Thank you for writing about BSO. It is a story worth following for all of us who have spent a lifetime in the arts and care deeply about them. Every nonprofit arts organization walks a fine line between artistic excellence and sound business practices—a balance that must be embraced by everyone, but especially by the board, whose responsibility is to steward both.
Thank you for taking action as a concerned patron of the arts! Your article debunking Chad Smith’s arguments about BSO’s dire financial situation was informative and interesting. Although I live in Olympia, Washington, I have enjoyed hearing the incredible BSO musicians play at Symphony Hall, the Shell, and at Tanglewood when visiting Boston. I’m hoping the Board of Trustees find their way back to true stewardship and listen to the people who love and support the BSO!
The ethical “duty of stewardship” appears to be lost on the seemingly spineless BSO Trustees. It’s not too late for those with a conscience to prod the others to consult the musicians and reverse course on Nelsons’ dismissal.
I’m a regular BSO subscriber of over 20 years. I am grateful that someone with your insight & experience is pursuing this story, as the local media in Boston seem either disinclined to follow it up (Billionaire Barbara funded a Globe project), journalistically ill-prepared (the Globe’s main critic isn’t usually up to the task even when there is nothing contentious afloat), or cowardly Chad is afraid to talk on record with real local journalists who will press him to answer tough but obvious questions he has avoided now for 4 months.
I’m guessing they anticipated being able to dodge the criticisms in Tanglewood & hoped for a reset in the fall. Thankfully, the combined efforts of the various BSO musicians, the Red Flower team, & people like you are making avoidance impossible.
The story does indeed have legs. Thank you for your incredible efforts & insights!
Amen! Thank goodness you have spoken truth. Mr. Previous Tangelwood is at it again. Toxicity in the non-profit workplace is a disease with few willing to stand up to it. Thank you for standing up for what is sometimes a system with laryngitis.
I am pleased to know what moved you to write about this. When I see the kind of behavior you've exposed in this series I feel empowered by understanding truth about it. Thank you, Thomas.
I am pleased to know what moved you to write about this. When I see the kind of behavior you've exposed in this series I feel empowered by understanding truth about it. Thank you, Thomas.
Thanks so much for your insights. As a decades-long supporter of the BSO, I am utterly baffled by the actions of the current Trustees. They may have a legitmate and well-thought-out justification for getting rid of Andris Nelsons, but why keep it secret? They must have a plan for the future leadership of the orchestra, but why not tell it to us? They quite correctly say that the BSO needs more financial support, but why keep donors and potential donors in the dark?
Since the Trustees are making us resort to something analogous to Kremlinolgy, I’m glad you are able to share some understanding from the information we do have.
We know that the BSO lacks a succession plan. It takes 3-5 years to find and replace a Music Director; Smith has admitted they will not begin the process until September.
Your BSO editorials are excellent. Having spent 32 years at the BSO (and it wasn't for the paycheck!), I too feel compelled to call attention to the unnecessary drama playing out at 301 Massachusetts Avenue. I have submitted several op-eds to local media outlets but they have declined to publish or respond-shocker!
I will always be grateful for taking the gig when the temp agency called me in 1987 and asked if I could work for a few days at Symphony Hall. My initial response was "is it on the T?" From the moment I walked through the Stage Door, I felt like I entered Oz. That's the only way I can describe it.
Keep writing and would love to chat at some point!
Thank-you for your series of articles on the state of the BSO. Instead of focusing entirely on the music that will be presented to the audience and patrons, the musicians have had to deal with a management team that seems to be more interested in scuttling 145 years of culture to the city of Boston, Tanglewood, and beyond. Thank-you for your support in this most worthy effort of preserving this long-standing beacon of the worlds great music.
Bravo on your investigating the mismanagement of the BSO.
Although you were steered away from the cello and toward its relatives, your life long love of music is clear.
Thinking back, when we were growing up, many factors influenced our choosing a musical instrument or having one chosen for us. If you were tall, the gave you a string bass. Boys got brass instruments, girls got flutes. I sat in a sea of boy clarinet players. Happy to say that tide has turned.
My parents sang, my mother played the piano, and my older sister and brother sang and played the piano. I was determined to do anything BUT sing and play the piano.
A violist who originally wanted to play the cello. It turns out that I picked cello when I was 8 years old as the biggest stringed instrument I could put my hands around, but viola (the sound of which I have always liked more than that of the violin) was my second choice. I still play cello, though I greatly regret a 30 year period during which I neglected it.
I am learning not for profit management and endowment distribution, board management. I am coming to Boston to visit my old teacher and to support my friends. Can we meet sometime?
As a longtime bso ex subscriber, I received numerous requests for donations which I ignored due to it paying so much to Andris and the demographics of the audience. I did succeed in getting a few younger adults to attend with me and I promoted its low price tickets for people under 40.
Thank you for writing about BSO. It is a story worth following for all of us who have spent a lifetime in the arts and care deeply about them. Every nonprofit arts organization walks a fine line between artistic excellence and sound business practices—a balance that must be embraced by everyone, but especially by the board, whose responsibility is to steward both.
Thank you for taking action as a concerned patron of the arts! Your article debunking Chad Smith’s arguments about BSO’s dire financial situation was informative and interesting. Although I live in Olympia, Washington, I have enjoyed hearing the incredible BSO musicians play at Symphony Hall, the Shell, and at Tanglewood when visiting Boston. I’m hoping the Board of Trustees find their way back to true stewardship and listen to the people who love and support the BSO!
The ethical “duty of stewardship” appears to be lost on the seemingly spineless BSO Trustees. It’s not too late for those with a conscience to prod the others to consult the musicians and reverse course on Nelsons’ dismissal.
I’m a regular BSO subscriber of over 20 years. I am grateful that someone with your insight & experience is pursuing this story, as the local media in Boston seem either disinclined to follow it up (Billionaire Barbara funded a Globe project), journalistically ill-prepared (the Globe’s main critic isn’t usually up to the task even when there is nothing contentious afloat), or cowardly Chad is afraid to talk on record with real local journalists who will press him to answer tough but obvious questions he has avoided now for 4 months.
I’m guessing they anticipated being able to dodge the criticisms in Tanglewood & hoped for a reset in the fall. Thankfully, the combined efforts of the various BSO musicians, the Red Flower team, & people like you are making avoidance impossible.
The story does indeed have legs. Thank you for your incredible efforts & insights!
Amen! Thank goodness you have spoken truth. Mr. Previous Tangelwood is at it again. Toxicity in the non-profit workplace is a disease with few willing to stand up to it. Thank you for standing up for what is sometimes a system with laryngitis.
I am pleased to know what moved you to write about this. When I see the kind of behavior you've exposed in this series I feel empowered by understanding truth about it. Thank you, Thomas.
I am pleased to know what moved you to write about this. When I see the kind of behavior you've exposed in this series I feel empowered by understanding truth about it. Thank you, Thomas.
Thanks so much for your insights. As a decades-long supporter of the BSO, I am utterly baffled by the actions of the current Trustees. They may have a legitmate and well-thought-out justification for getting rid of Andris Nelsons, but why keep it secret? They must have a plan for the future leadership of the orchestra, but why not tell it to us? They quite correctly say that the BSO needs more financial support, but why keep donors and potential donors in the dark?
Since the Trustees are making us resort to something analogous to Kremlinolgy, I’m glad you are able to share some understanding from the information we do have.
We know that the BSO lacks a succession plan. It takes 3-5 years to find and replace a Music Director; Smith has admitted they will not begin the process until September.
Your BSO editorials are excellent. Having spent 32 years at the BSO (and it wasn't for the paycheck!), I too feel compelled to call attention to the unnecessary drama playing out at 301 Massachusetts Avenue. I have submitted several op-eds to local media outlets but they have declined to publish or respond-shocker!
I will always be grateful for taking the gig when the temp agency called me in 1987 and asked if I could work for a few days at Symphony Hall. My initial response was "is it on the T?" From the moment I walked through the Stage Door, I felt like I entered Oz. That's the only way I can describe it.
Keep writing and would love to chat at some point!
DM to connect!
Thank-you for your series of articles on the state of the BSO. Instead of focusing entirely on the music that will be presented to the audience and patrons, the musicians have had to deal with a management team that seems to be more interested in scuttling 145 years of culture to the city of Boston, Tanglewood, and beyond. Thank-you for your support in this most worthy effort of preserving this long-standing beacon of the worlds great music.
Bravo on your investigating the mismanagement of the BSO.
Although you were steered away from the cello and toward its relatives, your life long love of music is clear.
Thinking back, when we were growing up, many factors influenced our choosing a musical instrument or having one chosen for us. If you were tall, the gave you a string bass. Boys got brass instruments, girls got flutes. I sat in a sea of boy clarinet players. Happy to say that tide has turned.
My parents sang, my mother played the piano, and my older sister and brother sang and played the piano. I was determined to do anything BUT sing and play the piano.
A violist who originally wanted to play the cello. It turns out that I picked cello when I was 8 years old as the biggest stringed instrument I could put my hands around, but viola (the sound of which I have always liked more than that of the violin) was my second choice. I still play cello, though I greatly regret a 30 year period during which I neglected it.
So, out of curiosity, do you still play?
Hi John. No, I put down the viola 44 years ago. The Bach Suites were the closest I ever got to the cello.
I understand. Somebody had to say something.
I am learning not for profit management and endowment distribution, board management. I am coming to Boston to visit my old teacher and to support my friends. Can we meet sometime?
Sure, DM me to connect
As a longtime bso ex subscriber, I received numerous requests for donations which I ignored due to it paying so much to Andris and the demographics of the audience. I did succeed in getting a few younger adults to attend with me and I promoted its low price tickets for people under 40.