to let them know you’re reaching out to them intentionally.
  • Apply filters when browsing artist profiles to identify prospective orchestra members based on their location, age, instrument(s), previous experience, and other relevant factors.

Recruitment networks can help your orchestra find strong audition candidates you might not have encountered otherwise and even strengthen your inclusion, diversity, equity, and accessibility (IDEA) commitment by ensuring you reach musicians of various backgrounds.

 

2. Use a Virtual or Hybrid Audition Model

In 2020, many performing arts organizations moved their auditions online due to the COVID-19 pandemic. Although a number of orchestras have since transitioned back to an in-person model, it’s advisable to keep a virtual option open. According to Acceptd, virtual auditions are more accessible for performing artists, both physically and financially.

As you conduct online auditions, use a virtual live (synchronous) model as much as possible. Although you might begin narrowing down your list with an asynchronous round of auditions, you should have at least one round in which you directly interact with the musician and see them perform live to make an informed decision.

To avoid confusion, provide clear instructions for accessing your online audition platform to all virtual auditionees. Additionally, consider including self-tape tips to improve performers’ video and audio quality. If your orchestra uses a hybrid audition model, ask musicians to indicate their preference for a virtual or in-person audition on their initial application and schedule their sessions accordingly.

 

3. Create an Audition Day Logistics Checklist

The day(s) on which you hold auditions can easily become hectic for your team. To make sure you have everything in order before auditions begin, ask yourself the following questions:

  • Has the audition schedule been finalized and published?
  • Are the correct jury members assigned to each audition, ensuring there is no overlap between concurrent sessions?
  • Have the evaluation forms been prepared and uploaded to your audition platform for easy access?
  • For virtual auditions, have you set up an online waiting room that features your orchestra’s branding and relevant information for musicians to browse while they wait?
  • For in-person auditions, are all of the physical audition spaces set up properly?
  • Have you decided on a decision deadline that you can communicate to performers so they know when to expect a response from your orchestra?

Use these questions to create a checklist so you can see what aspects of your audition day are ready to go and which tasks still need to be completed. Additionally, meet with your team first thing on the first day of a new audition cycle to answer any questions they might have before you invite performers into your physical or virtual audition space.

 

4. Cultivate a Mission-Focused Audition Environment

As mentioned previously, while the primary purpose of auditions is to find musicians whose talent will be a good fit for your openings, you should also give them a sense of what it will be like to be part of your orchestra. That way, everyone can make an informed decision—both your team in extending offers and performers in accepting them.

Throughout the entire audition process, emphasize your orchestra’s mission, vision, and values. Incorporate them into your recruitment network communications, the resources you put in your waiting rooms (both physical and digital), and your decision messages. 

After auditions end, ensure all of the evaluation forms have been properly filled out and saved to your audition platform so your team can easily review them. Once you’ve communicated your decisions by your stated deadline, take some time to evaluate your audition process. Take note of what went well and where you have room for improvement, and apply these critiques during your orchestra’s future audition cycles to help each one go more smoothly than the last.

*Rheena Suter is the Product Manager of Acceptd, a Togetherwork company that is the premier recruitment, application, and audition platform for the arts. In her free time, Rheena enjoys cooking for family & friends and listening to a variety of music – pop, smooth jazz, ‘80s classic, soul, R&B, and even alternative rock for hours!

New Audiences and How to Retain Them: What I learned at Classical:NEXT

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Headshot of Boran Zaza

By Boran Zaza, Director of Communications & Development at Orchestras Canada.

It’s been three months since I returned from Berlin, where I attended Classical:NEXT (C:N), the world’s largest global gathering of art music professionals. I went to many conference sessions focused on orchestras, mainly on the topics of Innovative Leadership Models, Environmental Sustainability in Orchestras, and today’s blog post topic, Audience Trends and Tools.

It’s no secret that orchestra audiences have been aging and declining, both in Canada and globally. So, how do we bring in and retain new audiences? This was exactly what a C:N conference session entitled The Complete Audience Toolbox: A Practical Guide to Getting Larger Audiences into the Concert Hall addressed. The session was led by Danish culture consultants Cecilie Szkotak Nielsen & Søren Mikael Rasmussen from RasmussenNordic.  

Cecilie and Søren developed the Tutti project with DEOO (Danish Ensembles, Orchestras and Opera Institutions). Over the course of their work together, ten Danish orchestras took a deep dive into audience development and the cultivation of new audiences. Their methodology was simple: they invited 28 first-time concertgoers to attend a concert and share their unfiltered experiences through extended interviews after the concerts. The result? A detailed (and downloadable!) report with extremely interesting insights that can help orchestras better understand what motivates (or demotivates) first-time ticket buyers to return for a second (third…fourth…fifth) orchestral experience.  

This project and report reminded me of a similar experiment led by Aubrey Bergauer and the California Symphony in 2016-17 called Orchestra X. In that experiment, the orchestra invited millennial and young Gen-Xers (otherwise largely absent from the California Symphony’s audiences) to attend a few California Symphony concerts and then debrief on their experiences – as a group – over pizza and beer.  The process and findings are documented in a pair of posts on Medium: Introducing Orchestra X and Orchestra X: The Results. 

Back to the Tutti project & report: the report identified several barriers that made the selected participants not want to come back after their concert experience. In response, Danish orchestras and RasmussenNordic developed a set of 26 tools and 6 inspiration lists to help address barriers to entry and inspire orchestras to respond more thoughtfully to the requirements of new classical music audiences. These tools and inspirations are documented in a book called Tools for Orchestras and Ensembles: Get More Audiences. 

During the conference session at C:N, Cecilie and Søren shared valuable insights from both the report and the book. Here are my top learnings from the session: 

 

1- The brand of orchestras is… unrelatable! 

Kelvin, 20, was one of the case study participants. He is interested and curious about classical music. He spends around 1000 euros per year on cultural experiences, yet classical concerts are not one of them. “I have seen the posters around town. The older severe white people with their instruments didn’t speak to me,” he said.  

How can orchestras resolve this? As part of the tools in the book, RasmussenNordic suggest trying to fill the following brand promise out:  

“With us, audiences will experience _______, _______ and _______.” 

“We promise you _____________________.” 

“Music that _____________________.” 

“Experience ___________________.” 

The 10 participating orchestras found these prompts hard to complete, and it’s not surprising: it takes the brand promise from orchestra-focused to audience-experience- focused. Some orchestras wondered if they would lose what differentiated them if they simply took their lead from audience members.  Yet if we actually take a look at the visual images of our orchestras that we use to market our events and enhance our brand, THEY ALL LOOK THE SAME! (I proved this to myself by reviewing orchestra websites from different continents: it’s hard to argue that they promote a unique brand when the photos are almost identical.  See below for proof.) In short, by listening to your audiences and centering your brand around them, you might start to stand out! 

Symphony Orchestra of India
KBS Symphony Orchestra – Korea
Syrian Expat Philharmonic Orchestra
Orchestre national de France
Austin Symphonic Band
Royal Stockholm Philharmonic Orchestra

 

2- Artistic programming: New audiences don’t understand it 

Audiences new to orchestras and classical music typically have very few tools to help them determine whether or not they will like a concert. We’re advertising pieces and composers they have never heard of, rather than enticing them with concepts that help them understand what they can expect from the concert experience. The RasmussenNordic team suggests that, instead of awkwardly super-imposing a concept onto a program at the marketing stage, (when it’s too late!) it should be an integral part of the programming work. To help with this, RasmussenNordic has developed a Concept Compass tool, which you can find below. Additionally, they suggest that marketing folks and musicians should be part of the programming process, to build understanding and commitment across the organization. That way, all parties can be part of conveying the concept to audiences new and established.  

RasmussenNordic’s Concept Compass

 

3- Storytelling is vital: are you engaging people’s imaginations? 

Once you have a strong concert concept, the consultants suggest that you need an inspiring story to accompany it, to give audience members cues. Caroline, a case study participant, reported that she thought she should like classical music: but having experienced one concert, she has decided that she won’t return. She was seeking an activity that would catalyze her imagination, take her to other worlds, and help her to experience things differently.  But her concert experience failed to deliver. Can we help people like Caroline experience our concerts differently?  

The consultants suggest that we need to develop a great story for each concert, prompted by the inspiration behind the music, a personal anecdote, a story about the instruments, or the composer. For example, if the chosen concert concept is “At the royal ball”, the supporting story could look like this: “Come along on a journey back in time when kings feasted in castles, seated in lavish halls of marble, dressed in silver and gold. Imagine you are invited to a royal wedding. The light from chandeliers showers you in gilded splendor while lively tunes invite you to dance.” 

Is your imagination provoked yet? 

Cecilie and Søren presenting at Classical:NEXT – Photo by Boran Zaza

4- Great hosting skills are essential  

First-time concert attendees typically arrive in the concert hall without being greeted or welcomed. They sit in their seats, the musicians and conductor walk on stage without saying a word of acknowledgment, and everyone – on stage and in the audience – leaves afterwards without saying goodbye. Nor are those first-time attendees invited to stay in touch.  

Can we be better hosts?  How? Think about the warm and memorable experiences you’ve had of being thoughtfully hosted, whether at a friend’s dinner party or at a favourite restaurant or hotel. This is the vibe you want to create. What if you offered first-time ticket-buyers help in choosing their first concert? What if there was someone greeting them with a smile when they entered, and asking them what they needed? What if you asked them after the concert “What did you think about the experience? Did you have a good time? What could we have done better? When will we see you again?” 

One orchestra experimented with offering a free recording of the concert to people who signed up for their newsletter after the concert, and reported long line-ups to sign up because people loved the idea of having a souvenir to share with their family and friends. Even if we can’t offer recordings, are there ways we can help audience members sustain and share the experience we’ve created for them?  

Credit: Classical:NEXT, #Cnext24
Photo: twinematics

 

This brings to conclusion the 3-part blog post series from my time at C:N! To get a taste of the C:N experience in video format, check out the Instagram stories I posted while in Berlin! I am deeply grateful for the generous funding from the Canada Council for the Arts through the Supporting Artistic Practice: Professional Development for Arts Professionals program that made my trip to Germany to attend Classical:NEXT possible.   

 

We acknowledge the support of the Canada Council for the Arts.

Logo, Canada Council for the Arts logo

Environmental Sustainability in Orchestras: What I learned at Classical:NEXT

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By Boran Zaza, Director of Communications & Development at Orchestras Canada.

From May 13 to 17, 2024, I attended Classical:NEXT in Berlin, Germany. This is part 2 of a series of 3 blog posts titled “What I learned at Classical:NEXT”
You can read part 1 here: Innovative leadership models in Orchestras 

Small Changes: Great Impact  

I can’t remember who said this, but it left quite an impression on me: “Environmental sustainability is not about 2% of the population changing their lifestyles completely; it’s about 85% of the population making some changes. This is what will have the greater impact.”  

Lea Brückner presenting at C:N | Photo: Boran Zaza

During Classical:NEXT (C:N), I had the pleasure of meeting Lea Brückner, a violinist, climate ambassador and Instagram influencer (no, she is not related to the composer, but I will have you know that composer Gabriel Prokofiev, grandson of Sergei Prokofiev, was at C:N!). Lea was one of the presenters at a conference session titled Positive Impact Through Sustainable Concerts, with Beat Fehlmann, Artistic director, Deutsche Staatsphilharmonie Rheinland-Pfalz, and Asbjørn Keiding, Director, Danske Ensembler, Orkestre og Operainstitutioner (DEOO). For the sake of transparency, Beat and Asbjørn proactively shared the transportation decision they made to get from their home cities to Berlin to attend C:N, – and that is what inspired me to share mine as well at the end of this blog post.  

Green Monday, and Eco-conscious Audiences 

For the past year, Lea has been the moderator of panel discussions at “Green Monday,” a successful Düsseldorf Symphony Orchestra concert series presented at Tonhalle Düsseldorf. The Orchestra dedicated 12 concerts of their season, 1 per month, to an exploration of sustainability, and invited their audience members to join on the path to a low-emission concert experience. At each concert, one environmental topic was presented through a panel discussion, the idea was tested at that concert, and the audience voted on whether they wanted that initiative to continue or not. Initiatives included: having the audience commute to the concert by bike or public transport and adding bike racks outside the hall, reducing the heat in the concert hall by 1.5 degrees, reducing the lights on stage, serving vegetarian food only at receptions, and more! 

Düsseldorf’s Tonhalle concert hall | Photo: Susanne Diesner

 To add a musical touch to this, a small musical fragment was performed at the beginning of each concert. Eleven composers from all over the world embarked on the experiment of being inspired by keywords such as “recycling”, “energy efficiency” or “digitalization” and transforming them into music that the Düsseldorf Symphony Orchestra performed every “Green Monday”. At the end of the season, all eleven micro-works were brought together as one large “Green Piece” with transitions composed by John Psathas under the direction of Axel Kober. #Recycling  

“The vast majority of the audiences voted YES to 100% of the proposed initiatives!” Lea proudly told me. From their experience, I learned that including audiences in the decision-making takes them from a passive role into a partner role, where they feel their voice is heard and that it matters, and that their choices can positively affect the future of their orchestra and their planet.  

Additional reading: an interview with Michael Becker, artistic director of Düsseldorf’s Tonhalle concert hall, about Green Monday: https://www.visitduesseldorf.de/storys/en/2023/12/12/tonhalle-duesseldorf/

A Nordic Green Orchestra Guide  

The most important driver of emissions in the concert business is not the travel of the artists, but of the audience. However, not putting on concerts cannot be the solution!  

This quote is from the Positive Impact Through Sustainable Concerts conference session description. In 2022, 36 Nordic orchestras and festivals met in Reykjavík and signed a declaration of intent with the title ‘“A Future with Sustainable Culture’. A year later, and after discussions among 6 working groups, the Nordic Green Orchestra Guide was born.  

Asbjørn Keiding, Director of Danske Ensembler, Orkestre og Operainstitutioner, believes that the guide is not just an internal working document, and should also be communicated to the audiences. As Asbjørn stated during his presentation, “Orchestras on their own do not have the worst carbon emissions, [their] power is in influencing the audience members as well, and the musicians. That is how you make a change.”  

The guide contains 6 chapters covering the following themes: 

  • Leadership and management 
  • Communication and audience engagement 
  • Audience transportation  
  • Procurement and acquisition 
  • Touring and staff travel  
  • Measurement and evaluation 

You can download and read the complete Nordic Green Orchestra Guide here: https://www.koda.dk/media/225742/nordic-green-orchestra-guide.pdf

Note: Orchestras Canada hopes to commission a Canadian edition of the Green Orchestras Guide in 2025, and we have applied for funding to bring it to life. We will share more when we know it!  

Personal Choices  

I live in Rimouski, a beautiful city in Quebec, Canada, that has no commercial international airport. There were not many planet-friendly ways to travel from Rimouski to Berlin, Germany to attend Classical:NEXT, so here is what I did:  

I took the train from Rimouski to Montreal, and I paid the carbon offset fee for my roundtrip flight between Montreal and Berlin (which had a layover in Frankfurt because there was no direct flight to Berlin). When packing for my trip, I made sure to take my trusty reusable water bottle and a reusable plastic food container. The food container came in handy on a few different occasions. I used public transportation exclusively while in Berlin, with the exception of one night when I took a taxi back to my hotel room after a late-night Candlelight Concert that was presented as an off-Classical:NEXT showcase.

Side Story: Candlelight and Earthquakes 

The concert featured a piece called The Richter Scale by German composer Boris Bergmann, which was written for a Spirio Steinway Piano (one of those player pianos, which are pianos that can play themselves! Check this video for a demonstration) and a pianist: Ji Liu. This was one of the most mind-blowing musical experiences I’ve ever had: The piece mimicked an earthquake with increasing degrees on the Richter scale. As we approached the end, the piano was playing a crazy difficult passage, and the pianist was almost in a musical duel with it, fighting it. It was a deeply emotional experience because I remembered all my friends and family who were affected by the big earthquake in Syria, Türkiye and Lebanon last year. The concert took place late at night in a church filled with candles, and the mix of that atmosphere and the innovative musical work was very appealing and fresh.  

Credit: Classical:NEXT, #Cnext24 | Photo: twinematics

Stay tuned for the third and last blog post in this series, which will focus on new audiences and how to retain them (big cliffhanger!). In the meantime, to get a taste of the C:N experience in video format, check out the Instagram stories I posted while in Berlin! I am deeply grateful for the generous funding from the Canada Council for the Arts through the Supporting Artistic Practice: Professional Development for Arts Professionals program that made my trip to Germany to attend Classical:NEXT possible.  

 

We acknowledge the support of the Canada Council for the Arts.

Logo, Canada Council for the Arts logo

 

Innovative leadership models in Orchestras: What I learned at Classical:NEXT

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Headshot of Boran Zaza

By Boran Zaza, Director of Communications & Development at Orchestras Canada.

Classical:NEXT (C:N) is the largest global gathering of art music professionals. Traditionally, it has taken place in different European cities each year — as of 2024, C:N has made Berlin, Germany its permanent home. C:N features conference sessions, showcases, meetups and project pitches. Over 1400 art music professionals from 49 countries attended this edition – their biggest gathering yet, after a hiatus in 2023 to consider “what’s next?” 

From May 13 to 17, I had the privilege of attending C:N for the first time, thanks to generous funding from the Canada Council for the Arts through the Supporting Artistic Practice: Professional Development for Arts Professionals
 program. As someone in the “conference organizing” business, I must say that I was quite impressed by the magnitude of this event, the variety of sessions offered, and the plethora of experiences present at the same space! There is something for everyone at C:N. My main interests were conference sessions focusing on the future of orchestras, of which there were many. Three key orchestra-specific themes emerged from the sessions that I attended:  

  1. Leadership models in orchestras  
  2. Environmental sustainability  
  3. New audiences: How to retain them?  

The topic of Diversity, Equity, Inclusion, and Belonging was also present, especially at the global orchestras meetup that I attended. Feminism in classical music was another topic of discussion and interest, about which I attended a fascinating session.  

In this first blog post, I will focus on the first theme: Leadership models in orchestras.  

No Conductor, No Chairs, No Sheet Music 

On the opening day of the C:N in Berlin’s newest concert hall, Saal Pierre Boulez (opened in 2017), five showcases took place. The one that stuck with me the most was Stegreif, the Improvising Symphony Orchestra from Germany. Stegreif is a collective of 30 musicians, who “combine the heritage of classical compositions with improvisation and regard the classical symphony as the starting point for a new concert experience”. Stegreif’s showcase was called “The Symphony of Change”, was based on the works of 4 female composers:  Hildegard von Bingen (1098-1179), Wilhelmine von Bayreuth (1709-1785), Emilie Mayer (1812-1883) and Clara Schumann (1819-1896). Stegreif started by performing each piece as originally composed, then the original transcription diverged and opened space for improvisation, complemented with choreography.  

Credit: Classical:NEXT, #Cnext24
Photo: twinematics

Their performance was immersive: in the oval concert hall, musicians walked around barefoot between the audiences, all leading and following one another without a conductor. Their energy was contagious… it felt like a big classical music party among friends! Even the cellos had stools with wheels that allowed them to move around. This reminded me of the Montreal-based ensemble Collectif9, which also performs standing up with neither sheet music nor a conductor. Stegreif has taken that concept of having no conductor and the musical freedom while playing to a whole different level to create a truly immersive experience, and their ensemble is made up of about 2/3 classical musicians and 1/3 jazz musicians – I had never seen anything like this before!  

The next day, still buzzing from this unique musical experience, I attended a conference session titled Leading and Following in the Orchestra: Models Beyond the Traditional Hierarchy, presented by Stegreif. The three speakers were the Artistic Director, Lorenz Blaumer, the Managing Director, Lorina Strange, and their Jazz Drummer and composer, Hiromu Seifert. In this session, Stegreif spoke in detail about their philosophy, how they work together, their artistic mediation and community outreach efforts, governance, and pay equity, among other topics.  

Here are my top learnings from this presentation:  

Photo: Boran Zaza

1. Collective leadership happens on-stage, and most importantly, off-stage
The end result that we see on stage when attending a performance by Stegreif is impressive, with musicians leading and following one another on stage seamlessly. Achieving this result requires the involvement of all musicians in decision-making, artistic and otherwise, on and off stage. All the musicians participate in shaping the performance, and rehearsals are led by different people (even for the same work). The musicians also participate in “Future Days,” where they share (and sometimes argue) about their values and artistic goals.  

2. Inward mediation is as essential as the outward mediation
You probably know about artistic mediation and community outreach. But what is integrated mediation?  

Integrated mediation is the interplay of collective management culture, artistic work, and mediation. It has 2 components:  

  • Outward mediation, which is one the many orchestras across Canada already do through programs presented at schools, community centers, retirement homes, hospitals and more.  
  • Inward mediation, which means learning from each other within the orchestra. For this, each musician takes a leadership role in educating their colleagues through a workshop or a seminar on a topic relevant to the orchestra.  

The outcome of both different mediations helps inform artistic decisions of the ensemble.  


3. Pay equality doesn’t equal pay equity, but it’s a good starting point
At Stegreif, all musicians are paid equally. This worked well for a while, but as some orchestra members had children, “equal” pay didn’t respond to disparities in living situations. For example, when the orchestra goes on tour, who pays for childcare for those who require it? Everything can be discussed at Stegreif. So now, on tour, the orchestra pays for the accommodation and flight of a babysitter but not the babysitter fees. They encourage the musicians to bring a family member to take care of the kids.  

For staff salaries, the board of directors (comprised of 5 musicians) decides how much the staff is paid.  

4. Collective leadership is not about one leadership style: It’s about knowing when to use which leadership style
Every musician of Stegreif knows exactly what the 5 leadership models are: Democratic, participative, autocratic, charismatic, and natural (competence-based). By educating all musicians on these leadership models, they understand exactly what strategies are employed when, why they are used, and how to be better followers when a certain leadership style is in use. For example: the musicians are co-creating a new work in a democratic style but conversations take longer than expected, the show is the next day, and executive decisions must be made quickly – the musicians know exactly how to react to this and how to help one another, whether leading or following, to ensure the show is ready on time.  

5. The magic ingredient: Having fun together!
The Stegreif team radiates a unique pride in their pertinence, belonging and making a difference for each musician in this orchestra. The trust that has been built over the years among the musicians and their sense of ownership of their orchestra makes it more than a job: it is family and friends. Oftentimes after rehearsal, the musicians will stay to jam together and have fun. One of the topics that came up throughout C:N was how to keep orchestra musicians engaged and inspired throughout their career, and Stegreif is certainly on to something through their leadership model!  

You can learn more about Stegreif on their website.

You can see videos of what a Stegreif concert experience is like here. 

And What if Orchestras were Owned by Musicians?  

Photo: Boran Zaza

The other conference session that focused heavily on leadership models was titled A Vision for the Symphony Orchestra: Transformative Leadership and Collective Innovation in Orchestral Music. Panelists included Simon Webb, Head of Orchestras and Choirs at BBC and Fiona Stevens, CEO of Concerto Köln. The panel was chaired by Karsten Witt, Managing Director of Karsten Witt Musik Management GmbH.  

In London, UK, the four main orchestras (Royal Philharmonic, London Symphony, London Philharmonic and Philharmonia) are owned and governed by the musicians. Simon Webb talked about how he, a seventh cellist, found himself in a leadership role as someone on the board without any prior leadership experience.  

Fiona Stevens used to be an extra at the Concerto Köln. She changed her career during the pandemic when the job of CEO at that orchestra opened.  She’s currently doing an MBA in Arts Innovation at the Global Leaders program to address the gaps in training that did not necessarily prepare her for a leadership position.  

Those are two instances of musicians finding themselves in leadership roles with many responsibilities without having formal training or preparation for handling them. Both examples here are thriving, but it took them a lot of courage, time, and hard work. This raises the question: How can we better prepare musicians for leadership roles for which their musical training did not prepare them?  

Some of the main discussion points of this panel included the following: 

  1. If musicians are involved in leadership, they should have access to the training and resources needed to be good leaders. Leadership training is not part of musical training, despite the fact that musicians are likely to find themselves in a leadership role, one way or another, at some point in their careers.  
  2. What are musicians in orchestras and ensembles learning from their organizations, and what are their organizations learning from them? Orchestras have long prized compliance and efficiency in the rehearsal and delivery of concerts for the public. But what if we prioritized experimentation and learning – by musicians, by staff, by volunteers – instead?    
  3. Orchestras should open up to communities and stay relevant to them. How do orchestras develop talent within the community? Every orchestra and choir must support learning by the people they serve, so they can participate more deeply in the art form.  How orchestras partner with universities, nurseries, and schools is very important to how they stay relevant in their communities.  

Additional Reading Resources:

In my next blog post, I will cover environmental sustainability in orchestras. In the meantime, to get a taste of the Classical:NEXT experience in video format, check out the Instagram stories I posted while in Berlin!  

A beer brewery turned into a cultural hub in Berlin. Photo: Boran Zaza

 

We acknowledge the support of the Canada Council for the Arts.

Logo, Canada Council for the Arts logo

4 Tips to Use a Digital Audition Platform for Your Orchestra

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This photo of double-basses leaning on chairs in a performance space has the text “4 Tips to Use a Digital Audition Platform for Your Orchestra.”By Jerry Tsai*

If you’re an operations director or personnel manager of an orchestra, you know that the digital age has influenced your organization in many ways. In addition to changing the way you connect with audiences and opening up different opportunities for your musicians, the shift to more digital work has also shaped the way your orchestra can conduct auditions. 

Using a virtual live audition format as part of your orchestra’s auditions has a variety of benefits. Online auditions are more accessible, affordable, and flexible for musicians. Plus, they can improve your orchestra’s recruitment process by expanding your reach, while still providing the two-way communication advantage of the traditional audition experience at a much lower cost. 

However, all of this is only possible if you leverage the right software. To help you get started, here are four tips for making the most of a digital audition platform

  1. Find a Platform That Aligns With Your Needs 
  2. Thoroughly Train Your Committee Members to Use the Software 
  3. Create a Detailed Audition Schedule 
  4. Develop a Consistent Communication Cadence 

These strategies are helpful whether you host your auditions in person, online, or as a combination of the two. Also, picking the right software is important in order to help you streamline your recruitment, scheduling, and communication processes. Let’s begin! 

  1. Find a Platform That Aligns With Your Needs

To effectively leverage a digital audition platform, you first need to invest in the correct software for your orchestra. Make a list of all of the features you absolutely need, as well as the ones that aren’t essential but would be nice to have. 

Some features to consider looking for in your digital audition platform include:  

  • Customizable applications that allow you to obtain all of the information you need from each musician who auditions. 
  • Access for multiple reviewers so all of your committee members can input feedback at the same time. 
  • A user-friendly interface, especially for creating your audition schedule. 
  • Integrated rubrics which collect committee members’ feedback in real time.  
  • Robust messaging tools to make both internal and external communications more efficient. 

 Additionally, make sure that the platform you choose aligns with your orchestra’s budget and has integration options with the other software solutions you use regularly to ensure a seamless workflow. 

 

  1. Thoroughly Train Your Committee Members to Use the Software

Having the correct digital audition software for your orchestra will only be effective if your team knows how to use it. Teach each committee member how to

  • Quickly log into the platform 
  • Access and navigate application information and audition schedules 
  • Watch pre-recorded audition video submissions 
  • Fill out and save rubrics 

Make sure that the digital audition software you choose has an exceptional customer support track record in case any of your team members need help completing these activities. The digital audition platform’s customer support team should guide you through the process of launching your software and provide feedback grounded in extensive experience of working with arts organizations like yours. 

  1. Create a Detailed Audition Schedule

One of the biggest challenges with hosting orchestra auditions is scheduling, especially when you’re working in a virtual or hybrid format. That’s why it’s especially important to leverage your digital audition platform’s scheduling features to their fullest potential.  

According to Acceptd, one of the most essential audition scheduler features you should look for is the ability to seamlessly use it in conjunction with other essential audition tools. Once you approve a musician’s application, you should be able to move them straight to the audition schedule. Through the schedule, committee members should have direct access to the video chat link for a virtual live audition and the corresponding rubric as well. 

On the applicant side, each musician should be able to view the audition schedule and have access to their video chat link in advance so they know when and where to join the audition. If they can’t make the audition time you set for them, make sure they can easily let you know (but not change the schedule without your knowledge) so you can reschedule them. 

  1. Develop a Consistent Communication Cadence

As stated previously, regular communication is a critical part of hosting orchestra auditions. This is true both within your organization to ensure your entire team is on the same page and externally to keep auditioning musicians in the loop about where they are in the process.
 

In addition to sharing a clear schedule and video chat links with everyone involved, utilize your digital audition platform’s automated communication tools to: 

  • Promote your orchestra’s audition opportunities to potential candidates. 
  • Notify applicants when their submissions have been received and reviewed. 
  • Let committee members know if they have outstanding musicians to review. 
  • Tell musicians when to expect a decision and what that decision is when your team has come to it.
     

It’s also important for both parties to be able to send ad hoc messages through your software, whether the content of each message is related to the audition process itself or is simply about a technical question that needs to be addressed. Effective communication creates a more positive audition experience for musicians and committee members alike by promoting transparency and ensuring everyone has the latest information about your auditions. 

The performing arts world is constantly evolving, and your orchestra needs to grow and change along with it. Taking your audition management process—if not your auditions themselves as well—into the digital space will help you do just that. And by using a platform that is tailored to the needs of orchestras and similar performing arts organizations, you’ll maximize your ability to streamline your process. 

 

*Jerry Tsai is the President of Acceptd, a Togetherwork company that is the premier recruitment, application, and audition platform for the arts. He is passionate about serving the arts community and loves that art is a way to wind down and enjoy all that life has to offer.

Janna Sailor Wins the Betty Webster Award 2023

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Vancouver, Canada (27/9/2023) – Conductor Janna Sailor is the winner of the Orchestras Canada Betty Webster Award for 2023.

???? Watch the Award Announcement on YouTube!

Janna Sailor was nominated by the Allegra Chamber Orchestra, one of the few all- female orchestras in the world. The award celebrates Janna’s innovative approaches to developing programs and audiences, her quest for equity and representation at every level of the orchestra, her commitment to championing Indigenous artists and creators, and her efforts to build community through music and social justice.

The Betty Webster Award was established in 2002 to honour Mrs. Elizabath Webster, C.M. (1925-2018), Orchestras Canada’s founding Executive Director. Past winners include distinguished musicians, volunteers, educators, ensembles, and arts managers: a tribute to Mrs. Webster’s inclusive vision for Canadian orchestras. In 2023, the jury focused on the calibre and impact of the nominees’ contributions to innovation of one or more Canadian orchestras.

Janna Sailor is a conductor and violinist pursuing a diverse career delving into contemporary, world, early music, jazz and improvisation, chamber music and interdisciplinary projects with dancers, visual artists and electronics. She regularly conducts major Canadian orchestras, including Symphony Nova Scotia, Calgary Philharmonic Orchestra, and Saskatoon Symphony. She has also performed with Vancouver Symphony, Victoria Opera, Calgary Philharmonic Orchestra, and many more. Moreover, she has built a number of arts based social initiatives, including instructing disadvantaged youth on Vancouver’s downtown Eastside, fundraising and outreach activities for immigrants, establishing music therapy programs, and founding of the Allegra Chamber Orchestra: an all-female professional ensemble, which regularly commissions, mentors and premiers works by Canadian, female and minority composers.

In response to receiving the award, Janna Sailor said:

“I am deeply grateful and humbled to be selected as the recipient of the 2023 Betty Webster Award, and to Orchestras Canada for their inspired and important efforts in supporting Canadian orchestras, propelling our industry forward as we work together as a community; striving for inclusivity, creativity, and reconciliation.

I am in awe of the accomplishments of the Betty Webster’s past award recipients, and am honoured to be in their company – I will strive to live up to the amazing contributions they have made to the orchestral scene.

To stand on the podium in front of an orchestra is a privilege and beautiful responsibility – and one that I could never take for granted, working together with my fellow artists to make the world a better place through music brings me indescribable joy. I continue to explore and learn alongside my ensembles and those I am privileged to work with, and am deeply grateful that this award will facilitate future exploration and collaboration.”

The award includes a plaque and a donation to an orchestra or a group of the winner’s choosing. Ms. Sailor has asked that this year’s donation be directed to Allegra Chamber Orchestra.

The national jury was chaired by OC board member and Symphony 21 Artistic Director, Jaelem Bhate, and included T. Patrick Carrabré (Composer, Director, UBC School of Music and Chan Centre for the Performing Arts, Orchestras Canada Board member); Jim Tranquilla (Executive Director, Tutta Musica Orchestra & Director of Community Engagement, New Brunswick Youth Orchestra); Marie-France Mathieu (Conductor; Orchestre Philharmonique de la Relève du Québec); and Katelin Coleman (Artistic Director, Artemis Musicians’ Society.).

Speaking about the Award, jury chair Jaelem Bhate noted, “Janna is a remarkable artist and advocate whose generous spirit and devotion to the betterment of the community through music is inspiring. We were unanimous in our appreciation for her accomplishments and creativity with the Allegra Chamber Orchestra. Her positive impact on the artists and audiences she interacts with was clear from her nomination letters, and I am thrilled that she is this year’s Betty Webster Award winner.”

Circular Portrait of KatherineOC’s Executive Director, Katherine Carleton commented, “Janna Sailor’s vision of a world in which classically-trained musicians can unite their social beliefs with their artistic skills is both compelling and inspiring. I suspect that Betty Webster herself would highly approve!”

 

 

???? Watch the Award Announcement on YouTube!

10 Insights: What do Performing Arts Audiences Want Now?

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On June 22nd, Orchestras Canada, in partnership with CAPACOA and the Association for Opera in Canada, presented a free webinar on the latest trends and research on ticket-buying behavior of performing arts patrons. Eric Nelson from TRG Arts presented research on the recovery of the performing arts post pandemic, and Zander Kyba from AudienceView presented and analyzed ticket buyer research collected by their team.  

We’ve put together 10 insights we learned from their presentation that will help orchestras boost their bottom line, five from Eric & TRG Arts and five from Zander & AudienceView.  

 

10 Insights: What do Performing Arts Audiences Want Now?  

 

Insights from Eric and TRG Arts 

1.We need to compete with the couch

Eric shared that in order to compete with the comfort of home, organizations should lean into the intrinsic value of gathering together and the elevated experience. Audiences are looking for experiences that are immersive, gamified, diverse and/or with technology everywhere.  

2. Donations are decreasing 

When we compare quarter 4 of 2022 and quarter 1 of 2023 to the same quarters in 2019, some very interesting insights into revenue recovery post pandemic are revealed. To begin with, we can see that revenue is down 5%, but units are only down 17%. This indicates that, while attendance is down to events, those who do attend are spending more than they did pre-pandemic. Donation revenue tells a different story. Donations are down 38% in revenue and 24% in units, meaning that there are fewer people donating and those who do are donating less than before. To address this, Eric recommends speaking to donors and investigating what is holding them back from donating at the same level as before. Later we will explore other strategies to bring back donors.  

3. Take a closer look at patron loyalty

What is RFMG? TRG Arts offers this anagram to analyze the commitment and loyalty of patrons:  

  • Recency: Are they engaging in some way every year? 
  • Frequency: Do they engage frequently during the same season? 
  • Monetary: How does their financial investment compare? 
  • Growth: Can we count on their investment/activity to be consistent (or grow) every season? 

These are the metrics we should be assessing when looking at loyalty programs and targeted marketing. 

4. New Customers are coming, but they aren’t staying!

TRG Arts divides patrons into segments that cover the wide spectrum of loyalty within an organization’s database. They describe 3 levels of engagement and further segments them below; acquisition, current customer, and re-engaged: 

Acquisition 

  • New Customer: Had not transacted previously. 

Current Customer 

  • Once before: Transacted once before within the past 18 months. 
  • Convertee: Transacted twice before and at least once within the past 18 months. 
  • Active: Transacted 3-9 times in their history and at least once in the past 18 months  
  • Super Active: Transacted 10+ times in their history and at least once in the past 18 months  

Re-Engaged  

  • Stale: last attendance, prior to the most recent purchase, was 18-36 months ago  
  • Lapsed: last attendance, prior to the most recent purchase, was 3 years or more ago

From these segments, TRG Arts has collected data that shows significant participation from New Customers but that loses momentum from Once Before and Convertee patrons. This tells us that the churn rate of consumers is higher than ever before and that organizations need to be taking extra measures to drive retention from new patrons.  

5. Gen X and Millennials are participating more! 

Finally, Eric presented data divided by generations and taken exclusively from orchestras within the dataset. TRG Arts found that Gen X and Millennial participation has grown post pandemic while older generation participation has declined. Yet, Baby Boomers are still the largest donors within the data set. Millennial contributions have grown but Gen X has remained stagnant. Eric pointed out that Gen X patrons should be nearing the peak of their earning potential and thus should be larger philanthropists. He recommends organizations reach out to this demographic and make a targeted effort to engage them.  

 

Insights from Zander and AudienceView 

6. 41% of patrons are attending fewer events than they did pre-pandemic 

Zander began his section of the webinar by revealing that, according to AudienceView’s data, most patrons are attending the same or more performances than they did pre-pandemic. Yet, there remains 41% of patrons who are attending fewer events than they did in 2019. So how do we get these folks back?  

AudienceView’s data revealed that 63% of patrons said that ticket sales and discounts would compel them to attend more events followed by new shows and content being brought to the venue. The 3rd most popular option was subscriptions and packages with flexibility and value.  

7. Patrons are looking for elevated experiences 

AudienceView’s data also revealed that audiences are looking for full and elevated experiences when they attend events, with 4 of 5 reporting that they prefer to pair event attendance with another experience. Patrons are looking to make a full afternoon or evening of their event experience by pairing a meal or drink with their experience. Zander suggests that organizations appeal to this by partnering with food and drink venues to offer packages or reservations along with ticket purchases.

8. Box office and phone purchasing are on the rise 

AudienceView reports that while most patrons this year continue to prefer to buy tickets online, 20% of patrons reported that they preferred to make purchases using the box office in person or via phone call. This is of interest as last year’s data showed that only 13% of patrons preferred in person or phone call purchases, showing a significant increase.  

Additionally, Zander pointed out that when asked why they abandoned purchases, 39% of patrons reported that they found that added online fees were unexpected and too high. For this reason, he suggested that organizations should notify patrons from the beginning of the purchase journey that these fees exist or working them into ticket prices, so they seem less shocking to consumers.  

9. Make donation opportunities available along the patron journey  

AudienceView’s data suggests that patrons are welcome to donate during multiple stages of their purchase journey. Patrons reported a smattering of responses when asked. The top two answers were online separate from the ticket buying process, and in person at the event separate from the ticket buying process. This is followed by online during the ticket buying process. What this suggests is that organizations should be providing opportunities to donate in multiple locations across the patron journey to address all preferences. 

10. Patrons want exclusivity in exchange for their donations 

So, how do we persuade patrons to donate when we ask them? AudienceView’s data suggests a few strategies, most of which provide a sense of exclusivity. Top examples include early access to purchase event tickets, tax deductions and access to exclusive donor only events. The data also shows that patrons are most likely to donate to public fundraisers hosted by venues and associations that share specific goals. People want to know where their money is going, so Zander recommends making that clear in fundraising communications. 

 

We would like to offer a final thank you to Eric and Zander for sharing their insight and expertise on this topic! Additionally, thank you to our co-presenters CAPACOA and the Association for Opera in Canada. If you would like to learn more about what Eric and Zander shared or review the recording and slide deck from their presentations, check out https://oc.ca/resource/performing-arts-recovery/.  

Meet the SOCAN Foundation – Learn about their Programs

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On June 20th Orchestras Canada welcomed Julien Boumard Coallier, Grants Manager at the SOCAN Foundation to present a webinar on the offerings of the SOCAN Foundation with a focus on the Work Commissioning Assistance Grant. Julian provided important and digestible insights into the application process and eligibility for these funding opportunities to help our members get the most out of the SOCAN Foundation offerings.  

 

Meet the SOCAN Foundation 

The SOCAN Foundation’s mission is to foster, sustain and promote the creation of Canadian music. They strive to expand an environment where Canadian music and its creation are encouraged and to ensure the public has an enhanced understanding of the value of music. What sets the SOCAN Foundation apart from other organizations is that they offer programming that specifically funds and empowers Canadian composers.  

 

Grants Offered by the SOCAN Foundation for Individuals  

Julien first presented the grants available to individual creators, music producers and composers. These included:  

  • Professional Development Assistance Program   
    • This grant is available to individuals who are looking to fund participation in professional development programs and opportunities. Examples of opportunities include lessons, workshops or conferences and these activities can be self-directed! This grant is available every two years and to be eligible candidates must have received two royalty payments each year for the past three calendar years.  
    • Deadline: Ongoing 
  • Travel Assistance Program   
    • This grant is available to individuals who are traveling to career building or defining events and activities and require financial assistance to do so. You may not be receiving compensation to qualify for this grant and the activity or event cannot be self-directed. Examples of eligible opportunities include showcases, awards presentations and workshops. 
    • Deadline: Ongoing, reviewed four times per year. 
  • SOCAN Foundation Career Development Grant 
    • This grant is temporarily suspended.  

 

Grants Offered by the SOCAN Foundation for Organizations 

Next Julien described the granting opportunities available to organizations, including:  

  • Canadian Music Assistance 
    • This grant provided financial assistance to organizations producing music presentations, education activities and publication activities that highlight and present Canadian compositions and composers. Funding can range from $1,000-$3,000 and will be received after the submission of final reports  
    • Deadline: September 15th, 2023 
  • Annual operations assistance 
    • This grant is awarded by invitation to organizations with a proven history with the SOCAN Foundation and within the Canadian music industry. Currently the foundation funds nine organizations within this program who are typically large organizations with large memberships.   

 

The Work Commissioning Assistance Grant  

The final grant Julien presented was the Work Commissioning Assistance Grant which is available to both individuals and organizations. This grant funds the commissioning of Canadian composers in that the SOCAN Foundation will match funds paid by organization between $1,000 to $3,000 to compensate composers for their work. While larger budgets can include Federal, Provincial or Municipal funding, the funds paid by organizations must come exclusively from the private sector. Composers commissioned must be SOCAN members and will receive granted funds directly. Organizations may apply annually for this grant, but composers may only participate once every two years.  

Within the application candidates must include performance dates, and an agreement between organization and composer that includes the following:  

  • The SOCAN writer member(s) retains copyright of the commissioned work; 
  • The projected commissioning fee; 
  • The projected date (month, year) of completion of the work; 
  • The projected date (month, year) of first public performance; 
  • The funding being matched by the SOCAN Foundation is not derived from public funding; 
  • The applicant will inform the SOCAN Foundation of delivery of the completed work that includes the commissioned work’s SOCAN Identification number; 
  • The acknowledgment that the Work Commissioning Assistance Grant will be paid directly by the SOCAN Foundation to the SOCAN member(s) being commissioned. 

Candidates may only submit once per deadline and will receive funds after submitting their final reports. The next deadline for this grant is September 15th, 2023.  

 

Additional Awards and Programs  

Awards: 

  • TD Indigenous Songwriter Award 
    • An award of $10,000 given to a songwriter of Indigenous decent. Songwriters may submit one original work before the deadline as well as a brief biography and photo.  
    • Deadline: October 15th, 2023 
  • SiriusXM Black Canadian Music Award 
    • An award given in partnership with SiriusXM to celebrate Black Canadian music creators. Works submitted can be from any genre and must be the original creation of the candidate. Up to five awards of $10,000 are granted to finalists. Submissions must include a brief biography and photo. 
    • Deadline: July 31st, 2023 
  • Bandzoogle Her Music Award 
    • An award given sponsored by Bandzoogle in celebration of female-identifying Canadian musicians. There are two winners per year who receive a grand prize of up to $5,000. Submissions may be from any genre of music.  
    • Deadline: October 15th, 2023 
  • SOCAN Foundation Awards for Young Composers 
    • An award that recognizes Canadian composers 30 years of age and under in five catagories. Four prizes will be awarded in each category; first prize of $3,000, second prize of $2,250, third prize of $1,500, the Young Composers prize to applicants 21 and under of $1,500 and a potential Grand Prize of $5,000.  
    • Categories: The Large Ensemble Awards, The Chamber Ensemble Awards, The Solo and Duet Awards, The Electroacoustic Awards, and The Choral Awards 
    • Deadline: July 15th, 2023 
  • SOCAN Foundation Awards for Emerging Screen Composers  
    • An award that recognizes Canadian screen composers 30 years of age and under in four categories. Two prizes will be awarded in each category; first prize of $3,000, second prize of $2,250 and a potential Grand Prize of $5,000. 
    • Categories: Best Original Theme (opening or closing), Best Original Score — Fiction, Best Original Score — Animated, and Best Original Score — Non-Fiction 
    • Deadline: June 1st, 2023 
  • SOCAN Foundation Awards for Young Canadian Songwriters  
    • An award given in partnership with SiriusXM to celebrate emerging Canadian songwriters. Submissions must be original music from a genre of popular music written by songwriters aged 21 and younger. Five prizes of $5,000 will be awarded to finalists.  
    • Deadline: July 31st, 2023 

 

Programs: 

  • Screen Music Laboratory for Emerging Composers 
    • This program has recently been renamed the SOCAN Foundation/NYOC Emerging Composers’ Mentorship Program. Three recipients of the SOCAN Foundation Award for Young Composers in the Large Ensemble category are selected to participate in the program and are invited to attend an NYOC rehearsal of their original work.  
  • Equity X Production Mentorship Program  
    • This program is available in both French and English to individuals who identify as minority genders who are looking to learn more about music production with Logic or Ableton.  
  • TD Incubator for Creative Entrepreneurship 
    • The program provides emerging and independent music creators with a $3,000 kickstarter grant, workshops for professional development and mentorship from an industry professional. The program’s goals are to provide the tools to make music creators see what they’re doing as a business venture and able to manage their career.  

 

We would like to offer one final thank you to Julien for coming to speak with us on this topic! It was so wonderful to learn about all the excellent programs offered by the SOCAN Foundation, specifically how the Work Commissioning Assistance Grant can empower collaborations between Canadian orchestras and composers. To learn more and any of these programs please check out the slide deck and recording of our session at https://oc.ca/resource/meet-the-socan-foundation-learn-about-their-programs/ or on the SOCAN Foundation website at https://www.socanfoundation.ca/ . 

 

Please note that the Orchestras Canada office will close for the holidays on 19 December 2024, and re-open on the morning of 3 January 2025. Happy holidays!

L'équipe d'OC sera déconnectée à partir de la fin de la journée du jeudi 19 décembre 2024 et sera de retour au bureau le vendredi 3 janvier 2025.